Vivaldi’s “Nisi Dominus”, and this sequence, almost contemporary dance, filmed in slow motion: flowers, vinyl records, scores smash against a gray wall. Margaret (Stéphanie Blanchoud), with a consummate art of pushing others to the limit, throws herself on her mother Christina (Valeria Bruni Tedeschi), a pianist with an oversized ego, then slaps her under the gaze of her little sister Marion (Elli Spagnolo) who tries to intervene. “This first scene of “the line”, the one with which we chose to start filming at this level of violence to be all crossed by it, is a big bang whose waves will continue to spread”explains director Ursula Meier from Lausanne where the snow is starting to fall.
22 movies of 2022 you shouldn’t forget
The slap triggered the deafness of a mother unable to listen to her daughters. Here is Margaret, borderline heroine of a western in Scope, banished. A judge condemns her to a distance measure: one hundred meters. Marion draws a blue line on the road, draws a sanitary cordon, and becomes the guardian of this strange border.
Ursula Meier always digs, deep down, the same obsession. ” Home”, feature film written with traffic soundtracks in the background (“My neighbors thought I was crazy”), explored the mental space of a family faced with the construction of a highway. A ski resort dedicated to the rich against a noisy industrial basin devoted to the poor, “l’Enfant d’en haut” was probing the ver
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