Мнения критиков. - 12 Сентября 2009

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Venice Film Festival : Jaco Van Dormael didn't steal his presence at the Venice Film Festival. Mr Nobody is a movie unlike any other, who takes up challenge thanks to a montage often unheard and some magical moments , to turnphilosphical questions in a film.
It is witha lot of emotion that we discovered on Thursday evening in the Sala Darsena the Venice Film Festival, the 132 minutes of Mr. Nobody.13 years after "le huitième jour, Jaco Van Dormael is back in the big leagues, in a competition which this year isat an high level.
The Belgian director evokes, through a man destiny refusing to make choices (because "as you dont choose, everything is still possible), issues such as expansion of the universe, 'butterfly effect, the chemistry of love, chaos theory. This is the great success of the film, a daring applaused but also accompanied by a few boos, which have criticized its mixed form.
Mr Nobody, that means telling a story through human epic of time and chance, is unnerving. His mosaic style, built like a house of cards, a longmusic video or a video game around different ages of Nemo Nobody (from birth to old age, in an imagined future with the assistance of Francis Schuiten through the original wound of childhood, separation of parents), has an avant-garde side, we wrote in our editions of Thursday, which will require time and smash the classic movie lovers.
Haunted by nightmares, Nemo is the man who not exists, and could easily divert the famous sentence of Rimbaud, saying not "I is another" but "I was a thousand others." His name is not for nothing person, and we see it evolve into a field of possibilities that are not at any time an incarnate man. "Everything you say is contradictory," remarked a journalist called to investigate his case. This is a sleeper awakened, too, and the film looks like in many respects to a long dream-poem, where the imagination is much more tangible than the reality.
Pierre Van Dormael's , Jaco's brotherr recently died, signs the beautiful original music for the film, which also contains many borrowings famous Mister Sandman (The Chordettes) to Eurithmics, Faure and Satie.
That was three years since Private Property, Joachim Lafosse, a Belgian film had not been selected in competition at Venice. The winners will be announced Saturday night.

Jaco van Dormael’s first film in 13 years betrays the formal rustiness and structural indiscipline that such a hiatus can cause in an artist, but there’s enough unique visual artistry and demented storytelling bravery on display here to make one glad he’s back.
Pitched as science-fiction, but really a whimsical, loosely motivated meditation on existence and chance, the film borrows the split-outcomes narrative device from Kieslowski’s “Blind Chance” (which also inspired the 1998 rom-com “Sliding Doors”) and sub-divides it several times over.
Establishing a plethora of possible lives and identities for Jared Leto’s (consistently lovelorn) protagonist and shuffling through them in a manner whose logic takes a very long time to emerge — but never quite arrives at a clear emotional payoff. Part of the problem is Leto, who isn’t resourceful enough an actor to drive such a conceit: that the character remains largely unchanged through these alternating destinies is surely the point, but his narrow expressive range does prove a little wearying across such a broad canvas.
Compensating visual delights abound, however: for the past and present-day sequences, van Dormael has fashioned a stylized, candy-colored domestic world that echoes, the stateless nostalgia of Jean-Pierre Jeunet. The future-set segments of the film, a tad heavy on CGI, lack that level of wit and individuality; indeed, the film’s energy level flags whenever we jump ahead in time. (At nearly 140 minutes, the film could use some trimming.) A bit of a folly, then, and one not entirely well-served by the cultural schizophrenia that multi-national production can bring, but a bold one nonetheless.