Programmed by Jimmy Deniziot
The face of Marianne defies the notion of age. She seems to bear the marks of several lives. Marianne uses her diagnoses and peers to shape a personal relationship with the psychological disorder that affects her. She creates and re-creates herself, performs and sometimes loses faith, but always gets back up. Captured in some instants of her daily life, she discloses her intimate cohabitation with the voices she hears. A portrait of a woman who fights to exist and live with a singularity that is part of her.
Marianne’s face… The camera is drawn to it from the movie’s opening to its close at dusk, but its attraction to this face can only be understood through the transformations we see her navigating, shot after shot. It’s the same person, but not the same person. These metamorphoses are shown are disconcerting poise and simplicity.
At the same time, Elina Chared skilfully avoids two pitfalls: on the one hand, the director’s presence and her conversations with Marianne mean that we are spared the stubborn observation of a solitary endeavour, and on the other, there is no futile attempt to recreate the inner voices Marianne hears – once, there’s a little feedback, but this isn’t repeated. The film is firmly on the side of the voices from outside… And, in the images of a face emerge the truths of a soul.
Pre-selector for the États Généraux du Film Documentaire – Lussas