User Score
1 votes
The tetralogy pieces are dominated by the concept and presence of death, foreclosure, fetal vertigo. As such, CRISTAUX is a real descent into an inner labyrinth, which we do not know if it is organic or cultural. At the same time, the film contains a dialectical break that initiates other semantic directions in Hernandez's work. Under the influence of Michel NEDJAR, the filmmaker abandons his traditional method of editing based on rushes. The operation is now completed inside the camera, filming. This more flexible way of proceeding ("the camera must become a second eye") is already reflected in the clear openings of Lacrima Christi: the Christian myth seems to be on the way to exorcising. The pantheistic intoxication - close to that evoked by Nietzsche - seizes places, objects and participants.
Director
Status
Released
Original Language
FR
South America, 1960. A lonely and grumpy Holocaust survivor convinces himself that his new neighbor is none other than Adolf Hitler. Not being taken seriously, he starts an independent investigation to prove his claim, but when the evidence still appears to be inconclusive, Polsky is forced to engage in a relationship with the enemy in order to obtain irrefutable proof.
