Marion Cotillard in Artsy French Adult Basna

As a distant French cousin of the late David Lynch, but with a name that is much harder to pronounce, director Lucila Hadzihalilovic has filmed bizarre, intricate films for over two decades. Rare in the Gali Cinema, where heavy dramas and comedies are usually the norm, its quietly disturbing movies, which include Innocence,, Evolution and EarwigThey often put children in dangerous situations where horror, science fiction and fantasy clashes together in extremely skillfully ways.

Its latest feature, Ice Tower (Ice Tower), no exception, weaving a twisted retro fairy tale that sits somewhere between Frozen and Mulholland Drive. In the lead role of Marion Cotillard, who also addressed InnocenceIt’s a kind of movie that is better not to know much before you get in. Enough to say that if you are looking for Disney’s movie or horror flick, or perhaps both, Ice Tower None of these things are actually.

It is also quite slow in almost two hours, with a conspiracy that didn’t take so much time to reach its worrying conclusion. Hadzihalilovic is an extremely skilled filmmaker, and every shot here is eloquently assembled-with snow landscapes with pale blue light, to warm interiors equipped in post-war partitions, to many large plans of Kotillard, playing the ice queen of actress to persecute a problematic movie set. But Ice Tower It does not affect you as much as he asks you to look at his foggy, night pictures and or do not fall under his move – or not.

Set in a remote mountain village in the 1970s, the story (written by Hadzihalilovic and regular Coccrict Geoff Cox) was made as a children’s story of the old world set up in a place that is creepy real and extremely strange. The teenage heroine of the story, Jeanne (Clara Pacini, a talent for watching), lives in foster care, where she cares for a younger girl named Rose (Cassandre Louis Urbain). But Jeanne wants nothing more than to escape to the nearest city, where he hopes to meet with a friend in an ice skating ring.

Instead, she stumbles on the set of a movie starring the legendary actress Cristina van der Berg (Cotillard), who plays the same description of the snow queen we heard about in the introductory fairy tale. Jeanne manages to get into the movie as an additional, approaching the stinky, diva to a similar Cristina, which ends the girl under her lap. Things only become strangers from there, because Hadzihalilovic introduces unusual parallels between the two, such as the fact that they are both orphaned and look similar.

Lynchian doublement continues during the second half of the movie, while more upset the topic that we didn’t see how it comes. Without giving too much, let’s just say that all strange craziness happens in a world that is believed in the world of film, do not correspond to scary real life abuse.

Like other films of Hadzihalilovic, there is little dialogue for conducting a narrative, whose series of dreamy visuals speak for themselves. Working again with DP Jonathan Ricquebourg (Taste of things), the director constantly blurred the lines between reality and fiction, facts and fantasies, with transfixing of images that could belong to any empire. The production designer Julia Iribarria enhances the atmosphere of sets that bring winter landscapes indoors, reducing them in miniatures where actors suddenly appear like human dolls trapped in a creepy children’s show.

As a famous star of the movie, Cotillard doesn’t need to say much to her presence. Recorded in soft light like Chanel fashion icon as she is now, the actress emits aura in the form of Garbo or Dietrich, scary those around her-forced young accessories forced to play in her scene-s temperatures that have been stifled, it seems, from heroin Or some other drugs a doctor (August Diehl) gives her between taking.

The rounding of actors is Gaspar Noé, who is thrown as an Italian director named Dino. In the early 1990s, the iconoclastic filmmaker founded a production company with Hadzihalilovic, who was his partner at the time. They both went into paving of unique trails in the French world of the film, and although a new feature can be an affair to test patience, it proves that it has a uncompromising voice-ne-elaborate, which still whispers strange, scary things in our ears.