Environmental documentary by Salomé Jashi “Taming the garden»Gives a captivating chronicle of the aesthetic valuation of nature with regard to restraints and inheritance. For example, in exchange for postponing their trees, settling in picturesque rural villages for decades, if not centuries, Ivanishvili offers very little in terms of compensation – either 500 pounds to the owner or the promise of a new road. . Some residents are too willing to do without the scourge of their hamlet, especially if it is paved roads inside and outside the city. The removal of these heirlooms, planted by descendants, rooting memories and local history together, crushes others. One wonders why Ivanishvili, ignoring the great expense of excavating these trees from their earthen beds, then transporting them by barge above the water, so desires these majestic plants?
Although Jhansi prompts more questions than answers, a mystery that leaves one hungry, the lyrical, timed conclusion to the choral strains of “Le Chant Des Oyseaux” shows us the new resting place for these magnificent trees, and permeates the Jhansi’s film of a nightmare. nobility in the middle of the placid landscape. “Taming the Garden” is often too elusive, but offers rare pleasures the rare times it is captured.
Another story categorized too amazing to be true finds an eccentric Belgian immigrant named Misha Defonseca occupying the small town of Millis, Massachusetts. Misha, a new resident in the warm hamlet, shares a lovely story of Holocaust survival with her neighbors. She says she saw the Nazis deport her mother and father to Germany, stay with her cruel Catholic parents and escape their wicked farm household in the woods, leaving her relatives in the vain hope of reuniting with her parents by walking from Belgium to Germany. . And during his journey: hides, steals and is part of a pack of wolves. Yes, a pack of wolves.
To say more would spoil the shocks and surprises at the heart of Sam Hobkinson’s roller coaster film “Misha and the Wolves. An investigative thriller that is sometimes stylistically overcooked, which concerns the preservation of a people as much as the woman concerned with protecting her manufactured reality.
With a tale as provocative as that of Misha, sometimes as a director, you better step away. Hobkinson chooses to throw himself headlong into the fray, relying on whimsical paintings, plaintive historical images of Nazi Germany, and a score too over the nose to feature the film’s actors. Much of this visual attention seeking distracts attention from an already unpredictable story. As if Hobkinson wanted to add melodramatic order to Misha’s canvas, when he should have let the already intrinsic drama of the events speak for itself.