Reconstruction is a psychological romantic drama film and the debut of Christoffer Boe, who also wrote the screenplay together with Mogens Rukov. It was filmed in Copenhagen and won the Camera D’Or at the Cannes Film Festival in 2003, and the Golden Plaque for Manuel Alberto Claro's luminous wide-screen cinematography.
A play of mirrors; a little magic; a little smoke; a lot of white. With a few elements and a simple structure Boe gives a complex story. There is a play with stories within stories and recurrence of time. The author of the tale is part of the tale. The synthesis of the tales seems to be the scene in the Metro where one anonymous rider makes a trick with a cigarette. Everyone stops to watch the show. Time seems to freeze; The train comes; The magician, takes a last taste of the cigarette, throws it away, and everybody leaves.
All surroundings seem to be white; is a Nordic thing or a symbol? The film was shot almost entirely in available light. Using available lighting is not merely stylistic. Boe doesn't work with storyboards or set schedules.
They shot Super 16 on an Arri SR3 using three different stocks. Then the film was scanned, color-graded, and digitally masked to CinemaScope. The scan was a simple one-light, and the team did no color correction, the opposite of today's trend to perform a digital intermediate. They also pushed the emulsion for extra grain.
In one interview Christoffer Boe said that the film was inspired by Jacques-Henri Lartigue's photograph of a woman standing in a room with empty bookcases. "Looking at that picture, I immediately felt I wanted to do a story about a man who comes home and his apartment has disappeared. And I knew it had to be a love story".
Characters do not use mobile phones or other means of modern communication. However, the story takes place nowadays. This emphasizes the fact that the plot is artificial and constructed.
The scene where Alex and Aimee are talking in a cafe was shot in the Bobi Bar which is one of Boe's favorite and is close to where he lives.
A play of mirrors; a little magic; a little smoke; a lot of white. With a few elements and a simple structure Boe gives a complex story. There is a play with stories within stories and recurrence of time. The author of the tale is part of the tale. The synthesis of the tales seems to be the scene in the Metro where one anonymous rider makes a trick with a cigarette. Everyone stops to watch the show. Time seems to freeze; The train comes; The magician, takes a last taste of the cigarette, throws it away, and everybody leaves.
All surroundings seem to be white; is a Nordic thing or a symbol? The film was shot almost entirely in available light. Using available lighting is not merely stylistic. Boe doesn't work with storyboards or set schedules.
They shot Super 16 on an Arri SR3 using three different stocks. Then the film was scanned, color-graded, and digitally masked to CinemaScope. The scan was a simple one-light, and the team did no color correction, the opposite of today's trend to perform a digital intermediate. They also pushed the emulsion for extra grain.
In one interview Christoffer Boe said that the film was inspired by Jacques-Henri Lartigue's photograph of a woman standing in a room with empty bookcases. "Looking at that picture, I immediately felt I wanted to do a story about a man who comes home and his apartment has disappeared. And I knew it had to be a love story".
Characters do not use mobile phones or other means of modern communication. However, the story takes place nowadays. This emphasizes the fact that the plot is artificial and constructed.
The scene where Alex and Aimee are talking in a cafe was shot in the Bobi Bar which is one of Boe's favorite and is close to where he lives.
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