Cannes Review: Vicky Krieps and Gaspard Ulliel in “More than Ever”

Directed by Emily Atepe Drama Cannes Un Certain Regard More than ever It’s a cautious, slow, quality traditional film about impending doom that is easy to admire but doesn’t accurately pick up.

Vicky Cripps is still in awe, here she plays a woman in her thirties suffering from a supposedly fatal condition who travels from France to the Norwegian fjords to try to make peace with her unfair life. It’s entirely respectable and honorable work on meeting one’s death prematurely, but it’s still something most people don’t think about.

In Europe, in particular, the film will be remembered as the last French actor to play the popular French actor Gaspar Uliel, who died in a skiing accident on January 19. He also played the young Hannibal Lecter. The rise of Hannibal Also a character from the title of the biography. Saint Lawrence. The specter of death, sadly, hovers over this film more than it should.

All the elements of Atef’s fifth characteristic are clear, pristine, civilized and well thought out. Helen’s lung disease is very serious and is best treated with a double lung transplant; it is not an easy task to organize nor a guarantee of success.

Frightened and insecure, he is irritated by the reactions and polemical outbursts of his friend Matthew; In a long intimate scene, he starts acting and wants to make love, but suddenly and alarmingly, a bad cough overwhelms him. Not everything seems okay and Matthew isn’t always sensitive to Helen’s needs and her drastic mood swings.

It is clear from the start that Atef intends to spend his sweet time with this drama, characterized by moody moods, approaching medical disasters, and an effective synchronic challenge to a young couple. Deathbed. Leading means immersing oneself in such hardships with the great difficulty of meeting both the victim and the healthy young couple, who understandably do not know how to face the challenge of looking towards the rock and looking into the abyss.

Mathieu, who seems less mature than Helen by any means, can become irritated by her reasoned responses to some of her attitudes and needs, so it’s no surprise that after refusing any immediate and radical medical treatment, she suddenly decides to leave. In a remote part of Norway to think independently about her condition. You conclude from the beginning: “I have no future”.

If you’re looking for a lonely escape to the end of the world, Helen has found you in the right place: a secluded fjord off the coast of Norway that appears to have not been seen by outsiders since World War II. The cabin she somehow found in Dullesford is more like a cave, with no wi-fi, the water stays cold in midsummer and the sun comes out until 4.30am in the summer.

The only local rehearsal, a very involved old man (Bjorn Floberg), helps him when needed and brings a welcoming humor to the table. But just when you think this period of isolation provides a period of reflection, Ellen seems to have wanted to accept her fate, Mathieu emerges. The slowly building and prolonged love scene provides the catalyst for the couple to reconnect, and the film is speechless for the last 20 minutes.

More than ever It is a bit disturbing for all the controversies that develop, but it also warns of the many dynamics that arise from a turbulent, deeply serious situation and that causes situations that no one can really be prepared for. As always, Creeps is wonderful to always see a woman experiencing a difficult dilemma that you might not wish even your worst enemy.