Braid

At first glance, the outer and inner worlds of three women carried away by the logic of children’s games and dreams will enchant the viewer with a thrilling visuality, so that the characters’ personalities and the viewer’s mind soon melt into the psychedelic narrative. The result is a nightmare from a dollhouse straddling the anarchic surrealism of Daisies, the captivating insidiousness of The Beguiled, the enthralling ghostliness of Picnic at Hanging Rock and the enchanting pathology of Grey Gardens. Like all of the films referred to here, Braid remains an ode to women's sense of belonging and freedom, despite the shackles of the outside world. “Reality will never keep up with our dreams.” (20/09/2020)

Mitzi Peiron is certainly a talented filmmaker whose future is probably worth keeping an eye on. She shows a lot of style in her début, but plotwise it’s a bit of a mess. At first, it’s an apparently straightforward story about two junkie criminals who decide to solve their financial problems breaking into a childhood friend, who, to put it mildly, “digs it”. But it gradually becomes so complicated that, in hindsight, it’s quite hard to put back together what actually happened. On several levels, it reminded me of Pacal Laugier’s Ghostland, but he had his work more firmly in control. Nonetheless, thumbs (carefully) up. (02/02/2019)