
Lumiere Reader
If you’ve seen Florian’s previous film, (and if you haven’t, check it out) the artful and fairytale-like Woodenhead (2003), much of the misc-en-scene will be familiar: the rural landscape; the state homes; the barbed wire fences; the backyard garage; the unique people that inhabit our country. This last point, of course, is more prevalent as the camera absorbs lives lived in relative obscurity – except for the town in which they congregate, directly affecting the people they know and the way in which ancestors – known and unknown – are treated in a collective memory.
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