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Rare is a film like Eugène Green’s Le Monde Vivant (The Living World), one of such humor, wit, whimsy, and spirit told in a mode so strict, formal, and minimal. It is a fable, or a fairy tale, or a certain way of looking at reality if you like, but it is impossible not to suggest a child-friendly and cheerful homage to Robert Bresson’s Lancelot du Lac. The Bresson comparison is inevitable, what with Green’s frank simplicity in framing, his deliberating speaking and minimally performing actors (resembling Bresson’s “models”), and most importantly his respect not just for each individual shot, movement, and line of dialog, but in the accumulation of these things.Read More »