The buzz about the way in rolling tape of Thomas Alfredsson something vaguely recalls touching reaction to the film 'Every day, the troubles', which the Frenchwoman Claire Denis effectively shocked the public in 2002. I remember that near the cinema '35mm 'hung a huge poster with a bloody beautiful Beatrice Dahl. Astonished and frightened by the poster Moscow pensioners fastidiously avoided profane sadistic image area, clearly expressing their displeasure. And young lovers of copyright movies lined up in a very long queue, in order to consider that it is hiding these fascinating purplish-red tones. And reviewed, . generally surprised, . that under the guise of cannibalistic horror lurked amazingly beautiful story, . in which the flesh and blood - not banal human substance, . and perverted, . but memorable metaphor. Also, and now, . in an era of senseless fashion pointed fangs and copious bloodletting (and last year had been extremely active in this area, . Judging by the growing population fanclub 'real blood' and 'Twilight'), . particularly pleased, . that modest Swedish opus about vampires was the undisputed, . Five minutes to classical masterpieces,
. It will look like an ordinary viewer after viewing pictures, deceptively tuned for the next glamorous horror, look very interesting. However, we can say with absolute certainty that there is not disillusioned. 'Let me in' - not a film even if you ignore the usual form of cinema. This is a very fine, sensible and aesthetically, to some extent, the divine poetry. Touching narrated verse exacerbates tactility of each frame: whether it is moving a small claw movement Vampire on delicate skin of her lover, . or a sizeable audience warmly, . arising from the convergence of two pale hands, . insurmountable barrier between them in the form of a window frame,
. The picture is very important to feel, to understand for themselves the simplest and, in general, fairly clear idea. Swedish film director Alfredsson, . as Claire Denis, . possesses a rare talent, . who in world cinema almost forgotten - he clearly understands the importance of plastics in the movies. The traditional aesthetics in any frame does not prevail over his content, as the primary basis of not only shed blood, . and blood as a symbol of birth vibrant feelings,
. The elegance of the picture comes from the script even as such, . it is hiding somewhere between the assembly gluing in speak for themselves pretty frames - there, . where the snow is mixed with the blood of contrastly, . school - with a personal hell, . childhood - with adult problems, . eternal loneliness - with anger, . and first love - with the death,
. Ease rhymes this sad-melancholic exemplary postcard and slightly insane elegy and driven by the young age of heroes. Age, . when the combination of the words 'blood' and 'love' does not become unbearable vulgarity, . despite the triviality of such potentially fatal proximity. Among this aching obscurantism, . wise and talented authors have the courage to the most life-affirming, . indescribably beautiful and, . most just of all the possible endings, . final,
. It is terrible to imagine how such an attraction unprecedented generosity will look at flipping paraphrase, which is endowed with 'kloverfildovtsu' Matt Reeves. In this case, you must really be regarded as the name of Swedish paintings plea and admit it to himself in the heart. As a reward for the trust, she will share with the audience revitalizing blood and forever change its bias against genre films. After all, as it turned out, it is not dead at all. All this time, it slept in a black velvet-paneled, wooden coffin, guard against an imaginary aspen stake.