The first close-up is almost microscopic, so close to the skin you can see sweat emanating from individual pores as you try to discern what body part you’re looking at. Then the camera pulls back ever so slightly, just enough for you to realize you’re inches away from the base of a woman’s neck — might this be Pearl? — as she pushes herself to the limit on a weight machine. The music, a dreamy guitar riff that wouldn’t be out of place in a David Lynch film, isn’t as loud as her pained exhalations.
From its first moments, Elsa Amiel’s “Pearl” is concerned with the body — not in a leering, sexualized manner, but as an object at work that deserves to be not only observed but understood on an anatomical level. Amiel, who’s worked as first assistant director with the likes of Bertrand Bonello and Noémie Lvovsky,...
From its first moments, Elsa Amiel’s “Pearl” is concerned with the body — not in a leering, sexualized manner, but as an object at work that deserves to be not only observed but understood on an anatomical level. Amiel, who’s worked as first assistant director with the likes of Bertrand Bonello and Noémie Lvovsky,...
- 8/29/2018
- by Michael Nordine
- Indiewire
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