Similar to a far-off French relative of the late David Lynch, yet with a name that trips off the tongue less easily, director Lucile Hadzihalilovic has been creating unusual, meticulously constructed films for more than two decades. In contrast to the usual fare in Gallic cinema, which often consists of lengthy talk-heavy dramas and comedies, her films, such as Innocence, Evolution and Earwig, are subtly unsettling. These films frequently place children in perilous situations, where elements of horror, science fiction, and fantasy collide in visually stunning ways.
In her newest production titled “The Ice Tower” (or “La Tour de glace”), the storyline doesn’t deviate from the pattern, spinning a peculiar blend of a vintage fairy tale with elements reminiscent of both “Frozen” and “Mulholland Drive”. The film stars Marion Cotillard, who was previously the lead in “Innocence”, and viewing it without prior knowledge is advisable. To put it simply, if you’re seeking a family-friendly Disney movie, a chilling horror flick, or perhaps a combination of both, “The Ice Tower” doesn’t quite fit into any of those categories.
The film, “The Ice Tower,” is quite lengthy, approximately two hours, and seems to take a leisurely pace. The plot doesn’t seem to necessitate such a long duration to reach its disturbing climax. Despite Hadzihalilovic being a proficient director, each shot in this movie is artfully arranged – from snow-covered landscapes bathed in twilight blues, to post-war interiors adorned with rustic charm, to numerous close-ups of Cotillard, portraying an enigmatic actress whose on-screen actions cast a shadow over the film. However, “The Ice Tower” may not captivate you as much as it invites you to contemplate its dreamlike, ominous visuals, leaving you either spellbound or indifferent.
In the 1970s, nestled amidst a secluded mountain village, the narrative unfolds – a blend of the familiar and the fantastically bizarre, penned by Hadzihalilovic and frequent collaborator Geoff Cox. The protagonist is a teenage girl named Jeanne (played by Clara Pacini), who shares her life in a foster home with a young girl called Rose (Cassandre Louis Urbain). However, Jeanne harbors an intense desire to escape to the city, where she longs to reunite with a friend at an ice-skating rink.
Instead, Jeanne inadvertently finds herself on a film set featuring renowned actress Cristina Van Der Berg (Cotillard), portraying the same snow queen character from our initial fairy tale. Somehow, Jeanne secures a role as an extra and begins interacting with the aloof, diva-esque Cristina. As events unfold, Hadzihalilovic establishes peculiar similarities between them, such as their shared orphanhood and growing physical resemblance in appearance and style. The story takes an even more intriguing turn from here.
In the second part of the film, the Lynchian style repetition persists, yet a chilling subplot unexpectedly surfaces. To put it delicately, the bizarre occurrences depicted in the fictional universe pale in comparison to the truly horrifying atrocities that manifest in reality.
Similar to Hadzihalilovic’s other films, the storyline is primarily conveyed through vivid visuals rather than extensive dialogue. The director, once again collaborating with DP Jonathan Ricquebourg (The Taste of Things), skillfully blurs the boundaries between reality and illusion, fact and fantasy. The captivating imagery could easily fit into either world. Production designer Julia Irribarria contributes to this eerie ambiance by designing indoor sets that mimic winter landscapes, reducing them to miniatures. Within these diminished environments, actors seem like puppets confined within a chilling children’s television show.
In this movie-within-a-film, Marion Cotillard, the renowned star, doesn’t have to speak much to command attention. Much like the iconic figure she represents for Chanel fashion now, she exudes a presence reminiscent of Garbo or Dietrich, causing apprehension among those on set, particularly the young extras who work alongside her. Her outbursts, which appear to be controlled by injections of some strong medication given by a doctor (August Diehl) during breaks, are intense enough to strike fear.
Completing the ensemble is Gaspar Noé, who appears as a character named Dino, an Italian director. In the 90s, this rebellious filmmaker co-founded a production company with Hadzihalilovic, whom he was in a relationship with at the time. Since then, both have carved out distinct niches in the French film industry. Although Hadzihalilovic’s latest movie may test your patience, it underscores her steadfast and unyielding style – a voice that still echoes eerie, unsettling stories into our minds.
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2025-02-17 01:25