El artista y la modelo (The Artist and the Model)2013
El artista y la modelo (The Artist and the Model) (2013)
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Critic Reviews for El artista y la modelo (The Artist and the Model)
This film has its own nature, almost its own reality. The sudden finish almost seems meant to make it our responsibility to comprehend the whole.
What The Artist and the Model does boast are generous performances and the odd flash of inspiration.
A whimsical black-and-white meditation upon the nature of art, set in rural southern France during the second world war.
The film takes time to get going. There is reward eventually, though: in Rochefort's plain but noble-nosed suffering, in some acute dialogue about the pains and paradoxes of art creation.
In the absence of much dramatic heft, its complacent beauty soon wears off; set it against Rivette's La Belle Noiseuse, a far more rigorous interrogation of this dynamic, and it's but a lightly shimmering afterthought.
Audience Reviews for El artista y la modelo (The Artist and the Model)
"The Artist and the Model" starts with Lea(Claudia Cardinale) noticing Merce(Aida Folch) sleeping in a doorway in occupied France. It turns out that Merce is a refugee from Franco's Spain, having spent some time in a camp. Sensing an opportunity, Lea offers Merce room, board and a little money in exchange for posing nude for her husband Marc(Jean Rochefort), a sculptor, which she accepts. Lea is right that Merce is the right physical type for her husband's artwork, even though Merce wish nobody else would stop by. As far as diversions go, "The Artist and the Model" is a perfectly respectable and pleasant one, filmed in black and white with a few old school dissolves to boot. While it may seem strange for such a story to be set during World War II, just remember that wars are not always fought without a break. And I like Marc's original take on the biblical creation of men and women, as this is not the first time a Garden of Eden analogy could be applied to nude posing.(As somebody else once pointed out, "Sirens" would be the other movie.) At first, the camera respects Merce's initial reticence at posing before she becomes much more comfortable, eschewing a fig leaf, and even sleeping in the buff.
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