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The Tomatometer is 59% or lower.
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Quebecois director François Delisle helms this way-offbeat, avant-garde opus that not only tells several unique stories but actually invents a new form of cinematic language. Delisle intercuts five mini-narratives, each spoken entirely in first-person voiceover by a different character. One is a fortysomething man (Delisle) who committed a hit-and-run, tried to dispose of the body, and was sent to prison; another is a down-on-his luck drug dealer with extreme facial injuries wrought by his "trade"; a third is an elderly woman heartsick over her son's incarceration and her sister's terminal illness; a fourth is a young woman still contending with a separation from her lover and attempting to start fresh; and the fifth is a prison guard juggling an emotionally trying job with family issues. As the movie rolls forward, it becomes apparent that all of these individuals' lives are connected via that of the hit-and-run perpetrator. Though the movie does contain some live-action footage, Delislemostly enlists a preponderance of single images (shown with the narration atop them) that have metaphoric connotations tied to the movie's stories - such as waterfalls, rivers, time-lapse shots of cloud banks, roses, and very occasionally, fauna. The history of this motion picture is as unusual and unexpected as its content: it actually began as a book of photographs and evolved into a feature script as Delisle spontaneously wrote the monologues, drawing some inspiration from emotional experiences and journeys in his own life.
It's the kind of thing that could go south in a second: five characters, speaking in sombre, off-screen monologues while incongruous visuals flirt with pretension at every turn. But Delisle never loses focus.