What really set Dimitri Kirsanoff’s Ménilmontant apart from the other films we watched on Thursday was the fact that there wasn’t any use of intertitles to inform or provide us with any kind of background information. I think this tactic allowed us to pay closer attention to the film and understand the jist of what the producer was trying to portray. Personally, I felt like the music dictated how I was supposed to feel during different scenes. The most memorable scene, in my opinion, was when the cold and hungry, young woman was sitting on the bench with her baby and the man next to her offered her a piece of bread. I could actually feel the compassion coming from his end and somewhat of a shameful, but thankful feeling coming from hers. Kirsanoff’s ability to pan in and out and cut quickly to the characters’ faces, also played a great part in the adding of different sentiments. When the murders first took place, we were looking up at the hatchet in one scene, and in the next we see the victim in pain. This quick, technique briefly allowed the audience to be placed in the shoes of the victim. The use of dreamy, out of focus, blurry shots had a great emphasis on different flashbacks of the sisters’ short-lived childhood, the confusion of lust mistaken for love, young pregnancy, suicide, prostitution, poverty, murder, etc. Much of what went on in Ménilmontant, is relatable to some of the worldly issues that we see on television, in films, or even on the news.
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