THE OPINION OF THE “WORLD” – TO SEE
There is always something of a sweet agony about summer holidays: a fulfillment too fleeting not to be immediately regretted, a promise doomed to remain unanswered. At least it is to this ambivalent feeling, made of carelessness on the surface and seriousness in depth, that this first feature film is attached, Dying in Ibiza (A film in three summers)presented at the 33e edition of the International Film Festival in Marseille (FIDMarseille), in July. We can say he was born under a ternary sign.
Directed with six hands by a trio of students from the CinéFabrique de Lyon – Anton Balekdjian, Léo Couture and Mattéo Eustachon – this first attempt is the end to end of three short films shot over three successive summers with the same actors. , between three different resorts. Serving the portrait of twenty-somethings on the go, this transitional form allows both the spontaneity of the gesture, and to capture the passage of time.
At the end of August, Léna (Lucile Balézeaux) arrives at Arles train station and collects the keys to an apartment in order to find Marius (César Simonot), a former boyfriend held back by his job and dreaming of navigation. . In the meantime, she meets Maurice (Alex Caironi), an apprentice baker, and her boyfriend Ali (Mathis Sonzogni), an arena gladiator. All four end up forming a small band, the young woman floating between sentimentally indecisive boys, who dare not declare themselves. The little troop will be recomposed according to the two following summers, one in Etretat where it breaks up, the last in Ibiza which sounds the hour of choices, where couples finally crystallize. Without completely escaping the seasonal indeterminacy.
A youth out of time
Variation on hesitation and vagrancy in love, Die in Ibiza shows a pleasant freshness and indolence, due to its lightness (the video grain becomes firmer from one pane to another), its roaming, its summery clarity, the premiere of its young performers like its dialogues improvised. It is also a clever, strategic film, knowing how to skilfully brandish certain fetishes stamped “New Wave” – coastal trips à la Rozier (Farewell Filipina1962) to the songs sung as with Demy (Lola1961) – to apply them to today’s young people, as if nothing had changed in the meantime.
It is also a clever, strategic film, knowing how to skillfully brandish certain fetishes stamped “New Wave”
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