Ophelia : The Curse of The Moat (Review)
Ophélie de Ferjac was forcibly married to a boor, Geoffroy Désormeaux, at the end of the 16th century. While she was trying to join her lover, Quentin, her husband surprised her and to punish her, he locked her in her room where she died of grief. Since then, the ghost of Ophelia - nicknamed "the White Lady" - haunts the corridors of the castle and seeks revenge. Three centuries later, the building was bought by Bastien Désormeaux (one of Geoffroy's descendants), a scientist who wants to retire there in order to continue his research in astronomy. He hires at his side an apprentice astronomer, Théodore Lepré, who is led to the castle by Gaspard Fresnel, a villager whose behavior is at least ambiguous. At the meanwhile, a white Wolf wanders around the castle...
A surprising and intriguing tale that captivates us and keeps us in suspense from beginning to end.
We feel the experience of the director, Klaudia Lanka, who after having made two feature films, succeeded here created a linear, fluid and stimulating narrative rhythm for the viewer. Starting with the credits that instantly plunge us into this universe of dreams and mystery.
We immediately and instinctively place ourselves on the side of the character of Théodore Lepré (Rémy Martin) because we know nothing of the past history of this castle. We learn the facts with him through the character of Gaspard Fresnel (Bernard William). The identification is made. Afterwards, we are constantly waiting for events to happen alongside this character. There is a sort of suspense that gradually takes hold.
© Klaudia Lanka
But finally, Klaudia breaks the rule of identification and brings us to a global and uncertain point of view since the spectator places himself this time in the spirit of the character of Bastien Désormeaux (Julien Belon). We are immersed in the heart of his erotic and horrific visions. The images appear defragmented. Then, over the course of the story, the director mixes the real and the supernatural, reality with the nightmare and the implausible, like a tale that takes an increasingly tragic turn. Supernatural actions chain from one character to another. The apparitions of Ophelia (Szandra Deaky) are disturbing, just like the she-wolf who does not aspire to great confidence, it seems to hide something. We always want to know more about this strange mystery that hovers in this castle. We are definitely captivated.
Dreamlike music suggests the best and the worst. It reinforces this uncertainty. The rhythm of the story does not lead to contemplation and to the admirable work of directing and costumes but rather to the advancement of the plot itself. Artistic work is perceived without being perceived, and that is a positive point because it fits perfectly into the narrative. It is indisputable. It’s one with the script.
The actors give their lines in a theatrical and poetic way. Every word has its importance. Dialogues advance history. They reveal something new (feelings, psychology, questions, etc.). They are useful and have a precise meaning, just like every image, elaborated in a photographic and pictorial way. Some minor visual effects come cohabited with sobriety to create a supernatural effect, especially at the end. They serve above all else for the smooth running of the story. There is no gratuity in that. The plot is present until the last second and leads us to the following reflections: Would it be a pact between good and evil? An evil pact between two souls? Between life and death?
By Hallucinea Film Festival
