Director of the excellent Les Apaches, Une vie violente and Enquête sur un scandale d'État, Thierry de Peretti once again sets out to dissect his native Corsica with A Son Image, his new film presented at the Cannes Film Festival - in the Quinzaine des Cinéastes - and due in French cinemas on September 4, 2024.
Adapting Jérôme Ferrari's book of the same name, Thierry de Peretti's spirited retelling of the life of Antonia (Clara-Maria Laredo), a press photographer for Corse-Matin in Ajaccio, blends fictionalized fragments of the young girl's short life with theturbulent history of realCorsica, from the late 1970s to the early 21st century.
A sort of feminist counterpart to his previous film Une vie violente (A Violent Life) , which recounted the political commitment of a young Corsican, Thierry de Peretti, a decidedly excellent storyteller, chooses this time to link the small and the large, the intimate and the far-reaching, adopting a poignant dual perspective.
First of all, Antonia, whose job literally consists of capturing moments in life, takes an uncompromising look at the confrontations being waged by the men of the Corsican National Liberation Front. Antonia, whose "center of gravity of her existence lies outside herself", is having an affair with Pascal (Louis Starace), a pro-independence activist who is in and out of prison, but can't bring herself to limit her life to Corsica.
But the film is also the story of a male narrator - who, we learn much later, is a friend of Antonia's - who tries to pin down, year after year, the persona of this young woman so free that she went so far as to cover the war in Yugoslavia, from one conflict to the next. The film opts for a flashback narrative, and with good reason: from the very first scenes ofA Son Image, Antonia's car swerves and plunges into the turquoise-blue sea.
Her political commitment, her love affairs, her friends, and the Corsica that is gradually catching fire... The film strives to portray this youthful protest without folklore or naturalism , sometimes supported byarchive images - real or falsely altered - that bear witness to the violence of the political struggle between autonomist militants and the continental police. And between the two, Antonia goes straight.
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