"Rabbit Hole" has a strong literary basis - now quite alive in the theater play David Lindsay-Abaire, for which he received Pulitzer. A bright name, directing us to the riddles of Lewis Carroll. In addition, Nicole Kidman, who is both producer and performer of the main role. She with this new work Mitchell takes a confident position in the Oscar race, not conceding to Natalie Portman.
Interesting reasons can be added. The director, who released only three films as such, and before that he acted successfully within the limits of his acting role and seemed not to have strived much for this framework, moved very much in 2006 due to the original project "Shortbus Club", where the main artistic and visual medium was moments are particularly large and do not hesitate to withdraw sex.
In Rabbit Hole, Mitchell took on a delicate subject. It's no secret that a strong literary base can then work for both you and against, because on paper everything still looks different and leaves a good resource of freedom for the reader who, without ready visual images, is free to imagine, complete and correct. The theater does not limit this freedom as much as an energetic cinematography. The theme is simply to cut off: the starting point of the plot vector is the death of a four-year-old son in a family where the spouses have managed to acquire only one child - in the focus of the director's and, consequently, our attention is the relationship of husband and wife eight months after the fatal accident. It's not easy to transfer to the screen. So that without hysteria and without vulgarity.
Even knowing the storyline beforehand (and who does not know it now in the age of the enlightened spectator, armed with knowledge before going to the movies), you are curious how Mitchell will manage to cope with such a test. It comes unexpectedly. Completely refusing any screaming and shocking means. Expands the scenic space indicated in the play, bringing their heroes to the walls of their house, and thus digs multiple rabbit holes, where the spouses separately fall apart. The winding city, overhanging the huge building of the office building, the calm of the park, the incongruity of the psychological rehabilitation group, the birthday of the mother, who also lost her son, the homemade "Rabbit Hole" comics appear in the film as spatio-temporal holes leading to parallel worlds, into a new emotional state .
The director in every possible way brings to the viewer these unexpected failures with the help of sharp shifts of the position of the observer. We look at what is happening from above, then suddenly from below, then we find ourselves in a garbage can, where the heroine Kidman finally decided to throw out unnecessary children's clothes. And the main characters themselves, left alone, from the reluctance to talk to each other all threaten to dissolve in the surrounding - in numerous details, from which the frame is gathered, in countless folds on the curtain, merge with the light that seems to pass through them, gradually eroding face and figure.
The film constantly says: mother, sister, neighbors, friends want to say something, apparently, in consolation, but they cannot find words, they are seldom who can pick them up. And from that they are angry at the lost spouses, in fear of recoiling from them, as if death is contagious. Mitchell shamelessly captures this reluctance to get used to the grief of another and builds his film, not forcing the viewer to revel in emotion, showing human relations in the manner of a zoo under glass caps, where a transparent border between us and the world is on the screen.
The illustrations are used in agreement with the Depositphotos photobank
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