![Damien Odoul](https://m.media-amazon.com/images/M/MV5BZTYwYzUyMDUtMmE0NS00ZGVmLTkzN2EtNzFjODMwNTA2MTJkXkEyXkFqcGdeQXVyMTc4MzI2NQ@@._V1_QL75_UX500_CR0,26,500,281_.jpg)
An initially intriguing slice of secluded life descends into hollow indulgence, the kind of film that gives arthouse cinema a bad name
Guided by a deliberately monotonous first-person narration, French director Damien Odoul’s cryptic exercise in loneliness unscrolls like a visual diary. The opening half of the film has an observational documentary style, as the camera stalks about a secluded cabin in the woods where Theo (Theo Kermel), a young man with Down’s syndrome, lives with his photographer father. The line between nature and civilisation gradually erodes as the pair frequently roam around in the nude. Theo – or To as he likes to call himself – even watches loud porn with his father sitting in the same room.
When the patriarch leaves for a work trip, the film sheds its realist veneer. From its tone of deference, To’s voiceover morphs into impotent rage and resentment, as he speaks...
Guided by a deliberately monotonous first-person narration, French director Damien Odoul’s cryptic exercise in loneliness unscrolls like a visual diary. The opening half of the film has an observational documentary style, as the camera stalks about a secluded cabin in the woods where Theo (Theo Kermel), a young man with Down’s syndrome, lives with his photographer father. The line between nature and civilisation gradually erodes as the pair frequently roam around in the nude. Theo – or To as he likes to call himself – even watches loud porn with his father sitting in the same room.
When the patriarch leaves for a work trip, the film sheds its realist veneer. From its tone of deference, To’s voiceover morphs into impotent rage and resentment, as he speaks...
- 6/20/2022
- by Phuong Le
- The Guardian - Film News
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