I saw this film at last year's Weyauwega International Film Festival in Wisconsin. The story is fascinating and will most likely divide audience members on the ethical quandary of the main characters. Thought provoking, beautifully filmed and well acted. I understand the film was made on very small budget yet it is more original, artistic and entertaining than most big budget films.
35 Reviews
Gorgeous, emotional mind trip
jakethesandbag14 May 2019
To begin, I don't know where you can find this film as of right now. I have been assisting with a Film Festival's selection process, and this absolutely stunning film came up. It might be a bold declaration, but some of the visuals in this truly unusual thriller are comparable to "Lawrence of Arabia," with how it captures vistas, minimalism, and just showcasing the story. Keep it on your radar, and for sure add it to your watchlist for something to keep your eyes open for, because this is one of the most beautiful films I have seen in recent memory.
Intriguing and Enigmatic
MikeyB179318 October 2020
Warning: Spoilers
This film draws one into its world. After awhile one becomes equally curious about the background of both characters - and who they really are.
One gets hints now and then.
And the cinematography is sparkling - at times luscious and colourful and stark.
Perhaps there are some scenes which are too long.
Also when one starts to think logically it is somewhat dicey. No photos whatsoever of there purported 3 or 4 years of marriage!!! No friends visiting. The first movie I have seen of the modern era with no laptops, cellphones, androids... In fact we never see anyone use a phone!!
Still there is a hypnotic quality enhanced by the scenery and the two central characters. And the ending was more or less a happy wrap-up (I was waiting for something gruesome)
Perhaps there are some scenes which are too long.
Also when one starts to think logically it is somewhat dicey. No photos whatsoever of there purported 3 or 4 years of marriage!!! No friends visiting. The first movie I have seen of the modern era with no laptops, cellphones, androids... In fact we never see anyone use a phone!!
Still there is a hypnotic quality enhanced by the scenery and the two central characters. And the ending was more or less a happy wrap-up (I was waiting for something gruesome)
A Rare Cinematic Experience
Craig_Derek_Jones11 September 2019
We screened this remarkable film at the Capital City Film Festival this year and we were all impressed by it's lush beauty. The film plays like a lucent dream with inspired use of color, composition, and location. It's refreshing to see such a beautifully made film that doesn't pander to it's audience. The narrative material is both challenging and accessible at the same time with stellar performances by the two leads.
YOU GO TO MY HEAD is a rare cinematic experience that's filmed in a classic Art House style while still embracing modern storytelling techniques and technology. It's unique and unforgettable.
Mesmerizing and Gorgeous You Go To My Head
njmac2 September 2019
Warning: Spoilers
Dimitri De Clercq's award winning feature film You Go To My Head is a psychological drama set in a desolate stretch of the Sahara desert where a mysterious car accident leaves a young woman lost and alone. She is rescued by Jake, a reclusive architect, but the woman does not remember who she is as she is suffering from amnesia. Jake, intoxicated by the woman's beauty, tries to take advantage of the situation by claiming to be her husband, and takes her to his remote desert home to recuperate but things begin to fall apart as the woman's memory starts to come back. The two lead actors Delfine Bafort and Svetozar Cvetkovic are terrific but it is Delphine Bafort who is the real star and the center of this entrancing film. You can't take your eyes off of her. She is very sexy. Being set in the Sahara Desert really adds to the film's atmosphere as well. The light is incredible. Stijn Grupping, the film's director of photography does amazing camera work. And the ambient sounds in the film, recorded by Novica Jankov and his assistant Zoran Prodanovicin, also add a lot to the mood of this mesmerizing film. But it is Dimitri De Clercq masterful direction that really brings this film together and makes it the great film that it is. Highly recommended!
Beautiful Stranger
mastermind-4848015 January 2020
Few fears are as grippingly primordial as the fear of losing our sense of self. You Go To My Head dives deep into this fear, and the result will have you on the edge of your seat. We know almost nothing about the film's restless heroine Kitty, but we feel the desperate echoes of her loss, her maddening disorientation, and most intensely, her utter helplessness at having to rely on the kindness of people who might or might not be strangers.
As terrifying as this is for Kitty, she bravely attempts to play the part of "myself" to the best of her understanding. At the same time, mystery man Jake dips his toes into the role of her would-be/once-was husband, but for what purpose? Amplified by the searing desolation of Morocco, these high wire exploits are enough to make a viewer dizzy, but the story is effectively grounded by a larger framing question: is it possible to love when you don't know who you are?
De Clercq's debut film achieves all this with a remarkable economy of elements, windswept sands, unsettling waters, and stark architecture. It's probably no coincidence that these same elements were used to great effect by such filmmakers as Wertmüller, Polanski, and Antonioni. Their footprints are everywhere here. But de Clercq's film is altogether too personal, and too personally heartfelt, to be decoded so easily. Perhaps for the filmmaker, as it is for his beloved Kitty, the same forces of nature that at first seem to be slowly closing in, are ultimately pointing the way to liberation.
As terrifying as this is for Kitty, she bravely attempts to play the part of "myself" to the best of her understanding. At the same time, mystery man Jake dips his toes into the role of her would-be/once-was husband, but for what purpose? Amplified by the searing desolation of Morocco, these high wire exploits are enough to make a viewer dizzy, but the story is effectively grounded by a larger framing question: is it possible to love when you don't know who you are?
De Clercq's debut film achieves all this with a remarkable economy of elements, windswept sands, unsettling waters, and stark architecture. It's probably no coincidence that these same elements were used to great effect by such filmmakers as Wertmüller, Polanski, and Antonioni. Their footprints are everywhere here. But de Clercq's film is altogether too personal, and too personally heartfelt, to be decoded so easily. Perhaps for the filmmaker, as it is for his beloved Kitty, the same forces of nature that at first seem to be slowly closing in, are ultimately pointing the way to liberation.
Hitchcock mood
Bocio7 November 2019
Sun, sand and mystery
guytowere24 February 2020
I am not going to reveal the movie's plot, since it is described in detail in other reviews. Most reviews emphasize that the story is about Delphine's amnesia. For me, all I wanted to know, and root for, was whether the relationship between two strangers could evolve into love, and if so, whether love would remain, once the amnesia disappears. Watching this movie, I was held in suspense, in a slow, emotional evolution where predictability was impossible. The build up in their relationship was like a sculpture in progress, delicate, timid, tender and yet unstoppable. Anything could go wrong at any moment, and damage the art creation. The love scenes offer a particularly stunning departure from other productions, in their physical blurred, mirage-like, sun and sand saturation.
When all this is mixed with amazing score, Moroccan desert music, Berber talks, mosques' calls to prayer, howling from sand storms, it is impossible not to feel enchanted and captivated. The director's obsession with Delphine's beauty and destiny becomes ours, and we end up leaving the theatre with an inspiring appreciation of love, art and desert.
When all this is mixed with amazing score, Moroccan desert music, Berber talks, mosques' calls to prayer, howling from sand storms, it is impossible not to feel enchanted and captivated. The director's obsession with Delphine's beauty and destiny becomes ours, and we end up leaving the theatre with an inspiring appreciation of love, art and desert.
A complete waste of time.
SkokieSue15 May 2021
Nothing is explained. Important parts have people speaking French, but no subtitles. Kept hoping it would get better, but it never did. It's supposed to be a romantic thriller, but is neither. 2 hours of my life I'll never get back. How it got a 69 rating is beyond me. Yes, it's cinematically beautiful, but the story is ridiculous and unbelievable. Seriously, Don't waste your time.
An Amazing Film
jbmariner25 February 2021
If you love to watch filmmaking at its best, You Go To My Head should be tops on your list. I thoroughly enjoyed every moment watching this film unfold. Each frame was carefully crafted into beautiful art. The story was told with subtle and unexpected twists and executed with a keen eye for masterful cinematography. The acting, editing and directing were superb. This is one film that is so finely and intelligently made that I would absolutely recommend it to film lovers everywhere.
Cinematically stunning, one of my favorite films of last year, highly recommended
jennifersluder17 September 2019
Caught this beautiful film at FilmQuest last year and I'm so excited for it's US release soon!! The story is a lovely slow burn that unfolds with intriguing psychological twists and turns. The cinematography is some of the most stunning and innovative use of reflections I've ever seen. It's one of my favorite films of last year and highly recommend it to anyone who loves great film!
Not what I was expecting. A brilliant twist!
leikjd6 November 2019
I had the opportunity to see You go to my head in Lansing, Michigan at the Capital City Film Festival in Spring 2019. I was taken aback by the beauty of the filming locations, and the storyline was just icing on the cake.
I admit, I'm not normally a fan of foreign(subtitled) films, however I heard about this film, and the venue it was playing I took a chance.
My advice is to take a chance and you may very well be surprised.
I admit, I'm not normally a fan of foreign(subtitled) films, however I heard about this film, and the venue it was playing I took a chance.
My advice is to take a chance and you may very well be surprised.
Cinema and Architecture
gioscianca-311-23394310 November 2019
"You Go To My Head" deserves to be nominated for an architecture award. The film's protagonist is an architect, played by Serb actor Svetozar Cvetkovic. He knows the part well; he already interpreted the role of an architect in two Yugoslavian feature films. The movie's principal setting is the very beautiful, widely-published Fobe House in Marrakech (Morocco), designed by French architect Guilhem Eustache. The screenplay calls to mind an architecture project as well (blank 'white' sheet, challenging design, construction, delays, more construction, anticipation...). Filmmaker Dimitri de Clercq creates shots, atmospheres, lighting and colors that reminded me of Jean-Luc Godard's "Le mépris" ("Contempt"). The narrative could be taken from a story by Alberto Moravia. In my opinion, "You Go To My Head" is an absolute must-see for architects and lovers of architecture alike.
hypnotic, it stays with you.
SSimpson-2016 June 2021
With shades of Hitchcock, You Go to My Head delivers a dreamy and surreal passage of storytelling.
Acting, dialogue and story mesh perfectly. Without giving too much away, the beauty of this movie is its discovery, I can only recommend that you watch. It will stay with you long after it's over.
Great job all around.
Acting, dialogue and story mesh perfectly. Without giving too much away, the beauty of this movie is its discovery, I can only recommend that you watch. It will stay with you long after it's over.
Great job all around.
Too artsy and lacks story
jain_daugh15 July 2021
The high ratings reviews must be done by not regular movie viewers! It was a nature/art video with cover of 'love' story. Boring pace, NO script to speak of and hard to stay with long enough to even find out anything about characters falling in love.
Made me wonder if the industry is returning to 'silent films' only in color?
Made me wonder if the industry is returning to 'silent films' only in color?
A fascinating exploration of identity
cwertheimer-3923114 November 2021
I found this film utterly absorbing from the first frame. I was mesmerized by the wonderful cinematography which perfectly captured the stark desert landscapes. The film was further enhanced by its austere score. The images and sounds complimented the account of the main character, a woman, who has lost her memory as a result of a concussion. She is discovered unconscious in the desert by an older man who identifies himself as an architect. What unfolds is a complex questioning of what constitutes identity. As the story unfolds through the eyes of the amnesia victim, the viewer becomes drawn into her psyche and puzzles over what is real and what is fantasy. Although I found this a bit unsettling, it added the right amount of mystery making the movie extremely absorbing. The narrative, acting, and dialogue were all excellent. The design of the architect's home was starkly beautiful and fascinating. I highly recommend this movie.
2018 Film Festival Screening Review
klugula26 February 2022
(Please note: this is a review penned in the fall of 2018, following a screening at FilmQuest. The review was originally written for the now defunct website, Horror Freak News and published in the fall of 2018).
They're a rare breed.
A perfectly scored film from yours truly.
And this particular film ranked as my "Best of Fest" for the feature film offerings at this year's FilmQuest (the 5th Annual) in Provo, Utah. This screening was the film's Utah premiere.
You Go to My Head is something of an anomaly. It's an art-house flick, through and through, and yet it's also extremely engaging - through and through.
When Dafne (Delfine Bafort) wakes up from a devastating car accident in the middle of the desert, she has no idea where she is, who she is or where to go. On the verge of deadly dehydration, she is found by a man named Jake (Svetozar Cvetkovic), who nurses her back to health. The thing is, once Dafne regains consciousness (while still rife with amnesia), Jake tells her that he is her husband. He takes her back to his lavish desert home and they begin a life together - under these very false pretenses.
There are so many wonderful things throughout this film, but nothing will impress you more than the film's stunning cinematography (an award winner at FilmQuest). Shot entirely with natural light (no joke), every single frame of this film is a piece of art. Stop the film here - gorgeous and frame-worthy. Stop the film there - breathtaking and inspired. The Saharan desert locale (the film was shot in Morocco - at the architectural home of director Dimitri de Clercq's mother) has rarely been so beautiful captured.
Matching the jaw-dropping power of the film's award-winning cinematography, are the powerful performances from the film's two leads.
Bafort delivers a mesmerizing performance. She's fully nude for a great deal of the film - and if there was any discomfort from such a vulnerable performance, Bafort doesn't let on. Of course, she's got an extensive history in the modeling industry, so perhaps that experience empowered her for this brave role. She's free as Dafne (or Kitty - as Jake renames her). And watching Bafort surrender as "Kitty", and eventually fall into what she believes is her real life - is a fascinating journey to watch. Along with said surrender, there is constant doubt. You'll never question Dafne's actions. I mean, what would you do?
There's nothing around to make you question what your "husband" has told you. There's so much beautiful nuance from Bafort - and you'll delight in following her on her journey of true self-discovery - including all of the very emotional highs and lows she'll inevitably experience along the way.
The sly, yet endearing acting work from Cvetkovic matches the emotional power of Bafort's. Not knowing much about Jake's past, you'll never quite know what Jake's ultimate intentions are. But you're never without sympathy for Jake - right along with the inherent suspicion of him (taking Dafne's side on that level). It's a remarkable balancing act by Cvetkovic - impressive to feel so many battling things for one character.
And on the topic of character histories, we never truly get much background on Jake and Dafne (perhaps a very little bit for Dafne), and in this case (my reaction to "is it enough character history?" is taken on a film-by-film basis), I didn't need to know more than what the screenwriters provided. The past of these characters isn't necessary to understand the deep and almost cosmic connection they share.
There's a moment late in the film, where an early sequence of Dafne moving through the home - is repeated. Once you realize where the filmmaker is taking you in this "repeat sequence"... well, it's simply gasp-worthy. Again, in an "arty" picture, when you see something repetitive (taking advantage of the picturesque beauty of the film's main location), it may seem inconsequential. But the revelation at the scene's completion - was nothing short of brilliant.
The film is the pure definition of a "slow burn". And we all know that getting this right is a fine line. But taking such time (the film runs at almost 2 hours) only brings the audience deeper into the characters and their various complicated situations. A truncated version of this story would not have given us enough time to properly love these characters and to properly build to the film's final moments.
On that note, it's always a shock to realize the depths to which you'll become involved with any particular film. I was surprised to find myself in tears as the film came to a close - the stream of waterworks continuing all the way through the end credits and beyond.
The film's final revelations are touching and surprising. Not necessarily on the level of The Sixth Sense as far as "OMG" secrets, but still quite striking. It's not a direction you'll expect the film to take. And I loved that almost Shakespearean possibility - a terrific misdirection.
Visually, and certainly via the sometimes jarring score (Hacene Larbi) - you'll get a sense that the filmmakers were inspired by the work of Stanley Kubrick. Whether intended or not, there are even several "monolith-esque" structures on Jake's property.
The swimming pool is a central location for Dafne's new life. She's constantly relaxing in the calm waters of this architectural beauty. And when a crack is discovered in the pool's foundation, and the clear waters must be drained to address the issue - the subtle symbolism of this on-going act - had me nodding my head in appreciation.
It's not easy for me to award a film with a perfect score. As my tastes have changed, and as I've honed my ideas as a film critic - it's become apparent that a film can get everything right and still only garner a 4.5-star score (not a bad score, of course). To take that extra step into 5-star territory, a film must be an almost transcendental experience - something which goes beyond brilliant technical achievements.
A film has to move me.
And that is exactly what You Go to My Head did. I loved this film, and will go to the ends of the earth to proclaim such sentiments. When you experience something this moving and gorgeous and unique, you can't help but spread the word.
Of course, I can't expect that all audiences will agree with my take on the film. Again, it truly takes its time. And at its heart, You Go to My Head is a love story... albeit an odd (and if you really linger on it - a perverse) one.
Bottom line: You Go to My Head is an art-house film, taking turns which you'd never expect, which is also surprisingly accessible - a combination which is unusual. It's a unique love story. It's a psychological thriller. And it's a marvelous venue to show off the talents of so many gifted artists.
You Go to My Head is - from my perspective - a perfect film. It's a memorable masterpiece. In other words, it "went to my head".
And despite that tacky twist on the film's title, the film has lovingly lingered in my brain - well over a week after the festival screening.
The film was nominated for multiple awards at the 2018 FilmQuest - including Best Picture, Best Director for a Feature - Dimitri de Clercq, Best Screenplay - Dimitri de Clercq, Rosemary Ricchio and Pierre Bourdy, Best Actor in a Feature - Svetozar Cvetkovic, Best Actress in a Feature - Delfine Bafort, Best Cinematography - Stijn Grupping (WIN), Best Editing in a Feature (secret nominee) and Best Score in a Feature.
You Go to My Head has done well on the international festival circuit.
No wider release information is yet available.
They're a rare breed.
A perfectly scored film from yours truly.
And this particular film ranked as my "Best of Fest" for the feature film offerings at this year's FilmQuest (the 5th Annual) in Provo, Utah. This screening was the film's Utah premiere.
You Go to My Head is something of an anomaly. It's an art-house flick, through and through, and yet it's also extremely engaging - through and through.
When Dafne (Delfine Bafort) wakes up from a devastating car accident in the middle of the desert, she has no idea where she is, who she is or where to go. On the verge of deadly dehydration, she is found by a man named Jake (Svetozar Cvetkovic), who nurses her back to health. The thing is, once Dafne regains consciousness (while still rife with amnesia), Jake tells her that he is her husband. He takes her back to his lavish desert home and they begin a life together - under these very false pretenses.
There are so many wonderful things throughout this film, but nothing will impress you more than the film's stunning cinematography (an award winner at FilmQuest). Shot entirely with natural light (no joke), every single frame of this film is a piece of art. Stop the film here - gorgeous and frame-worthy. Stop the film there - breathtaking and inspired. The Saharan desert locale (the film was shot in Morocco - at the architectural home of director Dimitri de Clercq's mother) has rarely been so beautiful captured.
Matching the jaw-dropping power of the film's award-winning cinematography, are the powerful performances from the film's two leads.
Bafort delivers a mesmerizing performance. She's fully nude for a great deal of the film - and if there was any discomfort from such a vulnerable performance, Bafort doesn't let on. Of course, she's got an extensive history in the modeling industry, so perhaps that experience empowered her for this brave role. She's free as Dafne (or Kitty - as Jake renames her). And watching Bafort surrender as "Kitty", and eventually fall into what she believes is her real life - is a fascinating journey to watch. Along with said surrender, there is constant doubt. You'll never question Dafne's actions. I mean, what would you do?
There's nothing around to make you question what your "husband" has told you. There's so much beautiful nuance from Bafort - and you'll delight in following her on her journey of true self-discovery - including all of the very emotional highs and lows she'll inevitably experience along the way.
The sly, yet endearing acting work from Cvetkovic matches the emotional power of Bafort's. Not knowing much about Jake's past, you'll never quite know what Jake's ultimate intentions are. But you're never without sympathy for Jake - right along with the inherent suspicion of him (taking Dafne's side on that level). It's a remarkable balancing act by Cvetkovic - impressive to feel so many battling things for one character.
And on the topic of character histories, we never truly get much background on Jake and Dafne (perhaps a very little bit for Dafne), and in this case (my reaction to "is it enough character history?" is taken on a film-by-film basis), I didn't need to know more than what the screenwriters provided. The past of these characters isn't necessary to understand the deep and almost cosmic connection they share.
There's a moment late in the film, where an early sequence of Dafne moving through the home - is repeated. Once you realize where the filmmaker is taking you in this "repeat sequence"... well, it's simply gasp-worthy. Again, in an "arty" picture, when you see something repetitive (taking advantage of the picturesque beauty of the film's main location), it may seem inconsequential. But the revelation at the scene's completion - was nothing short of brilliant.
The film is the pure definition of a "slow burn". And we all know that getting this right is a fine line. But taking such time (the film runs at almost 2 hours) only brings the audience deeper into the characters and their various complicated situations. A truncated version of this story would not have given us enough time to properly love these characters and to properly build to the film's final moments.
On that note, it's always a shock to realize the depths to which you'll become involved with any particular film. I was surprised to find myself in tears as the film came to a close - the stream of waterworks continuing all the way through the end credits and beyond.
The film's final revelations are touching and surprising. Not necessarily on the level of The Sixth Sense as far as "OMG" secrets, but still quite striking. It's not a direction you'll expect the film to take. And I loved that almost Shakespearean possibility - a terrific misdirection.
Visually, and certainly via the sometimes jarring score (Hacene Larbi) - you'll get a sense that the filmmakers were inspired by the work of Stanley Kubrick. Whether intended or not, there are even several "monolith-esque" structures on Jake's property.
The swimming pool is a central location for Dafne's new life. She's constantly relaxing in the calm waters of this architectural beauty. And when a crack is discovered in the pool's foundation, and the clear waters must be drained to address the issue - the subtle symbolism of this on-going act - had me nodding my head in appreciation.
It's not easy for me to award a film with a perfect score. As my tastes have changed, and as I've honed my ideas as a film critic - it's become apparent that a film can get everything right and still only garner a 4.5-star score (not a bad score, of course). To take that extra step into 5-star territory, a film must be an almost transcendental experience - something which goes beyond brilliant technical achievements.
A film has to move me.
And that is exactly what You Go to My Head did. I loved this film, and will go to the ends of the earth to proclaim such sentiments. When you experience something this moving and gorgeous and unique, you can't help but spread the word.
Of course, I can't expect that all audiences will agree with my take on the film. Again, it truly takes its time. And at its heart, You Go to My Head is a love story... albeit an odd (and if you really linger on it - a perverse) one.
Bottom line: You Go to My Head is an art-house film, taking turns which you'd never expect, which is also surprisingly accessible - a combination which is unusual. It's a unique love story. It's a psychological thriller. And it's a marvelous venue to show off the talents of so many gifted artists.
You Go to My Head is - from my perspective - a perfect film. It's a memorable masterpiece. In other words, it "went to my head".
And despite that tacky twist on the film's title, the film has lovingly lingered in my brain - well over a week after the festival screening.
The film was nominated for multiple awards at the 2018 FilmQuest - including Best Picture, Best Director for a Feature - Dimitri de Clercq, Best Screenplay - Dimitri de Clercq, Rosemary Ricchio and Pierre Bourdy, Best Actor in a Feature - Svetozar Cvetkovic, Best Actress in a Feature - Delfine Bafort, Best Cinematography - Stijn Grupping (WIN), Best Editing in a Feature (secret nominee) and Best Score in a Feature.
You Go to My Head has done well on the international festival circuit.
No wider release information is yet available.
Cinema at its best
sstone-9196117 July 2020
You Go To My Head is a film that will stay in your mind for a long time. The director, Dimitri de Clercq, does an excellent job of crafting a film that tells a suspenseful story through image composition and sound. Strong performances from the leading actors perfectly complement the exquisite photography and sound effects The film also effectively incorporates Moroccan landscapes and architecture into the story. This tale of self-discovery, love, and search for home is filled with surprises and psychological insights. Highly recommended and worthy of multiple viewings.
You Go to My Head: This Heart of Mine Hasn't a Ghost of a Chance
jordanlage23 May 2021
Dimitri de Clercq's story begins with an image and sequence that's a perfect thematic encapsulation of the film to follow. An SVU has crashed in a desert, its two occupants unmoving. The passenger, a young woman, stirs and finds that the driver hasn't survived what may have been an unfortunate accident, or something more nefarious, we don't yet fully know. As she struggles to get out of the car, she climbs sideways, according to our point of view, and we realize that to film the scene, the cinematographer has affixed the camera on an axis in the rear seat facing forward so that the viewer at first assumes the car is in its normal, all 4 wheels-on-the-ground position, when in fact it has rolled over and lay on its side - disorienting, initially, as the young woman makes her way up and out (again, sideways, from our Dutch angle perspective) of the car, then increasingly disquieting as she tries to get her bearings and seek help. We try to get our bearings, too, as we are put immediately into the shoes of our protagonist's plight, as she fruitlessly attempts to make her way through an unfamiliar landscape, Morocco as it turns out. The odds begin to dim that she - and in effect, we - will make it out of this nightmare alive. The plot kicks in when a man discovers our heroine (Delfine Bafort, who, in the course of the film, convincingly has to start from scratch and thus goes from cautious to trusting to assertive) in the nick of time, and brings her to a doctor, whereupon they determine that she has suffered near-total amnesia from the car crash.
Beyond that, any more specifics are a guessing game. Characters' hands are not disclosed. Doubts enter in. Who wants exactly what from whom, are people are gaslighting one another, when will the other shoe drop, these are questions that start to slowly gnaw at what we think we are already sure of. In this respect, YOU GO TO MY HEAD sustains an art house neo-Hitchcockian aspect for the remainder of the film. While most of the movie unfolds under the relentless heat and bright whiteness of the Saharan sun, its noir elements are unmistakable.
The best stories, in particular films, don't explain, they unfold, with minimal exposition The viewer here doesn't get ahead of de Clercq's and co-scriptor Pierre Bourdy's plot. Polanski's and scriptwriter Robert Towne's CHINATOWN is but one of the most well-known examples of this (advisedly) inviolate rule of storytelling. YOU GO TO MY HEAD unfolds in much the same way. We do not know (and it would rob our enjoyment anyway of) what will happen next. De Clercq continually upends expectations. When the young woman, Kitty, as she comes to be called by her saviour Jake (Svetozar Cvetkovic, in a carefully calibrated, admirably restrained performance), inadvertently discovers information that potentially gives up the ghost of what the writers have cooked up, we feel that same sickening sense of dread found at the end of CHINATOWN because we're now so fully invested in the outcome of their relationship. It's a very deft threading of a narrative needle de Clercq has accomplished, keeping the audience's sympathies intact for both lead characters despite the unease we feel about them. That uncomfortable ambiguity felt through the entirety of the film is the very same one experienced through another European master's films whose abstract sense of queasy atmosphere is his hallmark, Michelangelo Antonioni. THE PASSENGER and ZABRISKIE POINT come to mind of course, but its better-suited double-feature companion would be Antonioni's undisputed enigmatic classic, L'AVVENTURA.
As long as we're comparing and contrasting, YOU GO TO MY HEAD can be said to comfortably take its place beside other memorable desert-set post-studio era motion pictures. I suppose the instinct to lump it with the most obvious example, Lean's LAWRENCE OF ARABIA, is inevitable, but the English director's romanticized vision of Colonel Lawrence's Arabian peninsula doesn't quite do the lethal dangers of such an unforgiving landscape justice - the vistas and sequences are far more beautifully composed in Freddie Young's breathtaking 70mm cinematography. But it's a far different type of film. Lean's images were meant to leave his audiences awestruck. Not so de Clercq's. It's abstract in the way a Hockney painting is abstract. With Hockney, you know the painting conveys a vague southern California milieu. With de Clercq's film, there's a sense of discomfiting menace and passive hostility, as if the Moroccan desert is patiently waiting for the right time to strike, and then when it does, it will come as a slow psychological uncoiling, not the adrenaline-inducing dramatics of being engulfed by quicksand in the midst of a ferocious sandstorm. In that vein, de Clercq's film is cousin to Claire Denis's BEAU TRAVAIL, in which a regiment of Legionnaires is garrisoned on the edge of a moonscape in the Horn of Africa, The remoteness and proximity of the topography is so a constant reminder of how literally close they are to mortality that it eventually warps their psyches. Kitty and Jake's isolation on the edge of the desert may bring them closer together, but it gets under our skin, unnervingly so. Major kudos are due to Stijn Grupping's cinematography. And all due respect to Vittorio Storaro, there's no need to delve into any comparisons with Bertolucci's THE SHELTERING SKY.
Symbolism abounds in YOU GO TO MY HEAD. The atonal score alludes to the distress Kitty is undergoing as she has doubts about exactly what has befallen her. Jake's modernist edge-of-the-desert home is as austere and alluring as moonlit dunes, a Corbusian wet dream. It and the outdoor pool serve as a literal oasis for Kitty as she rebounds from the crash. But the pool has cracks in the basin, is in need of repairs. Slowly the water drains away around the time that a dismaying truth is inexorably revealed. For that matter, the inquietude is not consigned to the film's final quarter hour. An unsettling sense of dread permeates the film's entirety, reaching a point of despair as it does towards the end, resulting in a most unexpected dénouement. What it finally has to say about human motivation and the lengths to which one will go to satisfy one's desires may be the film's most disturbing takeaway.
Beyond that, any more specifics are a guessing game. Characters' hands are not disclosed. Doubts enter in. Who wants exactly what from whom, are people are gaslighting one another, when will the other shoe drop, these are questions that start to slowly gnaw at what we think we are already sure of. In this respect, YOU GO TO MY HEAD sustains an art house neo-Hitchcockian aspect for the remainder of the film. While most of the movie unfolds under the relentless heat and bright whiteness of the Saharan sun, its noir elements are unmistakable.
The best stories, in particular films, don't explain, they unfold, with minimal exposition The viewer here doesn't get ahead of de Clercq's and co-scriptor Pierre Bourdy's plot. Polanski's and scriptwriter Robert Towne's CHINATOWN is but one of the most well-known examples of this (advisedly) inviolate rule of storytelling. YOU GO TO MY HEAD unfolds in much the same way. We do not know (and it would rob our enjoyment anyway of) what will happen next. De Clercq continually upends expectations. When the young woman, Kitty, as she comes to be called by her saviour Jake (Svetozar Cvetkovic, in a carefully calibrated, admirably restrained performance), inadvertently discovers information that potentially gives up the ghost of what the writers have cooked up, we feel that same sickening sense of dread found at the end of CHINATOWN because we're now so fully invested in the outcome of their relationship. It's a very deft threading of a narrative needle de Clercq has accomplished, keeping the audience's sympathies intact for both lead characters despite the unease we feel about them. That uncomfortable ambiguity felt through the entirety of the film is the very same one experienced through another European master's films whose abstract sense of queasy atmosphere is his hallmark, Michelangelo Antonioni. THE PASSENGER and ZABRISKIE POINT come to mind of course, but its better-suited double-feature companion would be Antonioni's undisputed enigmatic classic, L'AVVENTURA.
As long as we're comparing and contrasting, YOU GO TO MY HEAD can be said to comfortably take its place beside other memorable desert-set post-studio era motion pictures. I suppose the instinct to lump it with the most obvious example, Lean's LAWRENCE OF ARABIA, is inevitable, but the English director's romanticized vision of Colonel Lawrence's Arabian peninsula doesn't quite do the lethal dangers of such an unforgiving landscape justice - the vistas and sequences are far more beautifully composed in Freddie Young's breathtaking 70mm cinematography. But it's a far different type of film. Lean's images were meant to leave his audiences awestruck. Not so de Clercq's. It's abstract in the way a Hockney painting is abstract. With Hockney, you know the painting conveys a vague southern California milieu. With de Clercq's film, there's a sense of discomfiting menace and passive hostility, as if the Moroccan desert is patiently waiting for the right time to strike, and then when it does, it will come as a slow psychological uncoiling, not the adrenaline-inducing dramatics of being engulfed by quicksand in the midst of a ferocious sandstorm. In that vein, de Clercq's film is cousin to Claire Denis's BEAU TRAVAIL, in which a regiment of Legionnaires is garrisoned on the edge of a moonscape in the Horn of Africa, The remoteness and proximity of the topography is so a constant reminder of how literally close they are to mortality that it eventually warps their psyches. Kitty and Jake's isolation on the edge of the desert may bring them closer together, but it gets under our skin, unnervingly so. Major kudos are due to Stijn Grupping's cinematography. And all due respect to Vittorio Storaro, there's no need to delve into any comparisons with Bertolucci's THE SHELTERING SKY.
Symbolism abounds in YOU GO TO MY HEAD. The atonal score alludes to the distress Kitty is undergoing as she has doubts about exactly what has befallen her. Jake's modernist edge-of-the-desert home is as austere and alluring as moonlit dunes, a Corbusian wet dream. It and the outdoor pool serve as a literal oasis for Kitty as she rebounds from the crash. But the pool has cracks in the basin, is in need of repairs. Slowly the water drains away around the time that a dismaying truth is inexorably revealed. For that matter, the inquietude is not consigned to the film's final quarter hour. An unsettling sense of dread permeates the film's entirety, reaching a point of despair as it does towards the end, resulting in a most unexpected dénouement. What it finally has to say about human motivation and the lengths to which one will go to satisfy one's desires may be the film's most disturbing takeaway.
Rare Arizona Int Film Festival Double Award Winner
mias-151-38659913 June 2021
YOU GO TO MY HEAD
is a rare double award Arizona International Film Festival Award winner for
Festival Grand Prize and
Special Jury Award for Outstanding Cinematography.
The Cinematography is breathtaking!
It will take your breath away.
And the film will stay with you, long after you have finished watching it.
The Cinematography is breathtaking!
It will take your breath away.
And the film will stay with you, long after you have finished watching it.
Mysterious Romance
countessc18 November 2021
I absolutely loved this film. After being bombarded by tons of CG and roller coaster visuals in recent cinematography , it was extremely refreshing to watch a film that relied on the talents of the lead actors. The romantic scenes were tastefully done. This is a well thought out film with a steady pace, just enough suspense, and an ending I did not see coming. This belongs in everyone's film collection.
An Intriguing Love Story
rrconklin31 August 2019
This beautiful movie was filmed in the Western Sahara around Marrakech, Morocco. The stunning cinematography shows the dichotomy of the desert as both a beautiful and dangerous place. It starts with a mysterious car accident that leaves a young woman alone in the desert wandering the hostile environment with no memory of her past. She is eventually found by a local architect who nurses her slowly back to health and takes her back to his large house which also has a beautiful pool. However, he soon falls in love and begins to deceive her by leading her to believe they are actually married and have had a life together. The rest of the story will have you waiting in expectation as she starts to discover the truth about herself with an ending that is a true surprise. This movie is beautifully filmed with cinematography that is a treat for the eyes including stunning desert vistas, ancient ruins, and the aquatic blue water of the gorgeous pool. Lots of analogies abound in this exquisite film which will keep you thinking about them long after the film has ended. The acting is superb by Belgian model and actress Delfine Befort who's beauty is mesmerizing in this film and Serbian actor Svetozar "Toza" Cvetkovic who will have you feeling his loneliness and desire for love. Dimitri de Clercq has created a masterpiece and a unique love story in "You Go To My Head" which will get into yours as well.
Haunting love story
barbara-0611323 May 2021
Visually Beautiful and Thought-Provoking
oliviastone-2422222 March 2021
You Go to My Head is a visual masterpiece. Every scene is beautifully crafted, depicting the surreal Moroccan landscapes and interesting architecture in such a way that each scene could be a photograph. Director Dimitri de Clercq uses music and cinematography to create a psychologically suspenseful, yet beautiful story, carried by the two talented leading actors. I take away something new and notice something different each time I watch it. Highly recommend.
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