Nothing is wasted in this film. Not a scene. Not an action. Not a word of dialogue. So trimmed down that it could easily have been a silent movie with its few spoken moments relegated to title cards, this movie still manages to say all that is has to. And speaks beautifully.
The cinematography is crisp when it has to be and soft when it's called for. And works perfectly. The golden hour shots are there, as one would expect. But broad daylight and early mornings are captured fully too. It's feast for the eyes.
Nathalie Baye is the hub around which the various connected sub plots all spin and she's more than up for the task. In her brief stay in Hollywood no one appears to have known how to use her. In France they just put her in front of a camera and magic happens.
The movie is, indeed, about guardians. Those left behind to guard life behind the front. Those who feel as though they must guard their family's name. And those who must guard against insult either real or imaginary.
A story beautifully told that's certainly open for interpretation. Me? I found it strangely hopeful. But, of course, I stayed with the film right till the very last frame.
Review of The Guardians
