Then there is the multi-faceted drama featuring images that spectacularly reconstruct Dutch life in the 17th century, and a colourful universe that not only reference's Vermeer's picturesque world, but also the style and genres of the golden age of Dutch painting.
Though however you, the esteemed viewer, approach Peter Webber's film, its essence lies in the details. While it is true that it is highly unusual to offer applause in the cinema at the end of a particularly successful scene, we could perhaps make an exception on this occasion, given that the cinematographer Eduardo Serra composes a 'painting' from some of the scenes. What is immediately noticeable is how the film takes its colours from the palette of Vermeer. And as the camera explores this world, the images come together as still life, genre painting, group picture and portrait. Bravo! It is a unique and bewildering, and under the director Peter Webber's interpretation, human dramas are in some strange way transcended into a visual work of art. In constant oscillation. One of the sources of the drama contained within comes from the reclusive painter, who strives for perfection and refuses to let anyone into his own world - except for a single person. Yet this person, the servant Griet, is more than just as a simple model: she is a girl full of feelings and desires who experiences a personal metamorphosis after entering the realm of the artist. Another layer to the film comes from the parallel duality of cleanliness and uncleanliness. In both literal and metaphorical terms. A spectacular adventure. (Incidentally, Peter Webber is currently working on another painting film, The Medusa.)
In English, with Hungarian subtitles.
The discussions before and after the screening will be conducted in Hungarian.
Presented by: Müpa Budapest