Katalin is in continued no less to the father of Orban

A priori, nothing in common between the dark forests of Transylvania, which unfolds the drama of "katalin varga" and the very chic Arcachon basin, home to the sultry camera closed of "mothers and daughters". This close, there as here, mothers take in hand their own destiny, rising brutality or indifference men, at the risk of their lives sometimes.

Because his secret was too hard to take, Katalin confided to a friend son Orban is the result of a rape committed 11 years earlier by a man who was humiliated in the eyes of another. The rumour of illegitimacy eventually reach the ears of the father of Orban who, furious, denies his wife while the stigmatization ruthless village. She then decides to flee with his son, which ignores all the drama that is developing around him, to find the culprits and takes the direction of the disturbing Transylvania in a carriage horse. The trip will last days and more Katalin progresses towards its goal, most landscapes are mysterious, suspicious Nations. Is between little by little in a world of impenetrable forests drowned fog where expected at every moment to see arise spectra. The crossed villages are poor and harsh. When Katalin thanks girls who come from the information, it means respond strangely: "no thanks were never that indicating the road to Jadzdera...". "Night in the glow of a fire are drowned alcohol and Gypsy music. It was during one of these that Katalin will punish his first attacker. Hunter, she becomes the prey of two henchmen to the shaved head, parents of the man she comes to assassinate. The road movie turns the polar. Katalin is in continued no less to the father of Orban. Towards his destiny, also. Directed by English of thirty-six years, Peter Strickland, who does not speak a word of Hungarian, "katalin varga" is a powerful and bitter film whose images haunt mind long after the last image faded.

Silent pain

It is a family secret, also, that plagues the characters staged by Julie Lopes-Curval in "mothers and daughters". Audrey (Marina Hands), the independent but slightly dropped 30 side heart, just spend a few days with his mother, Martine (Catherine Deneuve), general practitioner on the Arcachon basin. Audrey lives in the United States as if it had at least put an ocean between she and her mother. It must be said that the expression "maternal heat" was not invented for Martine. If it is a great patience, or even a certain softness with his patients, it is, to his daughter, of coldness at aggression.

However, Audrey would, more than ever, need the attention of his mother: she is pregnant, but she is the only one to know. It has not yet notified the father, an American, who has never presented a strong attraction to the idea of authorship and she feared the reaction. Overwhelmed input by the brittle behavior of his mother, Audrey goes to live in a neighbouring House rendered vacant by the recent death of his grandfather. There, hidden behind an arrival of water, she discovers a secret book once held by his grandmother, Louise, which she discovers silent pain. Etouffée by a tyrannical husband, it eventually flee the matrimonial home, abandoning his children; It will never give signs of life. Abandonment explains the attitude of hardness which is walled Martine. As each and other secrets to discover, the mother and daughter are closer. Although the thread of the story is a little tenuous, and that he sometimes lost in digressions, Julie Lopes-Curval signs a film attaching and fin. worn by a trio of magical actresses (Marie-Josée Croze camped a moving Louise in the 1950s), men - tyrannical, indecisive, inconsistent or deleted - do not have the greatest role.