Ascension

God is dead and three nuns, while pursuing the murderer, pass through an abandoned industrial area, The journey depicts the passage oftime while taking up several fundamental philosophical issues. In the ensuing conversation
the nuns tackle creation, death, love and belief, tentatively at first but in greater and greater depth as time goes on, Sometimes the claustrophobic focus on the main characters in their dull surroundings appears affected. And yet as
the camera is allowed to linger on architectonic details, providing, as it were, time for reflection, Ascension proves its mastery over the distinctiveness of film as an art form,
Andrei Tarkovsky, with his meditative tempo and condensed simplicity, springs to mind, Ascension is denuded of everything less than fundamental, a ''post-cataclysm'' fantasy. Rather than having recourse to ingenious costumes and props, an atmosphere is created via composition, light, and sound, The film's industrial area is thus virtually transformed into a fourth main character: an interesting contribution to the debate the nuns hold on the relationship between people and technology,
SOFIA BULL

Premiärstatus
Internationell premiär: Medverkande
Marie-Josée Croze, Ilona Elkin, Barbara Ulrich: Producent
Samuel Gagnon: Manus
Karim Hussain: Foto
Karim Hussain: Musik
David Kristian: Talat språk
English