cinematographique

pourquoi? parce que

Hunger ****

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HungerHunger does not necessarily force a full explanation or any justification. What it does attempt, and achieve with some grace, is an explanation of why Bobby Sands died and led others to their graves. A matter of the individual mind. And, too, a sensitive portrayal of the condition of the oppressor, in all his anonymous agony. And both, in all their universality. Read the poster’s loglines.

The film is quite unconventional in structure. Dialogue focuses about a central exchange between Fassbender’s Sands and a priest, a scene which contains much of the film’s dialogue and as a result feels far longer than it is. In the best possible sense. That is an artful interpretation of character, not a glorification.

The suited guard tasked to clean the shit-covered cells finds a tremendous symmetrical spiral adorning one wall. Taken aback, he must then proceed to wash the stain away, but it fights against him, so engrained and solid has the faeces become. Steve McQueen knows that he is sculpting something powerful and true from muck and mire, and that what emerges is of transcendent beauty.

Human spirit is dissected, not glorified. Hunger navigates incredibly politically sensitive terrain, and it would be crass to publish an acutely subjective and highly personal critique, particularly while exhibiting a certain ignorance as to the finer subtleties of the troubles. Hint, hint. In my opinion, it is something quite special.

 

Hunger, Dir. & Writ. Steve McQueen, Writ. Walsh, Blast! Films, Ireland, 2008

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Written by James P. Campbell

14/12/2008 at 12:10

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