Welcome to Marwen tells the true story of Mark Hogancamp (Steve Carell), a hapless beaten up by bullies and become amnestic, and finds refuge in his teeming imagination. He decided to build a village from the Second world War, filmed in performance capture , where the shy and lonely creator endorses the uniform of a flying ace, surrounded by a squad of women in very sexy come to protect it. The universe fantasy, populated with figures inspired by the actors, and allows him to soften the violence of reality. And to live in peace his fascination for high heels, which had cost him his head injury.
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The aesthetics of Welcome to Marwen , directed by Robert Zemeckis, has not left the critics indifferent. To The Express , Christophe Career judge the film “captivating in the visual plane”. Same reaction to the writing of the Records of cinema , where the judge “inspired” the technical process. The Nouvel Observateur was also impressed by “the intensity of staging and the esthetic problem of the performance capture combined with the scale changes”, but considers that “the back-and-forth routine between the reality and the world fantasy tired”.
column In Télérama , Frédéric Strauss heaps praise on the film, “a tribute from one dreamer to another dreamer.” “This is a wonderful and exciting explosion of magic,” he continued. This magic, Marie-Nöelle Edge of the Figaro attributed it to “the amazing approach of self-help that Robert Zemeckis handles brilliantly. It passes from the cruel reality in his metamorphoses, the heroic with the ease of a pilot experienced in aerobatics”.
Mathieu Macheret of the World believed that, with this hybridization ” Welcome to Marwen points to the fundamental ambivalence of the imaginary, which may as well be a counterfeit as a refuge for the desires of the unusual and non-standard.
a never-before-seen in Hollywood
“The misunderstanding on which Welcome to Marwen is based with a pleasure a masochist,” says Camille Nevers Release , is that the film, in its air of entertainment is universal (…) is a blackness total.” Same observation to the editor of the Paris : “no One has ever seen such a film from a hollywood studio, as long as it is dark and explores the sweet madness of this man psychologically damaged and obsessed by the beautiful shoes of women.”
the image the film gives of the woman’s questions, however, some critical. “It’s hard to feel any sympathy for this Mark which sexualizes excessive dolls and develops an obsession disturbing”, struck its side Sylestre Picart, critical cinema d’ West France . A reserve recovery by Elodie Bardinet at First . According to her, the main character “puts in scene its protective like creatures-sexualized, ready to sacrifice themselves for him, which erases any attempt of feminist discourse”.