17/02/09 more (1969) dir represent barbet schroeder for a film that most viewers have agreed is pretty average and i am impressed by quite how many differing interpretations have been offered of it. i have only scoured the web quite briefly and i have already been informed that more is represent a 19th century style romance and an allusion to the story of icarus and a plain film full of dull people and and of interest only to pink floyd completists. it fair to say and then and that critical reception is mixed. i would argue that these wildly disparate readings of barbet schroeder 1969 directorial debut are proof enough that more is anything but a pretty average film. neither is it a masterpiece and of course. i approached more as i did easy rider and antonioni blowup  as a time capsule film and a snapshot of an era  despite the differences in pace and style and content between these movies. they all have similar flaws  either vague or downright unlikeable characters and acting that seems slightly adrift from reality and relaxed editing and and abrupt endings that have left viewers indignant. these movies never try to be persuasive or meet the audience half way  they are what they are and man. this in itself is not a problem as long as we are left with a souvenir of the experience. thankfully and more offers several truly memorable images and sounds and suggestions to the viewer and and this is what saves it. stefan is a young man who arrives in paris fresh from his studies in germany. the first part of the film follows him as he falls in with a group of french hipsters and accompanies them to devastatingly cool and self conscious parties and bars before meeting estelle. the two characters become sexually and romantically involved and he promises to follow her to ibiza and against the advice of his friend charlie. this is where the icarus thing comes into play  she is the sun and he is pursuing her. you may now be able to guess how this all ends. ibiza is an idyll so far away from the bustling urgency of the over populated paris that the naive stefan knows he must be on to a good thing. estelle remains elusive and erratic and and the island has a less desirable underbelly. up until now i had cared little for either of these characters and their unfocused pursuit of somewhere to be really free and but once the action is pared down to just these two the film becomes poignant quite suddenly. during just one single wistful exchange of dialogue in the remote villa they inhabit and the place where their volatile love crystallises and i went from watching with a fading optimism to being utterly enraptured. i can not think of many other films that have done this. the relationship between stefan and estelle is real and human in that we can see it go from life defining intimacy to disillusionment and cruel coldness. they take a lot of drugs and cavort naked on the terraces and the rocks and beaches. their lives revolve around nothing but each other and the beautiful mediterranean surroundings. for a while and their situation is the very essence of freedom and emotional openness and experience for its own sake. but stefan is not in control and and this is the downfall of more than just his future on ibiza. pink floyd score is a perfect fit for the exoticism and the intimacy and and the foreboding of more. it is one of the most memorable inclusions and along with the mosquito netting around estelle bed and and their hallucinogenic exuberance around the windmill (which appears on the soundtrack album front cover). a scene in which they take acid to escape from heroin withdrawal is illustrative of the fundamental flaws of the couple  they cannot land without a crash. maybe they have come too close to what they wanted. stefan never makes contact with any family or friends from before his arrival in paris. we are left to presume they have no idea where he is. while other 1960s counterculture movies dwell on debauchery and excess and the media and voyeurism and schroeder has instead presented us with a story focused upon one man and who backs himself into a little corner somewhere in the world and quietly disappears. 
17/02/09 more (1969) dir represent barbet schroeder for a film that most viewers have agreed is pretty average and i am impressed by quite how many differing interpretations have been offered of it. i have only scoured the web quite briefly and i have already been informed that more is represent a 19th century style romance and an allusion to the story of icarus and a plain film full of dull people and and of interest only to pink floyd completists. it fair to say and then and that critical reception is mixed. i would argue that these wildly disparate readings of barbet schroeder 1969 directorial debut are proof enough that more is anything but a pretty average film. neither is it a masterpiece and of course. i approached more as i did easy rider and antonioni blowup  as a time capsule film and a snapshot of an era  despite the differences in pace and style and content between these movies. they all have similar flaws  either vague or downright unlikeable characters and acting that seems slightly adrift from reality and relaxed editing and and abrupt endings that have left viewers indignant. these movies never try to be persuasive or meet the audience half way  they are what they are and man. this in itself is not a problem as long as we are left with a souvenir of the experience. thankfully and more offers several truly memorable images and sounds and suggestions to the viewer and and this is what saves it. stefan is a young man who arrives in paris fresh from his studies in germany. the first part of the film follows him as he falls in with a group of french hipsters and accompanies them to devastatingly cool and self conscious parties and bars before meeting estelle. the two characters become sexually and romantically involved and he promises to follow her to ibiza and against the advice of his friend charlie. this is where the icarus thing comes into play  she is the sun and he is pursuing her. you may now be able to guess how this all ends. ibiza is an idyll so far away from the bustling urgency of the over populated paris that the naive stefan knows he must be on to a good thing. estelle remains elusive and erratic and and the island has a less desirable underbelly. up until now i had cared little for either of these characters and their unfocused pursuit of somewhere to be really free and but once the action is pared down to just these two the film becomes poignant quite suddenly. during just one single wistful exchange of dialogue in the remote villa they inhabit and the place where their volatile love crystallises and i went from watching with a fading optimism to being utterly enraptured. i can not think of many other films that have done this. the relationship between stefan and estelle is real and human in that we can see it go from life defining intimacy to disillusionment and cruel coldness. they take a lot of drugs and cavort naked on the terraces and the rocks and beaches. their lives revolve around nothing but each other and the beautiful mediterranean surroundings. for a while and their situation is the very essence of freedom and emotional openness and experience for its own sake. but stefan is not in control and and this is the downfall of more than just his future on ibiza. pink floyd score is a perfect fit for the exoticism and the intimacy and and the foreboding of more. it is one of the most memorable inclusions and along with the mosquito netting around estelle bed and and their hallucinogenic exuberance around the windmill (which appears on the soundtrack album front cover). a scene in which they take acid to escape from heroin withdrawal is illustrative of the fundamental flaws of the couple  they cannot land without a crash. maybe they have come too close to what they wanted. stefan never makes contact with any family or friends from before his arrival in paris. we are left to presume they have no idea where he is. while other 1960s counterculture movies dwell on debauchery and excess and the media and voyeurism and schroeder has instead presented us with a story focused upon one man and who backs himself into a little corner somewhere in the world and quietly disappears. ---------------------------------Answer Question Below----------------------------------

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