Film review from Locarno 2019: 'Isadora's Children' ('Les Enfants d'Isadora')
Dancer-turned-filmmaker Damien Manivel continues a graceful ascent to international prominence with his fourth feature,, winner of the best director prize at Locarno. Exploring the world of ballet via a three-part structure focusing first on a choreographer, then on a performer and her teacher, and finally on a spectator, it's an unassuming and delicate work which demands but ultimately repays close attention.
This follows a choreographer in her twenties preparing to stage dance legend Isadora Duncan's 1921 piece "Mother." The choreographer reads that the work was created out of maternal grief, Duncan having lost her two young children eight years earlier — they drowned in the river Seine during an automobile accident.
While he shows us first the choreographer and then Manon going through the movements of "Mother," the actual performance takes place offscreen. Instead, Noe Bach's camera roves slowly around the faces of rapt audience-members, rather in the style of Abbas Kiarostami'sThis woman, played by acclaimed, veteran American dancer Elsa Wolliaston — resident in Paris for half a century, and star of Manivel's 2010 short— then moves centerstage for the dialogue-light closing section.
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