Saturday 18th October, 12.30pm – Cine Lumiere Cinema
Sunday 19th October, 6.30pm – Curzon Soho Cinema
The key relationships in Loreak (Flowers) that make the story so enthralling are between the mother-in-law and the wife, and the imaginary mistress and Benat’s memory. The pivotal character of this film is the most boring on purpose: Benat is the blank canvas allowing the other more complex characters to develop. His untimely death is the key event that really tests these characters – his wife in how much she loved him, his mother in her ability to get along with his wife, and Anne, a mere stranger in their lives, in how happy with her own life she is. Anne is overcome with a confusing sense of guilt and affection for the man who helped her in ways her husband could not.
The flower motif is a very clever metaphor that gives the film its true depth. Flowers are generally accepted as event definers of affections – congratulations, commiserations, get-well-soons and, of course, deaths. They recur as a very meaningful motif throughout: Benat sends Anne flowers to show his affection, and she needs them as mental support (which she should have received from her husband – in fact she initially mistakes them for his). The gesture and Bernat’s caring nature sow doubt in her head, creating a test of love between the three main women in his life.
Loreak is carefully crafted, with a grey, unpleasant setting that provides a contrast, making the flowers all the more beautiful and all the more important to the story. It is an accomplished exploration of human nature and human understanding.
The UK release date for Loreak is yet to be announced.
For further information about the BFI London Film Festival visit here.
Read more reviews from the festival here.
Watch the trailer for Loreak here:
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