“Demon” makes the best of spatial awareness – you can feel the breadth of space around the property, while also succumbing to the suffocating corridors of the interior shots – but there are too many creative hiccups to maintain this taut feeling of suspense.
A few of his contemporaries – Spike Jonze and Jean-Pierre Jeunet, in particular – have similar compasses, but nobody rattles the paint cans quite like Gondry does.
Hu was flawless in blending Japanese samurai film traditions with Western editing techniques and Chinese aesthetic philosophy, music and operatics to create something visually and emotionally different.
From the pastel-dotted reverie that is “The Umbrellas of Cherbourg” to the surreal, indolent, and fur-spun fairy tale of “Donkey Skin”, director Jacques Demy is known for scrambling levity with abstract realism.
Marguerite is a spinning top that whirls, without self-propulsion, until she runs out of fingers to twirl her. The madness of encouragement in the face of defeat.