Critique of The piano teacher: Mater Amatissima


Antonio WeinrichterSEGUIR Updated: Save Send news by mail electrónicoTu name *

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The English title alludes to the film of Haneke about a pianist who still appears to us in some nightmare. The reference would be inevitable, even without giving us the clue: they are two works dry, sometimes almost irrespirables but accurate and neatly drawn, about a woman who is like a mystery wrapped in an enigma, that I would say the poet. They seem to also offer an incandescent show almost “documentary” about an actress perfect “at work”; it is good to know that Isabelle Huppert, that axiom of european cinema, has almost its equal in this Corinna Harfouch , a veteran that we discovered when carrying more than a hundred titles rolled. What a recital, a hint of a smile, a twist of eyes, that way of walking as a vector or a dart is fired, they are more eloquent than a superhero franchise.

Lara (this is the simple, original title) is not a piano teacher but she retired but keeps a special relationship with the music and with the instrument, that only is revealed in the superb ending. While, has spent a lifetime directing the piano studies of his son, to the point of suffocation. I have here a difference with the pianist Huppert: this Lara is more sadistic than masochistic, and the sum of evils that we know him makes us wonder about the interest of the director in drawing a portrait of such a harpy. A woman single and Terminal, such as the suicide of Maurice Ronet in “The wisp”, he embarks on a round of those close to you with a result that freezes the heart, if not of ice, like the keys of a piano awaiting the touch of a human hand that make you wake up.