Music composer Arturo Masolowski lost his wife and with her his ability to compose. He lives with his sick daughter Anna at the isolated 'Chateau Belvedere. Complications arise when an agent send from Arturo's record label arrives at the mysterious house on a hill. The grown up Anna develops a fascination for the stranger and breaks her fathers order: To stay in her room.
Review of “Chateau Belvedere”
by Roland Eizinger
“The relationship between a father and his daughter that is hermetically shielded towards the outside and that, through its symbiotic paralysis, impedes every liveliness and consequently also the development of both parties, forms the centre or pivot of this story, which dreams of hope and redemption. The physically manifested pain – which is evident in the disfigurement of a face that seeks to force its way, from a state that is hidden from the world, into the light of reality – undergoes healing, when a third person again breaks through the scars of the past that have become a habit and also influence the present situation.
It is this triangular web that also brings to mind those earlier films of an Ingmar Bergman, in its small-scale-play-like structure. The choice of music (film score), on the other hand, seems to be reminiscent of the works of a David Lynch in the way it emphasises everyday routines as well as out-of-the-ordinary occurrences. A certain proximity to the woeful tale of Joseph/John Merrick in The Elephant Man is also clearly discernible; in the same way as the art-house horror classic Les Yeux Sans Visage (Eyes Without A Face) may also have been a source of inspiration.
Here, a young as well as talented director – one could also attribute him with the sufficiently well-known label of ‘emerging talent’ – has undoubtedly come close to his ‘role models’, if you so wish, in a suitable manner, without renouncing his own creative potential or not exploiting it to the max. A potential that is exposed layer by layer (of skin), similar to the exposing – to avoid the use of the word ‘skinning’ – of internalised states. By means of its increasing poeticalness, the film succeeds in drawing us into the irresistible wake of its plot. Sharply depicted contours in black-and-white pictures form a contrast to the seemingly fragile web of relationships of the three protagonists that ‘inhabit’ the film.
So all that still remains for me to say in conclusion is the following: A fascinating short movie that lets us perceive, with our senses, true inner beauty within the hard outer crust of that which is thought to be hideous – such as incestuous desire, facial disfigurement and psychological distress…”
SHORT FILM CANNES / FRANCE
OFFICIAL SELECTION / SHORT FEST / LOS ANGELES
TRANSATLANTIC TALENT LABORATORY / REYKJAVIK