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E. Nina Rothe

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Favorite movies only need apply. Life is too short to write about what I didn't enjoy. 

Emilia Derou Bernal and Julien Debard in a still from Anaïs Volpe’s ‘Indemnes’

Emilia Derou Bernal and Julien Debard in a still from Anaïs Volpe’s ‘Indemnes’

Anaïs Volpé's 'Indemnes' reinvents the palette of tragedy at the International Film Festival Rotterdam

E. Nina Rothe January 24, 2019

How do you personally survive tragedy, when it hits close to home?

It’s a question that has played in my mind over and over in the last few months. Each of us has a distinct and very human way of dealing with personal tragedy, and none of it is wrong or right, I’ve figured out. It just is.

Filmmaker Anaïs Volpé says that her way of coping with terrorist attacks, which have hit very close to home, literally for the Parisian, is to turn blood into glitter and imagine that the victims have gone to a better place. We hear that time and time again, “they have gone to a better place now,” but in Volpé’s exquisite ‘Indemnes’ (which translates to “Unharmed”) that better place is filled with color, beauty, peace and harmony. It’s a beautiful view into the afterlife, complete with stylish golden jackets, from an artist who has had her own creative style from the get-go.

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In Film, Film Festivals, Interviews Tags Indemnes, International Film Festival Rotterdam, IFFR, Bero Beyer, Anais Volpe, Emilia Derou Bernal, Unharmed, tragedy, cinema, terrorist attacks, Paris, social media, HEIS: Chroniques, Leo Soesanto
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