Gérard Diggelmann

Jessica Nusslé

Gil Pidoux

Hugo Veludo

Loups

Masterpiece  on Love, Life and Death

This short movie confronts the viewer with the question of how life can persist when it is stuck in the eternal struggle between good and evil. The Monk and Priest represent the Hegelian view that the mind needs to &quot;embrace in it the earnestness, the pain, the patience, and labor, involved in the negative aspect of things&quot; in order to endure. The attacking wolves, on the other hand, remind of Marx&apos; assertion that &quot;the arm of criticism cannot replace the criticism of arms&quot;. The viewer can hardly bear to watch Nusslé&apos;s incarnation of the innocent girl, as she gets drawn into the dark forest.

The beautiful Isabelle Tosic reveals a great sensitivity and a remarkable maturity in the role of the mother. She displays a great playfulness, as if happily dancing with closed eyes through a room full of obstacles, and somehow avoiding all danger thanks to her receptivity and flexibility. At the same time, she masters the precise and truthful expression of multifaceted and complex feelings.

The movie transcends both Hegelian and Marxist dialectics. Veludo does not pretend to give final answers, but instead suggests to accept the complexity of life and to (truly) dance with the wolves.

This short movie confronts the viewer with the question of how life can persist when it is stuck in the eternal struggle between good and evil. The Monk and Priest represent the Hegelian view that the mind needs to "embrace in it the earnestness, the pain, the patience, and labor, involved in the negative aspect of things" in order to endure. The attacking wolves, on the other hand, remind of Marx' assertion that "the arm of criticism cannot replace the criticism of arms". The viewer can hardly bear to watch Nusslé's incarnation of the innocent girl, as she gets drawn into the dark forest.

The beautiful Isabelle Tosic reveals a great sensitivity and a remarkable maturity in the role of the mother. She displays a great playfulness, as if happily dancing with closed eyes through a room full of obstacles, and somehow avoiding all danger thanks to her receptivity and flexibility. At the same time, she masters the precise and truthful expression of multifaceted and complex feelings.

The movie transcends both Hegelian and Marxist dialectics. Veludo does not pretend to give final answers, but instead suggests to accept the complexity of life and to (truly) dance with the wolves.

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