Rohmerian at all
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The story of the wanderings of two friends in their thirties with a morose charm, the new film by Ted Fendt suffers from a lack of nerves and excessive delicacy.
With the release on its VOD platform and in theaters belonging to it from Noise from outside by Ted Fendt, the Marseilles distributor Shellac is continuing its project to create a different existence for auteur films that would find themselves crushed by the post-Covid crisis in cinema attendance. Presented at the Marseille International Film Festival (FID) last year, the noise from outside tough, like the American filmmaker’s previous film, Classical Period (unpublished in France), an hour. But as much the conciseness of Classical Period went hand in hand with a strong concentration of affects and solid interpretive contests – the characters were geeks for whom the understanding of the divine comedy was a question of life or death – as much as the atmosphere of the film here is one of vacation and the stretching of an intermediate season which promises no great revelation to its heroines, Rohmerian only on the surface (at Rohmer, we still has an obsession, not here).
Tiny stakes
Filmed in Europe (Berlin and Vienna, anonymous street corners rather than monuments) in 16mm, the noise from outside follows Daniela and Mia on the visits they make, each having lost sleep in their town and no longer finding it in the other’s town. Woven around miniscule issues – picking up a girlfriend’s things from some bad guy, not giving back to his friend the money she lent us – on which he pretends not to…