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Western Suburbs Weekly - - Film - Dorota Ko­biela, Hugh Welch­man Dou­glas Booth, Jerome Flynn, Robert Gu­laczyk Ju­lian Wright 2 Novem­ber

LOV­ING VIN­CENT (M) ★★★★

Di­rected by:

Star­ring: Re­view by: In cin­e­mas: WHO needs a stuffy art mu­seum when you can see Vin­cent van Gogh’s artis­tic vi­sion come to mov­ing life in Lov­ing Vin­cent.

More than 100 artists painstak­ingly hand painted each frame of this drama/mys­tery to em­u­late the leg­endary but trou­bled artist’s work and the re­sult is a vis­ually daz­zling ex­pe­ri­ence rarely cap­tured on film.

In 1891, one year af­ter Vin­cent van Gogh died of a self-in­flicted gun shot wound, a let­ter writ­ten by him and ad­dressed to his brother Theo is dis­cov­ered. The artist’s friend and post­man Joseph Roulin (Chris O’dowd) asks his son Armand (Dou­glas Booth) to de­liver it to its in­tended re­cip­i­ent.

Armand dis­cov­ers that Theo died not long af­ter Vin­cent, and seeks his widow’s ad­dress from Dr Ga­chet (Jerome Flynn), who spent time with Vin­cent in his last weeks and treated him like fam­ily.

But the more Armand speaks to the town’s peo­ple where Vin­cent died, the more he be­lieves his death might not have been sui­cide at all.

While Lov­ing Vin­cent is stun­ning to look at, it may take your eyes a few min­utes to ad­just; the mov­ing paint­ing aes­thetic may wreak havoc on those with­out the best eye­sight.

Plenty of thought, time and ef­fort have gone into the vis­ual pre­sen­ta­tion of this story; such an ar­rest­ing look could have eas­ily over­shad­owed story and char­ac­ter but the script is in­trigu­ingly struc­tured. Though slowly paced, this mys­tery un­rav­els in com­pelling fash­ion, much like a de­tec­tive story; each story told about Vin­cent is an­other piece of the puz­zle, with some even con­tra­dic­tory.

Try­ing to un­der­stand a tor­mented artist with­out their side of the story is like think­ing about the bound­aries of space. It could drive you bonkers, but this is a lovely, heart­felt trib­ute.

Dou­glas Booth in

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