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Loving Vincent
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Loving Vincent

Loving Vincent

Anyone who has stood a while in front of the ‘Portrait of Doctor Gachet’, painted in 1890 by Vincent Van Gogh, has had for a moment that sense of life, of movement, behind the eyes of the doctor and friend of the ill-fated artist. That feeling that is about to talk to you. And that’s exactly what happens in the movie ‘Loving Vincent’. A Polish and British co-production, in which more than 100 paintings by the Dutch painter, together with the characters portrayed in them, come to life. Gachet, in particular, is embodied by the voice and the flesh of the actor Jerome Flynn, completely submerged in a sea of ​​brushstrokes in oil that cover each of the frames of the feature film.

The technique behind this visual discovery is as simple as it is amazing: 120 artists have painted each painting on a projection of a photogram of a sequence recorded with actors of flesh and blood on a green screen. “We could barely make sets, we had to use the green screen, because Van Gogh’s paintings defy the laws of physics and perspective”; explains Dorota Kobiela, the Polish artist and novice director. A total of 65,000 paintings painted on canvases of 70×51 cm, each photographed individually for, at a speed between 6 and 10 per second, give the sensation of movement.

Each scene is inspired by a painting by Van Gogh. When the protagonist, the young Armand Roulin (played by the actor Douglas Booth), comes to talk with the boatman of the town, we find a version of ‘Shore of the Oise in Auvers’ (1890); When he receives the order of his father to find someone to deliver the last letter written by the painter, Armand is sleeping the monkey on a table of ‘The night coffee’ (1888).