Bruno’s filled with rage and frustration due to the factory’s forthcoming closure. As such, he reacts before he thinks, taking Leo as a rash attempt to instigate negotiation. When the talks go awry, Bruno takes Leo on an aimless trek through the woods. This sends Leo into an emotional spiral and Bruno into a state of regret. Jan Hammenecker portrays Bruno without a spoken word; instead, Bruno’s fluctuating emotions of panic, anger, and sorrow are conveyed through telling expressions and modest body language. Hammenecker’s Bruno isn’t showy or innately flagitious, he’s just woefully influenced by the fear of financial ruin or a dour future. It’s little Leo who ends up reminding Bruno of what life can bring, whether that be a feeling, or maybe even a simple gaze of a child, looking at him without judgment, without fear.
“…deftly constructed, giving way to blistering suspense and earnest emotion.”
The recklessness of Bruno’s decision to steal the child, as well as the child’s ultimate confusion, justifies the use of shaky cam. Bruno’s on the run with a crying child, and the parents are hoping for their child’s safety, yielding a chaotic atmosphere that’s surrounded by a slew of trees and begrimed factory yards. Purposefully shot by Kinan Massarani, the locations aren’t nearly as rigorously captured as the faces of the characters. Nicolas Bier’s editing is brisk, helping enhance the tension in scenes that involve Bruno running from Leo’s father and the other factory employees. As the film progresses, Leo Dupleix’s score builds to a loud, awe-inspiring cacophony of instruments. Gradually, the fevered atmosphere and sober mood become overwhelmed by Leo’s harmless interactions with a dejected Bruno. While limited words are spoken, predominantly because a 2-year-old lacks a full vocabulary, the focus has much more to do with how calm Leo becomes while in Bruno’s presence.
Little Hands is a solemnly beautiful short feature that’s incredibly poignant and deftly constructed, giving way to blistering suspense and earnest emotion. It goes to show you how talented Rémi Allier is at telling a sincere story in a matter of minutes. After Jan, Zinneke, and now Little Hands, I can only imagine what Rémi Allier will be able to deliver in a full-length feature. Then again, if he keeps on creating these powerful short features, I will gladly watch them, as should everyone.
"…justifies the use of shaky cam."
