Unfortunately, all the risk-taking and the formal and script qualities of Saint-Exupéry tend to cancel each other out and harm each other when put together as a whole.
Working for the airmail company, aviators Antoine de Saint-Exupéry (Louis Garrel) and Henri Guillaumet (Vincent Cassel) crisscross the Argentine skies to ensure the delivery of mail on both sides of the Andes.
When the big boss of the company announces that he must make cuts within this less and less profitable economic activity, the duo tinker with a plane that they believe is strong enough to allow them to pass over the chain of mountains rather than going around it. An idea that would allow them to significantly reduce delivery times.
But during their first attempt, contact is broken between the base and Guillaumet. Antoine and the missing man’s wife (Diane Kruger), however, do not lose hope of finding his trace, and saving his life before the polar cold claims it.
Pablo Agüero’s feature film is a very strange proposition, marked by the use of computer-generated images adding a deliberately artificial side to the visual style in order to situate the story halfway between a tangible reality and an imaginary universe merging disciplines artistic.
Saint-Exupéry unfolds all the more following a jerky rhythm, imposed by sometimes unnecessarily rapid editing through which the filmmaker mixes his slightest creative impulses, between the adventure story, the fable, the countless references to Little princeas well as a staging and an ensemble performance that allows it to flirt with literature and theater.
-Honestly, all this is very attractive in theory, and certainly leads to its share of images as strong as they are sublime in practice, not to mention the sufficiently invested performance of the three main performers.
That being said, Saint-Exupéry is ultimately made up for by its limited means and its lack of consistency on a narrative level. The master of ceremonies tries many things, but without necessarily stopping for a moment to think about whether all the pieces of the puzzle will fit together correctly.
As a result, despite a perilous and breathtaking rescue mission, Saint-Exupéry can seem a little too elusive for its own good, too often preventing it from achieving the full power of its best dramatic elements.
In the end, we must recognize Pablo Agüero’s desire to offer an experience that is off the beaten track and an often unusual image treatment. Unfortunately, all the risk-taking and the formal and script qualities of Saint-Exupéry tend to cancel each other out and harm each other when put together as a whole.
Damage.
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