Her father tries to decipher her French mother in a mishap way. “It is just like old times.” But Eleanor no more wants old times with those who hurt and abused her than a tadpole in the sea wants to wrap around an eel. Eleanor wants new times, & better times. To the star of our film here, a real schizophrenia personae, to capture and arrange any type of normal daily schedule looks a lot like flying through the middle of the film Fear & Loathing In Las Vegas at breakneck speed on a miniature airplane. Our pseudonym hero theme personae of the film, Eleanor Rigby soon finds out that what she once considered a botched suicide, that perhaps her life has more meaning and value than she once even began to consider.
Therefore, often a person who has been there is actually a better person than those who drove them there.
The lens goes to a fade mode, just after she finds out she is still alive. The creative mechanism, and sometimes the insanity of the whole process makes her relate back to her own parents. “I feel like I am seven-years old.” The insanity of our hero, a once bright glow, people pounded her back down to powder. And the very fact that she knew and no secret heart-shake about that, she felt that some of them even enjoyed the act and felt a great pleasure while performing evil against her. She addresses her father despite her inability to communicate with him at times. “You remember when you took me to see Cats for my birthday during a time when everything seemed so limitless?” The best part of the film looks a lot like the first day of school for the red-headed daughter. Pencils, paper, and a walk down memory lane, the song Eleanor Rigby, written By John Lennon & Paul McCartney and found on the classic Revolver album, all four of the Beatles once sung and produced the song together. “My parents stood next to each other waiting for that band to never show,” grieves our sad Eleanor though.
And for a first film feature product, Ned Benson did not do so bad at describing a point of view from the stance of a mentally-ill woman. Him, her & them a three-part manifesto of the film story, according to our star mentally-ill woman, she tells friends would be easier for them to understand if they also had to live through what she has. The fiction version of a real life scenario premiered at Un Certain Regard, at the 2014 Cannes and surprisingly at the International Film Festival at mid-production. A complete disability to form relationships with other people as the motif of the film, the young woman tries to use will force to avoid the downward spiral of suicidal depression. Once one drifts to the other side of a saddened insanity, something over which she has no control anyway, other seeming normal people fail to see that she is mentally-ill, not dangerous. A woman who would not even bring harm to a fruit fly just simply fell away from people. Life seen from this perspective represents a mystery too difficult for the beaten down Eleanor Rigby to understand. Project Runaway, the only solution given to the poor girl by every one, the mother of the depressed young woman attempts to reach out to her. “I’m having a month and your father did not tell me much about you. I don’t really know who you are.” The somewhat emotionless but still sad young woman replies, “It’s okay, neither do I.” And sometimes, although things move, they do. And to no sound or song, her mother so lovely and French and good said that in Europe her now much thinner daughter once ate her own French grandmother’s food, as if it were going out of style. “Darling.You aren’t the only one who keeps things to herself. Should go. Hey, you want to come with me?” Her mother tries to enjoin her in relationship.
A girl, a bicyle and a river – Someone runs as he sees her. Despite her attempt to hide her own body from the world at large, that and a boat dreg, she figures no one cares about you whether they can see or whether you are one invisible to others anyway. Although the description of the film, a fictional biography, the story line depicts an attempt by one young couple to begin a relationship where the two left off just shortly before our sad & depressed & suicidal Eleanor Rigby suffered great emotional pain by way of her recent nervous breakdown. That the review may fall along the lines of a Marxism style of film critique, such a possible disposition grants the avenue of the venue of this professional exploration a more sunny tow. The girl has begun to lose her mind, or so she feels again, that and she just happens to notice that no one seems to care enough about her strange behavior long enough to stop their busy lives to help her. A hermit, a recluse though, she bothers no one. As she continues to sense the obvious, that no one cares about her, or whether she exists or not, life begins to look more complicated. A short time & no warm, beating heart for the broke down one later, she begins to note to herself that she has received not one letter of consolation, not one phone call and it even seems as if her family has evaporated into thin air. The female actress truly portrays how lonely some mentally ill people feel. It as if they bleed alone, emotionally. Even some of the lyrics of the Beatles song about Eleanor Rigby ties in well with the attitude of the film, which asks, “All of the lonely people. Where do they all come from?” Once you get past the adjustment to that reality, riding the waves of the insanity with or without guests on the surfboard could become a breeze. Perhaps the film seems to say that some people become mentally ill because supposedly sane people drove them there.