In one scene, we watch Apolonia complain about her male professors in anger. As we watch the ups and downs of her life and restless artistic process, we do take note that many things that are hard for her to attain and maintain would likely come easy to her male counterparts, even if they aren’t as talented. Born into an artistic community in an underground theater in Paris, she studies at the prestigious art academy Beaux-Arts de Paris and leads an enviable bohemian life in one of the most beautiful cities of the world at the very theater she was raised in, now a communal hostel of sorts where Apolonia hosts up-and-comers like herself.īut as Glob returns to Apolonia time and time again, she observes that those assets that once made her a thriving and inspired artist are seemingly slipping right through her hands as Apolonia seeks and fights for a fulfilling and productive life on her own terms. In the beginning, Apolonia seems to have all the good fortune and promise a painter could desire. (This one fortunately and miraculously did, as the movie is now a part of the Academy’s coveted shortlist of a handful of documentaries competing for the top prize in the non-fiction category.) It is instead an experimental work in which the subject and the filmmaker are pronouncedly enmeshed, one as edgy as its chief subject Apolonia, a tireless creator of angular features, typified by a resolute demeanor and bangs that she trims herself like a sculptor of her own image. In that regard, Glob’s film is far from a cliched fly-on-the-wall cinematic portraiture, and the type of documentary that usually grabs the attention of the Oscars.
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