An encounter between the kid and four characters represented by costume props: gloves, foulard, trousers, and pullover, and an encounter between the golden age of American animation and Italian opera.

围绕着沉睡的身体，幽灵在建筑中逡巡，静默地穿梭在空间之中：它们的行为目不可视，除了手电筒灯光中影影绰绰闪动的碎片。《莫奈尔》是一道回环，既无叙事也无层级，既无开端也无结局，陷于混乱和模糊的地带，截然不同的质料与手法——从35毫米胶片到CGI动画，为这部结构性的惊悚影片赋予了双重性格。

Anyone who saw Monelle (FID2019) won’t have forgotten it. Genius peculiarto and filmmaker Diego Marcon : creative, explosive sketches, elementary and powerful devices designed to remain burned both on the eye and in the memory. Here, again, there are very few characters: in a bedroom opposite the window, a man sits on an unmade bed, then his two children and finally their mother, each with a contorted face à la Paul McCarthy. Again, the sound is decisive: a chilling, disjointed ditty sweetly describing abomination. The Parent’s Room is a huddled-up horror film that, under the domestic bliss, reveals the truth disrupting any nuclear family: the murder. (Jean-Pierre Rehm)