Not Much More than Magic in 'Maestro'
In 'Maestro,' we're left with an impression but not with an understanding of the main character.

As part of its contemporary programs, the Louvre has invited twenty young creative figures to present their take on the museum in the form of a 3:30 min film. The “Louvre Looks” initiative brings together creatives under forty – whether they come from the visual arts, poetry, film, experimental music, or fashion. They created new films in the palace itself and thus reconnect with the past of the Louvre – which hosted artist studios even before became a museum. These films go live every Thursday on YouTube. Over the course of twenty weeks, you will be given the opportunity to discover many fresh insights into the Louvre. The first film was conceived by painter Ariana Papademetropoulos and is titled Mon Seul Désir (My Sole Desire). The artist herself appears in a dream: the Salle des États and the Grande Galerie become a dreamscape – a dreamscape that is the museum itself.
In 'Maestro,' we're left with an impression but not with an understanding of the main character.
These confines won’t really encourage you to read the film as a metaphor for the nerve-inducing experience we’ve all been through over the last year, however — and in the interest of maintaining your dignity, you probably shouldn’t. While the sociopolitical commentary may have worked for the similarly-themed Buried (2010), in which we find Ryan Reynolds on his own buried alive in the Middle East, but this futuristic take on the premise is best left as a piece of distracting entertainment. Nevertheless, the atmosphere is no less suffocating, literally and dramatically.
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