Fior dispenses with dialogue for pages at a time, providing contemplative interludes as his cast reflect.Īlthough science fiction elements form a backdrop to events, their use is as a sparking point for an examination of traditional human behaviour. It’s memorable and close study reveals the elegant simplicity of the construction. It merges the grey wash backgrounds with intruding geometric shapes, making it seem as if they’re slicing through the page.

The effect of an alien presence is very impressive, and credited by Fior to Anne-Lise Vernjoul. He’s strong on expression and posture, his cast often conveying through that what they don’t in dialogue, and climate is an important subtext, just as it was in his 5000km Per Second. Dora is no railing crackpot, but a persuasive rationalist whose rationalism reflects the new realityįior’s visual characterisation is marvellous, every person distinct and illustrated in a fashion recalling mid-20 th century cartoons.

He’s still disoriented from the experience, and some other life-changing circumstances, when his first client the following day is someone claiming to be in contact with aliens.

Cold-hearted psychologist Raniero favours retro-technolgy, and on the way home he has a good old-fashioned UFO experience. Manuele Fior eases us into The Interview with what might under other circumstances be an ordinary scene of a man driving home from work, chatting in his car hands free.

The Interview by Manuele Fior