Letters as an infinite reflection: an act of self-assurance, a narration to the writer, communication with a memory that one has not seen for a long time, the reading of the letter by a third party who then transforms the words into a film, a cinema viewer who projects what he has seen and, like me, writes about it, which in turn someone reads and takes with her into the cinema when she sees the film herself...
Emma and Marcelle lived a passionate love for two years. After school, the two women have to separate. The longing remains. Marcelle expresses this in many letters to Emma. ULTRAVIOLETTE ET LE GANG DES CRACHEUSES DE SANG quotes from these letters, gives additional information where necessary, backs up the letters with a few photos of Marcelle, but a variety of archival footage that illustrates what is said, but does not show Emma or Marcelle. We hear how Marcelle starts her job as a teacher, but then falls ill with tuberculosis and, with Emma's help, finds a place in a sanatorium. Here she finds a community of love with three other young women. When their desire for life no longer fits into the sanatorium's routine, the four women flee the sanatorium for the French Alps, where they experience a happy and liberating time together.
Director Robin Hunziger, Emma's grandson, and his mother, co-writer Claudie Hunzinger, unravel Marcelle's emotional world in a poetic and artistically appealing way. At first, I'm a bit confused about the footage because it was not clear to me at first that the footage doesn't show Emma, Marcelle, or her companions. But after a while, the archival images work as an appropriate form for the reflection of a world of love from which a ray of light reaches me from the lowest of the levels.