The girl is still suffering from an internal disorder because of her father's death and is trying to cope with the outside world, which seems strange. Everything has changed, a total darkness surrounds her life but she tries to understand the world around her.
At times animalistic, at times tender and ethereal, [Marine Johnson is] whatever the role requires - a character trying to understand herself and the world around her with severely limited knowledge and resources.
Ironically, the film's construction is as circular as the insular logic it so heinously condemns: a work imposed on its audience solely because its creator wills it to be so, and his Word, as scripture, is total, complete, and final.
Thanks to [Simon] Lavoie's confident direction, Matches builds hope for the continued strength and creativity of Québécois horror cinema, refreshed by the raw input of genre outsiders.
Art house fare that's challenging but also rewarding, with the oblique early going giving way to an increasingly clear picture as the two orphaned youngsters try and come to terms with the world and their dark past.
