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Jason agrees and Medea prepares a gift for her sons to give to Glauce. As every art-house director knows, for mood and atmosphere you only need cut out the dialogue - that's easy.Every line of dialogue makes the action more human, more trivial - which may be the main reason why Shakespeare's plays have little emotional value, no matter how rich the poetry and how high the body count.These encounters serve to highlight Medea's skill and determination in manipulating powerful male figures to achieve her own ends.
She reminds him that she left her own people for him ("I am the mother of your children.
She asks that she be allowed to stay; Kreon refuses.
She asks for one more day, and begs Jason to seek the king's permission to allow their sons to stay in Corinth.
I mention Shakespeare because the visual presentation here kept reminding me of Hamlet, and no doubt Trier could do a good one because he adds plenty of artistry to the most pared-back ideas.
It's not rich, but sparse and fragmentary, like a tattered cloth buffeted by the wind, like patches of memory.
The children are part of the same system and must play their role in honouring their mother's agony. Trier communicates this far better than Pasolini, who communicated next to nothing in his version.