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Miesten vuoro (2010)
A steam of emotion...
It's a concept that seems both bizarre and confronting - watching Finnish men sit in a sauna and listening to them talk about their lives. We witness an emotional and physical steam. The premise is so basic that it comes as a shock just how moving this documentary turns out to be. 'Steam of Life' is a 2010 Finnish documentary directed by Joonas Berghall and Mika Hotakainen. They film men as they talk about their lives in a way that is sometimes painfully slow for the audience, and at the same time painfully difficult for the men. They talk about their families, those that they love, their dreams and aspirations. We see just as many unique saunas as we see unique souls that have been severely affected by the rigors and demands of life. It is a deeply moving documentary, both for the men who tell their stories and for the audience who listens to them. The sauna is a haven of physical and emotional release. And in our journey from sauna to sauna around the country, we listen to incredible stories and witness unique individuals that remind us of the complexities of humanity.
Perhaps the most confronting aspect of the film, initially, is that the men are completely naked. This conveys the vulnerability of the men who defy Finnish stereotypes to open up emotionally to the camera. The focus on the men as human beings, without special effects, shows us that that documentary does not intend to hide any aspects of the individuals. The directors also utilize the technique of framing the man speaking and the men listening in one camera shot, which has the effect of making the audience feel like they are in the sauna with the men and listening to their stories in an intimate environment.
The use of saunas in the film reflects their deeply held importance in Finnish culture. Saunas have great cultural significance and as we can see in the film, there are numerous styles and locations of saunas. These saunas provide Finnish people with a sense of community and belonging - it is a place where they can physically be revitalized and emotionally find a release. It seems fair that saunas almost hold a spiritual significance for the Finnish in the sense that they are a sanctuary. They are a place where any kind of person, with any history, can find solace and peace.
The stories that the men tell are deeply personal and moving. For example, some men talk about the pain of losing a child after a bitter divorce, others talks about the death of those they loved, while one man talks about his stepfather beating him as a child. The directors juxtapose light-hearted and comedic vignettes to create an emotional roller coaster that even further engages the audience. Perhaps the best example of this is when one man talks about a relationship with a companion that he adores. The audience can only be surprised when a brown bear looms into the frame and is presented as the companion that the man was talking about. The man's conversation with his bear, Juuso, is moving: "Right Juuso. You were only a boy when we had our sauna. A very little boy
Left without washing, did you? Yes, that's right. The bear has become a real friend to me. It's an intelligent animal, learns very fast. And it is a true, loyal friend indeed. Right, another one gone. This is the name of the game." His story might not be the norm, but it further emphasizes the main theme of the documentary - every individual has a story that is incredible and completely unique to them.
'The Steam of Life' is a wonderful exploration of Finnish culture, as well as the deep complexities of the individual. I enjoyed the film thoroughly. The simplicity and rawness of the men talking about their lives was unique and refreshing, and it allowed the audience to connect deeply with the individuals in the film. I found myself completely immersed during the emotionally moving stories that were told, as well as amused by the lighter moments that were strewn throughout.
I would most certainly recommend this film. It is like no documentary I have ever seen before, and the audience is engaged throughout. Additionally, it communicates strong messages about the nature of life and humanity, and how we are all united by the complexities of our past experiences. 'The Steam of Life' is most certainly worth viewing. It is an emotional roller coaster for all involved.
Trolljegeren (2010)
It's a dangerous place to be a Christian
"Fairy tales are for kids. Trolls are animals. Predators. They eat, sh*t and mate. Eat anything they can." With this proclamation, Hans the trollhunter throws us into an incredible Norwegian landscape rich with culture and mythology. 'Trollhunter' is a 2010 Norwegian film that is a rich coalescence of comedy, horror, action and adventure. The tension between individual labor and governmental demands provides a unique social commentary. Thomas, Johanna and Kalle - students from the Volda University - embark on an investigative mission when several bears are found dead in Norway. Determined to find the source of the brutal killings, they closely follow the trail of a peculiar hunter called Hans. Despite his best efforts to evade the youngsters, Hans eventually allows them to film him in action. The students quickly discover that is not bears Hans hunts at all, but somethings much more terrifying and dangerous - trolls. They are thrown into a world of fairy tales, folklore, tragedy and hidden dangers. 'Trollhunter', directed by André Øvredal, presents a gripping narrative that is visually enthralling, humorous and suspenseful. And just a word of caution: if you're a Christian, it's probably best to stay away from Norway.
In his depiction of the trolls in the film, Øvredal sticks closely to the mythology of Norwegian culture and folktales. Common descriptions of trolls from Norwegian folklore that resonate with 'Trollhunter' include trolls having a tail, multiple heads and a disposition to eating rocks. An interacting between Hans, Thomas and Kalle also reveals more about the nature of the trolls.
Hans: "No one here believes in God or Jesus?" Thomas: "Nope. None of us." Kalle: "Don't look at me. Serious? Because they can smell the blood of a Christian man?"
The ability to smell a Christian man' blood is a reference to the Norwegian fairy tale 'Soria Moria Castle', which also tells of trolls' abilities to smell Christian blood. Additionally, the trolls in the film are extremely dim-witted and cannot survive when exposed to sunlight. The specific allusions to The problem for the film is that many of the references are to specific folklore that may only be understood by Norwegians or people who have an understanding of Norwegian fairy tales. Øvredal's characterization of the troll hunter, Hans, is incredibly well done. Hans is brilliantly portrayed by Otto Jespersen, and his performance drives the film on throughout the narrative. Hans is extremely level-headed and pragmatic. He is not at all fazed by terrifying trolls and incredibly dangerous situations. The fact that the title of the film refers specifically to Hans reveals a lot about the director's intentions. The film explores the evolution of Hans and highlights the unfairness of his position as a government employee. The is extreme tension between individual labor and governmental demands. Hans grows tired of his under-appreciated government job. His life is far from perfect - he can't sleep in the dark, he is constantly on the move and he is not financially rewarded. The bureaucratic nature of the government is emphasized by the fact that Hans has to fill out a lot of paperwork every time he kills a troll. The documentary style of the film is brilliantly effective. It is filmed with hand-held camera, meaning that many of the shots are shaky. However, the technique does not hurt the film because we are still able to see all of the action and trolls in the shots, despite their lack of clarity. Personally, I feel that the technique successfully engaged the audience and made the action feel more realistic and vivid. It helps the audience to suspend their belief in mythological creatures such as trolls for the entirety of the film, as it helps us to forget that the trolls are computer generated.
'Trollhunter' is a wonderful exploration of Norwegian folklore and fairy tales, as well as the tension between individual labor and the government. I enjoyed the film thoroughly. The characterization of Hans was refreshing, and his evolution throughout the film was incredibly engaging. The performance of the lead actors was strong and drove the film throughout the quieter moments. I found myself completely immersed in the film. I would definitely recommend this film. It is full of suspense and thrills, and the director does a magnificent job of engaging the audience. Additionally, it brings to life ancient Norwegian fairy tales in a way that is incredibly unique. 'Trollhunter' holds many surprises and is most certainly worth viewing. Just like the students from Volda University, you may find more than you ever expected to.
deUsynlige (2008)
Sometimes the water is deeper than it seems...
Is it always possible to forgive someone, no matter how heinous the crime? Is it always possible to forgive ourselves and put at ease a conscience that wrestles with itself day and night? Jan Thomas Hansen, the protagonist of the film 'Trouble Water', leads us on a journey that meditates on forgiveness and atonement in light of tragedy and heartbreak. The role of love, guilt, music and faith in the human condition and transformation of the individual is explored from both the perspective two characters. Hansen is looking to establish his life outside of prison, where he was recently released for the kidnapping and murder of a small child. Despite his efforts to hide his dark past, Hansen is followed by Agnes, the victim's mother, after she discovers he is now an organist at a church. The new beginning that Hansen seeks is a huge theme throughout the film. He befriends Anna, the priest of the church and her young son Jens. Throughout the first half of the film, we follow Thomas and witness his constant flashbacks to the incident for which he was imprisoned. The second half of the film switches our focus, as we begin following Agnes, who had been an invisible presence in Thomas' narrative. 'Troubled Water', directed by Erik Poppe, presents a gripping narrative that essentially boils down to one concept - forgiveness. Life is painful, our conscience will always haunt us, we will be overcome by doubt, but redemption is possible.
The technique of depicting the same narrative from the perspective of two characters is the driving force behind the film's success. The more the plot unravels, the more difficult it becomes for the viewer to side with one of the characters. In many films, it is all to easy to only consider the perspective of the character the camera follows. By depicting the story from the sides of two characters, Poppe removes this simplicity for the audience. We are given the opportunity to empathize with two extremely different people who have both had their lives torn apart by the child's death. Poppe's characterization of Hansen allows to support his attempt to start a new life and find meaning in his affair with Anna. Yet when the focus shifts, we witness the devastation of Agnes, who has been unable to stop grieving over the loss of her son. The split narrative forms a rich coalescence of tension, pain, grief and hope.
Poppe's use of music throughout the film is incredibly powerful. Thomas uses the organ to express his deepest thoughts and emotions, while utilizing it as a means to search for atonement. The tragic beauty of the music he is producing is reflected in the close-up camera shots of his face while playing. His face reflects his deep vulnerability and sadness. The most poignant moment of the film is when Hansen plays "Bridge Over Troubled Water", a song about forgiveness, for children visiting the church. The moment becomes even more powerful when we realize that Agnes is also a part of Hansen's audience. It reflects his deep longing for forgiveness and for a new beginning in his life.
The recurring motif of water as a symbol for new beginnings is powerful. This is emphasized by the title of the film, 'Trouble Water', which is emphasizes literally throughout the film, as many scenes involve water. The young boy is killed in water, Hansen is attacked in jail using water, Agnes regularly swims to escape her constant grief and baptismal water is frequently mentioned. Just as water is responsible for the death of Agnes' son in the beginning, it is the scene of his rebirth in the conclusion when he saves Jens and confesses his guilt to Agnes. Water becomes a marker of life and death.
'Troubled Water' is a wonderful examination of the complexities of the human condition. It explores the need for forgiveness in a way that I had never witness before. I enjoyed the film thoroughly. The split narrative heightened my enjoyment of the film, although I felt a little let down when the story reset to the beginning just as it reached the climax in the middle of the film. The performances of the lead actors was strong and drove the film forward through the quieter moments. I found myself sympathizing with both characters throughout the film, regularly switching my allegiance as more information was revealed. The music was incredible and it was utilized brilliantly to convey the emotions of Hansen. Ultimately, the film conveys a deeply profound message of hope and renewal.
I would definitely recommend this film. It is full of emotion and the director does a magnificent job of piecing together the different puzzle pieces of the narrative. Poppe proves himself again to be a wonderful director, and the characterization and camera work continually engage the viewer throughout the film. 'Trouble Water' holds many surprises and is most certainly worth viewing.
101 Reykjavík (2000)
A hopeless wanderer finds purpose
Viewing life through the lens of an uninspired, socially defective, 30 year old man doesn't seem particularly uplifting. Geek Hylnur, the protagonists of the film '101 Reykjavik', doesn't want much out of life. He is content living at home with his mother, spending time at the local bar and surviving purely on the social benefits the state provides. However, the story of Hlynur transpires to be one full of fantasy, humor and lust. And in the end, it gives the audience the hope that maybe meaning can be found after all. '101' Reykjavik', directed by Baltasar Kormakur, is set in Reykjavik, Iceland. The location sets the mood for the entire film, and can be seen as a representation of Hlynur. Hlynur is somewhat of an "anti-hero" - an immature, childish and socially isolated man who does not want more out of life than he currently enjoys. He spends his days half-heartedly searching for employment, without any real conviction behind his actions. He is blissfully unaware of any greater pleasure that can be found in life. How quickly life can change. A night of passion, an unexpected love affair and an unusual family dynamic all emerge, shocking Hlynur out of his lull and into a world full of confusion and complications.
Kormakur's characterization of Hlynur is the driving force behind the film's success. Hlynur isn't an active participant in life - life mostly just happens to him. His life borders on the brink of tragedy, meaningless and hilarity. It's an uncomfortable balance that leaves the audience desperately entertained. Voice overs are utilized to convey the isolation of Hlynur and how desperate his struggle is to connect to the world his lives in. The coming of age of Hylnur is a huge theme throughout the film. Hlynur begins rid himself of his past life, and a chance to turn away from the dark and gloomy tones that had pervaded his life. The stunning Icelandic landscape around him suggests that there is in fact beauty and hope to be found in the world. Kormakur directs the film brilliantly. The setting of Reykjavik is used as a metaphor for for Hylnur. It is snowy, desolate and unwelcoming - a perfect representation of Hylnur and his love life. The establishing shots throughout the film of the magnificent landscapes of Iceland and it's bustling nightlife do a marvelous job of making the audience feel like they are actually at the location of the story. Dry, unexpected humor is strewn throughout the film in a masterful way. This is displayed perfectly in an interaction between Lola, a local Spanish flamenco instructor, and Hlynur Lola: "So, what do you do?" Hlynur: "Nothing. Lola: "What kind of nothing?" Hlynur: "The nothing kind of nothing."
Kormakur uses humor to engage the audience, while at the same time revealing the depths of Hlynur's meaningless and loneliness extend to. I particularly enjoyed the performance of the actor who portrayed Hlynur - Hilmir Snaer Gudnason. Through him, we can get a sense of Hlymur's emptiness and longing for meaning throughout the film. I found myself feeling sympathetic towards him, despite many of his unendearing character traits. Gudnason, and all the other actors in the film, deliver their dialogue in a believable and engaging way, pushing the film along with their wonderful performances.
'101 Reykjavik' is a wonderful reflection of the changes occurring in Iceland, in particular the progressive social values that the film depicts. I enjoyed the film thoroughly. I felt as though the plot progressed a little slowly at times, but the performances of the lead actors drove the film through these dull periods. Despite the fact that the plot is completely bizarre, I found myself relating to the plight of Hlynur and hoping that he could overcome the trap in which he had found himself. UItimately, the film conveys a timely message of hope.
I would definitely recommend this film. If you are able to overcome the complete absurdity of the storyline, you will find yourself engaged with the characters, while at the same time enjoying the breathtaking scenery that is on offer throughout the film. Kormakur proves himself to be a fantastic director, and the dialogue between the characters is dry, witty and unpredictable. '101 Reykjavik" is constantly entertaining and well worth watching.