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Reviews
Du levande (2007)
Piddling their lives away
No film has captured the essence and opulence of existence like You, the Living a 2007 Swedish film written and directed by Roy Andersson. You, the Living cuts to the core of what it means to be human and the existential dread that plagues society. The characters portrayed are everyday people each with their own caricatured personality trait that makes them identifiable as plagued by some facet of the human condition. The composition of the film is masterfully accomplished with a finesse and style that exemplifies the brilliance of Roy Andersson as a director.
Arguably the most prominently apparent theme is that of existentialism. The opening sequence immediately sets the tone of the film with the lamentations of a middle-aged woman who tearfully proclaims that nobody loves her to the dismay of her boyfriend. She rejects his condolences and even shuns the love of her dog. Despite her boyfriend's attempts to console her and assure her that things are not as bad as she believes them to be, she is determined to be miserable. As her boyfriend stalks off she sings a song about how a motorcycle would make her happy to the tune of a swinging jazz band. Her requirement for material possessions in order to be happy is a fundamental flaw that pervades modern society. As the film progresses it introduces a carpenter who is executed for botching a magic trick, a pickpocket who robs a pompous wealthy man, a psychiatrist who has given up on counselling people and now just prescribes pills, a girl who dreams of marrying her rock star idol, and a couple dwelling on an argument throughout the day. The profound discontent of the portrayed people is framed by the juxtaposition of the psychiatrist's monologue. The immense unhappiness exhibited by each of the characters is clearly self-inflicted; they fail to recognize and appreciate everything they have going for them.
The sets in the film are bleak and minimalist, almost devoid of colour, in order to draw attention to the lives of the characters. The vast emptiness and geometric simplicity of the scenes is a visualization of the way the discontented characters view their world. Andersson's consideration and removal of all distractions from the core of the piece make the message of the film that much more clear. Furthermore, the stationary camera shots and complete lack of any sort of change in perspective during a scene is nigh unique amongst mainstream films. Consequently, every aspect of every scenes is focused on the characters. The camera work combined with the washed out colours gives the audience the perspective of a third party observer with the exact same outlook on life as the characters portrayed. When combining the cinematographic styling and the lack of any sort of plot to speak of the film takes on a sort of breadth of humanity discourse.
Roy Andersson goes a step further than just a discursive portrayal of self-inflicted human suffering. In a brilliant series of cuts Andersson shows each character stop their daily routine of feeling sorry for themselves as they look to the sky. What is a common sign for a search for redemption in American film becomes a dark and poignant scene when the film cuts to a shot from above the wing of a bomber flying over the city. The miserable lives of the characters is symbolically brought to an end illustrating Andersson's resentment of the pitiful and self-absorbed lifestyle that was rampant throughout the film.
You, the Living is a masterfully rendered machination of Roy Andersson. His control of the creative process engenders a complete and unified work that at its core thrusts at a single point and never wavers. You, the Living is a film that forces viewers to think about the manner in which they live their lives. The lifestyles portrayed in the film are rejected as unfulfilling and proposes that instead we enjoy and appreciate as the title card suggests "Therefore rejoice, you, the living, in your lovely warm bed, until Lethe's cold wave wets your fleeing foot."
Trolljegeren (2010)
So bad it's good
Trollhunter (Trolljegeren) the single most influential film directed by Norwegian director André Øvredal is a thrilling pseudo-documentary about a lone-wolf hunter who has protected and continually protects the people of Norway from the abiding threat of trolls. The slightly goofy delivery of these dangerous beasts mixes well with a sense of discovering wonder that is experienced by the amateur filmmaker protagonists. Despite the use of trolls as the core premise the majority of the film is cast in a positive and realistic light with a high level of realism right down to the seemingly irrelevant mythological facts. The film takes on a degree of "so bad that it is good" that rivals Sam Raimi's Army of Darkness.
Cinematographically speaking the film is an interesting and relatively unique combination of documentary, explorational horror, and comedy. The film makes excellent use of these styles by directly involving the camera and therefore the audience and interacting with it in a very aware and physical fashion. The young camera wielding team of journalists often break the fourth wall and address the camera and audience directly to complete the effect of a rag-tag group of renegade reporters out on an assignment. The shaky, sometimes wildly erratic camera-work adds to the effect of realism and feel of amateur filmography that contributes to the development of the characters as well as to the storytelling methodology. Furthermore the amateur camera-work makes the computer generated monstrosities feel that much more real. Though the computer generated imagery can be a little shabby in places overall the tone set by the positioning of the camera opens up the minds of the audience because they explore through the eyes of the first-hand beholders.
The acting is quite reasonable in a way that is neither intrusive nor enlightening to the film. The young journalists are roughly younger people who do extraordinary things like make jokes, pee by the side of the road, and complain about foul smells. The actor who carries their on screen weight, Otto Jespersen, lends a potent air of not only on-screen maturity, but also a tranquility and plot glue. Otto plays Hans, the hunter of trolls. Hans' character is swathed in a cloak of shadow and troll stench. His occupation has granted him a significant understanding of trolls which is delved into significantly for the benefit of the viewers. The mythological features of trolls are discussed in a deadpan seriousness that could easily be mistaken for boldfaced comedy. Those comedic gestures are counter-balanced with a symbolic role that is vital to any possible underlying message available in this seemingly pure-entertainment film.
That is all well and good but due to the semi-fantastical scenarios combined with the not particularly amazing acting viewers may have a great deal of difficulty with relating to the characters depicted. Furthermore most of the charm of the horror features of the film are lost when the trolls are revealed. Up until that relatively early point in the movie there is a degree of wonder and terror that washes over viewers as the young film students venture through the darkness in search of who they believe to be a poacher. The wound suffered by Thomas appears seemingly out of nowhere making it apparent just how powerful and dangerous the creatures they are dealing with are. The psychologically thrilling potential of this feature is massive and unfortunately squandered on some spotty computer generated trolls. However there is definitely an audience for films with awful animations and this sure to become classic will most certainly woo that audience.
The quality acting of Otto Jespersen juxtaposed with the poor acting of the students and the relatively low budget computer generated trolls lends this film a sort of charm that is hard to find. The film is a work whose artistic merit is debatable but it redeems itself by being quality entertainment and a potentially perfect cult classic film. The themes portrayed are universally powerful and despite its shortcomings the film is a solid choice for those who would favour horror, adventure, or professedly awful films. Overall Trollhunter embraces its merits and status amongst films and doesn't try to alter its status. The mythologically altered realism developed initially pushes the imagination and then reassures viewers that there are safeguards in place to defend them against the wild. Needless to say this Trollhunter is a must see for viewers who do not mind a little overacting and cheese.
deUsynlige (2008)
There is a bridge over troubled water but then you forgo the experience of wading...
A member of the relatively uncommon subcategory of films that have both an evil protagonist and powerful theistic themes, DeUsynlige, the fourth film from Norwegian director Eric Poppe, is both an engaging redemption tale and a soul-shaking study in faith. The characters are simultaneously good and evil which casts them in a refreshing and extremely human light. They do things like clean coffee off their sweaters and panic when they realize their number comes up. The nigh flawless acting allows for an immense amount of focus to be paid to what is actually happening in the minds of the characters. Viewers are gifted with the increasingly rare experience of glimpsing the raw and pulsating core of the human condition in a manner that is uncommon if not unique.
Having seen Hawaii, Oslo, another film directed by Eric Poppe, the two-sided chronologically- simultaneous plot of the film fell right in line with what I have come to expect from Poppe. That said, to say that the split narrative format of the film contributes powerfully to the plot is a dramatic understatement. The split narrative develops first the character of Thomas right up to the re-collision of the two plot lines: the moment when he experiences the bewilderment and sadness in exactly the same fashion as Agnes. The following cut to the scene where Agnes discovers that her child is missing is the single most important component that makes this styling work. It draws the two of them together and unifies them as human beings with flaws and emotions and really frames the emotional distress experienced to the point where you can feel it weighing in your gut. Viewers are reminded that the character they have empathized with though the entire first half of the film has still done some terrible things. It brings the whole work back to reality and glues together the, otherwise quite tricky, split narrative brilliantly.
Faith is perhaps the strongest theme throughout the course of the first half of the film. Thomas' views on religion are bleak and lonely. He sees no value in repentance, prayer, or communion; an odd stance for a man who works in a church. As he slowly begins to heal from his past and recover his normalcy his faith undergoes a parallel transformation. His friendship with Anna serves as a tether while he wades through his mixed feelings of guilt and abandon. With her help he comes to terms with what his past entails and begins to find inner solace. He even begins to partake in communion. His growth in faith opens the world to him. He is no longer constrained by his burden of guilt. He becomes purified and baptised in his growing love of Jens and Anna.
The priest tells Thomas to "play them some good church music" and Thomas responds by playing "Bridge Over Troubled Water". In an almost fortuitous choice Thomas acknowledges that life is a struggle and suggests that maybe faith has something to do with a bridge to guard them to safety. The first half of the film is Thomas taking baby steps towards that bridge. His efforts to make a normal life despite his crimes are commendable to say the least. He does not seek forgiveness; only re-acceptance. Consequently, baptism is another powerful theme in the film. Baptism is a rite of admission through which an individual is inducted into the whole. With that in mind when Thomas gives up his christened name of "Jan" he is also accepting his separation from society. In the act of wading into the river to save the life of Jens, Thomas is baptised again and reunited as a unified person. His sins are divinely washed away in the current; as Anna said so confidently prior in the film "God forgives all". However the same does not hold true for humans. A Thomas that is washed clean of sin emerges from the river and submits himself for crucifixion. With his admission to Agnes Thomas resurrects the world against him. Anna, the one who whole heartedly preached the plan of God and forgiveness, casts him out and with a pained submissive understanding Thomas accepts the pain of parting with those he cares deeply about.
A split-narrative style film so masterfully sewn together by strong religious themes and images fused with expert camera-work put DeUsynlige on a level that is something more than just a powerful redemption tale. Poppe has created something that does far more than tell a story. The film creates an immense sadness and relief that is almost palpable, and for that I give it top marks.
101 Reykjavík (2000)
A dark comedy with unexpected twists and provocative commentary
The film 101 Reykjavik produced and directed by award-winning Icelandic director Baltasar Kormákur is a dark cerebral comedy that proves to be a strong first feature length film for Kormákur. Based on the book by painter, novelist, translator, and writer Hallgrímur Helgason, 101 Reykjavik is titled after a section of the downtown of Iceland's largest city and capital which is populated by people whom the protagonist would no doubt describe as idiots. From that setting sprouts a facetious and twisted tale of transfiguration, lust, and profundity, that contorts notions of familial relations and seeks to both entertain viewers and incite thought.
The films self-centred and listless protagonist Hlynur, a roughly 30 year old unemployed loser with a penchant for porn, proves to be both a comedian and a philosopher. Dedicated to his self-proclaimed profession of being unemployable and unwanted wreck, the nihilistic Hlynur revels in his insignificance; wishing nothing on himself except porn, booze, and a swift death. Hlynur shirks all responsibility and leaves his mother's tiny apartment almost exclusively to get drunk with his two acquaintances or harass civil servants. When pushed to describe what it is that he does, Hlynur responds by saying he does "the nothing kind of nothing." A perfect descriptor for his life thus far.
That all begins to change when he is introduced to the vivacious-flamenco instructor-girlfriend of his mother: Lola. Lola plays the parent and tries to coax a person out of the reclusive Hlynur but he has other ideas in mind. Despite Hófi throwing herself at Hlynur, he rejects her entirely while spending time with Lola during his mother's vacation. His efforts culminate in an alcohol fuelled night of drunken passion the final night before his mothers return. What follows for Hlynur is a whirlwind of confessions, self-pity, and unprecedented growth that is riddled with comically dark humour and philosophical commentary.
The apartment feels much smaller to Hlynur as he is slapped in the face by the reality of his situation. The thin walls of the apartment bring his frustration with himself to a boil and in a fit of childish rage he repeatedly seeks to find solace in alcohol only to be berated by the idiots in the bar. However, as Hlynur grows as a person he also begins to come to terms with his mother's love for Lola. With changing times and rising tensions in his home-life Hlynur is roused from his hibernation-esque lifestyle and pushed to not only make something of himself but also of his now-topsy-turvy family. How he comes to terms with his "mamma's-boy" role changing in the congealing familial unit is a core point of growth and a central theme in the film.
Seekers of intellectual stimulation fear not, the philosopher inside Hlynur is awash with notes of existential and moral nihilism. With comments like "Family dinner or a funeral... I'd rather go to a funeral, at least there's one less idiot" and "The worst thing about AIDS as a method of suicide is that it takes so long to die from it" Hlynur cements himself as someone who places no value in both his life and the lives of even his closest family. His philosophical outlook undergoes a parallel morphology to that of his tumultuous private and social lives.
The pace of the camera work contributes a deceptively monotonous plodding feeling to the film which occurs over what appears to be several weeks if not months. The abstraction of perception of time contributes to the film by implying that by and large nothing important happens in the everyday lives of the characters and that they live a relatively empty existence. Furthermore, for a large portion of the film the setting of Christmastime in Reykjavik lends a chill and vacant appearance that serves as an ample metaphor for the utter lack of activity in Hlydnurs life. In the words of Hlydnur "There are no insects, no trees, no nothing... The only reason why people live here is because they were born here." Which makes ever more apparent the state of his existence.
Despite its meandering pace and, at points, glaringly obvious metaphors 101 Reykjavik has a twisted and unpredictable plot that surprises with each turn. The comedy, like great chocolate, is dark and you most certainly have to be in the mood for it. As comic Erma Bombeck said "There is a thin line that separates laughter and pain, comedy and tragedy, humour and hurt" and 101 Reykjavik walks that line with dexterity. That said, it is nigh-impossible to watch and not chuckle in the least. Needless to say 101 Reykjavik is an excellent first showing for Kormákur.