Posts Tagged ‘Coen Brothers’

BIFF, Day Four. The Festival Strikes Back.

October 26, 2009

Such a good start of this day! The Swedish Film Burrowing (Man Tänker Sitt) is the first true masterpiece of the festival. In fact, I don’t think I’ve seen a better (new) film this year. Experiences like this make everything worth it; the amount of mediocrity and pretentiousness (hello again, Un Lac!) one usually has to wade through in order to happen upon small jewels like this. The film is directed by first time directors Henrik Hellstrøm and Fredrik Wentzel. If they stick with their partnership, I can’t but think that we have much to look forward to in the coming years.

BURROWING_POSTER_WWWThis is a small film, both in length and, I presume, in budget. This means nothing more than that every scene is the perfect length, everything the film wants to tell, it tells admirably and with confidence. Hellstrøm and Wentzel has made a true film, in that the sentiments it wants to communicate are not easily reduced to words, but created by images and sound. The result is at times heartbreaking. More than being just a simple back to nature fable, the film lets us see people interacting with other people and how they have each discovered an emptiness in the world that perhaps has no remedy, but that in nature can somehow be reduced. A society needs rules, but when these rules take over each aspect of human interaction, they have a deadening effect on the soul, and personal identity becomes suspect.

I feel that it is difficult to address these issues through formal language, as the very uttering of the sentiment is based on a need to be understood by as many as possible, an agreed upon system. This is where Burrowing so admirably does the job better than I can in this review, as the film is not easily reduced to a clearly delineated argument. Some of the best novels of the world has talked about these issues, the estrangement of man in society is one of the oldest tales and constitutes an important part of what we call tragedy.

cabin_walden1The film starts with a quotation of Henry David Thoreau, famous for his Walden, about a man retreating from civilized society into the wilderness, into nature, for two years and two months. “The mass of men lead lives of quiet desperation”, he says in that book, which could have been used in the film as well. Instead they use another Walden quotation, from the economy chapter: “The greater part of what my neighbors call good I believe in my soul to be bad, and if I repent of anything, it is very likely to be my good behavior“. The film then cuts to a young boy walking along a lake. We hear his voice narrating. This innocent, yet wise in its way, voiceover will intermittently accompany us to the very end of the film. And what an end it is! Damn, if my eyes didn’t fill up… I could write about the poetry of the scene and how well the words illuminates all the preceding scenes we have witnessed, but that would be to deprive you of the pleasure of finding the beauty of the film for yourselves.

man tenker sittAs I mention an innocent-sounding voiceover and a longing and fascination for nature, I guess most will come in mind the films of Terrence Malick, and they wouldn’t be wrong. If Malick had been raised in Swedish suburbia, this is the film he would have made. Or something close to it. There is a scene of the boy walking through high grass, or weeds, while his voice tells of his understanding of the grown ups’ world, partly naively, partly containing a wisdom that disappears with the death of innocence, of the Eden of childhood. Soon enough the boy will be put in a suit and forced to nod politely to meaningless conversations about meaningless non-topics. It is at this point he reaches a decision. That decision has to do with the other small tragedies we witness.

man_tanker_sitt_2_press1One of these is the estrangement in a young man “without direction”, always carrying his baby in his arms. The scene where he changes diapers in a parking lot and is accosted by a well-meaning woman who threatens to report him to the social services seems very real and true. She doesn’t know anything about him, but has a vague feeling that society will punish her if she does not report such an obvious break with society’s norms. The young man is seemingly unable to take “control of his life” and thus has no place in the world of humans.

Then there is the Russian émigré who meant to stay a few months in Sweden, but has now lived there thirty years. He spends his days trying to spear fish in the small brook that runs between the houses. Who are you?, a suspicious neighbour asks him. He laughs, as if he has been told a joke.

There are others, all with a restlessness they seem unable to put into words, even in their own heads. Everyone stretched so thin in the need to show their neighbours “good behaviour”, that something is about to break, to break out into violence or self destruction. I think this is a feeling that is not limited to Scandinavia and their political model of social democracy, although I assume that plays a part in it.

I’ll end my recommendation by talking briefly about the music used in the film. I have never before heard of the composer, Erik Enocksson, but the way his music was used in the film made him an integral part of the experience. He has composed some almost Bach-like polyphonic and beautiful songs. They are very explicitly linked to the theme of the film. I think all the songs are in Latin, and although I’m not exactly fluent, I was able to discern some snippets.
Somnio, somnio, I heard repeated some times, meaning “to dream“, or “imagine follishly“, I think. Other lines were “Hic non serenitas regit”, which I think means something like “There is no peace/serenity here”. Hic qui virem regit, I think can mean “Here where Man – or perhaps Green – reigns“. Non Qui Periculi Imminent must be translated as something like “There is no danger here”. And other lines about wolves and bears, possibly star signs. The final line I was able to work out was Non Spiriti Mali, “there are no bad spirits here“, or something to that effect. I mention these lines as they can tell a bit about the simple, yet complicated feelings that the film addresses.

All this might lead you to think the film is boring. It is not, certainly not if you think that you can contribute a bit yourself to the little plot there is. The film is really put together like a series of situations that are linked by the characters’ mutual discontent, albeit for different reasons. Apart from the wonderful images, there are situations bound to draw a smile or a tear out of recognition. The film will have a Norwegian premiere in November, and hopefully other countries will also be able to see it outside festivals. It deserves a much bigger audience than I fear that it will have. Please see this!

mary_and_max1The next film of the day was the Australian claymation film Mary and Max, by Adam Elliot. This is a bittersweet tale of two outsiders, who find comfort and the possibility for a meaningful life in each other’s correspondence. One is a young unattractive Australian girl, the other an older fat New York Jew with Asperger syndrome. The result is a kind of 84 Charing Cross Road for extreme outsiders. The film is by no means as depressing as it sounds, although it deals with depression and many of life’s tragedies and setbacks. In fact, it is very funny. I think the entire cinema was laughing every two minutes. I really liked this, and the animation – or claymation, to be correct – is fantastic. And it’s for adults, so the filmmakers deserve credit for making a film in this format that doesn’t depend on millions of children or unethical merchandising to keep the production afloat. Recommended!

Fryktelig_lykkelig_141457bAfter Mary and Max, I had to go to work, so I was unable to see more films before the last film of the day. This was the Danish Fryktelig Lykkelig, Terribly Happy, directed by Henrik Ruben Genz, most known for his TV-work. Terribly Happy wants to be a Coen brothers film, but is no such thing. A policeman is transferred to the countryside where the local village is peopled by all kinds of weirdoes and the Danish version of Texan good ole boys. The protagonist is a bit of a moron right from the start, and thus his fall from grace doesn’t contain any grace to begin with. This makes for a very bad story, clichéd and contrived. For some reason this was among the most popular films in Denmark last year, even among critics. Don’t, I say, make the same mistake as the Danish. They tell me there is something rotten in that state. Had this film been on TV, I don’t think I’d bothered to watch it through. I guess it is passable entertainment, or rather, hardly even that.

However, even the mediocrity of the Danish couldn’t take away the satisfaction of the Swedish neighbours’ Burrowing. Remember this title, should it present itself to a cinema near you. Or even at some distance.

BIFF, Day Two

October 24, 2009

For Day two of the festival, I dragged myself out of bed after about five hours of sleep to watch Iranian film About Elly by Asghar Farhadi. I still haven’t quite recovered after the lack of sleep, so I am very tired as I write this. The comments will thus be brief.

about_elly_04While initially giving the impression of a feel-good drama about three couples – plus one in the offing – vacationing at the Iranian sea side, About Elly changes gears midway, becoming something closer to a crime film. While some of the characters’ dilemmas are related to cultural codes, they are so never to the extent that they feel unfathomable for a westerner. If anything, one of the joys of the film is seeing Iran from a very different perspective than the media normally will offer us. In a way, the film seems unifying in that it stresses common human frailties and our common capacity for making mistakes. Focusing on relationships that have the same kind of dynamic the world over, the film seems much more true than any well meaning documentary about the infamous axis of evil. Thus, eliminating any us versus them theme, the viewer can be free to follow the story and empathize without feeling that he does so through a cultural lens. The film treats well how small lies can build into something graver. None of the characters are evil, they just don’t realize the consequences of these small trespasses of honesty. In this, they are not alone.fazeli20090501090325890

Later in the day, after having slept an hour, I caught Dutch director Alex van Warmerdam’s latest quirky film, The Last Days of Emma Blank. This is very much a black comedy. I found myself thinking of the Coen brothers quite some times during the film. While having no moral centre – or indeed any wider meaning outside its strange little universe – there is a weird truthfulness in the way the film presents its characters and situations. I especially liked the director’s role of Theo, the man who is forced to play the role of dog in the freakish family dynamics. While the situations are exaggerated, the characters live them with straight faces, making the outlandish seem positively indispensable and logical. Everything makes perfect sense within the film’s universe, I’m just not sure the film offers more than the satisfaction of seeing a well executed plot and a good time at the movies. Granted, a very good time.THELASTDAYSOFEMMABLANK

Later in the evening, I felt I deserved some Hollywood entertainment after considering the art house alternatives. Funny People, Judd Apatow’s third outing as a feature director, was surprisingly good. In fact, I liked it a lot. Lasting almost two and a half hours, this comedy-drama is rather longer than the genre normally allows. Luckily, the film easily supports the extra padding. Adam Sandler is the comedian who is told that he has a rare form of cancer and who, facing death, realizes the emptiness of his life – and perhaps of life in general. Sandler handles this role very well, bringing a bitter naturalness to the part. The film has more good jokes than ten normal comedies and has a heart and intelligence seldom seen in the genre. I liked Apatow’s first outing, The 40 Year Old Virgin, but was not quite won over by his sophomore film, Knocked Up. Funny People is an unequivocal improvement on both these films. If Apatow can continue to deliver films of this quality, he will be the most important comedy director of the last twenty years, and possibly of the next ten.