MARKED MOVIES

Director: Asghar Farhadi.
Screenplay: Asghar Farhadi.
Starring: Peyman Moadi, Leila Hatami, Shahab Hosseini, Sareh Bayat, Sarina Farhadi, Babak Karimi, Ali-Asghar Shahbazi, Shirin Yazdanbakhsh, Kimia Hosseini, Merila Zarei.

“What is wrong is wrong, no matter who said it or where it’s written”

After About Elly and The Salesman I’ve decided to complete my Asghar Farhadi trilogy by ending on probably his most widely received and critically acclaimed film, A Separation. By winning the Oscar for Best Foreign Language film in 2011, this is arguably the film that brought Farhadi a lot more global attention. That said, it’s not just because it won the Oscar that suggests it’s a good film, its because it’s a great film and the Academy would’ve been fools to ignore it. This film showcases Farhadi at the peak of his powers when it comes to assembling a narrative with great depth that explores numerous important moral complexities. Continue reading →

Director: Thomas Vinterberg.
Screenplay: Thomas Vinterberg, Tobias Lindholm.
Starring: Mads Mikkelsen, Thomas Bo Larsen, Annika Wedderkopp, Lasse Fogelsteøm, Susse Wold, Alexandra Rapaport, Anne Louise Hassing, Lars Ranthe, Sebastian Bull Sarning.

There have been a number of films that have addressed the harrowing nature of child abuse; “The Woodsman” is one where Kevin Bacon’s character – just released from prison – admits his guilt, leaving the audience in an almost impossible position in showing any sympathy, whereby John Patrick Shanley’s “Doubt” left the audience questioning the guilt of Philip Seymour Hoffman’s afflicted priest throughout it’s entirety. This time, Thomas Vinterberg tackles the issue from the point of view of the innocently accused.

Mild mannered, nursery school teacher, Lucas (Mads Mikkelsen), lives in a small village where he leads a simple life. However, one of his young pupils accuses him of inappropriate behaviour and his life is thrown into turmoil by all around him as he struggles to prove his innocence.

Vinterberg sets his protagonist’s motivations from the off-set. He’s a humble man who is active in the community and seems to have a solid network of friends and a close relationship with his teenage son. To embody this kindhearted soul, Vinterberg chooses wisely in Mads Mikkelsen – who won best actor for the role at Cannes in 2012. Mikkelsen is the type of actor who, having such a unique physical appearance, can perform many different characters. He made a great Bond villain in “Casino Royale” and now confirms that he can completely win you over in a gentler role. He exudes an appealing demeanour that has you fully affectionate towards him and it’s this very affection that has you infuriated at the witch-hunt and complete injustice and turmoil he has to endure. The problem is, there are no bad people in this film. It’s layered and nuanced so well, that even those that choose to abandon and ostracise him are only doing what they believe to be right. As an insider, the audience are privy to all the information and it makes it easy to not just understand Lucas’ plight but to also identify with the shock and grievances that his friends and family have towards him. Quite simply, it’s a film that tears you in many different directions and refuses to let go.
The nature or subject matter of it, may originally put some people off but I can confirm that nothing here is uncomfortably or exploitatively dealt with. It’s entirely honest and innocent and that’s the very thing that it demands the utmost respect for. Vinterberg doesn’t balk from depicting human nature in a cruel or victimised fashion but he cleverly shows restraint in his approach, allowing the actors to deliver the realism and the dangers involved in condemnation through ambiguous gossip.

A gripping and emotionally draining, social drama that manages to be both provocative and empathetic. Proof, once again, that the Scandinavian output of cinema is at the top of it’s game right now.

Mark Walker

Director: Michael Haneke.
Screenplay: Michael Haneke.
Starring: Jean-Louis Trintignant, Emmanuelle Riva, Isabelle Huppert, Alexandre Tharaud, William Shimell, Ramón Agirre, Rita Blanco.

Danish director Bille August was the only director to win back-to-back Palme d’Or awards at the Cannes Film Festival (in 1988 & 1992) with his film’s “Pelle The Conqueror” and “The Best Intentions“. That was, until Austrian director Michael Haneke recently equalled that achievement. His first came in 2009 with “The White Ribbon” and he done it again in 2012 with this deeply emotional and profound film that’s been heralded by many as a masterpiece.

Georges (Jean-Louis Trintignant) and Anne (Emmanuelle Riva) are couple of retired music teachers who have been married a long time and are now enjoying life in their eighties. One morning at breakfast, Anne displays some unusual behaviour and becomes momentarily distant without any memory of doing so. It’s transpires that she has suffered a stroke which leads to symptoms of dementia. Georges takes on her care but the very close relationship this couple once shared, is put to it’s greatest test.

I’m not one for giving away spoilers but that decision is taken out of my hands straight away by Michael Haneke. He gives us an opening scene of firemen breaking down an apartment door to find the deceased body of an elderly woman lying on her bed with flower arrangements around her. Following this – in bold letters – the seemingly contradictory title of the film is displayed; “Amour” – or the English translation; “Love“. It’s a powerful opening and from the off-set Haneke shows his confidence by delivering the ending at the very beginning. However, it’s the journey up to this point that’s the real story behind this film.
When we are introduced to our protagonists, Georges and Anne, we are given a glimpse into their daily lives and how familiar and comfortable they are in each others company. It’s obvious that they’ve shared a lot of time together but it’s also this sense of realism that packs the real punch, when the health of Anne rapidly deteriorates.
Set, almost entirely, within the couples’ household, Haneke uses the space and setting masterfully. It’s subtly done but on slightly closer inspection you can see that the house is in slight disrepair much like the failing health of this elderly couple. Despite time being against these people in their twilight years, time also seems to slow right down in their home. Haneke builds slowly and refuses to be rushed. He lingers long on shots and reactions and refuses to use any form of a music score to manipulate or force you to feel. What you witness is raw and uncompromising and rarely is such reality and authenticity captured on screen.
This a profound and honest exploration of mortality and the nature of ageing; the loneliness involved and the humiliation and inability to maintain dignity. It’s heartbreaking to witness the deterioration of an individual and the performance of the Oscar nominated, veteran French actress, Emmanuelle Riva is an astounding piece of acting. Trintignant also puts in some very fine work as the loving husband who finds himself out of his depth and his frustration begins to show in his level of care and compassion.
As is normally the case in Haneke’s film’s, all is not plain sailing. There’s a depth and ambiguity involved. The couples’ relationship with their daughter seems distant and strained and there’s a recurring, symbolic, appearance of a pigeon that keeps entering the household. On the surface, it would seem that this film is simply an honest commentary of flailing health and fading memories but it also operates at a depth beyond this.

A deserved Oscar winner for Best Foreign Language Film. This is sensitive, emotional and deeply involving filmmaking which tackles a part of life that’s rarely touched upon. It’s a beautiful piece of work but also the most devastating love story you’re likely to see.

Mark Walker