THE LEAST OF THESE: THE GRAHAM STAINES STORY (2019)

February 3, 2019

 Greetings again from the darkness. The story of Graham Staines certainly deserves to be told, as his impact is lasting and his kindness and devotion to the cause are quite extraordinary. In fact he paid the ultimate price … actually even greater than that … for his efforts, simply because he bucked tradition and offered an alternative to folks who previously had none.

Director Aneesh Daniel and writer Andrew E Matthews present Mr. Staines’ story (based on true events), and even shot on location in India despite a limited budget. Sharman Joshi plays ambitious young journalist Manav Banerjee, who in the late 1990’s packs up his pregnant wife Shanti (Aditi Chengappa) and heads to the remote Indian town of Orissa in hopes of securing a writing job for the local newspaper. Once there, he finds no guarantees – only an editor who assigns him the nearly impossible task of procuring evidence that a local missionary is illegally converting Hindus to Christianity.

The missionary is Australian Graham Staines who, along with his wife (Shari Rigby) and 3 kids, run a camp for locals afflicted with leprosy. Staines is played by Stephen Baldwin, the youngest of the Baldwin brothers, and best known for his turn in THE USUAL SUSPECTS (1995). Baldwin and his whispered Aussie accent plays Staines as a near-Saint; one who could only be doubted by the most ferocious traditionalists (of which there are many).

Mr. Joshi plays Banerjee as a bit of creepy-stalking guy who spends a little too much time staring at others. He’s conflicted with fulfilling his assignment and discovering the truth about Staines. Banerjee’s own moment of self-preservation likely inspired the horrific event by a mob of Hindu fundamentalists that, combined with some insider information, set Banerjee straight with how to proceed and what to report. In the process, he exposes the corruption and self-interest of rural India driven by the many minds closed by religious traditions.

Director Daniel opens the film with actual footage and archival clips of unrest and turmoil from those times. As you would expect, these clips are more disturbing and provide more intense reaction than anything the movie could produce (except for maybe the horrific event noted above). The overblown and overly-dramatic music doesn’t help the presentation, yet somehow the message of kindness and forgiven is not lost.

watch the trailer:

 

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Posted by David Ferguson

CAPERNAUM (2018, Lebanon)

January 31, 2019

 Greetings again from the darkness. Rare is the film that casts a kid in the lead role and then features him in most every scene … often with only him and a toddler on screen. It’s even rarer when that kid is a first time actor, and the film gets nominated for an Oscar (Best Foreign Language film). Each of these come to pass in the latest from writer-director Nadine Labaki (CARAMEL, 2007), with a script she co-wrote with four others: Jihad Hojelly, Michelle Keserwany, Georges Khabbaz, and Khaled Mouzanar (Ms. Labaki’s husband, who also produced the film’s music).

The film opens in a courtroom setting which acts as a framing device for a story that is told mostly through flashbacks. Zain (Zain Al Rafeea) is asked by the judge why he is suing his parents. His answer: “Because I was born.” Zain is an undernourished 12 year old Lebanese slum-dweller who lives with his parents and an indeterminate number of brothers and sisters. Zain is particularly close to his 11 year old sister Sahar (Cedra Izzam), and the two work odd jobs on the streets to bring home money and food for the family. When Sahar comes of age, Zain knows this spells change, as their parents view her as little more than an asset that can be traded for chickens. When this happens, an angry Zain runs away from home.

Zain’s adventure takes him from the slums to shantytown, where a kind-hearted, poverty stricken single mom takes pity on him. Rahil (Yordanos Shiferaw) is an undocumented Ethiopian who works multiple jobs while hiding her toddler Yonas (so freaking adorable). In exchange for food and shelter, Zain agrees to babysit Yonas while Rahil works. The two young boys become like brothers, and when Rahil doesn’t return home, Zain’s street smarts kick in. He reverts to the lessons of his previous life and begins literally scrapping for scraps. His ingenuity is inspiring, as is his full-blown survival mode … all while caring diligently for Yonas.

In the courtroom, director Labaki appears as Zain’s attorney, but it’s the young actor who carries the weight of the film. He is truly remarkable to watch, whether he’s interacting with other street hustlers, conversing with “Cockroach Man” on the bus, or in that final freeze-frame ending, Zain steals our heart. The film is not dissimilar to SHOPLIFTERS, the Japanese film also nominated for Best Foreign Language Oscar this year. The title means “chaos” and it begs the question, without paperwork, do we exist to society? Ms. Labaki manages to put a pretty face on a tragic environment, and offer up a rare matter-of-fact melodrama on the hardships for children in poverty.

watch the trailer:

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Posted by David Ferguson

WEST OF SUNSHINE (2019, Australia)

January 24, 2019

 Greetings again from the darkness. Life’s eternal mysteries include the question, how can one be a father when not yet a man? The feature film debut of writer-director Jason Raftopoulos focuses on fatherhood and the price of self-destructive behavior, while finally gathering the strength to right one’s self.

Damien Hill stars as Jim, a blue collar courier with a gambling habit that likely cost him his marriage, his previous job, and a solid relationship with his son. Jim is basically a decent guy who can’t seem to overcome his weaknesses, which leaves us judging him as a hapless dude who can’t buy a clue. The story unfolds over a single day as Jim faces a deadline from the loan shark he owes thousands. Banos (Tony Nikolakopoulos) is a scary looking guy who, in loan shark circles, would be considered relatively patient … although he has reached the breaking point with Jim.

Of course, Jim has a stellar plan to pay back the money – a “sure thing” on a horse in today’s race #2. However, there’s a blip (at least one) in his plan. His estranged wife reminds him that today is his day to look after their son Alex (Ty Perham, real life stepson to Mr. Hill). So father and son, rocky relationship and all, take off on a road trip around Melbourne as Jim proves to be one of the city’s worst couriers, and a borderline incompetent father. When Jim’s horse does in fact pay off, he makes the all-too-familiar mistake of a gambling addict … rather than pay off the debt, he tries to win more. You can surely guess how that goes.

Desperate times call for desperate measures, and the father-son team go about tracking down Jim’s old contacts in hopes one might help him through this dilemma. It should be noted that Jim and Alex are traveling in style – Jim’s classic Ford Fairlane, with quite an impactful story of its own. Support work is provided by Arthur Angel (as Jim’s friend and co-worker), Kat Stewart (a former girlfriend who runs an illicit business out of her bakery), Fay Smythe (Jim’s wife), and Eliza D’Souza (a would-be girlfriend and yet another Jim lets down).

Being a role model for a kid is not easy for someone as self-destructive as Jim. The steady stream of “I promise” and “I’m sorry” make it clear where Jim’s priorities rest. Alex wants to look up to Jim, but spends more time looking down on him. It takes a near catastrophe for Jim to wake up … a wake up that only occurs when one grows weary of always racing against the clock. Leaving the past behind – both emotionally and with a symbolic sacrifice – is Jim’s only path to redemption. Fine, naturalistic performances make these characters relatable to us, and filmmaker Raftopoulos does a nice job with keeping the pace moving along, while never losing that sense of reality.

watch the trailer:

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Posted by David Ferguson

GLASS (2019)

January 17, 2019

 Greetings again from the darkness. It’s pretty simple. If you are a fan of UNBREAKABLE (2000) and SPLIT (2016), then you need to see this finale to M. Night Shyamalan’s trilogy. If neither of the two previous films tickled your creep fancy, then you’ll likely find nothing of interest here. The biggest fear is that fans of the first two (like me) will be disappointed and frustrated (like me) by the missed opportunity. Rather than real world super abilities clashing, we get what is mostly a silly letdown.

The set-up is outstanding. David Dunn (Bruce Willis) and his now-grown son Joseph (Spencer Treat Clark) have teamed up for years in tracking down lowlife societal scumbags and teaching them a lesson. Mostly avoiding cameras (more difficult now than when he first realized his power), Dunn now has a nickname, The Overseer, and still dons his green poncho – though it’s now equipped with a headset for communication with Joseph.

The Dunn men have been tracking Kevin Wendell Crumb (with a Beetlejuice twist), who has kidnapped more teenage girls and is holding them hostage. James McAvoy returns as Kevin, and his 23 other personalities (referred to as The Horde), and early in the movie we get our first Dunn vs. The Beast battle. Unfortunately, it’s brief and ends in their capture and being locked away in an institution. And this is where the fun comes screeching to a halt.

It’s at the institution where we discover Elijah Wood/Mr. Glass (Samuel L Jackson) is also being held, and Dr Elle Staple (Sarah Paulson) is the psychologist specializing in treating those who believe they possess super human traits, be they good or evil. This misdirected plot line is our first real frustration, as we have already seen the super strength of Dunn, the massive transformation of The Beast, and the villainous mastermind of Elijah. By definition there is no suspense when we know the answer. Because of this, the entire treatment segment drags on far too long, and features entirely too much of Ms. Paulson, and too little of those we came to see.

Also reprising their previous roles are Anya Taylor-Joy as Casey, the only surviving former captive of Kevin, and Charlayne Woodward as Elijah’s mother. Ms. Woodward is given little to do, and Ms. Taylor-Joy’s strong acting almost saves her from the ludicrous script … a development we intellectually understand, but emotionally refuse to accept. In fact, the script is to blame for most of our frustration here. McAvoy is again tremendous in his ability to convey multiple personalities, and Jackson, once he is no longer catatonic (never a good use of a dynamic actor), relishes his return to evil. There is an interesting use of color for the three main characters: Dunn – green, Kevin – yellow, and Elijah – purple, and the cinematography of Mike Gioulakis (IT FOLLOWS) contributes some unusual angles and views.

Disney and Universal are to be commended for a rare rival studio collaboration, and M Night Shyamalan certainly deserves credit for being on the front end (with UNBREAKABLE) of the serious, dark, atmospheric superhero movie perfected by Christopher Nolan’s Dark Knight trilogy, but this film is nothing to be proud of. The film’s twist is easily predictable (and dragged out), and some parts are disappointing while some are an insult to our intelligence … and downright silly (the ending). Still, there is a certain value to closure, even if it’s a letdown.

watch the trailer:

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Posted by David Ferguson

ADULT LIFE SKILLS (2019)

January 17, 2019

 Greetings again from the darkness. Each of us deals with grief in our own way, and often it’s even more challenging to help a grieving loved one. Loss and grief are at the core of writer-director Rachel Tunnard’s feature length film developed from her award winning short, EMOTIONAL FUSEBOX (2014).

When first we meet Anna, she is creating a space-oriented home video using aluminum foil and her thumbs. Yes, Anna is an adult – mere days from her 30th birthday. She’s not the type to live in her mom’s basement … no, instead she lives in the cluttered garden shed in her mom’s backyard. The play on words for the shed clues us in to Anna’s quirky personality (as if the foil spaceship and thumb faces hadn’t already done so). The Anna we see currently has no place for humor in her life.

Anna is struggling with the grief associated with losing her twin brother – a brother she was extremely close to. She’s challenged daily by the fine line between sorrow and depression, and is regularly late to her job at an outdoor camp for kids. Her morning routine includes drying her clothes in the microwave and bickering with her mother (Lorraine Ashbourne) over finding a boyfriend and new place to live. Mom has demanded Anna move out of the shed by her birthday.

Others in Anna’s life include her grandmother (Eileen Davies), Anna’s close friend Fiona (Rachael Deering), and local real estate agent Brendan (Brett Goldstein) who may or may not be on the spectrum, is constantly refuting assumptions that he is gay, and undoubtedly has an unrequited crush on Anna. Each of these folks tries in their own way to pull Anna from her funk and get her back to living. Surprisingly, the turn occurs when she is forced to look after a neighbor boy named Clint when his mother gets rushed to the hospital. Clint is an odd kid who wears cowboy attire and proclaims his desire to be like Anna … and they are more similar than she would care to admit initially.

Jodie Whittaker plays Anna and newcomer Ozzy Myers is Clint. Young Mr. Myers excels in his role, never going over-the-top with his offbeat tendencies. Ms. Whitaker (“Doctor Who”) first charmed us on screen with her role in VENUS (2006) and she proves yet again what an accomplished actress she is … likable and relatable. Here she turns an arrested development 30 year old hermit into someone we pull for. The film is filled with awkward interactions, each grounded in reality.

Of course, there is really nothing cute or charming about a 30 year old who hasn’t yet grown up, but slack and understanding is due here because of the grief. And it’s difficult to name another film character who could count mole hills daily and make it seem natural. Just remember that when a kid says they want to be like you, take it seriously – even if it’s because you are sad and lonely. Ms. Tunnard’s film is a bittersweet comedy that’s not too bitter, not too sweet, and not overly funny. It’s simply a fine little indie movie with a terrific performance from a talented actress.

watch the trailer:

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Posted by David Ferguson

EGG (2019)

January 17, 2019

 Greetings again from the darkness. In what would likely be more effective as a stage play than a film, director Marianna Palka (GOOD DICK, 2008) subjects us to first four, and then five adults, each participating in what is mostly a 90 minute exercise in passive-aggressive bickering. There are absolutely some moments of pure movie gold, and the premise is quite promising, but unfortunately the bulk of this movie experience is simply watching annoying people and listening to their irritating banter (courtesy of the first screenplay from Risa Mickenberg).

In defense, annoyance is the goal here. Former art school classmates Karen (Christina Hendricks) and Tina (Alysia Reiner) have arranged their first get-together in many years. Karen brings her wealthy snob husband Don (David Alan Basche, Ms. Reiner’s real life husband) to Tina’s bohemian loft which she shares with Wayne (Gbenga Akinnagbe). Karen is 8 months pregnant, Don is worried about his Cadillac in this neighborhood, Tina is a conceptual artist, and Wayne adamantly refuses to be defined by his work – of which he seems to have little.

Judging others seems to be the point of this little party, and as Karen calls giving birth “one of the most beautiful things in life”, she has to stop every 5 minutes to pee and eat, and repeat the cycle – all while being unable to sit comfortably. Riffing on how decisions are made on whether to become a parent, and how contemporary gender roles are defined, an abundance of societal commentary leads to a never-ending soft core argument. The bombshell hits when Tina announces she and Wayne are having a baby via a surrogate. Things get really interesting when Kiki (Anna Camp), the surrogate, joins the group.

The wheels go flying off when Kiki reveals she has been in a 5 year relationship with a married man, and that man’s wife is now pregnant with their 6th child. Kiki also talks about the 5 stages of womanhood … each seeming to be in service to man. The conventions of motherhood, and contrasts in suburbia vs. bohemian lifestyles are a central theme here, but none of these folks are the type from which we can draw any inspiration or insight. They are self-centered, insecure types with each trying to prove their high level of enlightenment to the others.

Mostly it’s 90 minutes of whiny women and whiny men, in what could have been a fascinating look at motherhood and the evolution of friendship between two women who chose different paths. There is a bitterness to the story and the characters, and uncomfortable discussions handled in such a way that the biting humor rarely hits its mark. Even the ending, which is totally believable, is unsatisfying given what we’ve been through with these characters.

watch the trailer:

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Posted by David Ferguson

THE UPSIDE (2019)

January 11, 2019

 Greetings again from the darkness. Frequent movie goers often complain about the lack of originality in American movies. It sometimes seems as if most are sequels, remakes or reboots, or simply pulled from the panels of a comic book. There is another source that is particularly irksome to yours truly, and that’s the Americanization of an outstanding film from another country – World Cinema, if you will. Seven plus years ago, while watching the crowd-pleasing (though not so critically acclaimed) and exceptionally performed 2011 French film THE INTOUCHABLES, there was little doubt that it would, at some point, be subjected to an American “enhancement”. Sure enough, director Neil Burger (THE ILLUSIONIST) perfectly captures why this transition is sometimes so painful to see.

Based on a true story, filthy rich quadriplegic widower Phillip Lacasse is played by Bryan Cranston, while Nicole Kidman (her 4th film in 8 weeks) plays Yvonne, Phillip’s wound-too-tight, ultra-loyal chief of staff (she handles his many business affairs and calendar) with an obvious ulterior motive. Kevin Hart (he of recent Oscar-hosting drama) plays Dell, an unemployed ex-con street hustler. While searching for employment to appease his Parole Officer, Dell stumbles into a Park Avenue penthouse where Phillip and Yvonne are conducting interviews for a full-time caregiver to Phillip. Though he is woefully unqualified, and Yvonne protests mightily, Phillip chooses Dell. The undercurrent here is that Dell’s self-centeredness corresponds nicely to Phillip’s DNR and lack of will to live since his wife’s death from cancer.

The opening sequence has Dell racing through downtown, evading police, while driving a Ferrari with Phillip in the passenger seat. This is followed by a promising “6 months earlier” flashback introducing us to Dell’s ex-wife (Aja Naomi King) and their teenage son Anthony (Jahi Di’Allo Winston), both of whom are fed up with the lack of support and trustworthiness of Dell. Basically, Dell is a deadbeat dad with little ambition – other than to avoid returning to prison.

The tone of the film changes once Dell has the job as Phillip’s carer. The bulk of the remaining run time (which is 20 minutes too long) becomes a comedy skit showcasing the punchlines of Kevin Hart. Mind you, the full house I watched the screening with seemed to love every bit, as laughter filled the theatre. For me, I could only long for the soul and spirit of that beloved French film from years ago … and the amazing chemistry between the charismatic Omar Sy and the talented Francois Cluzet. This version isn’t about chemistry – it’s about comic timing. The only real exception to that is a terrific and psychologically deep scene with Julianna Margulies playing Phillip’s pen pal, as they meet for the first time over lunch. The scene is played beautifully, but is a complete tonal change from what comes before and after. Contrasting this scene with Kevin Hart’s over-the-top antics in the high-tech shower, magnifies the contrast in concepts.

Jon Hartmere is credited with the screenplay based on the original film’s screenplay by Eric Toledano and Olivier Nakache. For some reason, Phillip Pozzo di Borgo’s autobiography doesn’t make the credits for this version. A bit more attention to Dell’s ex and son could have worked to humanize him, and soften the caricature on display. This comes across as an interracial odd-fellow buddy flick, where yet another black man (often in a subservient role) rescues an entitled white person (even if they’re disabled) from lack of hope and leads them to a life worth living. Is it possible to make a movie based on race and class, and even romance, and still offer no real insight? Apparently the answer is yes, if one chooses to go for easy laughs. Perhaps you’ll join the audience in rolling along with Dell’s first trip to the opera, or the disrespect to art collectors – or that seemingly never-ending catheter scene. Or perhaps you can be persuaded to track down THE INTOUCHABLES for a more emotional and inspirational telling of this story.

***NOTE: I should also mention that one of my Top 5 movies of 2018 has already been targeted for an American remake starring Jake Gyllenhaal.  Boo. Hiss.

watch the trailer:

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Posted by David Ferguson

DESTROYER (2019)

January 11, 2019

 Greetings again from the darkness. The rogue/burned-out cop obsessed with an old case or particular criminal nemesis is something we have seen many times before. Ordinarily there would be no reason to seek out yet another movie on the subject; however, this time the reason is obvious … Nicole Kidman.

Ms. Kidman, an Oscar winner for THE HOURS (2002), is an excellent actress and has had a wonderful career, but this is something altogether different for her. She plays LAPD Detective Erin Bell, a worn-down, emotionally shattered shell of the idealistic cop who, 17 years earlier, was part of an undercover operation that went tragically and violently wrong. Director Karyn Kusama (JENNIFER’S BODY, 2009) bounces back and forth on the timelines – sometimes we are viewing Erin’s undercover work with her partner Chris (Sebastian Stan), and others we get the haggard Erin of present day. The contrast is stark.

The ghost of case past has returned, and we witness what has haunted her these many years. Past decisions and actions have rotted her spirit, while alcohol has since destroyed her body. She is a wreck – physically and emotionally, and her reputation within the force is shot. It wouldn’t be totally accurate to describe her as self-destructive since she has already destructed. The only thing keeping her going is booze and a desire for revenge.

Flashbacks take us through her early work with the crime gang led by Silas (Toby Kebbell), a master of psychological manipulation (think Charles Manson). We also see Erin’s too-close connection to partner Chris, and a terrific bank heist scene explains how things went down. Now it’s 17 years later, and Silas has resurfaced. Erin wonders why. We also see Erin’s feeble attempts to be a mother to her 16 year old daughter (do the math) Shelby, played by Jade Pettyjohn. The two have only a sliver of a relationship as Shelby lives with Erin’s ex Ethan (the eternally underutilized Scoot McNairy).

Other support work is provided by Tatiana Maslany as one of Silas’ gang, and Bradley Whitford as a scummy defense attorney. Erin has a sequence with the latter that emphasizes just how alone she is. When asked where her partner is, we realize she has no partner with her and no back-up on the way … she is a lonely, desperate, rogue cop with a murky plan and a head clouded by booze.

Writing partners Phil Hay and Matt Manfredi (known for CLASH OF THE TITANS and RIDE ALONG) deliver very few surprises with the script, leaving the burden on Ms. Kidman to keep us interested. And despite her character’s train wreck of a life, the performance is quite something to behold … her look, her gait, and even her whispered voice – all point to a woman hanging on by a thread and lacking basic daily energy to show any signs of hope. Director Kusama adds texture by showing many non-touristy areas of Los Angeles, and filming the two timelines in such a way that the structure works – although the Erin in shambles is far more intriguing than the younger one. On a separate note, there should be a special Oscar for the make-up team that managed to make the usually glamorous Ms. Kidman look realistically shattered.

watch the trailer:

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Posted by David Ferguson

ROCKAWAY (2019)

January 11, 2019

 Greetings again from the darkness. This is established Visual Effects artist John J Budion’s first feature film as writer-director, and he likely exorcises some personal demons with a semi-autobiographical look back at his childhood. Set in the summer of 1994 in East Rockaway, New York, the story is told from the perspective of an adult John (Frankie J Alvarez), who narrates his recollections of that year.

Young John (played by Maxwell Apple), a somewhat withdrawn kid, hero worships brash New York Knicks guard John Starks to the point that he wears a Starks jersey almost non-stop. The two are polar opposite personalities, and the only one who really understands John’s obsession is his protective older brother Anthony (Keidrich Sellati, Henry from “The Americans”). Why does John need Anthony’s protection? Well that’s due to their abusive father (Wass Stevens, THE WRESTLER) who is bitter and angry most of the time – and takes it out on the boys and their mother (Marjan Neshat).

The brothers share two wishes: a championship for their beloved Knicks and a more peaceful living environment without their abusive father. They are so focused on the latter that they’ve created a scheme to “off” the angry dad – this despite their mother’s promise to take them away from it all as soon as she finds work in another city.

It’s about this time when John and Anthony meet some other neighborhood boys, and what follows is the easy camaraderie of kids when no parents are polluting the moment (an ideal that seems quite antiquated in this day and age). Billy (a standout Harrison Wittmeyer) is the mature-beyond-his years leader, Dom (James DiGiamcomo) is the unathletic jokester, Brian (Tanner Flood) is the brainy one, and Sal (Colin Critchley) is the motor-mouthed preener. The boys share a love of sports and the fine art of needling each other with sharp cut-downs. In other words, they are kids being kids, and this escapism opens up a new world for Anthony and John.

It’s a coming of age story with obvious comparisons to STAND BY ME and THE SANDLOT, and though not at the level of either of those classics, it does feature some fine nostalgic moments of childhood. The film suffers a bit from an ending that’s overly sappy and clean, though kudos to all involved if this is true to their life. It’s certainly a stretch for most. Adults are more likely than kids to find appeal here, and the film might have benefited from a better exploration of what drove the dad to such extremes.

watch the trailer:

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Posted by David Ferguson

ASHES IN THE SNOW (2019)

January 10, 2019

 Greetings again from the darkness. Most World War II films focus on the atrocities committed by Hitler’s German forces, but this adaptation of Ruta Sepetys’ novel (“Between Shades of Gray”) reminds us of the evils under Stalin and the Russian seizure of the Baltic States. Director Marius A Markevicius delivers a feature film debut that is both historical drama and tale of human perseverance.

We have long since been educated on just how cruel humans can and have been to other humans, and director Markevicius – with a script from Ben York Jones (LIKE CRAZY, 2011) – doesn’t shy away from the cruelty or atrocities, but he and cinematographer Ramunus Greicius capture the harshness and brutality of the Siberian environment, as well as the brief moments when those being held captive feel sparks of life.

Bel Powley (THE DIARY OF A TEENAGE GIRL, 2015) stars as Lina, a young Lithuanian artist who lives with her family: mother Elena (Lisa Loven Kongsli, FORCE MAJEUR) and brother Jonas (Tom Sweet). The father/husband is played by Sam Hazeldine and we learn of his secret agenda and activism later in the film. When Russian troops forcibly remove mother and the two kids from their home, a long train ride ends with their working the fields in the Altai Labor Camp in Siberia.

Martin Wallstrom is excellent as Kretzky, a conflicted Russian soldier from the Ukraine. He’s kind of persona non-grata on both sides, and as an outsider to the troops and the “devil” to the prisoners, he is somewhat of a sympathetic character. A year later (1942), the family and Officer Kretzky are shipped off to Laptev Sea in the Arctic Circle. This frozen tundra is no place for human beings and death seems preferable to freezing in misery. When giving the relocation order, Kretzky’s commanding officer calls them “one big happy family in frozen hell”. It’s a great line. An acutely descriptive line.

Young Lina’s childhood innocence has been shattered, but she possesses an inner strength that only such miserable circumstances could unveil. She carries on finding brief respites in her art and in fleeting romance with fellow prisoner Andrius (Jonah Hauer-King).

There is a story told, a legend really, about a fishing boat and its survivors – the correlation made late in the film. The devastating circumstances and desolate landscape are accompanied aptly by German composer Volker Bertelmann. But let’s face it, war crimes against the innocent are tough to watch even in movie form, and this film, regardless of how expertly it’s crafted, is relentless in bleakness – though heartfelt and sincere.

watch the trailer:

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Posted by David Ferguson

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