THE SALVATION (2014)

March 8, 2015

salvation Greetings again from the darkness. It is initially a bit disorienting to settle in to watch a Western shot in South Africa by Danish filmmakers with a story based in 19th century America. However, any doubts are quickly forgotten thanks to terrific writing, powerful acting, and creative camera work set to a distinctive soundtrack.

Blood, dirt, politics, true loss and crackling gun play accompany what is, at its core, a story of vengeance … and of course, good vs evil. We open in 1871 America, seven years after Jon (Mads Mikkelsen) and his brother Peter (Mikael Persbrandt) left Denmark after fighting in the war. Today is the day that Jon’s wife (singer Nanna Oland Fabricius) and son (Toke Lars Bjarke) arrive, and the separation has been tough on all. The reunion is destroyed in the most awful manner imaginable thanks to a couple of drunken ex-cons sharing the stagecoach. Of course, salvation and vengeance would not be required if there were no turning point, and Jon’s natural reaction is what sparks the real fireworks in the story.

One of the bad guys on the wagon is the brother of powerful local gangster Delarue (Jeffrey Dean Morgan). We quickly learn he is not a rational man and cares little for anything other than making money and gaining revenge on his brother’s killer. Delarue stands for all the bullies of any era, while Jon and his brother Pete represent the huddled masses incited to action only through gross injustice. There are many details and elements that set this above the traditional western, and one of those is the presence of Madelaine (Eva Green) who was married to Delarue’s murdered brother, and was previously disfigured and muted by Native Americans.

It’s impossible not to notice the similarities and influences of John Ford, Sergio Leone and the classic High Noon (cowardly townspeople, morals corrupted under duress). Director Kristian Levring even superimposes the very familiar vistas of Monument Valley into some shots, and it’s done so well that our eyes simply accept the landscape. Mr. Levring also presents us a uniquely lit stagecoach in the moonlight scene that was beautiful to look at, despite the violent nature of what was happening. Composer Kasper Winding (brother to director Nicolas Winding Refn) adds a distinctive guitar that recalls the haunting effects of Ennio Morricone’s soundtrack to Leone’s classic Once Upon a Time in America … a very effective complement.

The lead actors are superb and well cast – though Jeffrey Dean Morgan goes 180 degrees against type as the evil-to-the-bone Delarue. Eva Green speaks volumes with her fiery eyes, and Mikael Persbrandt (who was so great in In A Better World) adds to the quiet-wild feel of the film. The bulk of the action falls to Mads Mikkelsen, who thanks to Casino Royale, The Hunt, and TV’s “Hannibal” has become one of the finest actors working today. His facial tics and emotional depth convey much with few words, and his character’s expert marksmanship with a Remington rifle is a welcome shift from the spraying automatic weaponry too common in film these days.

The politics of taking advantage of the unaware weak runs throughout the films, especially with the methodical “land grab” occurring so that the rich can capitalize on the “sticky oil” spoiling the water wells. You may not be a fan of Westerns, but there is much going on in this excellent script – and the visuals combined with expert acting should allow you to appreciate what expert filmmaking this is (especially given the low budget).

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Posted by David Ferguson

GETT: THE TRIAL OF VIVIANE AMSALEM (2014)

March 5, 2015

Gett Greetings again from the darkness. Personal views on Politics and Religion are purposefully avoided in my film reviews as I prefer to view the work from the perspective of art and storytelling. Sometimes, however, a film exposes such an injustice that stifling one’s opinions is just not practical. Such is the case with this latest from the brother-sister co-directing and co-writing team of Ronit and Shlomi Elkabetz.

This is the final piece of the creative siblings’ trilogy on Israeli marriage that began with To Take a Wife (2004), and was followed by 7 Days (2008). That’s right, the two characters of husband Elisha (Simon Ebkarian) and wife Viviane (played by director Ronit Elkabetz who was also in the excellent 2007 film The Band’s Visit) have been followed through the stages of marriage, separation, and now divorce court. Only their divorce court is not what most of the world thinks of when we hear that term. In Israel, divorce is not a civil matter, but rather falls under Jewish law and the proceedings are overseen by a triumvirate of rabbinical judges. If that’s not difficult enough to stomach … it’s the husband who holds ALL the power. The husband must agree to grant his wife the divorce. Without his permission, the judges can do nothing and the wife is bound to the marriage.

With the story unfolding almost exclusively in the bleak courtroom, Viviane trudges through delays, no-shows, desperate negotiations, and other time-wasters; only occasionally succumbing to an outburst, rather than her usual quiet dignity. Elisha maintains a seemingly proud and determined look when he does show for hearings, only periodically shooting a look of disgust at his wife. His confidence stems from the power in knowing that grounds for divorce do not include irreconcilable differences. The camera work puts us right in the courtroom and we soon recognize Elisha’s mannerisms as not just passive-aggressive, but also manipulative and misguided. He is not an awful man, but this is an awful marriage.

Long a fan of courtroom dramas, I was mesmerized by the dumbfounding process as well as the stellar performances, excellent script and POV camera work. Ms Elkabetz is terrific as Viviane, and her work is complimented by Mr Ebkarian as her husband, Sasson Gabay as his brother and advocate, and Menashe Noy as her advocate and admirer. The film is a strange blend of hypnotic and infuriating and heart-breaking. It’s uncomfortable to watch, but one we can’t turn away from … especially as Viviane shouts “You don’t see me!” to the judges.  Her pleas are the perfect bookend to a film that begins by ignoring her presence in the courtroom (we don’t see her face for the first few minutes).

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Posted by David Ferguson

RED ARMY (doc, 2014)

February 26, 2015

red army Greetings again from the darkness. You need not be a hockey fan to be familiar with the “Miracle on Ice” upset of the seasoned Russians by the upstart Americans at the 1980 Olympics in Lake Placid. Often referred to as a battle of cultures – “our way vs their way, capitalism vs communism” – most articles, TV shows, and movies have been presented from the American perspective.  It’s only now, in this informative and entertaining documentary from filmmaker Gabe Polsky, that we gain some insight into the Russian players and their way of life.

Mr. Polsky is the son of Russian immigrants, and grew up playing hockey in Chicago and later for Yale. His research into Russian hockey evolved into a documentary that blends sports, geopolitics, history, culture, and personal stories. He mixes in some fantastic archival film footage from the 1970’s and 80’s, but the heart of everything here flows from the interviews with Russian hockey legend Vyacheslav Fetisov, who is a vital and unique link to past and present. Much of this is set to the distinctive sounds of Russian folk music.

Fetisov is sometimes playful and sometimes snide in his remarks, but he basically narrates the history of Russian hockey – starting with Stalin’s founding of the organization, through the two key coaches: father figure Tarasov and the militant Tikhanov who followed. Stalin was convinced that Russian domination of global sports would clearly establish communism and the Russian culture as far superior to capitalism and the carefree ways of the west.  This led to the Red Army hockey camps being run by the military. The players were isolated for eleven months each year, training and playing in a manner that generated ultimate teamwork, but also quite unhappy young men.

We see the influence of Russian chess (Karpov) and the Bolshoi ballet for training methods, and we also see the ever-present KGB ensuring no “escapes”, or what we might know better as defections. We learn about the Russian Five (including Fetisov) who were so dominant that the team went two years without losing.  Gold medals in Sarajevo (1984) and Calgary (1988) occurred just prior to the 1991 dissolution of the U.S.S.R. and the economic crisis of the region.

This is what opened the door for Russian hockey players to enter the NHL, though the transition was smoother for some than others. After a few years of adjusting, it was coach Scotty Bowman’s 1997 Detroit Red Wings that won the Stanley Cup with a contingency of Russian players (including Fetisov) who were given free reign to play their own game while on the ice. Their movements and intricate teamwork clashed mightily with the individualistic style of westerners … and that group of Russian players can be credited with helping the game to evolve to its current style.

Much of the insight comes from the faces of the men who are interviewed. Their stoicism and lack of emotion is a microcosm of the society in which they were raised. Their country was obliterated by war, and then led by a megalomaniac who wanted to rule the world. Human emotion and the rights of individuals mattered little, and we see that despite the years of hardship, these players remain (mostly) true and loyal to their country. This is a fascinating look at human nature and how the culture of one’s youth can directly impact the beliefs as an adult, so many years later.

watch the trailer:

 

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Posted by David Ferguson

HUMAN CAPITAL (Il capitale umano, Italy, 2014)

February 26, 2015

Human Capital Greetings again from the darkness. The financial crisis-manslaughter-class warfare-thriller from novelist Stephen Amidon shifts from Connecticut (in the book) to just outside of Milan for director Paolo Virzi’s look at class and character.  A term used by insurance companies to calculate the value of a human life in settlement cases, “human capital” carries even more meaning in this twisted tale of greed and broken dreams.

After an opening sequence that shows an off-duty waiter getting knocked from his bicycle by a swerving SUV in the dark of night, the story is divided into chapters that provide the various perspectives of different characters affected by this hit-and-run. Dino (Fabrizio Bentivoglio) is a middle-class real estate business owner whose girlfriend (the too rarely seen Valeria Golino) is pregnant with twins, and his daughter Serena (Matilde Gioli) is dating a private school classmate Massimiliano (Guglielmo Pinelli) who comes from the upper crest Bernaschi family that is living the dream thanks to the dad’s (Fabrizio Gifuni) hedge-fund success.

It’s easy to see how the lives of these two families become intertwined, and how a few other characters are also affected, but the real joy here is in getting to know each through their own actions. Dino desperately wants a taste of the finer things in life, and risks everything by fraudulently obtaining a bank loan in order to buy into Bernaschi’s hedge fund. His wife Roberta is a trusting and pure-hearted woman who accepts her place in society and warmly looks forward to being a new mom. Their daughter Serena proves to be the best judge of character and soon enough boots the spoiled kid Massimiliano to the curb, while connecting with the artistic and misunderstood Luca (Giovanni Anzaldo), though even Serena’s moral compass shows its cracks.

Bernaschi is a smooth operator and the perfect face for a hedge fund so dependent on the financial collapse of its own country. His wife Carla (Valeria Bruni Tedeschi) is a lost soul … enjoying the perks of a wealthy lifestyle, but still holding on to her artistic dreams of youth. Life as a trophy wife is evidently not so fulfilling for those with their own aspirations. Their son Massimiliano, as you might imagine, is unable to live up to the expectations of his father, and frequently handles his perceived lack of parental attention by over-boozing at every opportunity.

This film was Italy’s submission to the Academy in the Best Foreign Language category, but unfortunately did not make the final cut. It is rich in texture and remarkable in its ability to convey depth in so many characters. The basic story has some similarities to the film 21 Grams, in that we witness the many ways in which people handle crisis. In this case, the mystery of the initial sequence is left unsolved until near the end, but there are so many personal “fork in the road” moments, that solving the case of the cyclist death somehow doesn’t monopolize our thoughts.

Excellent acting throughout allows us to connect with each of the key characters, and especially worth noting are Valeria Bruni Tedeschi and Matilde Gioli. Ms. Gioli is a newcomer with a bright future. She brings believability and strength to a teenager role that would more typically be over-the-top or one-dimensional in the hands of a lesser actress. Even more impressive is the performance from Ms. Bruni Tedeschi who perfectly captures the heartbreak of a woman living a life others can only dream about, while her own dreams are but shadows from the past.

With source material from a U.S. novelist, and subject matter involving the 1% and crisis of conscience, it’s not difficult to imagine an American remake, but this version is highly recommended for those who enjoy a multi-faceted dramatic thriller.

watch the trailer:

 

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Posted by David Ferguson

SONG OF THE SEA (2014, Ireland)

February 8, 2015

song of the sea Greetings again from the darkness. Fans of animation can expect to experience a bit of nostalgia as they treasure the rare hand-drawn works of animator Tomm Moore. However, Mr. Moore’s artistry may even be exceeded by his extraordinary story telling ability. This gem from Ireland is an Oscar nominee for Best Animated Feature, as was Mr. Moore’s The Secret of Kells (a runner-up that year to Up). It’s a top notch family movie filled with adventure, fantasy, emotion and characters worth caring about.

Young Ben lives an ideal life with his lighthouse caretaker father, pregnant mother, and beloved dog Cu on an isolated island. Ideal that is, until the “Bambi’s mother” moment, which 6 years later, finds Ben’s dad still in mourning, while Ben flashes animosity and blame towards his mute little sister, Saoirse (pronounced Sir-sha). What we as viewers soon learn is that cute little Saoirse is a selkie – just like her mother was. Irish and Scottish legend states that selkies can transform themselves from people to seals, and have a real connection with the sea and the fairy world.

When the over-bearing, know-it-all granny decides that an island is no place to raise kids, she moves Ben and Saoirse to the big city … sans dog and dad. Of course, this is a terrible idea and the two kids are soon enough off on an adventure of self-discovery and rescue. They run into 3 of the remaining fairies who know that selkie Saoirse is their only hope with her magic sea shell (from her mom) and her as yet undiscovered singing voice. It turns out the songs Ben’s mom taught him, when sung by Saoirse, can free the souls of the fairies turned to stone by the evil owl witch Macha. The real fun is in the details of their adventure.

Moore’s story has the feel of an ancient folk tale and legend, with a dose of mythology. Since the story coincides with Halloween, it also adds an additional element of creatures, real vs pretend. As you can see, the story is no mindless cartoon. It contains much emotion tied to the brother/sister battles, the loss of a parent, nosy relatives, and the path of discovering one’s own self … even through the eyes of children. Terrific voice work comes courtesy of Brendan Gleeson, Fionnula Flanagan, David Rawle (Ben), and Lucy O’Connell (Saoirse). It’s a timeless story that, amongst other things, is a legitimate Oscar contender while reminding brothers to be nice to their sister!

watch the trailer:

 

 

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Posted by David Ferguson

TWO DAYS, ONE NIGHT (Deux jours, une nuit, Belgium, 2014)

January 29, 2015

two days one night Greetings again from the darkness. The Dardenne Brothers (Jean-Pierre Dardenne, Luc Dardenne) are filmmakers who excel at forcing us to take notice of human nature. This time they take the unusual step of working with an A-lister in Marion Cotillard, yet rather than create a distraction, this works for making the lead character even more realistic and believable.

Sandra (Ms. Cotillard) is a working class wife and mother who has gone through recovery after a bout with severe depression. She has been on leave from her factory job and now uses her Xanax as a crutch when she gets a little anxious. Just as it’s time for her to return to work, she learns her co-workers chose a bonus over allowing Sandra to keep her job, through some type of cruel vote facilitated by company management.

Sandra’s friend Juliette (Catherine Salee) encourages the boss to allow a re-vote on Monday, and Sandra’s husband (Dardenne regular Fabrizio Rongione) advises her to visit each of the 16 co-workers and request that they reconsider their vote. Though she would rather curl up in bed, Sandra’s trek to visit each co-worker takes every ounce of courage and energy she can muster.

This is a fascinating study of economic realities vs human nature, even right vs wrong. Can these people look beyond what is best for themselves and do the right thing for Sandra? These individual meetings are excruciating to watch. Asking each person to vote for her is agonizing for Sandra, while each of the co-workers has their own personal struggles that make the decision not so simple.

Marion Cotillard is a revelation here. This is not the glamorous movie star you might think of. Instead, she dresses down, wears minimal make-up, and walks and talks like the desperate working class woman she is playing … all while carrying the burden of a clinical depressed person. Mostly, she taps into an emotional state that is powerful to watch. The Oscar nominated is definitely justified.

While it seems the suspense of each scene is almost more than Sandra can take, there is a moment of release and joy during the sing-along with Van Morrison (on the radio). The character of Sandra defines “putting up a good fight”, and she proves that sometimes that is the most important thing.

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Posted by David Ferguson

MR TURNER (2014)

January 11, 2015

mr turner Greetings again from the darkness. Director Mike Leigh is one of the least celebrated expert filmmakers working today. It’s a shame more people aren’t familiar with his films, and it’s also a shame that his latest, a fantastic biopic of artist J.M.W. Turner, probably won’t generate much mainstream appeal.

The spectacle begins with Timothy Spall’s performance as Joseph Mallord William Turner, an artist known for his use of light and color in seascapes and landscapes. Turner communicates in three ways, sometimes blending all three for quite a unique sequence: 1. Artwork 2. Verbal eloquence 3, Guttural grunts. We get to know Turner and his unusual methods of conversation in environments such as: the high society gatherings of the London art scene, at home with his aging father and uber-loyal housekeeper, and at the inspirational seaside community of Margate.

Director Leigh and cinematographer Dick Pope brilliantly use color, light and texture in an artistic and atmospheric manner to complement the style of Turner the painter. Rather than run through a catalog of Turner’s most famous paintings, the time is spent showing us his method for inspiration and his frequent sketching to capture a potential sight for later work.

This is a most unsympathetic presentation of a creative man. Turner’s commitment to hard work and diligence with his art often rubs wrong those who most admire him, including the mother of his two children and those who make the art world thrive. One of the most glaring examples is his treatment of 19th century art critic John Ruskin (Josh McGuire) who dares favorably compare Turner’s work to other artists.

Mr. Leigh brings back many of his usual and familiar acting troupe including Ruth Sheen as Turner’s angry and boisterous ex, Paul Jesson as Turner’s dad (Turner really was an SOB – son of a barber), Dorothy Atkinson as the heart-breaking housekeeper (who ironically also adds a dash of humor), and Leslie Manville as Mary Somerville – the scientist who shared Turner’s fascination with light and color. Of special note is Marion Bailey who brings extraordinary and welcome energy and warmth to her role of Sophia Booth, who dredges up an inkling of intimacy from Turner.

Timothy Spall’s performance is reason enough to watch the film a second time. He physically and emotionally embodies the being of Turner in a manner never before seen on screen. From his thunderous footsteps (reminiscent of Robocop) to his pained and telling facial gestures to the aforementioned grunts and groans, Spall delivers one of the most interesting and captivating performances of the year. If you are a Mike Leigh fan, you will surely be quick to see this one. If you are unfamiliar with his work, this is one worth seeking out.

watch the trailer:

 

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Posted by David Ferguson

A GIRL WALKS HOME ALONE AT NIGHT (2014)

January 4, 2015

 

a girl walks home Greetings again from the darkness. This is my third “first feature” from a writer/director this week, but there endeth any similarities. Ana Lily Amirpour presents the first ever Iranian romantic vampire thriller that blends the styles of Spaghetti Westerns, graphic novels and 1950’s rebel flicks, while making a social statement regarding Muslim women.

This festival favorite is an expanded version of Ms. Amirpour’s 2011 short film of the same title, and the use of black and white, combined with cinematographer Lyle Vincent’s extraordinary photography, delivers a beautifully stark dream-like atmosphere that lends itself well to the sparse dialogue approach.

Despite minimal conversation, we quickly recognize Saeed (Dominic Rains) as the ultra-arrogant drug dealer and bullying pimp, Arash (Arash Marandi) as the hard-working dutiful nice guy who sees himself as a would-be James Dean, Hossein (Marshall Manash) as the drug-addicted dad who burdens his son, and Atti (Mozhan Marno) as the aging, powerless prostitute with little hope. There is even the street boy (Milad Eghbali) who sees all and says little … and is the target of the film’s most terrifying scene (and maybe one of the most terrifying bloodless scenes of any horror film).

What really stands out about this low-budget gem is the seamless and effective mixing of genres. In addition to the “vampire” moments, there are a couple of the most quietly erotic scenes that I can recall (including an ear-piercing), and even a quite humorous scene with an under-the-influence Arash mesmerized by a lamp post while wearing a Dracula costume and being observed by a real vampire.

The vampire is played perfectly by Sheila Vand, whose intoxicating eyes and subtle facial gestures convey all whether she is feeding her appetite, being gently seduced by Arash, or slowly coasting on her skateboard. Her only time to unleash pent-up emotions is the previously mentioned scene when she warns “Be a good boy”. Otherwise, she is the lonesome vampire in search of connection who periodically weeds out the bad men – simultaneously improving society and empowering women.

It’s an odd production as the characters speak Farsi, but filming took place outside Bakersfield, California in a locale that fits the story town’s name, Bad City. Any influence of Iranian culture is only evident through interpretation and the excellent cast. The beautiful camera work is complemented by an outstanding and unusual soundtrack … a combination that proves Ms. Amirpour’s eye and feel for storytelling. The minimal dialogue approach is successful thanks to the atmospheric style and the talents of the cast (many of whom will be familiar to American TV and film audiences). It’s an exciting first feature and has many anxiously awaiting the next project from Ana Lily Amirpour.

**NOTE: In the 2011 short film, the vampire was played by Nazanin Boniadi, whom you might recognize as Fara from “Homeland”

watch the trailer:

 

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Posted by David Ferguson

LEVIATHAN (Russia, 2014)

December 28, 2014

leviathan Greetings again from the darkness. It may surprise some that the most relatable of the Foreign Language films submitted for Oscar consideration this year may be a rural Russian re-imagining of the Book of Job with a tip of the cap to a 1651 book from Thomas Hobbes, and so much alcohol consumption that it should carry a Warning notice for anyone in recovery.

Please don’t interpret the description of relatable to mean likable or enjoyable, at least not in the traditional sense. This latest from director Andrey Zvyagintsev (The Return, 2003) is tough to watch with its theme of the working class vs the government. Who holds the power in this clash is obvious in a case of eminent domain, as Kolya (Aleksey Sorebryakov) tries everything (including blackmail) to hold on to his home and business in a fight against the Mayor (Roman Madyanov).

Religion, politics, and the judicial system team up to ensure the imbalance of power remains in effect, and Kolya’s belief in the system slowly evaporates. It’s particularly interesting to note how his consumption of Vodka evolves from a shot glass to full bottles as his home slips away.

The story takes place in northwest Russia in the Kola Peninsula of the Barents Sea. It’s a dramatic setting with vast landscapes, including the carcasses of fishing boats and giant whales … a statement of what happens to those left behind as times change – much like what happens to Kolya.

As dramatic as the landscape is, the story is actually quite small. It’s the struggle of one family against a system that has corruption down to a science. When Kolya asks his lawyer friend Dmitri (Vladimir Vdovitschenkov) to play dirty with the Mayor, he has no idea how this will impact his life and that of his younger wife Lilya (Elena Lyadova) and son Roma (Sergey Pokhodaev).

There is very little comic relief in the film … only a single sequence involving target practice on pictures of past Russian officials, but the story and acting are so grounded that at times it feels much like a documentary. It’s always a bit of a cold slap to be reminded of how the righteous often struggle with injustice, but rarely will you see it better presented than this.

watch the trailer:

 

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Posted by David Ferguson

WINTER SLEEP (Kis uykusu, Turkey, 2014)

December 18, 2014

 

winter sleep Greetings again from the darkness. Brace yourself for 3 hours and 19 minutes of heavy listening. Yes, the film was named Palme d’Or at the most recent Cannes, and the dialogue is exceptionally well written, but this isn’t one you can just kick back and enjoy. It requires some effort. The two big “action” sequences involve a 10 year old boy tossing a rock and later, his too proud father dropping something into a fireplace. The real action occurs between the ears of the viewer as we assimilate the moods and nuances and double-meanings that accompany the stream of conversations.

Award-winning director Nuri Bilge Ceylan co-wrote the script with his wife Ebru Ceylan, and that probably attributes to the sharpness and poignancy of the relationships between Aydin (Haluk Bilginer) and his wife Nihal (Melisa Sozen) and his sister Necla (Demet Akbag). Much of the film is devoted to one of two things: Aydin making himself feel important, or Nihal and/or Necla voicing their opinions on why he isn’t. While that may sound simple, the wordplay and grounded performances often leave us with the feeling that we are eavesdropping on very private conversations.

Filmed in the breathtakingly beautiful Cappadocia region of Anatolia, the geological spectrum contrasts mightily with the near claustrophobic interior scenes that dominate the run time. In fact, when one of the characters does venture outdoors, viewers will find themselves breathing easier and in relief of the stressful intimacy of other scenes.

Hotel Othello is cut directly into one of the more picturesque hillsides of the area, and owner Aydin spends his days locked away in his office, kicking off his latest article bashing societal and morality changes within the village. Aydin has a pretty easy life, as he has inherited the hotel and numerous income producing rental properties from his father. Aydin’s career as a stage actor also adds a bit to his local celebrity (and ego). He fancies himself an important man with an important voice, and never hesitates to broadcast his charitable offerings.

Aydin lives at the hotel with his much younger wife Nihal, and his recently divorced sister Necla. The dysfunction abounds as none of the three much respect the others, and manage to express this in the most incisive, passive-aggressive ways possible. There are two extended (each pushing 30 minutes) exchanges that are unlike anything you may have ever seen on screen. One has Necla letting Aydin know what she thinks of his articles, while the other has Nihal finally coming clean with her feelings of being held back, emotionally captive. Both scenes are captivating and powerful, yet voices are never raised and facial expressions are crucial. This is intimate filmmaking at its best and most uncomfortable … psychological warfare would not be too extreme as a description.

Conflict is crucial for a dialogue-driven film. Some of the best include My Dinner with Andre, Who’s Afraid of Virginia Woolf?, and 12 Angry Men. These are the type of movies that cause us to study all the subtleties within a scene … not just what is said, but how it is said and how the message is conveyed. Pride, loneliness and despair run rampant through the characters here and the philosophical discussions force each to lay bare their soul.

For so little action, an undercurrent of wild emotions flows through every scene. In addition to the three leads, there is a character named Hamdi (an Islamic teacher/advisor, played by Serhat Mustafa Kilic) who plays the role of peace-keeper and mediator. His constant smile is but a mask he is forced to wear in his role, and I found his character the most painful of all to watch.

The title may be interpreted as either a “hibernation” or “sleep-walking through life’s final stages”, and both fit very well. The hotel provides a cave-like hiding place for Aydin, as he pretends to play his final role – that of an important man in the village. There are some truly masterful moments in the film, and it’s easy to see why it appeals to only a certain type of film goer. Inspired by the short stories of Chekhov (“The Wife”, “Excellent People”), as well as the writings of Tolstoy, Dostoyevsky, and Voltaire, means the viewer is investing emotionally in characters quite full of resentment and oh so dishonest with themselves. It’s an undertaking that is difficult, but does offer the opportunity to test one’s listening skills and ability to read body language. It also comes with wisdom such as … Donkeys lead camels (you’ll have to watch the movie!).

***NOTE: as a caution, there is a scene that could be considered animal cruelty. There is an ongoing investigation into whether a law was broken.

watch the trailer:

 

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Posted by David Ferguson

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