November 24, 2017
Greetings again from the darkness. Joachim Trier continues to deliver projects with his frequent writing partner and collaborator Eskil Vogt that cause us to take note of their intriguing and always (so far) interesting filmmaking. They may not be the fastest workers – OSLO, AUGUST 31 came out in 2011 and it has been over two years since LOUDER THAN BOMBS – but we can’t help but appreciate their original stories and unique vision.
A chilling opening of a father/young daughter hunting trip sets an uneasy tone for the rest of the film. We then flash forward to that young girl heading off to college. Eili Harboe is excellent as Thelma, a quiet young woman leaving home and her protective parents for the first time. Thelma has had a restrictive Christian upbringing and she’s now a withdrawn, socially inept college student, simultaneously anxious to explore her new freedom and guilt-ridden with every new experience.
The school library is the setting for the first chance encounter between Thelma and Anja (Kaya Wilkins). We witness Thelma’s blushing and uneasiness, and soon birds are crashing into the windows as Thelma writhes on the floor in full seizure. The girls cross paths again and the flirtations are followed by a heavy dose of Thelma prayers. This independence and sexual attractions leads Thelma down the ever-progressive road of dancing, booze, drugs (sort of), and sex – the only thing missing is rock ‘n roll. An awkward dinner with her parents (Ellen Dorrit Peterson and Henrik Rafelsen) leads to more guilt and more seizures, as the two appear connected.
Director Trier’s film is not easily categorized. It’s part drama, thriller, romance, supernatural horror, and religious commentary. There are some supernatural similarities to two films from the 1970’s – CARRIE and THE FURY, and the abundance of religious imagery leans heavily towards the former.
Some unusual camera angles and shots add visual interest to what for much of its runtime is an amorous courtship between the two leads. There is an always present cloak of uncertainty courtesy of the extreme helicopter parents and Thelma’s unpreparedness in dealing with adult feelings. We instinctively realize there’s more going on than the parents let on, but these are essentially quiet people who hold much inside. That theme carries over to the movie as a whole, which is a quiet, but sneaky film on the power of thought … both positive and negative.
watch the trailer:
April 29, 2016
Greetings again from the darkness. Sometimes we just can’t “get over it”. Three years after a war photographer dies in a suspicious car accident, her husband and two sons find themselves in various states of emotional distress. Everyone deals with guilt in their own way, but these three seem to be doing anything and everything to avoid actually dealing with the emotional fallout.
Writer/director Joachim Trier (Oslo, August 31) delivers his first English-speaking film with an assist from co-writer Eskil Vogt and a terrific cast. As we would expect from Mr. Trier, it’s a visually stylish film with some stunning images … and the timeline is anything but simple as we bounce from past to present, and from the perspective of different characters (sometimes with the same scene).
The creativity involved with the story telling and technical aspects have no impact whatsoever on the pacing. To say that the film is meticulously paced would be a kind way of saying many viewers may actually get restless/bored with how slowly things move at times. Trier uses this pacing to help us experience some of the frustration and discomfort that each of the characters feel.
Isabelle Huppert plays the mother/wife in some wonderful flashback and dream-like sequences, while Gabriel Byrne plays her surviving husband. Jesse Eisenberg as Jonah, and Devin Druid as Conrad are the sons, and as brothers they struggle to connect with each other … just as the father struggles to connect with each of them. In fact, it’s a film filled with characters who lie to each other, lie to themselves, and lie to others. It’s no mystery why they are each miserable in their own way. The suppressed emotions are at times overwhelming, and it’s especially difficult to see the youngest son struggle with social aspects of high school … it’s a spellbinding performance from Devin Druid (“Olive Kitteridge”).
Jesse Eisenberg manages to tone down his usual hyper-obnoxious mannerisms, yet still create the most unlikable character in the film … and that’s saying a lot. Mr. Byrne delivers a solid performance as the Dad who is quite flawed, and other supporting work is provided by David Strathairn and Amy Ryan. The shadow cast by this woman is enormous and deep … and for nearly two hours we watch the family she left behind come to grips with her death and each other. It’s a film done well, but only you can decide if it sounds like a good way to spend two hours.
watch the trailer: