16th PÖFF: House with a Turret review

Will it ever end... 

Eva Neymann`s nostalgic, shot in splendid black and white, second feature „House with a Turret“ has achieved a momentum in looking back in to the classical Russian cinema aesthetics through the eyes of a child at the end of World War II in Russia. 

Review by Ra Ragnar Novod

As the winner of Grand Prix at the 16th Black Nights Film Festival in Tallinn „House with a Turret“ shows us the true height of Ukrainan cinema presented by second time director Eva Neymann and the co-writer of Andrei Tarkovsky`s „Solaris“ Friedrich Gorenstein. This „war movie“ is told through the eyes of a child returning home with his sick mother and explores the other side of what it means to be a casualty of war. Based on Gorenstein`s autobiographical novel, Neymann has created naturally a very personal story of people returning to their mostly destroyed homes and how one cataclysmic event can change not only people, but also the way they see life.

The war is ending

The story itself is simple. Among thousands of others an 8-year-old boy is on the road towards what used to be their home with his sick mother. Suddenly mother is no more and now orphaned boy is left alone in an unknown destroyed town. No-one is willing to help. Nobody cares. Everybody needs help. Some more than others, but all what is missing, is a willing heart. Their hearts are broken, teared town and abused. There is no room for compassion or empathy. Snow covered and seemingly peaceful scenery is powerfully contrasted with the static and numb residents and the ones who are just passerbyers hoping their homes are better off. 

Through the eyes of a raven 

"House with a Turret“ re-creates the motifs of classical Russian cinema like the works of legendary film-maker Andrei Tarkovsky and even Eisenstein`s understanding of montage. Long shots full of depth are standing still, but are always moving inside. The shots are pieced together with only what the young boy sees. The slow pacing and sharp framework create a restless mood among the casualties of war. The stoic, peaceful landscapes covered by always falling snow grasp the attention as a symbol trying to clense this land of hopelessness. As the boy reaches the train heading home with his new „family“ he is captured by the need and greed of other passengers. 

As the story progresses documentary and visual poetry blend together to give a glimpse of how times long ago are still affecting the way we see history and ourselves. Documenting the mentality of people suffering from loss and grief comes together with the Lithuanian cinematographer`s Rimvydas Leipus still frames and Neymann`s quiet shots. Poetry decouples from reality by presenting shots of lonely old woman selling fresh fish on a snow covered square with no fresh footprints or repetative actions by a small child playing tea party alone on the snowy stairs of an destroyed building.

The way black colours play out like complete darkness and white as sunshine never seen. The visuals summon the feeling of guilt for mankind unwilling to help others in need. But there is light, eventually all is covered in snow and the ones willing are blossoming. Spring is near...

16th PÖFF: Smashed review

Drinking is not a problem, until it is

"Smashed" is an independent character driven comedy-drama about alcoholism by actor, director and screenwriter James Ponsoldt. With rising Hollywood actress Mary Elisabeth Winstead ("Scott Pilgrim vs. the World") and charismatic Aaron Paul (TV smash hit "Breaking Bad") in the leads, this intimate and up-close second film aims high and successfully hits almost every target.

Review by Ra Ragnar Novod

Everybody loves to drink sometimes. It is hardly seen as a problem, but rather a fun way to pass the time with friends after work. Happily married couple Kate (Winstead), a kindergarten teacher, and Charlie (Paul), a stay home writer for magazines, spend their time together at crowded bars or at their messy home with friends. Their happiness is at its highest during hangovers and under the influence. This seemingly working facade starts to crumble. Trust and relationships start to show their true face and suddenly drinking isn`t so funny anymore...

My name is Kate and I`m an alcoholic

The first step for curing any sickness is to admit that you have one. After another hard night Kate embarresses herself before class. To stop any allusions from spreading around school she lies about something random. That small little lie spirals out control and one lie becomes another and another. Everything in her life is in jeopardy – her work and well-being.

On the behalf of her sympathetic and later on troublesome co-worker Dave ("Parks and Recreations" Nick Offerman) she joins Anonymus Alcoholics. These transitions feel out of place and a little rushed. Kate decides to change her life and she does, but with very little conflicts in confonting her addiction. The real pressure comes in with still drinking Charlie. At first he helps her to go through with it and even refuses drinks when meeting with Kate`s out of work and always drinking mother. Soon he starts to miss the old her. She is not fun any more. These two opposites are waiting to explode.

Something`s gotta give

This very intimate and up-close story unfolds in the way it would be expected from a film about addiction: alcoholism, realization, being clean and a turning point – does she continue as before or leaves her old life entirely behind?

These step by step story developments allow the lives of our main characters to be seen in all of its glory and misery. Kate`s recession back into addiction explodes violently and uncomfortably. She spits out every last word about what she thinks about Charlie`s condescending attitude and ends up fighting with her husband. This is the moment where the film truly shines – it`s sad, broken, longing, but still hopeful very human characters.

Apart from Winstead`s powerful and frighteningly realistic performance as Kate and Paul`s utterly fantastic role as a hard drinker and a loving husband Charlie, the constricted structure doesn`t completely flesh out all the characters as expected.

In the end a lot of questions are left hanging in the air. What kind of writer is Charlie? How Kate lives her life without alcohol? What kind of problems Dave has to struggle with? How Charlie feels about the fact his rich parents pay for everything and what is the emotional histoy between Kate and her mother? There are no answers, only little tidbits, but these appendices would give the story and its characters a much deserved push. As a film that doesn`t last even an hour and a half, it is understandable, but it is also unfortunate for the the story and it`s powerhouse performances.  

16th PÖFF: Mona review

Not your ordinary fairy tale

"Mona” is a long awaited feature film by one the most internationally acclaimed Latvian documentary director Inara Kolmane. As a film that has been 7 years in the making and one of four films released in Latvia this year a great pressure is forcing itself upon this debut`s unelikely success.

Review by Ra Ragnar Novod 

This modern fairy tale set in a long forgotten rural town follows a conflicted love story between arrogant prince Tomass (famous Lithuanian actor Saulius Balandis) and a femme fatale princess Mona (rising star Kristine Belicka). Kolmane as a documentary director knows exactly how to maintain balance between realism and fiction. The way she frames the shots, edits the scenes and introduces the characters make it feel real and true. As a result the very vivid and dream like fairy tale elements can`t properly work their way into the story. Kolmane succeeds in telling a rapidly changing modern love story about the choice between what we deserve or need in order to keep on going. 

The forgotten ones 

The story begins like any other fairy tale. A handsome prince Tomass arrives in the village. Meeting a young and mysterious beauty Mona he is determined to save her from this wretched life and planning to bring her to his kingdom. First obstacles arise when the girl refuses to his charms and the whole village slowly turns against him. The realistic undertone comes in when we first see the forgotten and half-empty town. The realism is quickly contrasted with travesty filled with runaway cows and frequent heavy metal parties. The prince came to this god forsaken place after the old owner of a big mansion dies and his inheritage went straight to unwelcome Tomass, a imperious big shot from the capital city Riga. 

Not every fairy tale ends well

The mysterious and enigmatic Mona is in the center of everything. She is what most men want – beautiful and sexy fling. She has three choices: a businessman from big city, local thugish butcher or a former war hero, but now a drunkard. The butcher wants to have her, the drunkard wants to marry her and the businessman needs to own and then save her. The truth lies in her wish to be what they actually need – lover and a partner. The problem also lies somewhere else. She doesn`t know what she wants from life and when she eventually does all the men in her life are already broken, beaten or scarred. 

They way Mona lingers between lust and love, dreams and wishes creates a kind of unexplainable aura around her. In greek “Mona” means “solitary” or “one”. She indeed is solitary. This kind of puzzling and always moving storytelling leaves a feeling of unease. There is always the idea that even after all the events between her and the men in her life. She as a person remains a mistery. A beautiful mistery. 

People get hurt, discoveries about Mona`s past are made and several stories interwine with deadly concequences, but still the attitude towards Tomass or any other character remains on the same level as the first impression of them. The drama, the suspense, the fairy tale and the tragedy is all there. All that is missing is the feeling of captivating experience.

16th PÖFF: The Sessions review

My sessions with love

In Ben Lewin’s “The Sessions”, paralized Mark O`Brien (indie film star John Hawkes) dreams of what is like to be a real man. He’s sick, but that’s not the problem. His real concern is that he has never known love… 

Review by Ra Ragnar Novod 

The story of Mark O`Brien has been on screen before: an Oscar winning short documentary "Breathing Lessons: The Life And Work Of Mark O’Brien”. Part of what makes “The Sessions” different is that Ben Lewin himself is a survivor of polio. Polio isn`t just paralysis. Mark feels everything, but can`t move and needs machines to breath. He can`t even scratch his nose when the cat sneaks around him at night. The film will probably be a frontrunner at the 2013 Academy Awards. The main acors John Hawkes, Helen Hunt and William H. Macy make the film stand out as a spectacular achievement.

This is not a tale of woe 

As one of those films in the long list of heartbreaking tales about disability, “The Sessions” never tries to present itself as a story of a cripple, asking for our compassion. Lots of movies about this subject focus only on the misery and on the hardships. Mark`s tale of woe avoids obviously sad and heartbreaking parts deliberately and replaces them with something completely new. Mark`s disabilty isn`t his body. It`s his mind. He is 38 and has accomplished more than most of healthy men, for instance by “writing” poetry and articles. He is happy the way he is until the moment he starts to feel love. Love for women.

Love is a journey 

After firing his old obnoxious caretaker and looking through many possible candidates Mark finally meets his new assistant: a young, passionate and beautiful brunette Amanda. She sees him as man, as friend and as a bright mind. Mark is surprised. He has never felt that way. They spend time together and even go shopping. For the first time, Mark experiences his first crush and also devastating heartbreak in his journey to love. Mark is a religious man, at least he tries to be. He hasn`t given up on faith, although some would say faith has given up on him. Before Mark even starts to try anything he confesses his sins and wishes to naturally very surprised, but still open minded father Brendan (William H. Macy). After many long and awkward pauses father Brendan gives his blessing and Mark`s life is suddendly at a turning point. 

There is always the first time 

Here comes Cheryl, a sex surrogate played by always fabulous Helen Hunt. A sex surrogate is someone who is specialized to satisfy the needs of those more unfortunate. Her new “patient” is naturally very nervous and always panicking. Another love story begins... Their sessions are awkward and strange, at first, but eventually become intimate and passionate although the sex surrogate is supposed to stay neutral. Cheryl starts to fall for a man who besides his disabilty loves life more than any other. 

The comedy and the humor isn`t played out with the awkard thought of them having sex, but instead Mark`s sense of humor and the way he sees life. He affects others around him in many different ways. He maybe different, but his disabilty made him who he was – a man of compassion and wisdom.

16th PÖFF: The Impossible review

The great waves of human spirit and natural disaster

There hasn`t been many films about the events of the 2004`s Indian Ocean earthquke. With the help of main actors Naomi Watts and Ewan McGregor "The Impossible", a second film by the Spanish director Juan Antonio Bayona, shows us that in time of crisis it is up to us to decide what to do with the time given to us.

By Ra Ragnar Novod

Bayona falls in line with other Spanish auteurs who started or are still continuing their careers with psychological horror films. For example directors like Alejandro Amenabar ("The Others", "The Sea Inside" and "Agora") or now famous Hollywood director, writer and producer Guillermo del Toro ("Cronos", "The Devil`s Backbone", "Hellboy" and "Pan`s Labyrinth"). Bayona started his career with an outstanding debut "The Orphanage", produced by Guillermo del Toro, but as for his second feature, he has done something competely different. He has created a very personal, but at the same time universally appealing story set among the rubbles of countless lives unfulfilled.

The shape of things to come

The story begins with an introduction into the lives wealthy Spanish couple Maria (Watts), a former doctor and now a housewife, and Henry (McGregor), a businessman worrying about losing his job, spending their vacation with three children in Thailand. Their pre-teen son Lucas (Tom Holland) doesn`t want anything to do with his playful younger brothers. He acts out like children in his age usually do.

Bayona knowingly plays with different elements of fear like for example Maria`s fear of flying ot the very first shot. It is pitch black, only the rumbling sound grows higher and higher until it explodes into a passing plane. There is always a kind of prelude of things to come playing in the backround warning us about the incoming storm.

Then it arrives. Suddenly this paradise is erupted by a powerful tsunami. Maria and Lucas are blown away from Henry and two younger sons. Not knowing what actually happened, the fear and hopelesness starts to creep in. All their previous quarrels are wiped away. Only survival remains.

Horrific realism

As a horror film director Bayona focuses on the characters and their individuality, but as a grand and emotional storyteller he appeals only to the universal or somewhat cliched way to tell the story of this family. Perhaps this was the intention: to show how one story belongs to everybody.

"The Impossible" is partly divided by three main characters: the illuminating journey of Maria and Lucas, Henry`s desperate search for them and finally Lucas, who goes through different phasis of acceptance. He almost drowns and in fear losing his mother he completely neglects the needs of others. While injured and ready to pass out, Maria still tries injects hope into his son by encouraging him to help others.

It is not the emotional compassion that captivates, but rather seeing this family suffer in the unkown. Sometimes you might find yourself wandering how much can one human being tolerate before breaking point. The film truly shows how little we are compared to a force like this.