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.