The Berlin film festival’s brochure notes for Angela Schanelec’s new puzzler of a movie map out some of the action: a 13-year-old boy who, after having gone missing for a week, returns home without a word. His father died two years ago and his mother, Astrid (Maren Eggert), struggles to confront single motherhood as her life stutteringly gets back to normal.
But these plot points have to be wrung from the clutches of a willingly opaque film, and most comprehensive interpretations will involve hardy concentration and perhaps multiple viewings. For this is a film that stages itself in non-linear narratives, in severe, clinical long takes, in metaphorical observations, and even extended sequences of Shakespearean re-enactment–a film whose aesthetics may be intensely controlled and yet whose narrative is sprawling with meanings and readings.
There is no dialogue in the first ten minutes, and only intermittently do characters say...
But these plot points have to be wrung from the clutches of a willingly opaque film, and most comprehensive interpretations will involve hardy concentration and perhaps multiple viewings. For this is a film that stages itself in non-linear narratives, in severe, clinical long takes, in metaphorical observations, and even extended sequences of Shakespearean re-enactment–a film whose aesthetics may be intensely controlled and yet whose narrative is sprawling with meanings and readings.
There is no dialogue in the first ten minutes, and only intermittently do characters say...
- 2/15/2019
- by Ed Frankl
- The Film Stage
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