Kotwica's Black Ice (2007) manages to tackle almost every complexity of person-hood, through the route of infidelity. Middle-aged, gorgeous, and intelligent Saara discovers that her husband Leo has been unfaithful on her birthday. After finding herself surrounded with motherhood at work the next day, she decides to follow Leo's other woman, Tuulli. However, Saara unexpectedly finds herself falling headfirst into a deep friendship with Tuulli. As their friendship unfurls, Saara learns both sides of Leo and Tuuli's relationship. Saara takes Leo back for a time. Ultimately, however, when Leo dies unexpectedly in angry pursuit of what he thinks is Saara's lover (but is actually, in fact his own), Saara is confronted with the loss of Leo and the necessity to make peace with Tuulli. Leo's former lover is pregnant with his child, and despite Tuulli's attempts to rid herself of the child, she winds up on Saara's operating table. The film here comes full circle as Saara saves both Leo and Tuulli's child as well as Tuulli herself.
The cinematic choices made by Kotwica that give the film an overall dark and empty feel act as a manifestation of the inner emotions of Saara, and eventually of Tuulli. Treated wrongfully by the same man, the two women want nothing more than to hate one another. And yet, they find themselves bonding over their experiences of Leo's failure. A feminist message can here be found for the viewer. Subjected to a more than dark fate, Leo is ultimately held responsible for his wrong-doings. And while these two women are left to bear the repercussions of his actions (laboriously bringing his baby into the world, finally confronting each other with honesty, grappling with maintaining a friendship), they find that they are bound to one another in a way they never thought possible. We see the reflection of their dynamic and emotions most in the scene where Tuulli returns home with "Clara" (Saara) after a night of depressed partying. The house is dark in color, yet harshly lit, giving it a museum-like feel rather than a homey one. Additionally, the wind howls loudly outside. The harsh winter taking place around the characters for the duration of the film climaxes in this scene even though, interestingly, they are inside. Working to survive in the vortex of a life they have found themselves very much within, Tuulli and Saara must confront the truth of their relationship, as well as the truth of their relationships with Leo.
Thematically, Kotwica chooses to divulge the intricacies of infidelity through the exploration of the human form in every stage - infancy, nudity, youth, middle-age, vulnerability, sex, death all sit at the core of Kotwica's exploration of this theme. He even goes so far as to push the boundaries between friendship and homosexuality, if even for a brief moment. The recurring setting of locker rooms is a means by which Kotwica ties together further the characters of Saara and Tuulli. Where else is one most vulnerable than a locker room? Or a bedroom? Or out in the harsh elements of winter? Each of these are spaces in which we find our characters most often. At the close of the film, we even see Tuulli on the operating table - entirely submissive to and dependent upon Saara, who surprisingly chooses to save Tuulli and the baby's lives rather than "accidentally" take them.
We see on many occasions that Kotwica smartly ties together both unlikely characters, as well as their emotions, with the environment within which they exist. The reflection of the characters' emotions in the film's mise-en-scene intelligently and effectively ties them together and tells the viewers more about their individual identity as their response to their situation is revealed in this way. Kotwica's choice to depict the characters through their environment provides the viewer with a full understanding of how infidelity can completely surround and engulf a person.
The cinematic choices made by Kotwica that give the film an overall dark and empty feel act as a manifestation of the inner emotions of Saara, and eventually of Tuulli. Treated wrongfully by the same man, the two women want nothing more than to hate one another. And yet, they find themselves bonding over their experiences of Leo's failure. A feminist message can here be found for the viewer. Subjected to a more than dark fate, Leo is ultimately held responsible for his wrong-doings. And while these two women are left to bear the repercussions of his actions (laboriously bringing his baby into the world, finally confronting each other with honesty, grappling with maintaining a friendship), they find that they are bound to one another in a way they never thought possible. We see the reflection of their dynamic and emotions most in the scene where Tuulli returns home with "Clara" (Saara) after a night of depressed partying. The house is dark in color, yet harshly lit, giving it a museum-like feel rather than a homey one. Additionally, the wind howls loudly outside. The harsh winter taking place around the characters for the duration of the film climaxes in this scene even though, interestingly, they are inside. Working to survive in the vortex of a life they have found themselves very much within, Tuulli and Saara must confront the truth of their relationship, as well as the truth of their relationships with Leo.
Thematically, Kotwica chooses to divulge the intricacies of infidelity through the exploration of the human form in every stage - infancy, nudity, youth, middle-age, vulnerability, sex, death all sit at the core of Kotwica's exploration of this theme. He even goes so far as to push the boundaries between friendship and homosexuality, if even for a brief moment. The recurring setting of locker rooms is a means by which Kotwica ties together further the characters of Saara and Tuulli. Where else is one most vulnerable than a locker room? Or a bedroom? Or out in the harsh elements of winter? Each of these are spaces in which we find our characters most often. At the close of the film, we even see Tuulli on the operating table - entirely submissive to and dependent upon Saara, who surprisingly chooses to save Tuulli and the baby's lives rather than "accidentally" take them.
We see on many occasions that Kotwica smartly ties together both unlikely characters, as well as their emotions, with the environment within which they exist. The reflection of the characters' emotions in the film's mise-en-scene intelligently and effectively ties them together and tells the viewers more about their individual identity as their response to their situation is revealed in this way. Kotwica's choice to depict the characters through their environment provides the viewer with a full understanding of how infidelity can completely surround and engulf a person.