Border (2018)
Tina (Eva Melander) is a customs officer who works at the Swedish border. She can sense human emotions and can catch offenders. She was born with facial dystrophy. She is a freak, a mutant as if she had escaped from the Texas Chainsaw Massacre, and she gets equally mocks and frights. One day, Tina meets Vore (Eero Milonof), who is of her breed. She feels a strange attraction and throws herself into the abyss of passion. Iranian-Danish director Ali Abbasi has blown the character's primacy to the size of a bloody-slippery amalgam of (anti) abstractions that include tough to be described, deformed genitals, hiist-foetuses as if taken from a Massive Attack clip and sexual acts that can recall pictures by Hieronymus Bosch.
Tina says: "As a child, I thought I was special. I had all these ideas about myself, but when I grew up, and I realised I was just a human being. An ugly, strange human with a chromosome flaw." Vore reassures her that there is nothing wrong with her and adds: "Humans are parasites that use everything on earth for their own amusement. Even their own offspring. The entire human race is a disease, I'm telling you."
This is only a single part of the interesting dialogues in the film that provoke, desacralise and rearrange the chaos of the narrative. The makeup and special effects are shocking. The film has a lot of industrial vibes, a Hypno-atmosphere, and infernal tones. You will also feel the chords of Let The Right One In from Lindqvist, which are typical for this part of Europe.
Romance and folklore in this fairy-tale film are mixed with concepts for tolerance, love, crime, longing for the realization of the being, rediscovery of humanity, choice and, of course, the notion of the border! The border is the gathering point in the film. Where is the border of humanity? Where is the border in communication? Where is the border of cloaking of the past (Tina and her father) These are questions that everyone has to decide for themselves while watching the movie.
Tina (Eva Melander) is a customs officer who works at the Swedish border. She can sense human emotions and can catch offenders. She was born with facial dystrophy. She is a freak, a mutant as if she had escaped from the Texas Chainsaw Massacre, and she gets equally mocks and frights. One day, Tina meets Vore (Eero Milonof), who is of her breed. She feels a strange attraction and throws herself into the abyss of passion. Iranian-Danish director Ali Abbasi has blown the character's primacy to the size of a bloody-slippery amalgam of (anti) abstractions that include tough to be described, deformed genitals, hiist-foetuses as if taken from a Massive Attack clip and sexual acts that can recall pictures by Hieronymus Bosch.
Tina says: "As a child, I thought I was special. I had all these ideas about myself, but when I grew up, and I realised I was just a human being. An ugly, strange human with a chromosome flaw." Vore reassures her that there is nothing wrong with her and adds: "Humans are parasites that use everything on earth for their own amusement. Even their own offspring. The entire human race is a disease, I'm telling you."
This is only a single part of the interesting dialogues in the film that provoke, desacralise and rearrange the chaos of the narrative. The makeup and special effects are shocking. The film has a lot of industrial vibes, a Hypno-atmosphere, and infernal tones. You will also feel the chords of Let The Right One In from Lindqvist, which are typical for this part of Europe.
Romance and folklore in this fairy-tale film are mixed with concepts for tolerance, love, crime, longing for the realization of the being, rediscovery of humanity, choice and, of course, the notion of the border! The border is the gathering point in the film. Where is the border of humanity? Where is the border in communication? Where is the border of cloaking of the past (Tina and her father) These are questions that everyone has to decide for themselves while watching the movie.