★★★★ / ★★★★
Directed by Fredi M. Murer, “Vitus” tells the story of a boy (Fabrizio Borsani, age six, Teo Gheorghiu, age twelve) who had a natural gift for mastering anything he set his mind to. Having realized that their son was a genius, Vitus’ parents (Julika Jenkins, Urs Jucker) did everything they could to foster their son’s gift, specifically his skills in playing the piano. However, Vitus didn’t like the feeling of being forced to do something so he rebelled and took refuge in his grandfather’s home (Bruno Ganz) whenever he felt helpless over things that were happening around him. This film completely transported me; it gave me that overwhelmingly wonderful feeling that was similar to when I saw the masterful “Le voyage du ballon rouge” for the first time. There was a certain lyricism to “Vitus” that trancends the cinematic medium which was strange because the storytelling was (arguably) old-fashioned. At first I thought it was just going to be about a child prodigy who desperately wanted to be normal but it also turned out to be about parents who expected so much of their only child, a love between a child and his babysitter, the bond between a grandfather and his grandchild (it made me wish my grandfather was still alive), balancing piano and aviation (which reminded me of my love for medicine and movies), and having to choose to follow one’s destiny versus letting go. In a nutshell, it was about growing up and living in a world that’s not truly equipped in fostering people with IQs of around 180. One of my many favorite scenes includes the scene when Vitus and his friend were bicycling in a circle. Whoever was in front of the camera, we heard the music they were listening to–Vitus and his classical music (without earphones), the friend and his hip-hop music (with earphones). I’ve never seen anything like it (or perhaps I have but the others pale in comparison) and it completely took my breath away. There were many artistic shots like that dispersed throughout the film and they constantly took me by surprise. In fact, I felt every emotion in the emotional spectrum from anger toward the mother who crossed the line between helping her child reach his potential and pushing him way too hard, to feeling warm when Vitus tried to get the attention of someone from his childhood, to complete awe whenever he played the piano with such passion and confidence. I’m surprised not many people have heard of this film because I think it’s so much better than popular foreign pictures like “La vita è bella.” I loved the way this film wrapped everything up because I felt like it went complete circle without being too cheesy or sentimental. In the end, it made me feel like I could accomplish anything. Years from now, when I do have a children of my own, this is one of those films I’ll be watching with them because it’s nothing short of wonderful every step of the way.
Paradise Now (2005)
★★ / ★★★★
Coming into this film, I expected a typical war movie with a lot of violence because it was essentially about suicide bombers so I was surprised when it turned out to be quite low-key yet still have some sort of power that drives the story forward. Two friends named Said (Kais Nashif) and Khaled (Ali Suliman) were ordinary mechanics but later decided to take on a mission when a friend (Amer Hlehel) convinced them that there is a way for them to lead a meaningful life. Frustrated with the current state of things, they made their decision without putting much thought into it. However, they found themselves toying with a plethora of emotions as they had a final dinner with their families and lying about the nature of the job they’ve taken in Tel Aviv. My problem with this film was not the story or its lack of tension. It’s just that even though I felt bad for the two lead characters, I didn’t feel connected to them because I didn’t agree with the paths they’ve chosen. And I don’t think we’re supposed to agree with them. Maybe we were simply supposed to sympathize with their circumstances. The highlights of the film include the scene where they recorded messages to their families explaining why they chose to do what they did and the scene where the lady (Lubna Azabal) that Said was romantically interested in told Khaled that their idea of a paradise was only in their heads and could never be a reality. I admired this film’s intelligence. Instead of taking us to the path of the obvious (for instance, suicide bombers being total heartless monsters), it managed to offer an explanation on why they felt like they were obligated to perform such drastic actions. The characters often talked about their religion. Since I don’t identify myself with any religious group, I guess sometimes it’s difficult to understand that some people consider their religion very seriously. I can imagine that it’s also just as difficult for someone who identifies with a very different religion to relate to the characters in this film. However, I did think that sometimes this movie had moments of preachiness; I preferred it when Hany Abu-Assad, the director, let the images do the talking so it was up for the audiences to interpret what they think of the movie’s message. “Paradise Now” is a small movie with powerful moments sprinkled throughout and brilliant use of contrasting images and ideas. I just wish it had been more consistent.
The White Ribbon (2009)
★★★ / ★★★★
“Das weiße Band – Eine deutsche Kindergeschichte” or “The White Ribbon,” written and directed by Michael Haneke, was a stunning black-and-white picture that tried to offer some explanations regarding the cruelty of the Nazis in the 1930s and 1940s. Although I liked this film because it was on a league of its own, I couldn’t help but feel very disappointed because it was wildly uneven. Having a pattern of a great scene followed by two or three banal scenes hindered this film tremendously. The movie started off with a man on a horse tripping on an almost invisible rope. The whole small village was stunned by the horrible crime but little did they know that it was only the beginning of such monstrous acts. Throughout the film, with many main and side characters, we were given the chance to play guessing games on who might have committed those crimes. Was it the adults who were tired of the Baron and his family? Was it the children who were abused and mistreated by their parents? Or was it nobody from the village and all of it were just random acts of violence? Half-way through the picture, I grew exhausted of the film because the payoffs were few and far between. I could feel something sinister going on under the surface but the director either was too afraid to tackle the issue head-on or he was simply being pretentious by masking everything in “subtlety.” I didn’t understand what he was trying to do because his execution was so vague. I thought his goal was to explain possible reasons why unnecessary evils were committed in the ’30s and ’40s because it was promised by the narrator. Instead, we get scenes like a doctor having an affair or the Baron’s wife confessing her transgressions to her husband. When I look back on it, I felt like this movie could have been ninety minutes long and it would have been more interesting and more powerful. The best scenes were definitely the ones that featured the way different parents disciplined their children. Not only did those scenes say something about the parents but it told the audiences something about the children–the manner in which they immediately reacted to such punishments and later on when faced with decisions with similar consequences. I was able to think back to the child psychology courses I’ve taken and think about how repression, forceful application of shame (without the kids fully understanding why what they did was wrong), and one-dimensional way of raising children could impact the kids in both short-term and long-term. In that respect, I thought the movie did a good job. It’s just that the technical elements didn’t quite click with me because it lacked focus. For a movie about brewing evil, it didn’t have enough tension so it wasn’t exciting. It was interesting but in a monotonous manner that requires a lot of patience.
★★ / ★★★★
“Bakjwi” or “Thirst,” directed by Chan-wook Park, was about a priest (Kang-ho Song) who knowingly participated in a fatal experiment in order to help other people who might be infected with the disease in the future. Surely enough, the experiment killed him but he later returned from the dead as a blood thirsty vampire. I couldn’t quite enjoy this movie as a whole because it was very odd which, frankly, I did not expect. I thought it was going to be a pretty standard horror film about a vampire. Others may like the fact that the movie tried to pull off some comedy here and there but I found it to be very distracting. Maybe the humor was lost in translation because I’m not Korean so I didn’t think it was funny at all. I found the scenes with the family (Ok-bin Kim, Hae-sook Kim, Ha-kyun Shin) to be very dull and redundant. And the whole “romance” between Song and Ok-bin Kim did not persuade me at all that they were “in love.” There were far too many–from what it felt like–obligatory sex scenes that didn’t quite move the story forward. As realistic as they were, they didn’t do anything for me; I was more interested with the scares that it had to offer. I wanted to know more about what it meant for the lead character to be a vampire and the struggles he had to go through since he chose to live by certain codes. One of the most important of those codes included not killing people because God saw it as a mortal sin. Did he, when stripped with religion, inherently thought it was wrong? After all, he was no longer a “normal” human. I didn’t really get my questions answered because the movie insisted on spending time with that annoying family. The priest was a very interesting character because I don’t know a lot of vampire characters who remain loyal to his religion after death. However, I very much enjoyed the last forty minutes because I finally felt that I was watching a film that was edgy, suspenseful and mysterious. I don’t want to spoil anything because I did not see certain things coming but the events that happened in the last third of the movie really fascinated me. I felt like the movie finally came alive especially the beautiful outdoor scenes. It had this mesmerizing glow that glued me to the screen. If only the level of filmmaking was the same as the last third of the picture, I would have given “Thirst” a recommendation. With a running time of about two hours and ten minutes, it certainly felt that long or maybe even longer.
The Best of Youth (2003)
★★★★ / ★★★★
“La meglio gioventù” or “The Best of Youth,” written by Sandro Petraglia and Stefano Rulli and directed by Marco Tullio Giordana, runs for six hours long but I was so invested in all of the characters so I wanted it to run longer. Its focus was on two brothers named Nicola (Luigi Lo Cascio) and Matteo (Alessio Boni) and how the choices they made back when they were young in the 1960s have impacted their respective futures all the way to the 2000s. This is one of those films where it’s difficult to describe what it’s about because it’s pretty much about everything. Let’s just say that this is about life and the beauty that comes with it–how cruel yet generous fate can be, how ironic situations are despite the sharply fluctuating sadness and comedy, and how the people we meet can help shape who we are. Yes, it’s about two brothers who are very different from each other (one became a psychiatrist and one became a cop) but what I liked about the picture is that it didn’t paint them as rivals. In fact, they genuinely loved each other even though their political views and how they interpreted situations that faced them were vastly different. I also liked the way the director effortlessly sewn in the Italian history into their lives. I didn’t find it at all distracting because the movie always worked at a personal level. There was always something going on on the surface and underneath it all was a lot of hurt, disappointment, regret and what ifs. I was also amazed with how the movie started off with the actors looking really young and look of the picture reflected that of the 1960s. But as we made our journey through the 1970s, 1980s, 1990s and the 2000s, the same actors looked older and the look of the movie became sharper and more modern. It was fascinating to watch and I couldn’t take my eyes off the screen. As the movie went on, the focus shifted from the brothers to their parents, siblings, lovers, and children. I really felt like I was watching someone’s life unfold before my eyes. As the characters often reflected on a certain memory when they were younger, I actually had a picture on which memory they were talking about as well as the circumstances that surrounded that event. It’s so much more interesting than in other films where a character talks about his or her memory and we can only build from what he or she is saying. I’m so happy to have seen “The Best of Youth” because not only did it inspire me to love the people in my life more but it also gave me an idea of what I could possibly write about for my personal statement for medical school. This film is a treasure and it should not be missed by anyone who loves stories that deftly cover several decades.
Fanny and Alexander (1982)
★★★ / ★★★★
Ingmar Bergman’s semi-autobiographical film about siblings Fanny (Pernilla Allwin) and Alexander (Bertil Guve) experience a life of cruelty after their mother (Ewa Fröling) marries a minister after the death of their father (Allan Edwall). At first I didn’t understand what the film was trying to accomplish during the first fifty minutes because it kept focusing on a family reunion during a Christmas party. The title suggested that the story was about the two siblings so I was a bit frustrated. But it later occured to me that introducing the family and relatives (especially the grandmother played brilliantly and passionately by Gunn Wållgren) was important because of the many powerplay that would occur later on when the two children and the wife moved into the minister’s house. The picture reminded me of Stanley Kubrick’s asthetic perfectionism (especially in “Barry Lyndon”) because Bergman’s attention to detail was inspired. The movie did not just look great but the director was able to use the look of the film to signify emotions and say the unsaid by using varying colors and contrasting images. To me, the most interesting parts of the film were the silent moments when particular characters would stare off into space but look so solemn at the same time. The poetry in the subtle facial expressions and body movements said so much that it sometimes did not need dialogue. Also, by using such technique, both the story and the performances felt very natural. I also liked the fact that the movie was not monotonous. With movies that contain childhood abuse and suddenly losing one’s comfort for the harsh reality, they sometimes borderline the melodramatic. In here, there were pockets of humor, suspense and even a genuine sense of being with family. At the same time, the movie allows us to see through Alexander’s eyes; that is, when he “sees” ghosts, makes up stories, and even when he starts losing faith in a higher power. All of those elements worked together to give us a complex portrait of childhood. I’ve heard that this film was originally a six-hour miniseries and I’m very much interested in seeing the whole thing so that I could observe the family dynamics a lot more. “Fanny and Alexander” is not the kind of movie that most people would necessarily warm up to or understand right away. But with a little bit of patience, open-mindedness and insight, one will most likely recognize its brilliance.
A Christmas Tale (2008)
★★ / ★★★★
I love movies about depressed and angry people trying to deal with their own issues especially during the holidays but there’s something about “Un conte de Noël” or “A Christmas Tale” that just did not click with me. I don’t know whether it’s because I expected too much since the picture was critically acclaimed but what I am sure about is that I felt like there were far too many distracting technical elements that didn’t really fit in with the emotional turmoil that the characters were going through. I thought the tone was largely melancholic with a spice of irony here and there but there were times when it would detach from the tone (such as the characters going to a disco club… for no reason) and the result was almost jarring. It’s strange because even though I connected with the characters, especially Catherine Deneuve who found out that she had blood cancer and Emile Berling as the schizophrenic teenager, there was still an air of disconnect between me and the film. There were also some storylines that I thought could have used more development such as the tension between Anne Consigny and Mathieu Amalric. We get to see them want to cut each other’s throats (I thought the courtroom scene was exemplary) but we never really got to see what made them siblings. After all, in order to us to really hate someone that badly, we must care (or must have cared) for them in some way. I waited for their hatred to reach a maximum point and reach some common ground but it didn’t really happen. Granted, sometimes that doesn’t happen in real life but I thought it would have taken the film on a new level since the two of them received a lot of the movie’s running time. I also thought Emmanuelle Devos was a bit underused and exited too quickly when I was just about to want to get to know her more. There was something so elegant about her that it was almost mesmerizing. This movie did not at all remind me of my family and relatives during Christmas. In fact, the characters in this film and the people in my life are almost complete opposites. For one, none of us can stop talking during Christmas and laughter (and joyous yelling) is all around. And I guess that’s why I was so interested in watching this picture’s family dynamics. Written and directed by Arnaud Desplechin, “A Christmas Tale” definitely has some power behind it but it came up short because instead of me loving the family despite of their flaws and illnesses, I merely liked them (with some reservations).
The Devil’s Backbone (2001)
★★★★ / ★★★★
“El espinazo del diablo” or “The Devil’s Backbone,” written and directed Guillermo del Toro (“Hellboy,” “Pan’s Labyrinth”), was about a newcomer in an orphanage named Carlos (Fernando Tielve) and the dark secrets that were about to unfold during his short stay. I love the fact that the film started off trying to define what a ghost was. When the proposed definitions seemed unfit, it jumped into the story and actually showed us what a ghost could be. Of course, by the end of the picture, it was astute enough to let the audiences define for themselves what a ghost was after we’ve seen the events that happened in the orphanage. The three main adults in the story set in the middle of the Spanish Civil War included a lady with a prosthetic leg (Marisa Paredes), a doctor (Federico Luppi), and a caretaker (Eduardo Noriega). Stuck in the orphanage for so long during the war, tension begins to arise and secrets begin to mount among the three. Caught in the middle of it all were the children such as Carlos and Jaime–as one of the tougher older kids with a secret (Íñigo Garcés) involving a ghost named Santi (Junio Valverde). The organic manner in which all of the various elements came together and the extremely atmospheric orphanage was exemplary. By that I mean that the shadows in the backdrop looked alive and haunting even if the focus was supposed to be on a character’s facial expression as he discovers something morbid or shocking. I admired del Toro’s use of foreshadowing involving a missile that landed but never exploded though that event marked the day where everything changed. Each scene had some kind of purpose which began to make more and more sense as the film progressed. I also liked that half of this film was more of a supernatural thriller with elements of mystery and the other half was a story of survival. The director balanced the tone so well that each half complimented each other and ended up with a work that was touching, heartpounding and quite clever. There were certain shots in this picture that stood out to me. One of them was whenever the camera was fixated on a character’s face in a close-up as something terrible happened, the lens would zoom out and show a beautiful and peaceful background. Even though techniques like that stood out to me, it never distracted me from the film. In fact, it enhanced my experience because the events that transpired in “The Devil’s Backbone” often had a silver lining. I saw this film back in 2002 or 2003, liked it, forgotten about it, and since then became a sleeper hit. I’m not surprised at all because it was so well done. There’s still a lot of people out there that haven’t seen the movie and they really should because it takes ghost stories on a new level.
After the Wedding (2006)
★★★★ / ★★★★
There’s not a lot of movies out there than can me make flat-out cry and I’m happy to say that this film took my tear ducts by surprise. Written and directed by Susanne Bier, “Efter brylluppet” or “After the Wedding,” stars Mads Mikkelsen (who I couldn’t believe was the villain in “Casino Royale”) as a Danish man who has an admirable passion to provide a better life for poor children (often orphans) in India. He one day gets an invitation from a businessman (Rolf Lassgård) to visit Denmark in order to discuss a possible multimillion donation that can immensely help the children from India. However, a business deal with a lot of strings attached eventually becomes a story of rediscovered connections, especially when the lead character lays his eyes on the businessman’s wife (Sidse Babett Knudsen). Just when I thought this picture was going to go one way, it veered into a different direction while still keeping that organic tone that made it feel like it could happen in real life. While it might have been melodramatic at times, I thought it worked because the story was about the characters and how they collided but at the same time challenged by their own set of beliefs when faced with certain situations. It’s difficult to not give things away but it’s crucial because I didn’t know much about this film coming into it. When I realized how great it was with how one thing led to another (kind of like a domino effect), not only did I think the writing was well done, I also felt the director’s passion in her work. As for the film’s acting, I thought it was simply superb. I was impressed with how the actors communicated with their eyes during the silent moments and the subtleties in their words when they say one thing but really mean another. Even though the words spoken were (most of the time) in a foreign language, I thought the emotions portrayed transcended language barriers. The emotions I felt throughout this film were so real and it really made think about my relationship with the close people in my life and how I should value them more. I highly recommend this movie especially to people who are looking for an effective dramatic work. This was nominated for an Academy Award for Best Foreign Language Film back in 2006 and I think it’s more than deserving. The whole experience was quite moving.
Exterminating Angels (2006)
★★ / ★★★★
“Les anges exterminateurs” or “Exterminating Angels,” written and directed by Jean-Claude Brisseau, tells the story of a filmmaker (Frédéric van den Driessche) who wants to create a movie which documents what it takes for women to reach intense carnal pleasure. Two fallen angels (Margaret Zenou and Raphaële Godin) helps him on his project by whispering to other women (Lise Bellynck, Maroussia Dubreuil, Marie Allan) that they should audition and engage in sexual acts with each other. Even though the premise of the film was unconventional (to say the least), I thought it was interesting all the way through. It didn’t quite explore its emotional core but I appreciated the many ideas it had. I have no problem when it comes to full frontal nudity and even very realistic sexual acts but I thought that this film had way too many of those scenes. I thought the movie had a certain special glow whenever the characters were just talking to each other. Just like real people, each of the characters had a mask that sometimes wavered and the audiences got a peek of the characters’ true motivations and what they were really thinking and feeling instead of what they wanted the world to see. I also thought it was interesting how Driessche’ character failed to use a camera time and time again to record his supposed project about female sexuality. It then begs the question on whether he really did just use the girls for his own pleasure or if he really did care about them in some way. I admired this picture’s daring nature to tackle certain taboos head-on and that’s probably why I forgave its inconsistencies. It’s better than watching a mainstream project that puts a veil on sexuality because this one is not afraid to show the dark side of humanity and how passion sometimes blinds us and eventually might destroy us. But I should note that “Exterminating Angels” will be difficult to sit through, especially for those who are not used to foreign cinema and art-house pictures. Some may label this film as pretentious or even pointless. But what couldn’t be denied is the fact that it was raw, had some sort of brain behind it, and it transgressed may lines that most movies dare not cross.
The Return (2003)
★★★ / ★★★★
“Vozvrashcheniye” or “The Return,” directed by Andrei Zvyagintsev, was about two boys’ (Ivan Dobronravov, Vladimir Garin) response and ways of coping when their father (Konstantin Lavronenko) who abandoned them twelve years ago suddenly came back. This movie really took me by surprise because I thought it was going to be more about the siblings’ relationship: the rivalry between them, their quest to find their identities and to learn how to be secure about who they were. When the father came back, I suddenly realized that the film aimed to be so much more. Although the brothers were pretty much on the same physical journey with their father to head to a place unknown to the audiences, their emotional and psychological journeys were distinct and fascinating. The older brother (Garin) accepted his fathers return while the younger brother (Dobronravov) was more reluctant and cautious. His doubt became so strong to the point where he expressed to his brother that the man who returned might not be their father–the father that they came to recognize in an old childhood photo. This alarmed me because I wondered if he was right. After all, that gut feeling in us is sometimes right, especially when circumstances are dire. I had to question about the father’s intentions because of the way he treated his sons. Even though they were both stubborn, if I was a father who hadn’t seen his sons in over a decade, I’d be ecstatic and be more than willing to let certain things go so that my children would be able to trust and open up to me. The way the father was so dead-on into coming to a particular place made me very suspicious and I found myself constantly evaluating the situation. The last thirty minutes was impressive. The quiet moments were so painful after certain events have unfolded. I could feel what the characters were probably feeling and known what they probably were thinking. I loved the way Zvyagintsev helmed the picture because of the fact that the movie was focused from beginning to end yet it wasn’t monotonous. In fact, it was very fluid when it comes to the emotions that it wanted to get from the viewers. I also enjoyed that the title eventually had two meanings. I will remember this Russian film for a long time, despite its minimalist dialogue, because of its haunting moral conundrums.
Kings & Queen (2004)
★★★ / ★★★★
“Rois et reine” or “Kings and Queen” tells the story of a man and a woman who were going through their own problems in life. Initially, the two camps seemed to be unconnected because of their predominantly disparate tones–one comedic and one tragic. Nora (Emmanuelle Devos), who lives with her third husband-to-be, visited her son Elias (Valentin Lelong) and father (Maurice Garrel). After Nora’s father confessed to her that he has been having some stomach problems, she took him to the hospital and found out that he was terminally ill. This caused a great interruption on the life she desperately wanted to believe was going great because she now had to deal with where to put her son because he and the third husband do not get along. She also had to deal with her sister who only used their father for money and what the father really thought of Nora. On the other hand, Ismael (Mathieu Amalric) was sent back to the mental hospital against his will. In there, he found amusing ways to cope such as finding romance and discussing his psychology with a psychiatrist. Although this film was about a many things at once, it impressed me because in a span of about two hours and thirty minutes, it was able to balance comedy and drama throughout. What’s more impressive was Arnaud Desplechin’s, the director, ability to cut to one genre to another when things began to feel suffocating. So, in a way, it worked as two different but good films but the connections that the two had made it that much more enjoyable. Just when I thought everything was going to wrap up in a neat little package when Devos and Amalric finally had a scene together, more problems began to appear because two had a history. Many questions were then brought up such as when one’s responsibility should end when a relationship has been mutually agreed upon as over, whether the mother is doing the right thing by indirectly choosing her third husband over her only child, and the pros and cons of keeping a certain knowledge a secret when the burden is too much to bear. There was a certain organic feel in the film which made me believe that the events portrayed could have happened in real life. I thought one of the strongest scenes in the movie was its ending–the conversation between Amalric and Lelong–because it remained true to itself: with every negative comes a positive (and vice-versa). “Rois et reine” is the perfect film for those who love character studies of individuals who have many imperfections but still have certain reedeming qualities.
Small Change (1976)
★★★★ / ★★★★
“L’argent de poche” or “Small Change,” written and directed by François Truffaut (“The 400 Blows”), did not have a defined story but it never failed to impress because the vignettes it featured ranged from disarmingly funny to downright heartbreaking. The film followed two-year-old children to fourteen-year-old young adults as they tried to roleplay and find their identities. I originally saw this picture in my third year of French class in high school but I failed realize how brilliant it was. Watching it again four to five years later, I couldn’t help but enjoy it that much more because I’ve had more experience with films and acquired a deeper understanding of childhood psychology. Watching the scenes which involved children giving their friends haircuts (and ending up disastrous), sneaking into the cinema, preparing breakfast with a sibling as their parents sleep, and others really took me back on how fun and easy life was back then when I didn’t have yet carry certain responsibilities. It also tackled topics such as securely and insecurely attached children, attachments to certain objects, and their inabilities to not act upon the first thought of action that would come up in their minds. While the humor was certainly there, I admired that the film also showed the darker side of childhood which dealt with abuse and childhood depression. That bit reminded me of a girl in my fourth grade class. Although at the time I didn’t quite grasp the idea of parents abusing their children in the home, there were definitely signs that would most likely lead to the a conclusion, such as her bruises on her arm and when she would come to school either crying or restless. (Most of us thought she was just really emotional and stayed away from her.) That delicate balance was definitely Truffaut’s greatest strength. Lastly, I enjoyed the teacher’s (Jean-François Stévenin) insight on childhood and growing up. I found his speech to have a certain resonance because it had undeniable truth without ever having to be melodramatic. “Pocket Money” is one of those pictures that reminds me why I love watching coming-of-age films.
The Child (2005)
★★★ / ★★★★
I believe “L’enfant” is another one of those movies where audiences will be quick to judge and label it as the kind of movie where “nothing happened.” Written and directed by Jean-Pierre Dardenne and Luc Dardenne, the film told the story of a couple (Jérémie Renier and Déborah François) who recently had baby. However, both of them were very young and the first few scenes of the picture established them as parents who were far from ready to raise a child. What’s even worse is that the father actively doesn’t want to get a job. He would rather steal from people and sell the objects he stole for a quick buck. Faced with the responsibility of raising a child, he saw the child as another means of making money. There’s a certain sadness about this picture that fascinated and angered me at the same time. I was very angry with the characters’ decisions, especially the father’s, but I could not help but wonder how the consequences of their actions would change (or not change) them in the long run. While the movie did not have a lot of dialogue, the silent moments and body movements were enough to let the audiences feel the gravity of certain situations and the desperation of the two leads. I also enjoyed the brilliant symbolism regarding the father and his way of constantly selling things. I thought it was very fitting considering that he was the kind of person who did not want to get attached in fear of finally being responsible for something. Lastly, the use of bright colors for a somewhat grim story provided a nice contrast. This is a small movie but I found it to be quite powerful because it had a certain insight without really judging its characters. It simply shows what is and sometimes that’s enough to make us question ourselves how we would have done things differently if placed in similar situations. Strangely enough, even though I did not agree with more than half of the characters’ choices, I still felt for them and ultimately wanted them to succeed or maybe even lead a better life, especially for the newborn. If one is up for an honest experience via a cinematic medium, one should consider to watch this movie.