Film Movement

Storm

beth — Sat, 25 Sep 2010 16:00:00 +0000

Winner of the Amnesty International Film Prize at the Berlin Film Festival in 2009, Storm is the story of prosecutor Hannah Maynard’s (Kerry Fox) and key witness Mira Arendt’s (Anamaria Marinca) struggle to obtain justice through the International Criminal Tribunal for the former Yugoslavia in the Hague. This docudrama directed by Hans-Christian Schmid derives from the real life story of international criminal prosecutor Hildegard Uertz. Uertz is quite famous for her dedication to international justice and for conducting the first international lawsuit in which rape was accepted as a war crime.

It is no stretch of the imagination to believe that Storm was largely inspired by true events. Unlike most other court room dramas which show justice swiftly served, Storm is more interested in showing the long arduous process behind all court cases. The film introduces viewers to a wide range of problems plaguing the Hague court: funding, lack of resources, and security to name a few. While the film in opening viewers’ eyes to a huge range of issues surrounding the court is extremely thought provoking, it also seems to weigh the movie down. Instead of an in-depth look at one problem or aspect of the court, viewers are instead asked to be satisfied with a wide sampling of conflicts. While in some ways this makes Storm refreshingly unique, it also places viewers at a distance; we don’t know enough about any one problem to feel properly invested in the characters or the story.

The film is brilliantly acted by leads Fox and Marinca. Filmgoers may recognize Fox from Jane Campion’s 2009 John Keats biopic Bright Star and Marinca from her unforgettable performance in the groundbreaking 2007 Romanian film 4 months 3 Weeks 2 Days.

Reflecting on the film, I can’t help but think that Storm would have made a brilliant mini-series. Without the time constraints of an hour and forty three minute film, Storm could have taken the time necessary to explore properly all the complex and diversified problems that the film so fascinatingly introduces. With a mini-series akin to The Wire, Storm, rather than simply calling attention to the many intricate issues surrounding the International Criminal Court could adequately explore the interconnected complexities that plague justice systems all over the world.

Written by: Colleen S. Kenny, September 25th 2010

A Call Girl (Slovenian Girl)

brittany — Mon, 13 Sep 2010 02:00:00 +0000

Directed by Damjan Kozole

Film Movement

“Life is just one big disappointment after another,” laments the main character Alexandra in Damjan Kozole’s award-winning film about a Slovenian college student who delves into prostitution. Unfortunately for Alexandra and for viewers, the tone of A Call Girl never ascends much higher that that sentiment.

To her small town father, Alexandra seems like a bright, if moody, college student working on her English skills in Slovenia’s capital, Ljubljana. Her family and friends question some of her tendencies—buying an expensive apartment and owning two cell phones—but by the time the audience meets Alexandra, she’s already very skilled at living her double life, whipping out excuses and fake illnesses to cover her tracks.

But Alexandra’s venture into prostitution unveils scarier and scarier problems for her—the constant threat of violent pimps and disturbing blackmail from friends who find out her secret, on top of the stress of school and mortgage payments. The sex worker lifestyle doesn’t reward Alexandra well, and her story is a fine example of why sex workers who are in the trade by choice or coercion should have legal protections. Thankfully, some feminist groups are leading the charge to offer sex workers just that.

A Call Girl is certainly a dark and pensive film, but it’s not completely without hope. The settings are artfully gritty. The opening and closing shots in particular are compelling because of the patience Kozole exercises to zero in on his main character’s expressions. But those scenes would be lost without the lead actress’ charisma. The role of Alexandra is shockingly Nina Ivanisin’s debut, and she rightfully earned kudos for her performance at the Valencia Festival of Mediterranean Cinema.

This film’s themes about prostitution are pretty clear cut. It’s not a ringing endorsement of the industry, but rather a reflection of its workers’ vulnerability to abuse. Ultimately, the responsibility for violence and coercion of women, including sex workers, has to fall squarely on the perpetrators of that abuse.

Written by: Hannah Moulton Belec, September 12th 2010

Troubled Water

admin — Thu, 10 Jun 2010 00:00:00 +0000

Directed by Erik Poppe

Film Movement

Last night, I watched a really great film by Norwegian director Erik Poppe: Troubled Water. I don't really like movies and I don't watch them a lot. And now I know why. The simple reason is that very few movies are as good as this one.

This is definitely not one of those sad Hollywood monstrosities that aim to prevent you from having a single thought by any means possible. This film does not attempt to benumb the spectators by an endless assault of noises, colors, flashes, explosions, colorful images, etc. It actually leaves the viewers some space to think, analyze, and simply to exist. Troubled Water does not attempt to rob me of my humanity and my human agency, unlike the stupid Hollywood productions.

This is the kind of film that works through powerful acting and great directing. There are no cheap thrills in Troubled Water. No special effects, no monsters or vampires, no explosions, 3D effects, unrealistic car chases, etc. There is just life, human existence, normal people trying to figure out important stuff.

Instead of silicone-inflated cyborg-like individuals who pass for actors in Hollywood, this film has actors who actually look like real, normal people. We are so used to the assembly-line faces and bodies of Hollywood characters, that the actors in Troubled Water look refreshingly attractive. As attractive as only real human beings can be. And these actors even know how to act.

I'm not going to retell the plot of the movie here. Because great art is not about the plot. The story is never as important as the artistic means employed to transmit it. I will only say that Troubled Water is a film that makes you want to come back to it over and over.

Written by: Clarissa @ Clarissa's Blog, June 9th 2010