Filme que manifesta a possibilidade de falar e pensar sobre a morte, real ou fantasiada, tendo como ardil ser um filme sendo rodado dentro do filme. Filme situa-se dentro de uma das “pauta-Mubi”, aquela que foca trabalhos girando em torno de algum rincão nos países bálticos às voltas com traumas de guerra, aqui a oscilar entre o nonsense, docudrama e fantástico.
Bringing anxiety on his feared situation, Joachim becomes a narcissistic pain in the tale. The engineered two, projected, supposed relatives of the deceased (who he reckons he was) seem created in translation by Alice who has an obvious hx in the country herself. Touching and spooky entering the haunted Bosnia. One intended reacts v badly. Finished finally and now for just 50, leaving-tomorrow, Indian films, argh!
Fascinating and beautiful film about acknowledging the past and the mistakes you did, making peace with it all and learning to move on, with Bosnia and the horrors of war as the setting. I manages to combine absurdist comedy with thoughful drama, and its plot reveals more layers and becomes more unpredictable as it goes on. Warmly recommended.
O início é instigante: um parisiense pode ser a reencarnação de um sérvio, assassino e torturador, que morreu no dia em que ele nasceu. Os problemas do filme: amigos resolvem filmar a procura do morto; eles não agem de modo racional para achá-lo; e começam a criar pistas que o rapaz, crédulo, aceita. O positivo é o testemunho do drama ali vivido e o papel que ele vai encarnar para si e para uma das mulheres do lugar.
Riflessione profonda sulle narrazioni e la loro capacità di produrre realtà. Il meccanismo di vedere la troupe che gira un finto documentario è perfetta per lo scopo e mostra come la stessa cosa possa essere narrata e compresa in modi diversi. Il film ribalta spesso i piani giocando con quello che si vede e la finzione che vuole raccontare, raggiungendo l'apice nel finale.
This multi-faceted narrative is delicately compelling, with every character superbly cast and written, with the depth and complexity of humanity at the heart of each. The intimate-docu-style lens we engage with this story through is at times weak and under-explored. Whereas, in other moments the style is tightly pursued, giving us an intimate and nuanced perspective.
The director's juxtaposition of a man's narcissistic search for an imaginary ghost vis-à-vis the real ghosts of war-torn Bosnia seemed like a masterful statement on how blind the privileged are to the bigger issues of the world. Unfortunately, the ending only seemed to show how the director suffered from the same conceit that her "high-concept art" was a grand enough golem to hold the restless spirits of a genocide.
curious to see what she writes/directs next. the film is grotesque on so many levels, including (me) watching a meta-take on Bosnia-Hercegovina...trying to glean whatever about the way people live then/now excluded from EU. After massacre.The stony hills. Best dialogue is kept for the widows & the director as she directs ‘Z’ loved one on how to act toward his ‘wife’ poignant mix of truth ‘n lie
[MUBI] The way a faux fiction becomes a real-life thing. Those giant shell-strikes on the sides of buildings in Servia. The "we're not doing a movie" whilst doing a movie. The actor inhabited by the spirit of a dead (yet living) lost soul. A criminal (are there criminals during war?) that had a family and was loved back. A quite unexpected ride. The bobsleigh circuit marking the separation between mines and theirs.
Casting and location are brilliant, very well tunned. Very interesting and intriguing premise, however, it felt to me it lost its potential power as a story halfway through it. Haenel's lines at the end to Joachim were beautiful and for me, it made the whole 85min worth it. But it feels isolated from the rest, especially because the relationship between these two characters wasn't clear to me. Strong idea though.