Director Gotz Spielmann follows his acclaimed thriller Revanche with this visually captivating character study, in which a family reunion at a mountainside inn lays bare old wounds and reveals long-held secrets.
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“October November” raises big questions about identity, betrayal and being true to yourself, but somehow this story of two sisters brought together by their dying father failed to convince me. Too many plot twists and not enough substance, especially the dialogue was occasionally rather clumsy and not plausible. That said, it’s not actually a bad movie, just not very good.
An soap opera actress,her sister, her lover the doctor of her father and the silenced facts and lies that some of them exposed by the letters of the dead mother to her lover, and others will just stay behind the behind the closed doors, and even when accidentally opened everybody will pretend that didn't see anything.
For all of its absolutely stunning lighting and cinematography, it felt a little short, almost like it needed the "December." Subtle probings at mortality bring the characters to a poetic togetherness that can bring a bittersweet feeling of family love - and the performances carry the film along very well.
Quite watchable, the characters each charismatic in their own ways, the scenery gorgeous, but it doesn't quite pull together. More like strangers bumping in the night who have a connection to the inn rather than spawned from a family. The acting is perhaps too understated and the emotional fire of the film is muted - the film holds the attention enough to watch to the end, but doesn't become art.
Austrian directors are so good at describing the cracks behind "normal" social and familiar ties. This movie confirms it. The illness of a father is the spark that brings two sisters to face what's wrong and fake in their own lives. Everything is well written and acted, with the scenery of the Austrian mountains which at the same time calms and oppresses the actions of the protagonists.