The static camera, the lingering shots and the off-screen space are all used effectively by Ostlund in this compelling drama. Recalling Joachim Lafosse's films, the almost-photographic stillness of the camera seems to resonate with a new crop of European filmmakers. The depiction of the young bullies is limited and requires more nuance and development - requiring a problematic questioning of race/ immigration.
Every stereotype, check. Manages to be shallow in analysis and disappointing social interaction. And the characters are so weak and unoriginal as to make the whole piece a drag. Maybe Sweden is an individualist hellhole, but I can't think of a single place where a tram driver lets his tram be broken up and a kid beaten up without calling police and an ambulance. Nobody else does either.
Ein sehr aufregender und wichtiger Film, der gegen den Strich der Politischen Correctness gebürstet ist. Bullying, Raub, Gewalt in einem städtischen Alltag, wo sich kaum jemand und wenn, dann nur zögerlich einmischt. Brilliante Kameraführung und ein Pseudodokumentarischer Stil, der vollends aufgeht. Kindheit hat kaum Unschuld sondern probiert die Machtspiele und Brutalität des Erwachsenseins aus. Eine fatale Welt!
Uses similar detached camera techniques to Involuntary but this time Östlund's subject is more focused: we are forced into a more problematic and challenging self-appraisal of our responses to the unfolding action. Its controversial reputation is a natural consequence of a film-making process where we cannot avoid projecting onto the content our own assumptions, biases and fears - and perhaps not liking what we find.
Really interesting and disturbing, all the more so for being a true story, or at least based on one. I just wish there had been some indication of what happened to the bullies in the end when/if the police caught up with them. Will certainly make me think next time I get on a tram in Gothenburg!
Director Ruben Östlund delivers yet another superb, interesting, film - this time it shows a group of bullies/thieves and how much time they spend working on their victims, from start to finish, without remorse. Uncomfortable, thought-provoking, and brilliant, as expected from Östlund.
Extremely clever and original filmmaking.The almost documentaristi style from the distance creates this feeling of voyerism that makes the audience feeling helpless. It makes you wonder what would you do in if you witness these sort of things on a tram. Ruben Östlund is one of the more intelligent filmmakers working today. The all controversy that this film is racism is beyond ridiculous and so superficial.
Deeply uncomfortable in just the right way. The CCTV-like camera and the hyperrealistic acting and dialogue brings the cold and cruel world of teenagers where no adult can or will help vividly alive. Östlund's obsession with tense and awkward public transport altercations is fascinating.
The film is especially effective because the subjects are teenagers. I thought that the cinematography was very effective and played an important role in establishing the overall dreary and independent feel of the film. I believe that Ostlund made the film for people to interpret cultural stigmas and divides using a controversial scenario of racial and class driven juvenile crime.