Tag Archives: foreign film

Ironic Title

Happy End

by Hope Madden

Happy End is as perceptive as it is dispassionate—and this, as every choice filmmaker Michael Haneke makes—is intentional.

Channeling themes from across his career, pulling most noticeably from both his 1992 horror Benny’s Video and his 2012 masterpiece Amour, Haneke slowly, deliberately unveils a tale of distance.

His subjects are the well-off Laurent family: a doddering patriarch (Amour’s brilliant Jean-Louis Trintignant), the daughter who runs the company (Isabelle Huppert), her surgeon brother (Mathieu Kassovitz), her disappointing son (Franz Rogowski), and the surgeon’s 13-year-old daughter, Eve (Fantine Harduin).

Eve has come to live with the family because of her mother’s suicide.

In the film’s opening moments, we watch as an emotionally unattached and unnamed character documents a mother’s every banal moment with critical commentary before poisoning a pet hamster.

It’s a maneuver that announces Haneke’s point: whether by way of technology, psychosis or money, the Laurents lack any depth of emotion, intimacy or personal connection. Or is it humanity they lack?

The filmmaker braids together the stories and points of view of several main participants, keeping his focus at arm’s length until we’ve become apprehensive about every move. Why is Georges (Trintignant) wandering the median in a wheelchair and talking to strangers? What struggles could cause Pierre (Rogowski) to behave—and dance—like that?

Why would anyone leave a baby alone with Eve?

Patient viewers will recognize Haneke’s deliberate and chilly storytelling, but Happy End really requires your patience. Still, don’t let your eye wander because too many frames contain a startling image, and this filmmaker won’t insist that you notice.

Eventually the distance becomes somewhat problematic because it feels as if Haneke is pulling punches he was happy to land in previous films.

As is always the case, though, you’re repaid for your efforts. Whether it’s the understated brilliance of the performances (Trintignant and Harduin are particularly memorable), the chilling clash of human emotion with whatever has taken its place within the Laurent family, or the diabolical final image, Happy End leaves you stunned.

Doin’ It For Themselves

Girlhood

by Hope Madden

Moments after Girlhood’s perfectly disconcerting opening, you settle into the world of its protagonist, Marieme, but writer/director Celine Sciamma has already told you something very important. You shouldn’t assume anything.

Few, if any, films have been able to do justice to coming of age the way Sciamma’s does. Girlhood is a character study, following Marieme (Karidja Toure) through her days as an adolescent in a deprived Paris project, struggling against each of her equally unappealing life options.

Good girl Marieme sees one important door toward opportunity close. On the same day, she catches the eye of a trio of wilder girls and slowly she finds the joy in extending her adolescence and the power in solidarity and sisterhood.

Sciamma, thanks to a quietly powerful performance from Toure, represents more than just the bittersweet romance and nostalgia generally associated with the coming of age film. Saying goodbye to childhood is rarely as simple and lovely as movies make it out to be, and Sciamma’s interest is in seeing the same transition from an under represented point of view. The fact that this feels so fresh is itself an indictment. For Marieme, her choices are limited along racial, sexual and socioeconomic lines, but Sciamma’s perceptive film is too honest and understated to feel preachy.

Wisely, Sciamma disregards every filmmaking technique we’ve come to expect in a movie about a girl blossoming into womanhood. Her observant style, cast of amateur actors, and her own penetrating storytelling give the proceedings a quiet authenticity.

Like Sciamma’s previous films Tomboy and Water Lillies, Girlhood explores youth in crisis. She never judges her characters, and Toure’s ability to showcase her character’s humility and strength simultaneously ensure the audience’s empathy.

The storyline is necessarily untidy as Marieme takes on and casts off wildly different personas, illuminating the almost heartbreaking courage of youth. Regardless of the choices she makes from among the options limited by discrimination on almost every front, we must root for her fight for a life she can accept.

Verdict-4-0-Stars