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Because the script takes Sandra's angle, we root for her. Huller plays her with just the right mix of prickly honesty and underlying compassion, a woman trying to communicate in her second and third languages (dialog is in English and French, while Sandra is German). Young Graner has a major presence in the film, and he plays the role with remarkable insight into this young boy's perceptions. Arlaud is excellent as the old friend with a very deep connection, and flashbacks with Theis reveal staggering layers in this marriage.

Even the minor roles have a complexity that's unusual in cinema, bringing unexpected attitudes and humour from their lives outside the frame into the middle of the story. Over the epic running time, this allows Triet to deepen and broaden the narrative in often breathtaking ways, revealing underlying facts without the need to overstate them. It's a bracing depiction of how difficult it is to truly know another human being, and an important reminder that getting to the truth will often require listening to a gut reaction.

themes, language, violence

25.Sep.23

Performances are nicely grounded, bringing even smaller roles to life with throwaway comical moments. This makes several characters vivid and engaging, but the film belongs to Chams. Birkha's odyssey is almost outrageously heroic as he wipes out entire platoons with silent efficiency, turning any tool into a weapon, including his own teeth. So the fact that he remains sympathetic is impressive. We know his wife adores him, as Gurung is required to do little more than sob uncontrollably.

No one would deny that Gurkhas have a well-earned reputation as brave and intrepid members of the British armed forces, but the filmmakers state this with such force that it almost undermines our admiration. A more textured approach across the board might have helped, as the side figures who are struggling with personal failures are far easier to identify with, even if their stories get lost in the end. That said, this film is meant as a celebration, and it accomplishes that mission with style.

themes, language, violence

9.Sep.23

Performances are also unnerving matter-of-fact. Friedel's Rudolf is a gentle man who defers to his wife but has a preening confidence in work meetings where he's tasked with dealing with an increasing number of "pieces" that need to be burnt. Huller is quietly devastating as a woman living her best life. She knows exactly what is going on over that wall, but is proud to be called Queen of Auschwitz as she sifts through bags of clothing and furs delivered from the camp.

These juxtapositions are presented so straightforwardly that they cut through our defences, forcing us to see ourselves in this situation. Shooting with multiple cameras, cinematographer Lukasz Zal finds unusual banality in an extraordinary situation, while Mica Levi's gutsy score makes our stomachs rumble. So it's impossible to watch this film passively. It reminds us that atrocities are happening all around us right now, and yet we continue to focus on our own happiness.

themes, violence

13.Oct.23 lff