Gimly
Feb 26, 2019
6/10
Eraserhead who?
Final rating:★★★ - I liked it. Would personally recommend you give it a go.
2018-09-27
Feb 26, 2019
6/10
Feb 26, 2019
7/10
If the external physical examination didn't produce any results, she would apply for a warrant allowing a doctor to carry out a proper search. Check every orifice.>Robert came out, made a comment to the occupant of the room, and closed the door behind him. Tina hurried over. Her heart sank when she was only halfway across the hall; Robert was shaking his head. >"Nothing?" she asked. >"No," said Robert. "Well, nothing that concerns us, anyway." >"What do you mean?" >Robert drew her a little distance away from the door. >"Let me put it this way: you can rest easy. He did have something to hide, but nothing punishable by law. The problem is that we've now stopped him twice without..." >"Yes, yes. Do you think I don't know that? So what is it, then?" >The thought had struck her, but she hadn't seriously considered what Robert was suggesting: the fact that they might have been guilty of professional misconduct. Subjecting Vore to an examination on two separate occasions without any solid evidence for doing so. If Vore made a complaint, they would probably be reprimanded. >"The thing is," said Robert, "he's...he's a woman." >"Come on, stop winding me up." >Robert folded his arms and looked uncomfortable. With exaggerated clarity he said, "He...or rather she, does not have a penis but a vagina, to use the technical term. You should have carried out that search, not me." >Tina stared at him open-mouthed for a few seconds. >"You're not joking?" >"No. And it was rather...embarrassing." >Robert looked so miserable that Tina burst out laughing. He looked at her, his expression furious. >"Sorry. Has he got...breasts as well?" >"No. He must have had an operation or something. I didn't actually ask. He's got like a big scar just above his bum, by his tailbone. Whatever that might be. Now it's your turn to talk to him and try to explain that -" >"What did you say? A scar?" >"Yes. A scar. Here." Robert pointed to the bottom of his back. "If you want to take this any further, you can do it yourself." He shook his head and headed off towards the cafeteria. Tina stayed where she was, looking at the closed door. When she had thought things through she opened it and went in.
story is stylised, it's not realism; there are other elements, and it's elevated. So we thought instead of going with that, with stylised shots or framing that kind of signals something special is going on, we tried to go the other way. Instead of going with the magical, we went with the realism in our cinematic language, which I think was the right thing to do because it kind of anchors the realism. Because if it wasn't real, you probably wouldn't care about Tina.Abbasi has a point here - one of the strongest elements of the film is how emotionally engaging and relatable Tina's arc is; the events are fantastical in places, but the emotions are very much grounded in the everyday - loneliness, shyness, fear, love, disgust etc. The magic realist aesthetic allows the more unusual elements to exist without seeming (too) ridiculous, whilst also establishing that the world of the film is essentially the real world, just with some garnish added (in a strange way, it actually reminded me of Phil Alden Robinson's Field of Dreams (1989), a film set in a realistic milieu that also features, without commentary or explanation, ghosts, communication with the afterlife, and time travel). Abbasi does set up a contrast, however, between the scenes in the forest which surrounds Tina's home and the rest of the locations. The forest is presented as a somewhat magical place from the start - it is where Tina is most comfortable (an early scene in which she chills with a gigantic moose is both illustrative of her psychology and extremely beautiful), where she goes when life starts to overwhelm her, often taking her shoes off so as to feel better connected to the natural world. Later, the forest is where Tina and Vore spend a lot of their time, where they give in to their attraction to one another (in what is easily the most bizarre sex scene outside a Lizzy Borden film you're likely to see all year), and where they explore their history. Whilst everything else is filmed with a cold palette dominated by grey and washed out light blues and greens, with relatively unattractive locations, the forest is presented very differently - the colours are richer and deeper; the design elements are more imaginative; the camera work is more fluid; even the sound design is different, heightening the crunch of feet on the forest floor, the scurrying of insects, the wind blowing through the trees, the crash of water at a small waterfall, suggesting the whole place is vibrant and alive, in stark contrast to the cold stolid concrete and steel world seen elsewhere. Thematically, Gräns functions as both a straightforward narrative about loneliness and morality and as a political allegory about the Other, belonging, tribalism, hatred based on difference. The opening scene establishes Tina as the emotional lynchpin of the story, showing both her kindness and her attraction to the animal world, as she gently handles a bug, before carefully placing it back into the grass. This theme continues throughout the film - there's the aforementioned scene with the moose, a scene with a fox at Tina's window in the middle of the night, a scene in which she is rushing her neighbour to hospital to give birth and stops to let a family of deer cross the road. These scenes are shot by cinematographer Nadim Carlsen with a sense of wonder, and an almost ethereal quality that wouldn't have been out of place in something like Ridley Scott's Legend (1985) or Rob Reiner's The Princess Bride (1987). It's as far removed from the mundanity of the customs desk or the brutality of the child porn ring as you can imagine. This is also reflected in the sex scene, which Abbasi and Carlsen shoot in such a way as to imply that Tina and Vore attain an emotional and spiritual transcendence far removed from the commonplaceness of an orgasm. The fact that immediately afterwards, as they lie side by side in the forest, he tells her the history of their "species", solidifies the role the forest plays in the themes of the film, as their bond serves to deconstruct societal norms. For all her closeness to animals, however, Tina is just as distant from humans; she has a good relationship with her father, with Robert, and with a young couple who live nearby (Tomas Åhnstrand and Josefin Neldén), but her relationship with Roland is dysfunctional at best, and she's desperately lonely, in a society that shuns based on appearance. Indeed, one of the most salient themes in the film is the question of how we treat the Other, people who don't fit into our definition of normal, or whom we don't understand. Vore himself is introduced as something of a rebel against social norms; whereas Tina is ashamed of and tries to hide her differences from everyone else, he is proud of and leans into his - seen most clearly at a buffet, where he takes all the smoked salmon, and then hungrily eats it with little concern for social etiquette (or buffet etiquette). The film also touches on issues such as what gives us our humanity, suggesting that in a world populated by humans lacking in humanity (seen most clearly in the child pornographers), maybe Tina and Vore are the most human characters, or certainly the most humane. Tied to this is the notion of finding one's tribe, and what kind of sacrifices and subversions of one's moral code, if any, are acceptable in that search. However, the film is also interested in the audience's morality as well as that of the characters'. In short, it ends in an extremely morally ambiguous manner, and, to be honest, I found it very difficult to parse what Abbasi (or Lindqvist) is trying to say with it. I don't want to give any spoilers, but in essence, Tina is forced to make decisions based on her own morality, at the expense of her emotional instincts, whilst Vore must attempt to justify something horrific (actually several things horrific) by way of arguing that humans have always persecuted beings like them. I'm not sure if the film had a happy ending or not, and although I got most of the symbolism and the allegories and the socio-political critiques, I've rarely come out of a movie with such a pronounced case of "what was the director trying to say with that?" Elsewhere, the whole child porn subplot is troubling from a narrative point of view. For starters, it's not very convincing in its concrete details (for example, Tina is allowed sit in on a suspect interrogation), whilst the idea of a couple running a child porn ring from their apartment seems a little unlikely. Additionally, for the most part, the subplot serves to do little but detract from the main plot. I get that it's there to show us Tina's abilities and her moral code, but too much time is given to it without it being made to seem in any way urgent or important. And when it is finally integrated into the main narrative, it does so with a plot twist so telegraphed, if you don't see it coming, you've never seen a thriller before. Also, when we learn how the two plots connect, and when we backtrack in our mind to the start of the film, we find that the entire house of cards relied on a monumental coincidence which none of the characters could possibly have predicted, which cheapens both plot strands. These missteps aside, Gräns defies and subverts genre at every turn, remaining impossible to classify. Positing a message about how being different isn't that bad when you still have your morals and self-respect, it also suggests to those of us that consider ourselves normal, that we shouldn't be so quick to judge the Other, whether that Other is physically different, of a different ethnicity, a different religion etc. Exposing the layers upon which our society is built, the film is unafraid to suggest that hypocrisy and exclusion are major facets of Western civilisation. At a time when there are increasing calls for closed borders, increasingly irrational fear of the Other as represented by normal men and women who practice Islam, and increasingly jingoist and xenophobic hatred of anything not perfectly in line with established societal norms, the fact that Tina wants to integrate into normal society, but is essentially prevented from doing so, speaks volumes for our social ethos. The plot does go off the rails in the third act, and the morality of the dénouement is a little questionable, but this is still a fine piece of work with a lot on its mind.
Feb 26, 2019