The Tundra Within Me

The Tundra Within Me

The Tundra Within Me Rating

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The Tundra Within Me is part of the Scandinavian Film Festival, Freedom From Fear stories. The film is set on the snowy plateaus of Northern Norway and revolves around an erstwhile reindeer herder who gave it all up to become an artist in the city.

The main character, Lena, is played by Risten Anine Kvernmo Gaup and presents the film’s main problem, ergo, a not particularly likeable central character. As a single mother with one son, Lena returns to her roots and almost immediately embarks on an affair with a local herder, Máhtte, (Nils Ailu Kemi,) who isn’t particularly likeable either. Neither party is represented as particularly appealing, which makes for dull, screen-time company. Sigh!

Unfortunately, first-time director and writer Sara Margrethe Oskal presents us with a predictable, linear narrative that is weirdly enervating. However, the film’s strengths are the landscape, the actual reindeers, and some beautiful footage of the Aurora Borealis.

As the plot progresses, there’s a (slight) love triangle presented, amidst a bit of phone-texting. (Roll of eyes) Lena draws by romantic-looking candlelight, what? Generally, artists need a bright, stable light source, and her naked, reindeer horns n’ skull themes are risible. (Any teenage, angst-ridden, ex-art students in da house?)

The Tundra Within Me

That being said, there’s a local yoiking competition, which is a kind of indigenous chanting, and singer Gaup can hold a tune. Perhaps this is why she was cast? This is a high point in terms of her performance. Credible supporting cast include Anitta Suikkari as the disapproving Márjá and the local bar-owner, (name unascertainable,) amidst other Guap-family members, including the son. No nepotism here!

It’s all a very tepid, or should that be icy? affair that is ultimately unsatisfying. Like the title, perhaps something has been lost in translation? Better writing and casting might have made a difference, especially when the film revolves around one character. The film does have something to say in regard to the clash between modernity and tradition, and it does provide an insight into the traditions of the Sápmi herding life; for that, it may be worth seeing.

My Rating: Slushy – as in the melting snow kind

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

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The Promised Land Film Review

The Promised Land

The Promised Land Rating

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The inimitable Mads Mikkelsen heads the cast of this epic drama, set in 18th Century Jutland, Denmark. The main narrative revolves around one Captain Ludvig von Kahlen (Mikkelsen,) a long-time soldier, and his attempts to cultivate a seemingly uninhabitable heath as a new settlement. His nemesis, a local landowner and all-round villain, Frederik De Schinkel is played with utmost, epicene gusto by Simon Benebjerg.

Director and co-writer, Nikolaj Arcel, (Riders of Justice, Girl With the Dragon Tattoo,)has been painstaking in his attention to historical authenticity and it is something to appreciate. Tricorn-hats-off to the costume, art and lighting crew – the result is exquisite. The mist o’er the heath, the frosts, the driving rain, the howling wind and the bleak, unforgiving darkness, contrasted with the luminous firelight, candle-light, lamp-light and ever-living sunshine. Pick out the mise en scene from any one particular shot and you have a classic study in chiaroscuro – cinematography by Rasmus Videbæk.

Based on a loose adaptation of the book, from a tenuous story about the real Kahlen, the plot gets off to a gripping start, when the loathsome Schinkel realises that the Captain presents a threat to his own ambitions and authority. Local pastor, Anton Eklund, who is sympathetic to the Captain’s cause, introduces him to tenant farmers and labourers, Johannes and Ann Barbara – both fugitives from their cruel master, Schinkel. (All three actors, Gustav Lindh, Morten Hee Andersen and Amanda Collin turn in faultless performances.) Throw in the complication of a love-triangle, the aristocratic Lady Edele Helene, (Kristine Kujath Thorp), and the stage is set for a classic tale of good v evil, justice v injustice, plebs v aristocracy…

The Promised Land

It’s impossible not to be drawn in to the growing relationship between Ann Barbara and the Captain – especially after her husband is captured, tortured and literally boiled to death by Schinkel. An outcast, Romany-child, Anmai Mus, is befriended by the duo – and the trio become an unlikely family group. Happiness subtly creeps up on all three of them – unfortunately, the Captain’s overwhelming ambition is their undoing…

A word has to be said on Mikkelsen’s performance which is generally, brilliantly nuanced – a warmth in the eyes, a curl of the mouth, a smile. He certainly has cornered the market in strong, silent and minimalist. Romany-child, (Melina Hagburg,) is so utterly beguiling that even Mikkelsen stands a good chance of being upstaged.

What is truly disappointing, is that the last act of the film devolves into sentimentality that has the audience question all that we’ve learnt about that world, the main character, his hardness and obsession. Unfortunately, the ending lacks credibility and even borders on the ludicrous, especially given the time period that had supposedly elapsed. A realistic ending, true to the time would have been more powerful, and may have said more about ambition and the ‘hollow crown’ – than the presented fairy-story ending.

Despite some flaws, to misrelate the words of the Desiderata – “it is still a beautiful film”.

My Rating: Four glasses of champagne.

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

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Spanish Film Festival: Artificial Justice

Artificial Justice

Artificial Justice Rating

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Artificial Justice is an offering from Spanish filmmaker Simon Casal as part of the HBSC Spanish Film Festival. The film poses an important ethical question for our times: AI versus humanity. (Many Australians will remember our own Robodebt catastrophe.)

This film centers around the key character, Judge Carmen Costa, credibly played by Verónica Echegui, who is asked to audit the intended rollout of ‘THENTE,’ an AI justice delivery system.

Thente computes risk assessments for criminal reoffending. The AI appears accurate, cost-effective, and can deliver seemingly unbiased, consistent results in a fraction of the time its human counterparts can. Unsurprisingly, the Spanish government is keen to roll out Thente, removing (human) court judges from the decision-making process. A national referendum is called.

Enter the company behind Thente, and company executives Alex and Brais, well-played by Alberto Ammann and Tamar Novas. Thente’s designer, Alicia Kovak, is portrayed by ex-model Alba Galocha. Alas, a more believable IT nerd would have been a smarter casting decision.

Artificial Justice

The film cleverly parallels the bridge between the AI that we already use (such as in our cars – in essence, trusting lives to the technology) and its future use. However, Casal co-wrote the screenplay with Víctor Sierra, and truth be told, too much of the screen action takes place via dialogue, which is not cinematic.

The narrative, too, poses a few credibility issues. For instance, given that Costa is a judge, she’s pretty cavalier about security measures—not only going on lone ocean swims but also taking no precautions once realising that she is being watched. Also, her assistant declines to find an IP address (not that difficult these days), so Costa is forced to seek out highly illegal measures via an ex-con hacker. Really?

As far as the plot goes, when Alicia Kovak is mysteriously killed in a car crash, Judge Costa begins to realise things are not as they seem – and even her own life may be in danger. Described as a ‘taut political thriller’ – the film-making is patchy, so at times the tension is more washing line, than tightrope.

As a newish feature-length director, Casal hasn’t quite mastered the nuances of the Noir genre, but he will be an interesting director to watch. Importantly, the film raises significant questions regarding the balance between AI, humanity, politics, and government. For that alone, the film is worth watching.

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

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