Der Zementgarten

I have heard people writing comments about being shocked by the sexuality in this movie and about being shocked by who was involved in producing it (i.e. relatives). Consider this: the actress who plays Julie was not 14-15 years old when this was shot, she was 22! It's called acting. And, her older "brother", an actor who was no relation, was 19. So, get over it folks. It's a movie, a slow moving but very well done movie.

Truth is, I'm sorry if this movie offends some people. But, for goodness sakes, it's a story on a screen that is not even that racy. The movie is actually paced quite well to fit the somber mood and really, who can complain about the acting. I think some who have found any serious fault in the production are just trying to justify their uncomfortable feelings about the subject matter.

Anyway, read the other comments, choose for yourself whether or not you care to watch it. But, if you are not put off by the subject matter, you will find a beautiful and sad story.

I have to admit the film is disturbing, and frank. The subject matter is dark, yet there are moments of honest humor. The performances by Charlotte Gainsburg and others are so impressive I became lost in their world. It's a world where a small family can exist surrounded by nothing but concrete and rubble. It is very troubling, and thought provoking... and the end is not one of hope nor hopelessness.. A very good film!

Disarmingly strange film about a family of children fending for themselves after first their father, then their mother dies. Oldest son Jack eschews responsibility, leaving next oldest Julie to handle the everyday chores. In the midst of all these devestating changes, Jack and Julie begin to develop a singularly unusual bond, one that is threatened when Julie invites the outside world into their private domain by dating an older man.

This film sparks comparisons to the similarly themed OUR MOTHER'S HOUSE, but the two films differ dramatically. While the children in OUR MOTHER'S HOUSE construct an elaborate fantasy world for themselves(based in part on the dead mother's fanatic religious beliefs), there's no such pretentious in THE CEMENT GARDEN. The children live in a cinder block house, with a cement garden out back, on a plot surrounded by a flat, desolate looking landscape. There are several scenes where the children sit around saying nothing, doing nothing, something that never happens in the other film's active household. The costumes and household furnishings are nondescript; you can't figure out if this film is set in the sixties or the nineties. The overall feel is one of banality, lethargy, and a total absence of passion or vitality. Perhaps it's only in a situation like this that the relationship Jack and Julie have can flourish, and Jack can transform from a petulant, self-absorbed boy to a responsible, loving young man. Strange atmosphere, but very rewarding.

It's a real pity that 'Name Of The Rose' scriptwriter Andrew Birkin hasn't directed anything since 'The Cement Garden' if this puzzling and disturbing movie is any indication of his talent. Birkin also wrote this superb adaptation of Ian McEwan's perverse and haunting novel. A hypnotic study of a family of children left to fend for themselves, while wrestling with their forbidden desires and obsessions, it crosses over into almost Ballardian territory. The casting of Andrew Robertson and Charlotte Gainsbourg as the androgynous older siblings is the main reason why this odd movie is so successful. To add to the incestuous overtones, Gainsbourg is Birkin's niece, and first gained notoriety duetting with her legendary father Serge on a pop ditty titled "Lemon Incest" while barely in her teens. The layers continue by Birkin casting his own son Ned as the younger cross-dressing brother. This is a very strange and beautiful movie. Highly recommended.

The premise of offspring who try to hold their family together after parents' death or desertion has been done a number of times, most notably in "Our Mother's House" (1967), a little-known masterpiece directed by John Clayton. Here the emphasis is different though, concentrating on the developing intimacy between the oldest sibling Julie and her brother Jack. This is presented in a matter-of-fact and non-judgmental fashion, seeming to fit "naturally," as Jack in fact says, with their increasingly weird circumstances. Be warned: there is much adolescent nudity here, including a wild transcendental dance-in-the-rain performed very well by Andrew Robertson. BTW, that scene is reproduced almost identically in "Edges of the Lord" (2001), but with a much younger boy. Ned Birkin, whom I suspect of being director Andrew Birkin's close kin (an irony unintended I'm sure) plays the cross-dressing younger brother, and his sub-plot is not developed, which is probably just as well since he exhibits little talent. I suppose this is included to emphasize the point that in a family untrammeled by conventional moralities, each individual is accepted with whatever modus operandi "works" for him or her. Not an altogether bad idea when one considers it