Neulich in Belgien

What starts out as a standard fender bender in a car park at a super market in the town of Ghent,ends up in a chance meeting of two damaged souls. Matty,who's husband,Werner has left her for a much younger woman,and has yet to come to terms about it,backs her car into a truck, driven by Johnny,who at first verbally lashes out at her,then offers to fix her car. Things begin to happen to this mis-matched pair. Barbara Sarafian turns in a winning performance as Matty,who is bitter & cynical of all men. She works at the local post office,where she is subjected to the more sordid details of the love life of her co-worker. Matty has three children by her (failed)marriage to Werner (Peter,played by a somewhat myopic Julian Borsani...Fien,played by Sofia Ferri--a delight...and her 17 year older daughter,Vera,played by Anemone Valcke,who should have had more screen time). Johnny,played by a (at first)brutish looking Jurgen Delnael,is another example of a man who couldn't control his temper,as a result of out of control alcoholism (but has taken the pledge,and only drinks water,even at a bar),but has tried to get his life back together & takes a real fancy to Matty. Johan Hildenbergh (who absolutely shone on screen in Marlene Goris's film of 'Antonia's Line')plays Matty's swinish art teacher ex-husband, Werner,who just can't be trusted,by Matty (Werner's mobile phone goes off at always the wrong time by his live in lover,who we never see on screen,but we know she's got Werner by the short & curly's). A mixed bag of emotions (rage to tenderness)make this a tempest of a relationship,which makes for a film that varies from funny to harrowing to pathos. Check it out (if you don't mind a film that is mostly spoken in the Flemish dialect of Dutch). Not rated by the MPAA, this film contains raunchy language,nudity & adult situations.

Screenwriters, Jean-Claude Van Rijckeghem and Pat van Beirs have written a script that gives us close scrutiny at a woman's character and how it slowly changes or bends as circumstances arise. They have done it well.

It is more often than not that one wold find character development like this in a "foreign" film. Maybe that is changing, and that would be a good thing. If we can trust that our audiences will watch characters interacting with one another, without the need for some cinematic shock, i.e. action, suspense, sex, etc, then we may have more movies like this in the U.S. I have nothing against action, suspense, sex, etc, it's just that we could use more movies that depict character studies.

Director, Christophe Van Rompaey takes the reins and nicely dramatizes this story about a domestic life, while holding back any temptation to rush.

Very nice performances are given by Barbara Sarafian, Jurgen Delnaet and Johan Hildenbergh.

Barbara Sarafian, Jurgen Delnaet, Johan Heldenbergh, Anemone Valcke, Sofia Ferri , Julian Borsani, Bob De Moor, Jits Van Belle and Griet van Damme

A small accident, some common people in a brilliant yet ordinary scenario, a few great jokes, superb acting in a suburb setting. Life as we know it, and sometimes that's more than enough.

You can hardly get more unpretentious than what you have here.

It's elementary clear how this is made, the devices that were used, and the effective it is and this is a good thing, in this case.

Check how the story and the mood is built right from the first scene. A minor traffic accident in a parking lot, that begins an argument. The scene starts as a piece of ordinary life, goes on as a light word-based argument, and finishes in a funny mood. Notice how every word and sentence in this argument is designed to cause an immediate impression without becoming dark or even heavy. That's the mood of the film. It lives on daily lives, it introduces deviating elements, that usually work out funny (the introduction of the lesbian theme was a great moment, among others)and with this mood evokes a sense of tenderness, what audiences may call "romance". The fact that the people who conceived this were able to synthesize this so economically and efficiently in one single scene is really impressive. This is one of the most meaningful first scenes i've seen.

I place this with 3 recent comedies that among many differences share a common sense of unpretentiousness, something that admits cinema is a piece of entertainment, that things have to be successful and effective in the eye, and through the dialogues, IN the world of the film, without meaning that the film should moralize or search for superior answers to common themes. These films i saw recently are "Juno", "Little miss Sunshine" and this one. Of the 3, this was the best, to me. It deviates from Hollywood canons even more than the other two, and that may be the reason.

It works for the performances, acting, which were surprisingly direct and grasping. I know very few or nothing about Belgian (or equivalent) acting traditions, but i am guessing (may be wrong) that this is inserted in a longer tradition of acting with fluidity, what some may consider "natural" acting. I wouldn't dare to mistake this for "real" life, as i suppose many spectators will, but this is a really well shaped cartoon world. Representation, that's what this is... the guy goes often to Italy, and speaks Italian many times, a language that in some of its golden moments in art is meant to "sound" instead of really "mean".

Some cityscapes of the small town of Moscow, Belgium, is great. There was a competent eye for the city here as well.

My opinion: 4/5

(FantasPorto 2009)

http://www.7eyes.wordpress.com

I don't usually write comments for any genres other than horror and cult movies, and definitely not for romantic comedies, but I gladly want to make an exception for this original and totally refreshing "feel-good" flick from my beloved home country Belgium. The film is an excellent effort, with spontaneous and identifiable characters, recognizable situations, genuine laughs and natural performances. There's a whole lot of typical stuff that only Flemish people will fully comprehend, like the excessive use of regional dialects for example, but the film can nevertheless appeal to international audiences due to the innovative twist on the usual romantic comedy formula and the unpretentious atmosphere throughout. The story takes place in the rather unusually named community Moscou; very near to the beautiful city of Ghent in Belgium. Matty, a 41-year-old mother of three children, is a sad and pitiably looking wreck ever since her husband left his family for an affair with a young student. It's been more than five months now and Matty still hopes that it's just a temporary fling and everything will get back to normal. When she has a banal little collision with a truck on the parking of a supermarket, she freaks out and loudly yells at the much younger truck driver. Since then, Johnny the robust and macho truck driver purchases the middle-aged woman and tries hard to seduce her. Matty, although in conflict with her persona and common sense, eventually falls for Johnny's playful charms … But then her husband chooses to return home. One of the several strengths of "Moscow, Belgium" (literally the title translates as "Collision in Moscow") are the everyday personalities of the characters. They're genuinely real people, with certain qualities but even more weaknesses, and react exactly like anyone else would react in particular situations. It's also fascinating how this type of story is something that can take place right next to your doorstep, so to speak. It's a film without explosions, car chases or spectacular stunts… just an absorbing story about people and the feelings they would rather oppress than enjoy. And it's funny! "Moscow, Belgium" isn't overly vulgar or absurd, like too many other nowadays comedies are, but the gags are always nicely timed and effective. Barbara Sarafian, ever since the release of this film an enormously popular actress in Belgium, gives a truly stellar performance as the emotionally troubled woman and she forms a terrific – albeit deviating – on screen couple with Jurgen Delnaet. There are also splendid supportive roles for Johan Heldenbergh as the rather despicable husband and Anemone Valcke as the rebellious teenage daughter.

Funniest dialogue of the entire film: daughter (upon hearing her mother spent the night with the trucker): "Mom, he's like twelve years younger than you are!" Mother (with a naughty grin still on her face): "Yeah … I felt that!"