Sauna

The supernatural permeates this enigmatic tale, in which three Russian soldiers, a Finnish warrior and his cartographer brother try to map borders, at the end of the bloody war between Russia and Finland (under the rule of Sweden) during the 16th century. There is something of a chivalrous nature in their mission, but the savage extermination of a peasant and his daughter, unleashes the center of the tragic story.

Halfway through the journey, the company comes across a village in the middle of marshy lands and, next to the settlement, a mysterious sauna, in which people can wash away the evils they have committed in their lives, according to a Russian text, written by the monks who originally inhabited the village.

In the final third, horror dominates the story, following the lines of graphic terror, in a way that loses the balance of the previous hour. Until that moment the film has been carried with an inscrutable tone, a foreboding atmosphere and fear inspired by the unknown, accompanied by a constant musical commentary that does not get in the way, like other times, in so many films. The climax scenes are more repellent than terrifying and not because they are visually unpleasant or ineffective, but because of their cryptic quality, because they are so inexplicable, between superstitious behavior and the true expiation of the guilt of these men. Fortunately, in the coda, the film resumes its initial tone and returns to its opening scenes, which suggest the ironic final destination of the cartographic mission.

«Sauna» is a very interesting work that deserves to be seen, whose mixture of history, politics and terror, reminded me of «Ravenous», Antonia Bird's exceptional horror drama on expansionism and cannibalism (and cowardice). The film is guided with admirable rigor by the director and interpreted with aplomb by the entire cast. Despite everything, the recommendation persists on my part, because everything that precedes is so good. that the movie deserves it.

If someone told me "hey, watch this movie about a haunted sauna, its a really scary horror movie!".. I guess I'd stay as far away from the movie as possible. Luckily I saw some pictures of this Finnish movie and they looked really great.

Everyone looking for a horror movie should stay away from this. Its pretty laughable that so many people focus on the sauna and some ghosts in this movie as typical horror clichés while the director works so obviously on making every single piece and image in this movie a symbol for guilt.

"Sauna" or "Filth" (which is the far more fitting title referring to a statement by one of the Russian soldiers in this movie) is placed after the Russian/Swedish war around 1600 when a group of Russian and Swedish soldiers are setting for the new borders. The opening of the movie with the drawing of borders in blood and then the first shots of water turning red already indicate where this movie is going. Everything is carried by some great cinematography and the lead characters, 2 brothers of a very different kind. One is Knut, a mapmaker with high goals, the other is Erik, a soldier with a grim past who has his problems adjusting to the new peace.

Erik constantly looking for trouble soon gets the group of soldiers into problems when messing with a family. The town the group soon finds in the middle of a swamp becomes a clear symbol of Erics previous atrocities with as many inhabitants as victims on Erics list, a strange girl reminding them of recent wrongdoings (also involving a sauna) and animals and people who clawed out their eyes. The whole issue of not being able to face your past is present throughout the movie that is more like a fable. There is plenty of interesting historical information as well as philosophical dialog including the story about the king and filth or the thoughts if hell is just a place that god turned his back on. The place is soon presented and the irony is that yet everyone is fighting for the land soon there is a place that no one wants to take but rather wants to give to his enemy.

"Sauna" is full of these abstract images and the finale is far from a clear resolution. After all the director clearly tries to make the viewer have his own thoughts. Actually I am still working on figuring the closing images out but however this is a damn interesting and different movie with great cinematography, acting and an interesting setting. There sure are some horror elements in this movie, but I'd rather consider this a mix of art-house movie and drama and its definitely worth giving a chance.

I had quite high expectations of this movie and was a bit disappointed. It's an unusual, intelligent and creepy ghost story, but it has an ambition to do something more distinctive that I didn't feel was followed through completely.

The performances and screenplay are fine. The film is nicely shot, with some lovely moments but also some lapses into generic horror-movie gestures. The sauna itself is a fine addition to the history of scary buildings in movies -- it looks as if it doesn't belong in the landscape at all, and the minute you see it you know something's wrong. The cheesy orchestral score lets the film down a bit, though.

Not all of the things that happen along the way are explained; some of them just seem to be put there for the sake of being scary. The ending is impressive but it left me wondering whether all the pieces leading up to it really fitted together.

I suppose two different films seem to be fighting over the same 90 minutes: an art-house movie that uses elements of fairy tale to explore existential questions about sin and redemption and a haunted-house movie that works by jump-scares, toothless villagers and gushing blood. The two never really came together for me, but I can't say I didn't enjoy the ride.

Euro-horror is doing good business lately. France, Great-Britain and Spain are all battling on the front lines, but smaller countries like Belgium are producing splendid genre works too. Enter Finland, a somewhat cinematic void for me, showing their muscles with Sauna. A horror film that fairs well with its European peers but also succeeds in giving Finnish cinema a face, although a grim one.

The film's premise is kept rather vague and for people not living close to Finland or familiar with its history the film might take a flying start. Two teams, one Finnish and one Russian, are sent out to draft a new border after a long-raging war. They cross the barren lands in order to fight a more civilized war in trying to decide who gets what. Even though the film is set a good 400 years back in history, it could've well been just 50 years ago. Not that the film looks too modern for its setting, it's just that the characters are never really surrounded by recognizable cultural references. Safe from a pair of glasses and the clothing, it's all swamp and unforgiving nature that is served to the audience.

The two teams don't get along very well, but the one really stirring things up is Erik, a long-life warrior who has trouble adjusting to the new-found peace. Even though he wears glasses to fake a distinguished look, he is a true barbarian, murdering and abusing everyone coming across his way. The only one he seems to care for is his little brother, who was sheltered from the war as college student. The first half of the film is spent drawing out the relationships between the different characters, giving the audience some time to adjust to the happenings in the film. From the moment they arrive in an unlisted village in the middle of a swamp, the the core plot and the titular Sauna make their entrance.

Sauna has a couple of things going for it. First of all there is the performance of Ville Virtanen, portraying the Erik character as someone that is simply terrifying. As simple as those glasses may be, they make him out as someone with a certain sense of civilization while in reality he is as bad as they come by. His performance is hard as nails and unsettling. The rest of the casts plays along nicely, although none of them really make a big impression.

Visually the film is very consistent. Grey, dark colors and rough landscapes make up most of the visual scenery. No bright colors are seen, even the blood in the film is dark red, almost black. The camera work is solid too and helps in setting the atmosphere nicely. But even though it gives the film plenty of flair, there's never that little extra to make the film rise above its rivals. The soundtrack too is extremely fitting, with some very nifty sound deformations and good, supporting music. It has an ambient-like quality only furthering the grim and dark atmosphere of the film.

As the film progresses the story is slowly revealed an even though the premise is intriguing, you'll be left guessing at least for a little on how it all fits together. The ending is somewhat vague and even though impressive, won't bring you any clear answers. Looking back at the film, it has a lot of parallels with Vinyan (even small details - just think of the shots of water becoming blood-soaked), though Sauna is a much more subdued film, without any real climaxes or cinematic bursts. Depending on what you like more, you might prefer this one over Vinyan which has more curves compared to the straight line that is this film.

Nonetheless, Sauna is an impressive experience, solid in just about every department. Extremely strong lead, nice and fitting visuals, great soundtrack and intriguing storyline. And if you won't miss the climaxes, this will be exactly your thing. A recommendation for all fans of European horror out there. Just don't be expecting guts and gore, Sauna plays at atmosphere, grit and travels through the darker parts of the human mind. 4.0*/5.0*

Having premiered his debut feature "Jade Warrior" at Toronto in 2006, A.J. Annila returned with his second film "Sauna", yet another blend of two unexpected genres. He was originally approached to make the movie as a teen slasher-comedy, but thankfully the producers had enough faith in him to make a serious horror movie that would appeal to both the art house crowd and die hard horror fans.

Sauna follows a group of Swedish and Russian soldiers who are assigning new borders after a decades long war between the two countries has ended. In this group are two brothers; Erik, the lifelong soldier who keeps a running tally of the innocent people he's killed, and Knut, the younger more pacifist brother who is part of the group because he is an expert mapmaker. After an unexpected encounter with a farmer and his daughter, the two are haunted by unshakable guilt as they continue with the expedition. The soldiers find a small isolated village in the very center of a large swamp, an eerie place where no children have been born in years and the old do not die. It seems almost as if God has forgotten them.

With the discovery of the village and its solitary sauna, Annila builds on the horror aspects of the film and presents some genuinely scary images. The review on the TIFF website says the film recalls both Tarkovsky and Eli Roth, and I agree; Sauna is at once contemplative and terrifying. It raises questions about morality and guilt, and at the same time has scenes that are as scary as a Japanese ghost horror. The acting from Ville Virtanen and Tommi Eronen, who played the brothers, was superb. The cinematography was was also really beautiful. Overall, I feel like this is one of the best horrors of the last few years and it is highly recommended. 8/10