Far North

FAR NORTH is a bleak, disturbing story about isolation, relationships and revenge. Director Asif Kapadia adapted this minimal dialogue screenplay with Tim Miller based on the story 'True North' by Sara Maitland, and even with the strong trio of actors, have managed to maintain the main character as the vast, natural, incomprehensibly difficult ice seas of the northern cap of the globe. The film is as majestically beautiful as the story is terrifying.

Saiva (Michelle Yeoh) was pronounced evil by a shaman who witnessed her birth: any person who comes near her will fall to harm. Cast out from her tribe, Saiva has survived into adulthood accompanied by the young girl Anja (Michelle Krusiec) she has raised, living a simple existence in tents, dependent on any available food, and always in hiding from a strange pursuing army of soldiers: flashbacks show how Saiva had been physically abused by this strange band of wandering men. When danger approaches, the two women simply move on. Saiva finds an injured and starving soldier Yoki (Sean Bean) who is likewise escaping from the marauding band, and brings him into her tent, nursing him to health, exchanging signs of friendship to a stranger that seems so natural yet so foreign to guarded Saiva. As Yoki recovers, Anja's curiosity about love and men is heightened and soon Anja and Yoki are planning to strike out on their own. When Saiva witnesses the passion between the two people in her life, she reacts as a threatened animal and the horrors that follow echo across the frozen ice of her isolated life.

Michelle Yeoh is astonishingly fine in this difficult role and Krusiec and Bean provide solid ensemble support. Praise must go to Asif Kapadia for his tense direction of this thriller, but kudos are also in order for the extraordinary cinematography by Roman Osin and the appropriately eerie musical score by Dario Marianelli. Much of what happens in this film is shocking to the viewer's senses, but it so in keeping with the animal responses in nature that it says much about our concept of 'civilization'. FAR NORTH is a remarkable achievement. Highly recommended. Grady Harp

This film truly is Far North of anything you've seen before. It caught me by surprise. Had second thoughts before seeing it. Was very happy to have seen it. Unusual story. Interesting. Well made. If there is something typical here its the way the director takes his time to depict the entire situation of the characters. He is not unlike other directors who are not concerned about not showing something every few minutes just to engage, excite or keep his audience. Patience is a virtue I am happy to have and which served me well in viewing this film. Those who are more into usual Hollywood fare (and those who like their films to be easily explained/understood) will probably not like this film. If you want to appreciate this film (and most works of art), you have to keep an open mind. I highly recommend this film.

Something I set to record more on the basis of its setting than anything else, Far North is something of which I'd never heard, nor indeed would have by anything other than chance. Chance was in my favour however, thrusting me and this little production together.

Saiva and Anja are two women, the former the adoptive mother of the latter, living an isolated life away from the community from which they originally came, Saiva alleged at birth by a shaman to be cursed. Their lives are interrupted when a wounded soldier stumbles into their camp, affecting the routine of their days.

The tundra-central setting—the primary motivation for my opting to devote recording space to this film—is the first thing about Far North to attract our attention. The vast whiteness of this unoccupied land is explored beautifully through the usage of wide angle lenses, a sweeping opening shot, and the sole spot of blackness that is the yurt of our protagonist duo. Theirs is a quiet relationship, the intimacy they share communicated through the slightest of gestures rather than expository dialogue. The film is impressively silent, much of its running time featuring no sounds other than the constant bitter wind which pervades the soundtrack. The combination of image and sound in the film is meditative, such beautiful images as the Aurora Borealis, the great snowy mountains, and the rolling hills so covered in impenetrable whiteness that it is hard not to be lost in their banal perfection entirely unforgettable. Largely a three-hander, the film's performances are the tent-poles which support it, the particularly commendable quietness of Michelle Yeoh lending a dignified tragedy to her character. The relationships form the film's centrepiece, the evolution of these over the course of the narrative compelling and unpredictable. Twist is an inaccurate word to apply to a film of this sort, but it stores a number of surprises up its sleeve, the particular paths taken towards its denouement rather unconventional and, often, shocking. It is an emotional film, structured masterfully around these three characters and reinforced fantastically with splendid cinematography. The cold whites and blues of the arctic are contrasted wonderfully with the warm yellows and oranges of Saiva's flashback to times when she was with her community: when she had love, friendship, and hope. It is difficult not to be saddened by the melancholy the film presents, punctuated though it is by moments of silent beauty.

An entrancing spectacle, Far North offers the very best of the fine combination one can craft with cinematography and setting. Expressing itself slowly and almost silently, it is a film that relies on artistic expression rather than speech; on the strength of its performances rather than action. Added to unquestionably by its wonderful score, it is a highpoint of modern independent cinema.

FAR NORTH is one of those simple little under-the-radar movies that you never heard about until it turns up in the middle of the night and you gradually become enthralled watching it. With no buzz, publicity, or plot spoilers, I had no idea what to expect when I sat down to watch this, and I was pleasantly surprised by a film that confounded all of my expectations. The film is almost like a fairy tale in its simplicity: a mother-and-daughter team, living alone in the icy Siberian wastes, are joined by a soldier gone A.W.O.L. The film is about what happens next: how the power shifts and inevitable romance affects each character, and three people in such an isolated setting can never really work.

Visually, the film is stunning. The inhospitable climate is a personality all in itself and the harshness of the landscape is captured in stunning detail – no more so than in the shocking opening sequence. There isn't a great deal of dialogue, but what we do get is natural and realistic. Key flashbacks add to the viewer's understanding and the film finishes on a shocking twist. Best of all is the acting: three actors giving excellent, against the grain performances.

Michelle Krusiec is the young unknown, holding her own against two experienced hands. Sean Bean is a gentle and romantic man, giving a more touching performance than we usually see. Michelle Yeoh is the older woman, an outsider struggling to come to terms with the meaning of her life. Out of all three, it's Yeoh who gives the most stunning performance; she's totally cast against type (usually playing a kick-ass kung fu heroine) and she gets her character across wonderfully. What a revelation!

Rarely does a move disturb me and haunt my thoughts for any length of time. This one has.

I highly recommend.

I will have to watch again because I wasn't paying the greatest attention to the foreshadowing and buildup, I wasn't sure where the movie was going, but man what a 'trippy' flick when it all unravels.

The way this movie was done is really cool, I wondered why everything started so vaguely, and now I realize how well that vagueness lent itself to the overwhelmingly powerful emotion of this movie. Almost channeled it in fact.

I am amazed at the range of feelings I experienced from this movie and how my feeling changed for the characters. I attribute that to the sincere acting, the dramatic story line, and the vivid yet harsh visual aspects.