A Perfect Day

I just saw a Spanish film that probably enjoyed a limited release in the U.S., although the dialogue is mostly in English – A Perfect Day. In the film, a team of aid workers faces a problem, a corpse is contaminating a well that provides the only potable water in the region, since two other wells are surrounded by mines and cannot be used. The film follows the group as they try to obtain a rope to lift the body out of the well, and examines the difficulties of executing such a small task in a war zone, in this case, the waning days of the Bosnian conflict.

The film resonated with me on several levels. First, of course, I live in the Balkans now, so the language and setting was familiar. (Now I know "konopac" means rope and "bunar" means well!) The landscape in some of the scenes was amazing, and makes me curious to see more of Bosnia now. Second, the cast itself is multinational, reflecting the multinational character of international assistance efforts. This is familiar to me too, since I work in a multinational OSCE Mission. The civilian-military interaction was all too familiar, as were the many scenes with Stryker armored personnel carriers, a common sight during my time in Iraq.

I thought the film provided a very good feel for the frustrations of development work in a war setting. In addition, the dialogue and acting were great. The impressive cast features American Tim Robbins, Spaniard Benicio del Toro, Ukrainian Olga Kurylenko (who was a Bond girl in A Quantum of Solace), Frenchwoman Melanie Thierry, and Bosnian Fedja Stukan. At one point, one of the characters, seeing Olga Kurylenko for the first time, mutters under his breath, "And so where is she from – Models without Borders?" The sub-plot involving the young Bosnian boy, Nikola, who attaches himself to the team, is also great.

This is a powerful film that is authentic in its treatment. I recommend it.

A Spanish film about the Balkan Way and atrocities.

The cast is led by a several Hollywood notables. Decent acting and script. Good pace and cinematography. The movie allows a rare look into the terrible atrocities of civilians terrorizing their neighbors.

As the aid workers try to extricate a body from a well. They are confounded by local apathy and bureaucracy. We do get a look through their eyes as they face jittery militia, armed kids and constant fear of mines and bobby traps.

Faced with daily danger and horrors, some of them develop a cynic sense of humor. They befriend a local boy and we get to see the tragedy faced by the orphans of a civil war.

The feel good ending came as a welcome surprise. Kudos to the director and book author.

I enjoyed it despite the difficult subject matter.

This film tells the daily lives of several aid workers in an armed conflict zone in the Balkans. They have to extract a corpse from a well, but are faced with multiple logistical and bureaucratic challenges.

"A Perfect Day" may look ridiculous and infuriating from the outside, as it tells a story of ridiculous bureaucracy. So if the common goal is to help the people in a war zone, why are there so many restrictions and hurdles to helping others? Well, my workplace is exactly like that, do I can relate to every single minute of it.

The subplot about the local boy Nikola is touching, as it provides a glimpse of hope for humanity - sometimes real help is from unofficial sources!

Spanish physician Paula Farias (Doctors without Borders) wrote a novel based on her experience in the Balkans and the present film (an English spoken Spanish production) represents the cinematographic transposition of her work.

It's a lovely movie with no plot: it just narrates how common people could spend a day (actually a couple of days) trying to help, in the middle of events enormously bigger than them.

There are no heroes here, only experience. No guilt, just sorrow. No right way to do things besides thinking and wishing to care. And then there is fate, of course.

A (good) way to look at the world.

Foreign films rarely get the proper recognition in the English speaking world, be that the US or Great Britain. Only recently have foreign films been allowed to compete in categories other than Best Foreign film at the Academy Awards and the Golden Globes still relegate them to the Foreign Film category. If we look at the box-office results we see an even more drastic condition. The highest grossing foreign film of all time in the US is Crouching Tiger, Hidden Dragon, which made $127 million, something the small Pitch Perfect film achieved in 2011 which much less effort. But being shunned from awards and shut out from the box office doesn't mean foreign films don't have quality, just look at the great Italian films Cinema Paradiso or Life is Beautiful, or at Jacques Tati's film repertoire, Almodovar and Amenabar in Spain, Michael Haneke in Austria, and the great master Miyazaki and Kurozawa in Japan. This brings us to A Perfect Day the newest film from Spanish director Fernando Leon de Aranoa. The film is made by Spaniards, told in English, and takes place in the Balkans, a very curious mix, which nonetheless produced one of the best films of the year.

A Perfect Day tells the story of a group of aid workers working in the midst of the Balkan crisis in 1995. We have Mambru (Benicio del Toro) the group's unofficial leader and head of security, the wisecracking B (Tim Robbins), the rookie Sophie (Melanie Thierry), and their translator Damir (Fedja Stukan). The film opens with Mambru trying to take a dead body out of a town well. It's the body of an obese man, which later symbolizes of the dreading weight that the group is trying to relieve without help from the UN or the locals, all trying to help a country they barely know. The story intensifies when Mambru picks up a lost local kid named Nikola (Eldar Residovic) who had his soccer ball stolen by bullies, and finally Mambru's ex shows up (Olga Kurylenko) to evaluate the situation in the Balkans. Essentially the movie is a road-trip through the Bosnian countryside, letting you catch a glimpse of the situation that the locals lived in (and still live in today).

What most surprised me about A Perfect Day was the incredible balance it has. When touching upon the subject of war, it is very easy to be extreme. Extreme in the sense that you show a gore- fest and lots of blood and death, or an extreme where you try to cover up everything and have only descriptions from characters of passed events. A Perfect Day achieves its goal of brutalizing war with simple acts, like when a kid pulls out a gun when fighting over a ball, or when a store-owner can't sell his rope because he has them reserved for hangings, or when a shy adolescent watches over an empty warehouse, but is spurred with hope for protecting its flag. It is these little details littered in the story that really give you the sense of suffering and dread that can be seen in times of war.

In terms of the acting, it was also very well balanced. You had Robbins as the comic relief, and Del Toro as the speaker of truth. Both actors give an incredible performance, with visible yet admirable improvisation. Meanwhile the supporting cast also is incredibly solid. The more known names of Olga Kurylenko and Melanie Thierry do a fine job, but the surprises here were in the local actors: Fedja Stukan and Eldar Residovic who both give incredibly raw and layered performances that have us longing to console them, yet you never once pity them in the undignified sense.

Then the cinematography is also very simple, but yet contains a few flourishes and Director of Photography Alex Catalan (Marshland, Unit 7) gives the movie a cold almost wintery look that makes the message and harshness of the story fall sharper and hit you harder.

Finally, the script was incredibly witty and quick. The character development in the two hours of running time is so smooth you barely notice it, but when comparing the characters at the beginning and at the end of the movie you see how subtle Leon de Aranoa was (especially with the character Sophie). The dialogue is absolutely delicious, with the best being quirky exchanges between B and Mambru.

In the end this film, again, exemplifies that "there is life outside the US" and that foreign cinema (in particular Spanish cinema) is growing and cultivating fresh crops of new artists. And in a world of war and sorrow, art is sometimes the only window of hope.