Snow Therapy

The Europeans do this kind of film so well. You let ordinary people in a fairly common situation play out a theme. It poses questions that all of us can relate to and therefore and at the same time, entertains. No need for explosions, cartoon violence, or impossible crisis after impossible crisis. Therefore the emotions revealed are subtle and appropriate. (Think Manon de Sources for example - although this is not as good)! Some of the camera work in the mountains is so straightforward yet produces breathtaking results. Artificial avalanches are created to preempt natural ones and provide safety for the snow lovers. You could almost be there. The actors are relatively unknown so there is no baggage, no false expectations, no subliminal 'hierarchy of the characters.' It's what gives the story its power. I saw this at a film festival which shuns Hollywood's attempts at drama ( thankfully) to bring nuggets like this. I know it went down well at Cannes and its failure to get an award surprised some.

I consider myself fortunate not to have known much about the movie. Actually, I was expecting a french disaster-flick in the vein of "127 Hours", a post-avalanche survival tale, because of the promotional poster.

Boy, I was wrong. Being misguided often gets me irritated, but "Force Majeure" was shockingly impressive.

The narrative follows a Swedish couple on a ski-holiday with their children, and the aftermath of them facing a somewhat life- threatening situation. The disaster here is not a force of nature, but a force of human emotions.

With no intention of spoiling a movie you should know as little as possible about, this is a hard hitting emotional drama about human frailty, marriage, inner torment and moral dilemmas when it comes to love, and the authenticity of love.

Very much recommended to lovers of layered, intelligent drama. And I repeat, this is not a natural disaster movie.

I knew nothing about Ruben Östlund's "Turist" ("Force Majeure" in English) when I started watching it, so that made it more intense. I interpreted the movie as a look at instances when people suppress unpleasant things, only to see dangerous situations force them to face reality. The approaching avalanche foretells the repressed issues that the family will have to address, and the question of how to flee a dangerous place functions as a good plot device.

We often stereotype Scandinavian movies as slow, and this is no exception. But mind you, the slow pace allows the story and the characters to thoroughly develop, and the music really sets the stage. The alpine setting may look pristine and idealistic, but what transpires over the course of the movie is nothing of the sort.

I recommend it.

Greetings again from the darkness. No one has sung the words "I'm a MAN" better than the great Muddy Waters, but even he would have been unable to bounce back from the ramifications of the split-second reaction of Tomas when things go awry at lunch.

Writer/director Ruben Ostland delivers an intriguing and thought-provoking look at gender roles and the definition and expectations of masculinity, especially within a family. What makes a real man? What is a hero? Is our predilection of survivalist or protector hard-wired into our DNA? And what happens to a relationship when the foundation of respect crumbles? Would you believe this film tackles these emotional issues, and does so in such a brilliant manner, that we often find ourselves chuckling (albeit with a tinge of guilt)?

A family vacation in the French Alps takes a turn when, while lunching on a veranda overlooking the ski slopes, a controlled avalanche goes wrong and the café is threatened. Tomas (Johannes Bah Kuhnke) grabs his phone and goes scurrying for protection, while his wife Ebba (Lisa Loven Kongsli) covers the kids and calls for his help. Both are instinctive reactions, and while one recalls George in a "Seinfeld" episode, the other is more in line with what we expect from a parent.

While the avalanche turns out harmless and the family members are physically fine, the emotional shockwaves of Tomas' actions reverberate through the family ... and even through another couple (Kristofer Hivju, Fanni Metelius). There is a exceptional dinner scene with the two couples which brings the issue to a head, and it's excruciatingly painful and funny to witness. It's terrific story telling and filmmaking and acting.

This is Sweden's submission for Best Foreign Language Oscar, and it must be considered a favorite so far. Though I'm not a huge fan of the final 15 minutes, that doesn't take away from the questions as the characters try to come to grips with the situation. Really nice contrasts between dark humor, disappointment and broken trust.

I can't fault the writing, the acting or the piece as a whole in any way really.

The dynamics and relationships between all the characters, especially of the central family, were done very convincingly. This did feel like a real family and the individuals behaved believably (even the young children).

I felt that the main "subject" of the film was masculinity. The way in which Tomas handles the position he finds himself in; and the way Tomas and his friend Mats try to exorcise his feelings.

I could relate to Tomas, also being a father with two young kids, and that probably helped me to "get into" the film. I do wander how much I'd have got out of it had I been (for example) a 25 year old bachelor.