gwlucca

This was an unexpectedly realistic treatment of the first manned voyage to Mars. It is far from scientifically accurate in every respect, but it scores more points for realism than films with 10 times its budget.

The story is a bit slow, but then again, that would be reflective of the pacing on a real voyage to Mars lasting years. The computer graphics were at times so convincing that it is easy to buy into them, especially the EVA scenes.

I found the acting more than adequate; they were convincing enough for me to care about their characters. That's more than I can say about many films.

The title is a bit of a deception. This is not a "race" to Mars rather than a slow sailing boat voyage with plenty of time for reflection. Eight stars out of ten.

Nordwand moves along like a finely jeweled Swiss watch. It functions at many levels: It is the story of a young female trying to earn respect in a man's world of journalism in 1936 Berlin. It is the story of her boss, whose "nose for news" reflects the morbid fascination of a readership that craves either the heights of historic triumph or the depths of tragic failure -- any middle ground is not "newsworthy." It is the tale of young friends trying to make names for themselves by daring exploit.

The film poses many questions. Is our attraction to mortally dangerous acts powered by the same force that drew Roman crowds to the gladiator arena? Do adventurers seek glory for themselves, or are they goaded to risk their lives for the satisfaction of others? And if the daring cross the line between the heroic and the foolhardy, must their rescuers do the same?

This film is a travelogue back in time, from Berlin to Bavaria to the Swiss Alps by bicycle and train. It's an art film, with the Eiger providing photogenic backdrop. It's an adventure film. It's a love story. It's a tragedy. It is one part historic documentary and three parts cinematic drama, all in cadence. Oh yes, it is also a great film about climbing.

Like "2001: A Space Odyssey", lots of people (critics included) are undoubtedly struggling to get a handle on this film. Here is an odyssey of another dimension, through shifting sands of time and perspective.

On one hand, the film is surrealistic -- it leaves many questions unanswered. It seems to purposely throw the unbelievable into our faces, like Gabriel Garcia Marquez in "100 Years of Solitude". For instance, how do the stranded women survive? What do they eat? It's a Robinson Crusoe epic without explanations.

On the other hand, the film is meticulously honest with fact and detail. The eclipse portrayed in the film was in fact observed in northern Brazil on 29 May 1919. The 7 successful photographic plates from the Brazilian expedition were fundamental in proving Einstein's theory of general (as opposed to special) relativity. Also, contrary to what another IMDb commenter has incorrectly characterized as "pseudo-scientific", one of the space-time implications of Einstein's theory is very accurately alluded to in the film.

We as viewers are left to sort out the broadly surreal from the minutely exact. We must decode the poetry of this film for ourselves. And, as with poetry, appreciation for this film will likely grow with reflection and repeated viewings.

"House of Sand" is a little jewel with hidden facets. See it on a wide screen with a good sound system to fully appreciate it.