Ich war zuhause, aber

The title might make you think of Ozu's masterly tale of childhood "I Was Born, But...", however German director Angela Schanelec's "I Was At Home, But..." is an altogether more challenging affair, typical of the woman who made "The Dreamed Path". It's also a film about childhood, or at least a film with a child as one of its principal protagonists, but this rigorous and admittedly difficult film totally belies any cosiness or sense of closure, turning its attention instead, not so much on the child, but on a distraught mother who appears to be having some sort of breakdown.

Something, perhaps terrible, has happened to the child in question but Schanelec doesn't feel the need to explain it or even to explain the subsequent actions of anyone involved. We seem to have been dropped into the middle of something we don't understand and are left to work things out for ourselves. This is what life is like, she is telling us, not what we usually see when we go to the movies. With only a few films to her credit she is an already established auteur as well as one of cinema's great female directors and her work demands to be seen; just don't expect the obvious or even to be entertained but if you are prepared to enter into her world you will be amply rewarded.

Ms Schanalec is Germany's Roy Andersson. The long silences sandwich loud outbursts. Are humans like animals (opening and final sequences)? Hamlet enacted by school children without costumes. The effect will only dawn on viewers who are familiar with the play. Interesting performances--especially by younger actors. As satisfying as a a good crossword puzzle that you the viewer can crack with some effort.

No story what so ever, random scenes without connection or sense. A viewer is trying to find some sense while watching long, empty scenes. It seems that the movie was made to make people feel stupid for not getting it.

The winner of the Silver Bear for Best Director at the Berlin Film Festival is a realistic, strange and ultimately extremely compelling piece of Arthouse cinema. Director Angela Schanelec stages a group of really talented actors and actresses in a strange and complex storyline about love, family and responsibilities. There are many meta aspects to this picture with many scenes indirectly referencing the fact that audiences are simply watching the illusion of characters portrayed by actors in a made up story. There is one particular scene involving two characters socialising about art that was so well written and acted, the entire audience clapped. When a young boy disappears without a trace for a week. Until he suddenly reappears again. From what follows is one of the strangest and challenging films I have ever seen. What was difficult to comprehend wasn't a convoluted plot or images that need to be analysed in order to be understood (this was not a David Lynch experience). Most of the scenes made sense, and the characters made sense. The story was just simple, a family having to go through troubles that we all face everyday. There are moments of love and compassion, but also moments of frustration and anger. Sometimes characters make decisions that seem out of place because no character is written to be a particular way. People are complicated and sometimes act out irrationally. This is what make I Was at Home, But such a compelling drama. It is a study about how we as humans interact and treat one another, how real are the emotions we feel for each other? Do we love or hate a certain person? Not a watch for everyone, definitely for fans of arthouse and social dissection films. However anyone looking for a more conventional family drama may leave disappointed as many plot points get lost or solved quickly.

As a fan who has thoroughly enjoyed Angela Schanelec's works, I was somewhat disappointed after watching this film. There's no point in elaborating why, since many of the other reviewers have already done so here. Though visually and artistically well executed, as is the case with all her films, I walked away from this one with a feeling of unjustified vagueness. Yes, I agree with the Michael Haneke approach of placing the final onus of judgement or opinion in the minds of the audience, but I also believe the audience must at least have a cohesive story on which to base such a position.