Aanrijding in Moscou

You can hardly get more unpretentious than what you have here.

It's elementary clear how this is made, the devices that were used, and the effective it is and this is a good thing, in this case.

Check how the story and the mood is built right from the first scene. A minor traffic accident in a parking lot, that begins an argument. The scene starts as a piece of ordinary life, goes on as a light word-based argument, and finishes in a funny mood. Notice how every word and sentence in this argument is designed to cause an immediate impression without becoming dark or even heavy. That's the mood of the film. It lives on daily lives, it introduces deviating elements, that usually work out funny (the introduction of the lesbian theme was a great moment, among others)and with this mood evokes a sense of tenderness, what audiences may call "romance". The fact that the people who conceived this were able to synthesize this so economically and efficiently in one single scene is really impressive. This is one of the most meaningful first scenes i've seen.

I place this with 3 recent comedies that among many differences share a common sense of unpretentiousness, something that admits cinema is a piece of entertainment, that things have to be successful and effective in the eye, and through the dialogues, IN the world of the film, without meaning that the film should moralize or search for superior answers to common themes. These films i saw recently are "Juno", "Little miss Sunshine" and this one. Of the 3, this was the best, to me. It deviates from Hollywood canons even more than the other two, and that may be the reason.

It works for the performances, acting, which were surprisingly direct and grasping. I know very few or nothing about Belgian (or equivalent) acting traditions, but i am guessing (may be wrong) that this is inserted in a longer tradition of acting with fluidity, what some may consider "natural" acting. I wouldn't dare to mistake this for "real" life, as i suppose many spectators will, but this is a really well shaped cartoon world. Representation, that's what this is... the guy goes often to Italy, and speaks Italian many times, a language that in some of its golden moments in art is meant to "sound" instead of really "mean".

Some cityscapes of the small town of Moscow, Belgium, is great. There was a competent eye for the city here as well.

My opinion: 4/5

(FantasPorto 2009)

http://www.7eyes.wordpress.com

If you want a little foreign flavor added to your usual movie-going experience, consider seeing "Moscow Belgium|" in the near future. It is one of the best small films to come along so far this year.

The movie begins simply enough – a harried mother (Barbara Sarafian as Matty) backs into a truck in the supermarket parking lot. The owner of the truck (Jurgen Delnaet as Johnny) steps down. Fingerpointing and verbal abuse of course follows; only the eventual arrival of the police keeps the situation from becoming any uglier than it is.

Later that day we see Matty bathing; her daughter interrupts her to say there is a phone call from Johnny. Matty blows this off, and despite the continued advances of Johnny Matty remains stoically immune to his attentions.

We find that Matty's art-professor husband has moved out to carry on an affair with one of his students. Matty would like a normal life; her kids, her husband and her lack of funds frustrates her. And now there is this persistent guy whom she tells she doesn't need any more things in her life.

But we can see that Johnny will not be shaken off as easily as that. So the balance of the movie essentially prances about the central theme; should she accept Johnny in her life or have her husband come back into her life?

Barbara Sarafian is a wonderful actress, playing straight-faced to all – her colleague at work, her suitors and her children. She convincingly conveys Matty's worn-down attitude; and according to her (interview at buzzine.com/2009/01/christophe-van-rompaey-interview) "you suspect that there is a bomb inside of her".

And so I leave it to you to see how Matty handles all her concerns and decides which is the best course for what probably be the rest of her life. I don't think you will for a second be disappointed with the outcome.

Three stars.

A small accident, some common people in a brilliant yet ordinary scenario, a few great jokes, superb acting in a suburb setting. Life as we know it, and sometimes that's more than enough.

I don't usually write comments for any genres other than horror and cult movies, and definitely not for romantic comedies, but I gladly want to make an exception for this original and totally refreshing "feel-good" flick from my beloved home country Belgium. The film is an excellent effort, with spontaneous and identifiable characters, recognizable situations, genuine laughs and natural performances. There's a whole lot of typical stuff that only Flemish people will fully comprehend, like the excessive use of regional dialects for example, but the film can nevertheless appeal to international audiences due to the innovative twist on the usual romantic comedy formula and the unpretentious atmosphere throughout. The story takes place in the rather unusually named community Moscou; very near to the beautiful city of Ghent in Belgium. Matty, a 41-year-old mother of three children, is a sad and pitiably looking wreck ever since her husband left his family for an affair with a young student. It's been more than five months now and Matty still hopes that it's just a temporary fling and everything will get back to normal. When she has a banal little collision with a truck on the parking of a supermarket, she freaks out and loudly yells at the much younger truck driver. Since then, Johnny the robust and macho truck driver purchases the middle-aged woman and tries hard to seduce her. Matty, although in conflict with her persona and common sense, eventually falls for Johnny's playful charms … But then her husband chooses to return home. One of the several strengths of "Moscow, Belgium" (literally the title translates as "Collision in Moscow") are the everyday personalities of the characters. They're genuinely real people, with certain qualities but even more weaknesses, and react exactly like anyone else would react in particular situations. It's also fascinating how this type of story is something that can take place right next to your doorstep, so to speak. It's a film without explosions, car chases or spectacular stunts… just an absorbing story about people and the feelings they would rather oppress than enjoy. And it's funny! "Moscow, Belgium" isn't overly vulgar or absurd, like too many other nowadays comedies are, but the gags are always nicely timed and effective. Barbara Sarafian, ever since the release of this film an enormously popular actress in Belgium, gives a truly stellar performance as the emotionally troubled woman and she forms a terrific – albeit deviating – on screen couple with Jurgen Delnaet. There are also splendid supportive roles for Johan Heldenbergh as the rather despicable husband and Anemone Valcke as the rebellious teenage daughter.

Funniest dialogue of the entire film: daughter (upon hearing her mother spent the night with the trucker): "Mom, he's like twelve years younger than you are!" Mother (with a naughty grin still on her face): "Yeah … I felt that!"

Screenwriters, Jean-Claude Van Rijckeghem and Pat van Beirs have written a script that gives us close scrutiny at a woman's character and how it slowly changes or bends as circumstances arise. They have done it well.

It is more often than not that one wold find character development like this in a "foreign" film. Maybe that is changing, and that would be a good thing. If we can trust that our audiences will watch characters interacting with one another, without the need for some cinematic shock, i.e. action, suspense, sex, etc, then we may have more movies like this in the U.S. I have nothing against action, suspense, sex, etc, it's just that we could use more movies that depict character studies.

Director, Christophe Van Rompaey takes the reins and nicely dramatizes this story about a domestic life, while holding back any temptation to rush.

Very nice performances are given by Barbara Sarafian, Jurgen Delnaet and Johan Hildenbergh.

Barbara Sarafian, Jurgen Delnaet, Johan Heldenbergh, Anemone Valcke, Sofia Ferri , Julian Borsani, Bob De Moor, Jits Van Belle and Griet van Damme