November

A strange trip deep in the wilderness.

I could try to explain to you what the hell is going on but in all honesty that would not be a good explanation as I have no clue what's happening here.

Seems very experimental with some loose concepts that make it seem like a science fiction film.

Confusing as it was I did like the imagery. I'm a sucker for a film shot it the cold wilderness. A lot of the picture seemed grim and distributed but I found it hard to get into as I really don't know what's going on and kept falling in and out of reading the subtitles.

I like the picture, but the story I could not keep up with.

If you like surrealism and dark fairy-tales, and you haven't seen November yet, watch it before reading my review, because I wouldn't want to influence your expectations.

When I started watching November all I knew was IMDb's Drama, Fantasy, Horror categorization. Little did I know that I was about to experience two hours of a beauty so mesmerizing that it would almost bring tears to my eyes.

November is one of those rare cinematic creations that transcends the medium from mere entertainment into a profound work of art. I can think of only a handful of directors that have lifted the art of cinema to this level, such as Akira Kurosawa, Stanley Kubrick, David Lynch and Lars von Trier.

November is a surreal, dark fairy-tale that takes place in a mediaeval Estonian village. The story is a mix of Shakespearean romantic drama and rural folklore that pleasantly reminded me of the magical countryside fairy-tale atmosphere in the works of the Croatian naive art painter Ivan Generalic, as well as the imaginative surreal comics by the Greek-French comic creator Fred (Frédéric Aristidès).

The most breathtaking aspect of November is its cinematography. The film is shot in moody, darkly romantic black and white photography with beautiful lighting and screen compositions.

But November is filled with beauty in multiple layers. A beautiful soundtrack - incorporating Beethoven's Mondschein-Sonate - intensifies the atmosphere, the costumes, sets and overall art direction are gorgeous, and there's even lyrical poetry of a poignant grace. It will be a challenge to create something more romantic than November has established.

Last but not least, the casting and actors are also laudable. The two main female characters radiate a magnetic beauty, and the peasants look like they have been time-transported from an actual mediaeval village.

"November" is a beautiful, poetic, darkly comedic, fantastical, tragic love story that will absolutely dazzle arthouse audiences (and probably no one else). The film was made in Estonia, shot in stark black and white, and the script features encounters with the dead and the devil, bargains with witches, bullets made of sacramental bread, magic spells, hidden treasure, a bewitched Baroness, a literal personification of pestilence, an omniscient snowman, and tools that are bewitched into creatures that speak and work. The film has many scenes where there's very little dialogue, and the viewer is forced to often forced to piece together what it is that is happening, or, if what is happening is completely real or metaphorical. "November" is a fantasy masterpiece on par with many of the films that Guillermo Del Toro ("Shape of Water") and Terry Gilliam ("Brazil") have put out.

I rented this film on a lark not knowing anything but the brief synopsis on Netflix. It languished a few days atop my Blu-ray player, then last night I popped it in so I could send it back. Holy cow!!! (an actual reference to an unforgettable image within the film!) from the very first exquisitely rendered silver-toned b&w shot I felt mesmerized by the films originality, the simplicity and clarity of its absurdity, the openness and uniqueness of every actor's face, the alchemy of the cinematography that strips its images to the essential and presents every scene like a haiku. Sometimes surreal films can be all style and no substance, but not here. The way the characters interact and how the director (Rainer Sarnet) places the camera to capture nuances in each character, the relationships all resonate as identifiable and real. That said, you are so thrown off balance by the strangeness of what you're actually viewing....you find yourself constantly trying to get your bearings. This is a masterpiece to be surrendered to. When a film maker is this kind of visionary...all you can do is trust he'll take you somewhere you've never been before. I look forward to taking this journey again. A new favorite.

Based on Estonian bestselling novel "Rehepapp ehk November" by Andrus Kivirähk. Many (me included) have deemed the book to be nearly impossible to adapt onto the big screen and it shows in the film. Still writer/director Rainer Sarnet has done quite nice (bit uneven at places, perhaps) job handling this difficult source material and creating surreal (anti)fairy tale land of misery and condemnation that stays true to it's roots but still stands on its own. What I mean by anti fairy tale is the landscape is bleak, people are miserable, they deceive and steal without any idea what to to with all the treasures they grabbed but simply bury them or hide under floorboards. Love is some strange silliness according these people and it's destined to fail. They follow old beliefs and base their lives on myths and legends. Tragic and same time hilariously beautiful in the sauce of dark humor. Some of the cast are formed by non-professional actors, thus some of the acting might seem wooden, but it adds to whole charm of the movie.

'November' might be little bit difficult to follow and understand to those who haven't read the novel before. Or someone who doesn't possess much knowledge about Estonian mythology and history. At least magnificent black and white cinematography offers some visual beauty to strange surreal land for those who don't get all what is hidden in the story. 'November' is pure art-house experiment that could have gone wrong in some many places.