Alpes

If it is one thing I really love, it is being in a state of PARANOIA. In Yorgos Lanthimos's Alps, we follow a group of individuals, mainly gymnastic instructors, who basically began a business where they act as someones recently-diseased loved-one in order for the family (thinking of parents) cope with the grieving process. Sounds like a wacky story. Well, it is :).

As I like to mention before all my reviews, I have seen the previous work of Lanthimos. Mainly the very successful Greek film, Dogtooth, which is a dysfunctional family with the kids being taught the wrong things in order to be safe from the outside world. That one I loved.

BUT I ALSO LOVED THIS ONE! The small things that they do with the camera-work blows my mind. There are a lot of times where our main character, or so I think, simply named Nurse (played by Angeliki Papoulia who was in Dogtooth) speaks with another individual where we cannot see their face. It is either cut-out, blurred, or even covered by shadows. I love this. I have seen Kar-Wai Wong do it in a couple of his films. It adds a little mystery and confusion to the story. Do these people not matter? Will they matter? What have you!

The tone of the film is pretty much the same throughout it all. Some little indents here and there, but in my opinion, it is worth the watch, regardless how slow you think it is.

I just find it very fun to watch these type of people (broken) living there lives on a day to day basis. Not the major things they do throughout there day that effects them, but the small things that we rarely take notice of. Like small chit-chat with someone else, etc.

I must say, that as much as they seem they are pushing it away, I find this film very touching. The way they have to impersonate a family member who is dead makes up for the abnormal conversations. You can tell that when they are going through this process that they are acting; very badly, too. But that is how it would go. That is not something you can enjoy, nor hate. Nor will you think it's a good idea or bad. It just feels as though it is something to do.

It has a plot that is inspired, and delightfully surreal. But the execution of it is dreadful. The imagination does not run wild in Alps. Visual speaking, it is a huge letdown. Everyone in the film seems half dead, sleepwalking through the film. Grieving with death is a concept that only makes sense if it is dealt with accurately. Now, I know that Alps is a surrealist piece, but it just didn't resonate with me emotionally. It didn't hit me where it clearly wanted to.

Alps is a movie where tone was all there was to offer. Having seen it work so well in Dogtooth, Lanthimos seems to have neglected everything else that made it as effective and memorable as it was.

There are no stakes, there's nothing to root for, nor is there anything to reflect and learn from. Everything happens because the script says it happens. And if there is in fact something profound hidden underneath all those layers of vapid cynicism like the "art crowd" says there is, then the movie does a horribly poor job even letting us know that there is.

But not everything I have to offer this movie is criticism. Because from a technical aspect, the movie is more than competent. I actually found Alps to be quite pleasing visually. The camerawork was so expertly done that I repeatedly found myself acknowledging the compositions. And even the actors did a pretty good job with what little was handed to them. Angeliki Papoulia stands out in particular; especially in the climactic "break-in" scene, where everything interesting about it was her performance.

Overall, this movie felt like someone was attempting the most exaggerated Lanthimos parody with every one of the director's signature tropes turned up to 11. Watch it only if you must.

In Greece, a nurse, a paramedic, a gymnast and her coach form an underground group known as Alps. The goal of Alps is to help bereaved families through the mourning process by posing as the recently deceased. Run by the paramedic, the group visit elderly ladies, widowers and the like, keeping them company in the guise of the dead. After a young tennis player dies, the nurse takes up her role. Matters are complicated after she becomes obsessed; refusing to drop the act even after the grieving parents demand it. Meanwhile, the gymnast wants to dance to pop music, which her disciplinarian coach insists she isn't ready for. Will Alps prosper, or will the obsessiveness of the nurse lead to the groups' downfall?

Directed by Yorgos Lanthimos, 'Alps' is a movie both intriguing and frustrating. Lanthimos and co-writer Efthymis Filippou have come up with a genius conceit, which they then fail to explore as interestingly or as deeply as they could have. The narrative has surprisingly little emotional weight, constantly flirting around the edges of greatness but never quite making it. Scenes where the Alps members pose as the deceased initially have promise, but because Lanthimos and Filippou don't allow their characters to display any emotions; they ultimately have limited impact.

How can you create a meaningful film about grief when you don't allow any of your characters to grieve, or emote in any way? Additionally, there are numerous protracted silences in the film which- because of the aforementioned emotional frigidity of the characters- seem unnecessarily drawn out rather than intelligently introspective. Also, the sub-plot involving the gymnast and her coach, while entertaining, seems out of place in the grand scheme of things. It has no bearing on the main story; making one wonder whether or not it was included just to pad out the running time.

What was Lanthimos trying to say with 'Alps,' exactly? Some postulate the film may be an analogy about groupthink, while others claim it is some sort of capitalist cultural critique. The director himself has stated that "Alps is about a person who tries to enter a fabricated world," which doesn't really go a long way to explaining his intended meaning behind it. Ultimately, whatever message was at the core of 'Alps' is one so obscured by the confounding coldness of Lanthimos's approach that it's likely lost forever (on this viewer, anyway).

Having said that, there is a lot to praise about 'Alps.' Christos Voudouris's muted cinematography is attractive, lending to the proceedings a stark atmosphere that matches the narrative's dispassionate tone. His composition is frequently inspired, and some of his shots linger in the mind long after the credits have rolled. The story features much bizarre, dark humor that works well, and the cast are all great. Angeliki Papoulia and Johnny Vekris particularly impress as the nurse and the coach, respectively, turning in memorable performances despite Lanthimos and Filippou's scant characterization.

Yorgos Lanthimos's 'Alps' is a cold, calculated conundrum. As a complete package, it doesn't really work- though it contains scenes of power and moments of interest. Strikingly shot by Christos Voudouris, and routinely well-acted; it is not the creative and technical travesty some claim it to be. This is not to say it is a masterpiece either, for it is very far from that. Though Lanthimos has made much better films- 'Dogtooth' or 'The Lobster' come to mind- 'Alps' is certainly worth seeing; if only so you know you haven't missed the director's magnum opus.

Alps offers another engagingly weird examination of the human psyche from co-writer/director Yorgos Lanthimos. Focusing on those who profit off death to show some of the darker sides of humanity in a cold, offbeat and occasionally uncomfortable fashion.

The core four (Angeliki Papoulia, Aris Servetalis, Johnny Verkins and Ariane Labed) are all great at conveying the desensitised personality the film is going for. Their sympathy always feels fake and they all nail the delivery of this very specific type of comedy.

Yorgos Lanthimos really excels at creating environments that are just so bleak, especially through their desaturation. The overall weirdness can be a bit too much here in a way his other films balance better but even then it's still impressive to see a very distinctive voice find its footing.