Aaltra

Aaltra is definitely worth a try. The photography (grainy black-and-white) is very well composed, and the pictures are often beautiful, or at least kind of puzzling --even though they are merely showing a train, a field, or a tractor....The film is clearly pretty odd, and reminded me of the absurd atmosphere present in Kaurismakis' movie. Better, the film has a refreshing cynical black humor and has the courage of treating wheel-chair people without being patronizing at all (i.e., without any more respect than everybody else)... The humour reminded me a little bit of Man Bites Dog (C'est arrive pres de chez vous), although in a much milder tone which should be more acceptable for the mainstream.

Despite these qualities, it seems that a clear narrative (as well as geographical) direction what was lacking. I did not really have strong feelings for the story or its characters, which left me definitely seduced, but not enthralled.

Forget about Thelma and Louise (1991), The Sugarland Express (1974) and others: this is a road movie with a real difference – actually many differences.

First, it's shot in beautiful, stark black-and-white, always the best, in my opinion, for watching faces – the shadows bringing out the grimaces, smiles, sadness, despair etc, in a way that colour misses. Second, most of the players in this story are nameless. Third, there is virtually no musical sound track; but there is a hilarious scene at a biker gathering when le chanteur finlandais (Bouli Lanners) sings – in English – the well know blues song, 'Sonny'. And, finally, the story is told more or less visually, as good cinema should; while the sparse dialog fills in the narrative 'gaps' for the viewer.

It doesn't start as a road movie at all: two locals in a provincial town have an argument that results in both of them rendered paralyzed from the waist down. After a period of hospitalization, they both return to their homes in wheelchairs, realizing that their lives are ruined unless they try to get compensation from the company that produced the faulty equipment that caused their injuries. So, they decide to go to Finland together, to the headquarters of the company – Aaltra – and demand compensation. And so, they begin their journey…in wheelchairs! The rest of the story isn't really about Aaltra, at all. Instead, the directors – who also play the two paralyzed protagonists – use that scenario to explore and satirize how ordinary people treat the wheelchair bound and vice-versa, setting up some moments of side-splitting humour and irony as the two travel 3000 km to finally reach their objective. And, what an objective it is...which I'll leave you to discover.

For me, this movie is a treat, a feast about why people go out of their way to be helpful, kind, difficult, unpleasant, devious, obnoxious etc – and what can happen when they lose the capacity for trying to understand another's point of view. It's an object lesson for all, and a very funny one to boot.

Highly recommended for all lovers of good cinema and clever comedy.

Delépine and de Kervern are Belgian comedians who conceived, wrote, directed and starred in this deliciously dark comedy about two rural neighbors (one is a farm hand, the other a business man who commutes to the city), men who hate each other and, in one horrid fight, accidentally inflict wounds that result in each becoming paraplegic. Now wheelchair bound, they find themselves thrown together, hitchhiking on a long road journey to Finland, to the Aaltra plant, where a piece of farm machinery was made, equipment that figured in their injuries, to seek compensation. Along the way, naturally, their mutual antipathy gives way, first to interdependence, and from there to a crude sort of friendship.

The early scenes seem deliberately, almost diabolically discontinuous and thus the unfolding of the story is puzzling for a while. Shot in grainy black & white, the movie seems like verité; at first one even wonders whether this is possibly a documentary. The Finnish biker Karaoke scene is by itself almost worth the price of admission. Dripping with drollery (sorry folks, I just can't seem to shake my obsession with alliterative riffs on the letter "d" today), this film recalls the comedies of the Finnish director, Aki Kaurismäki, who, in fact, has a cameo role at the end of this movie, as the Aaltra plant owner. My grade: B 7/10

AALTRA (Gustave de Kervern, Benoît Delépine - France/Belgium 2004)

A rare combination of real-life drama and black humor, this low-budget film from Belgium is a treat from start to finish. Shot in b/w Scope, almost every frame of this refreshingly original road-movie on wheelchairs seems to contain a delightful comic set-up, greatly enhanced by its grainy 16mm b/w photography.

The film kicks off in a rural area south of Brussels, where Gus and Ben (played by the writer-directors, K/Vern and Delépine) are neighbors. Gus is a farmer and spends most of his time daydreaming on his tractor. Ben is a commuter, who has trouble at his work in the city and with his marriage. Both are very unhappy with their lives but most off all, the two men work on each other's nerves. One day, as Ben hurries to get to work on the small road leading to their house, Gus willfully obstructs the way with his tractor. Ben climbs on Gus' tractor and starts a fight, part of the machinery falls on top of the men and the next day they wake up in the hospital, paralyzed from the waist down. Gus decides to head for Finland in order to claim indemnity from the tractor company, named Aaltra. What follows is a road-movie on wheelchairs through Europe in order to reach their goal.

Part of what makes it all so strangely endearing is the fact that the two men are in a wheelchair, which makes a perfect excuse for some comic situations. Every simple thing they do, from trying to get money or food to innocent remarks made to strangers, becomes hilarious because of the way everyday people tend to react to the disabled. Due to the almost universal belief in the goodness of disabled people in general, Gus and Ben are able to shamelessly take advantage of even the most helpful and friendly persons they encounter. The fact that the two men aren't in the least sympathetic is exactly what gives the film it's edge. They remain malevolent hostile bastards, just as hostile against each other as against the outside world they have to cope with.

Considering it's minimal budget, the cinematography is great. Beautifully shot in grainy black-and-white, with many extreme long shots, many of them without dialog. And K/Vern and Delépine are talented comedians (especially in silent comic expressions), but they somehow managed (or got the right people to do it for them) to give the film a real cinematographic touch. A rare achievement.

Aki Kaurismäki and Benoît Poelvoorde appear in the film in small roles, although the latter is tough to spot. You have to be familiar with his legs or voice to recognize him.

Camera Obscura --- 9/10

Overall this movie is so much better and funny then any comedy I have seen for the last few years. Jokes are cynical and sarcastic sometimes, black humour style often, however they are super original !

Maybe the plot/scenario, especially the end, is not the strongest part of the movie, but over 30 superb scenes make well up for this and make it overall a great movie in its genre.

It also intends to make you reflect on your position towards handicap persons and the way they are generally treated in our society. Whereas they are in most cases reflected as the person in need for help, the current directors/actors (same) simply exploit this situation. They were right to do so :).