L'enfer

Just saw Tanovic's "L'Enfer" last night at Sarajevo Film Festival. Being a Bosnian himself and being the only Director from this region who has ever won an Oscar (which is a source of envy on the part of many film-makers, critics and others in the industry who use every opportunity to blemish him and his work in sensationalism-prone media), he received a seating (unfortunately, not standing) ovation from the crowd. In my view, he deserves a standing ovation for his rendering of the script of a legendary Polish film-maker, Kiezslowski.

This is Tanovic's second movie after an awe-inspiring Oscar-winning debut (for those of you who do not hold Oscar in high esteem, he won a dozen awards from film academies and organizations all over the place). One might say that "L'Enfer" is a perfectly French movie with its setting, acting and pace, just as No Man's Land perfectly captured the essence of Bosnian predicament at the time. I was impressed by Tanovic's ability to make his movies very much recognizable, and yet retaining that note of universality that is very much needed for full appreciation by the international audience.

Nothing in this movie seems redundant or out of place to me, and everything from the opening scene, which is bordering on spectacular, down to the last words of Carol Bouqet with which the movie ends is in service of good film-making. Overall, Tanovic's "L'Enfer" is a worthwhile cinematic experience, a modern tragedy well-captured by a director with an eye for a detail, and finally an exciting second movie that will be, I'm sure, appreciated by movie-goers around the globe. An intelligent, likable, and well-executed piece! I could not wish for more.

Just saw this film at TIFF. I was quite moved by it. The voting stats here claim the film was better received by females than males. I can understand this completely. The characters all had elements a woman could relate to and some of the scenes just felt so real. Particularly the scene involving Emmanuelle Beart and her husband in the kitchen. Gosh, don't you just want to kiss her bee-stung lips?

I feel it was masterfully executed by the director (who seemed like a nice guy during his Q&A session -- great sense of humour). The cinematography, the editing, the performances. Fabulous. You could tell that Danis has a real passion for film-making and has clearly studied the greats with an exceptional eye for detail. His self-proclaimed homage to Krzysztof Kieslowski hit the mark for me with it's claustrophobic interiors and dark females haunted desperate secrets. I highly recommend this film.

... brought lovingly to fruition. For those living until yesterday in a remote Galaxy on the Dark side of the Milky Way maybe I should explain that the late and Great Polish writer-director Krystian Kieslowski left among his papers three Screenplays, Heaven, Hell and Purgatory and now the fine Bosnian (No Man's Land) director Danis Tanovic has shot the second part so that what we have is a Polish screenplay directed by a Bosnian with a (largely) French cast. The result is harrowing but richly rewarding and Bergman buffs will feel right at home with the doom and gloom which is present in both the story and dark interiors. With actors of the calibre of Carole Bouquet, Manu Beart, Karin Viard, Jean Rochefort and Jacques Gamblin you'd have to work at screwing it up (okay, Godard could make a pig's ear of it without trying but luckily he's unrivalled at ineptness and incompetence)and Tanovic has scrupulously and perfectly captured the writer's intention. This is a film of nuances and 'moody' to the nth degree with three sisters united by a common tragedy but distanced from each other in the present; Karin Viard is the only one who visits mother (Carole Bouquet) long institutionalized and reduced to communicating via pencil and paper. Viard turns in a career-best performance as a bruised, repressed spinster, longing for companionship and Bouquet is not far behind completely deglamorized in straggly gray hair and a wonderful way with a curtain line. Marie Gillain is perhaps the most conventional character as the youngest sister who allows herself to become pregnant by a married Sorbonne Professor - played by Jacques Perrin finally escaping his fate as a top-and-tailer; he played the narrator in both Cinema Paradiso and Les Choristes and is on on view currently in Le Petite Lieutenant - who kills himself rather than deal with the situation, and Manu Beart is the terminally unhappy wife of Jacques Gamblin. There's not a lot of joy on offer here but there are some beautifully realised cameos like the porter on the train who finally plucks up courage to approach Viard romantically after years of punching her ticket as she travels to the institution and accepts defeat of a sort - he chooses the day when the sisters have reunited and are travelling together - philosophically and Jean Rochefort as a fellow inmate of Bouquet who does little but sit on a bench but HOW he does it. If your idea of a great movie is American Pie you won't last five minutes with this one but if you value fine acting, directing and storytelling you'll want to go again.

I find it hard to comment on an art film, simply because art films provide more than just statements. They pose questions, questions unanswered, questions rhetorical, questionable statements.

Hell opens with a beautifully made sequence of a bird and her 3 eggs in a nest, through a kaleidoscope vision. One of the eggs was exchanged by another bird, and its chick "killed" the other two eggs. Personally, I think it's probably the best opening sequence I've ever seen. It's both beautiful, and yet very disturbing.

Like the opening, the movie is also beautiful and disturbing. The stories between the three sisters plays powerfully, pushing you towards the revelation given by the 'boy' who shamed their father. From then onwards it's straight forward. But before that, the characters seem to be so unrelated to each other and each story seems to play just because. Well, they're not what you expected them to be.

I didn't find it to be very emotional. It is gut-wrenching, but at the same time very rational. On the other hand, its rationality does not (logically?) lead into cliché or any expected outcome. There is a great number of subtlety that you might miss, so better keep your mind alerted while watching it.

Danis Tanovic continues his Oscar worthy ways with L'Enfer.

A complete departure from the film that "No Man's Land" is, L'Enfer is visually beautiful with intricate interwoven plot lines.

The film starts out seemingly slow, a jumble of scenes with no obvious relevance or message starting with the opening title sequence. Yet as the film unfolds, early scenes come increasingly into focus, with ever intensifying clarity of understanding and pertinence.

The primary cast including Emmanuelle Beart, Karin Viard, and Marie Gillain, are brilliant, all showing top performances.

Will Tanovic receive another Oscar nod for L'Enfer? Probably not, but this film is certainly deserving of attention.