shimonmor

William is a slacker. He's not unintelligent nor unendearing. But he battles addiction which saps his drive and corrupts his life choices. His unreliability is maddening. Occasionally, he straightens out, does the dishes and tries to gather the shambles of his life into some semblance of order. But he inevitably reverts to his chaotic ways. Inheriting a cabin from his deceased and estranged father might be the crucial impetus for him finally getting his life together. But with addicts, it's never a sure thing.

By the end, do we find enough compassion to redeem William or is he a lost cause? This question is not easily answered which is what redeems this film. We aren't provided with a sappy sweet ending but are left on the fence to make a choice and it's not an easy one. I've wavered back and forth and still do after watching this film. If you're the type of person who needs closure and pat endings in films then stay away. But if you prefer to ponder and wonder then you'll find this film satisfying.

In four 20-minute episodes, this Norwegian mini-series delivers a wry and humorous indictment of 21st century capitalism and its failings. Severe income inequality has made affordable living in Oslo unattainable while jobs have become increasingly Kafkaesque. Our protagonist, Julie, stumbles on an elegant solution to the housing crisis but soon discovers that in capitalism's zero-sum system, she can only climb the ladder of success by using friends and colleagues as rungs. While other are forced to resort to fraud in order to survive. There are no winners in the middle-class. This black-comedy is sharp and witty, quickly paced, efficient and razor-sharp. The series is very well crafted and entertaining.

An expertly crafted film on every level. Alaa Eddine Aljem has not only written a surreptitious commentary on superstitions but has directed a nearly perfect example of efficient, well-paced film making.

Unlike so many directors (even big name directors), Aljem was not absent the day filming principle "show, don't tell" was taught. There is hardly an ounce of exposition in this film which is so refreshing. Dialogue is sparse, flabby scenes non-existent, extraneous shots cut. Aljem trusts the viewers to interpolate action and context without hand-holding which dramatically improves the viewing experience; no excess fat on this film. And no melodramatic score, no CGI, no fast-paced-witty-banter, no gravity-defying-action-scenes, no overstuffed crap that chokes the art and joy out of so many contemporary films. Just pure story telling executed perfectly.

In addition, the photography deserves accolades. Even though shot in a mostly tan, desolate, near moon-like setting, the images captured are beguiling beautiful. Everything from the compositions to the blocking to the lighting and smart use of colorful buildings and clothing adds to the visual feast.

The characters are a motley bunch including a thief, a criminal (there is a difference), a surly, bored nurse, a newly arrived doctor, a dirt farmer and his discontented son, a shrine night watchman and his loyal German Shepherd, a crafty barber and a slew of others. They each play a minor supporting the thief's main thread of attempting to recover buried stolen money that has been covered by a shrine which people visit for spiritual relief and healing. The story is filled with understated and sly humor which adds an extra dimension and kept me smiling throughout the film.

We are introduced to not only the various characters' superstitions but also to the skepticism of others. The interplay between the two groups is the crux of this film and how some characters move from one group to the other forms the tension and release. In the end, it's the one character who chose the wrong side of superstition who is left to wander alone in the desolate desert. The commentary on superstition can be interpreted anyway you want which is what elevates this film. Rather than forcing one viewpoint upon the viewer, the film offers a story and situations that can be interpreted depending upon the viewers mood or temperament which comes across as effortless in the film but takes careful writing and directing which is why I believe this work to be of the highest order.

Overall, one of the best films I've seen in the past number of years. I was never once bored...I was fully engaged by the story, characters, humor and visuals. To some, this may seem like a simple, slow, boring story where not much happens but in reality, it's evident to students of film how much effort was put into crafting this gem.