Two people meet again after more than 50 years. They were lovers once, but their lives took different turns: she married his best friend. Fifty years later, they meet again and passion ... See full summary »
Charlotte Anne Bongaerts,
Charlotte De Bruyne
Alice works in a call center in the outskirts of Zurich, selling internet subscriptions and insurance deals to strangers on the other end of the line. Inspired by her job, she calls lonely ... See full summary »
Finley Blake is a cam girl: she does sexual exhibition on Internet, in front of her webcam, for a living. She is 33 years old, lives alone in an isolated house in Austin, Texas and is ... See full summary »
Rosario works as a street seller on the fairgrounds of the suburbs of Naples. His dream to escape poverty latches onto the musical talent of his daughter Sharon. He turns into an impresario to make her a star of the Italian folk music.
'Cargo' brings the raw story of three brothers who own a family business in the fishery and are trying to save it from destruction. The passion for their profession but also for their loved ones, however, drives them to desperate actions.
Josse De Pauw,
Wennie De Ruyck,
Gilles De Schryver
In apartheid-ruled South Africa, a renowned lawyer struggles to hide his secret affiliation to the nation's chief resistance movement - as he takes on defending a group of its arrested members, including its leader, Nelson Mandela.
Jean van de Velde
Peter Paul Muller,
'Le Ciel Flamand' ('Flemish Sky'), a film written and directed in 2016 by Peter Monsaert, which I could see at 'Film ArteKino Festival 2018', reminded me of the current minimalist trend that dominates the Romanian films made during the last decade by part of the directors of the Romanian 'new wave'. The same anti-emphatic approach to otherwise painful subjects. The same kind of characters that communicate in many circumstances more by gazes and silence. The same attention to the details of everyday life. The same respect of directors for their actors who are given the freedom to improvise, live their roles and bring their personal nuances into defining the heroes on the screen. The same moderate and often grim tones in the colors palette of cinematic imagery.
Of course, there are also differences, and I'm not just talking about language differences. 'Le Ciel Flamand' has a special cinematography that plays a dual role in locating the action in a rural area of Belgium, somewhere near the border with France, and in the transition between episodes. A perfectly horizontal line of the horizon delineates the plains from the high sky of Flanders. The sky occupies more than three quarters of the frame, as in some of the paintings of the Flemish masters, reminding us that what is happening down here is just a brawl in a much larger universe.
As in many of the Romanian films, the banality of the daily life conceals acute conflicts and difficult moral dilemmas. Sylvie (Sara Vertongen) earns her existence as manager and bartender in a discreet brothel, kind of a family business inherited from her parents. Sometimes she also steps ahead practicing the oldest profession. Her attempts to protect her 6-year-old daughter from the vicissitudes of her "business line" prove to be futile when the girl is attacked, in all likelihood by one of the establishment's clients. There is also a father in this story, Dirk (Wim Willaert), a bus driver, a man full of good intentions, but who did not have the courage to formalize a relationship with Sylvie for unclear reasons, perhaps due to the mother's profession. Peter Monsaert's heroes are actually anti-heroes. They would like to be ordinary people, but the world around them imposes a way of life outside the norm. The society they live in is neither able to support them economically nor do justice when a horrific offense is committed against them. Trying to restore the balance, the calm, and return to seemingly normal life demands a huge price.
Much of the quality of the film is due to the exceptional acting. Both Sara Vertongen and Wim Willaert in the lead roles as well as the whole team of secondary actors succeed in creating a discreet and empathic atmosphere. The topics are difficult, the heroes' actions are questionable if we use the usual criteria, but screenwriter and director Peter Monsaert avoids moralizing judgments. Most viewers will probably forgive the extreme acts of the heroes. But will they forgive to themselves?
3 of 3 people found this review helpful.
Was this review helpful to you?
| Report this