“He had his penis in your vagina?”. The lawyer’s question lands voiceless in the sterile courtroom, but are uttered as an accusation.
The accusations about who really made the error has been there from the first scene. But then, at a wedding in a northern wooden church, it is still only glances thrown from classmates Jennifer (Azemi) and Alexander (Risto), 14 or 15 years old. She looks puzzled, he was evasive ashamed.
But it is when Jennifer’s words, looking further – first as a rumor, then the police – as the real indictment taking shape. The situation gave a couple of years ago rise to the verb “Bjästa” , as when one or more sides with a perpetrator and bully victim. The verb arose after a series of events in the small northern town with the same name – that so much inspired the plot of Beata Gårdelers movie “The Herd” that the film defamation notified.
It’s good to get it out of the world: similarities with the case – down to details such as when the perpetrator of the priest and the Rector good memory handing out flowers to his classmates as thanks for their support, on graduation, in the church – is completely obvious. But this is fiction role also complicate, withdraw feelings that can get lost in a Flashback wire or news report. Make us reflect on what it might mean to be a 14 year old girl in a small town just rape notified a popular guy.
Which is what “flock” do. Beata Gårdeler has sucked all the air out scenes – it’s not just an oxygen-deficient courtroom. Somehow she and the photographer Gosta Reiland (who should be working much more with the feature film) saturated even the beautiful landscape until its desolation is no longer something that can be used to promote tourism in the northern context. The horizon is a fund wallpaper and you can not step over. The warm Miami Jennifer dream can not stretch to.
So you also get short of breath very often. Gårdeler, that I have missed on the big screen since his debut in “In the Shadow of the heat” in 2009 (although it is a film about lonely decline of life of the community) stacks discomfort discomfort. It is not just landscape pictures that are spiritual metaphors; also recurrent images from the slaughterhouse where the resort’s men work, focusing on wrinkle of cadavers in close-up.
As a man in its most naked, most vulnerable state. And bit by bit is very true of teenage girl. The Friends page is selected. The priest, the rector of the adult world community representatives – though not social bodies – follow. Soon to be sister benched at football matches and mom moved from supermarket checkout to the store.
The drive is symbolized by a number of smart implemented chat conversations as text vignettes – it means that the director does not need to report the whispering game but can focus on individual scenes, that is, the more pregnanta. For we know that everyone knows what the rumor says about Jennifer’s mother.
Stern drive hub perpetrator is Alex’s mother, played by Eva Melander (“Sebbe”) commuting between home blindness and cold and calculating. Sovereign, like all use of the actor in the movie. As Henrik Dorsin in the role of Alex’s father, quietly withdrawn almost all the time – you have time to think many thoughts about what creates the kind of masculinity. And debutant Fatime Azemi, with well-timed protracted and annoyed “jaaaa !!” behind the black fringe of the torturous interrogation in which the camera slowly, slowly approaching her while the middle-aged male police falters over the word “panties”.
It will be an interesting Swedish film this fall. At the same time last year dominated the canvases and the call of less sensitive and more reporting movies that Ruben Östlund’s “Tourist” and Roy Andersson’s “A Dove …”.
I’m probably not alone in feeling the saturation of the interesting Swedish film will be either studied drawing board humanism or documentary. Therefore, I note fond a tendency to film fiction that is interested in humans in both social and sensitive individual situations. Movies by Magnus von Horn’s future, masterful “Aftershocks”, which has many similarities to “The Herd” and is so uncomfortable that you can not shake it off for weeks. Or True Lenkens “My little sister” who adopts the child perspective on eating disorders and sex. I have not seen Lisa Aschan “The white people” yet, but the approach to search fiktionalisera power relations between Swedes and inmates at a detention seems undoubtedly alarming here and now.
This is where I want to place the “flock”: movies about who we are when we are a society – that while not fold by the individual.