A small, pink finger grip around a large. The great part Jonah, just become a father, who with incredulous amazement watching her child. On the next bed sits his postpartum wife, sweaty and hungry, but Jonah has forgotten to bring their food and head out into the lysrörsglåmiga corridors in search of something to eat. Where he runs an old girlfriend who is in hospital in a sadder case – her mother is dying of cancer. When Jonah says that he is there with his wife presupposes exflickvännen that even his wife has cancer and throws herself on his neck. Jonah receives her embrace and let the misconception continue, and when he severely delayed show up at his wife, he says not a word about what that sustained him.
There is a brief introduction that elegantly sets the tone for the entire ” Louder than bombs “, a film that in its right straight ramhistoria noses at some of life’s greatest themes: life and death, sincerity and deceit, secrecy and openness, communication and silence.
The starting point of birth is also aware fraudulently elected, for it is not a birth that the film revolves around, but a death – the famous and revered documentary photographer Isabelle Reed who died in a car accident a few years earlier and left Jonah, little brother Conrad and her husband Gene in varying stages of grief. Jonah has somewhat gone on with life, like Gene. But little brother Conrad, who entrenched behind headphones and screens suffer through högstadiemisären, is so engrossed in his regret that he joined. Not least against the father trying in vain to worship him, sometimes by spying on him, sometimes by trying to bribe with friendly units and favorite dishes.
Amid the shaky everyday family will participate in a memorial exhibition of Isabelle, and when her colleague and close friend, Richard (David Strathairn) to write an article about the reset things to a head. Richard do not wish to leave out the part about the car accident that Isabelle died was in fact a suicide, something that Gene and Jonah not been able to tell Conrad.
“Louder than Bombs” Norwegian Joachim Trier first film in English (after “reprise” and “Oslo August 31″), and it is an exquisite and photographed through fantastic well played story. Considering the theme it had simply been caught up in a snyftarfack, but thanks to Trier’s light hand rather than landing it in a quiet, restrained melancholy that reminds me of Ang Lee’s “Ice Storm”. Especially by how it weaves together medelåldersresignation and coming-of-age.
Trier also has an interesting and almost organic way of working with design language. Not least from Conrad’s narrative perspective working Trier and photographer / klippar Team Jacob Ihre, and Olivier Bugge Coutte with magnificent, dreamlike sequences. That when Conrad in slöaste slow motion imagines how the deadly car accident happened. Or when he thinks of one of the mother’s more dramatic missions out in the field, where Isabelle’s injured body first floats above the scene of the accident and then redeveloped into a two-dimensional child’s drawing as he lay in his hands, only to be met by the parent is typically unconcerned with fame (“wow” ).
As the film is undeniably a classic melodrama (although the end hints at a new hopefulness, beautifully framed by a sky bursting up from gray to blue). But it is a highly prudent one, who manages his story with great sensitivity and a precise touch. The title is of course understood symbolically: the largest, most devastating blows, they are taking place quietly.
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