Little Joe Edinburgh Filmhouse, Edinburgh
February 26th 2020
This was an exceptionally impressive film and seeing it, and the location where I saw it (what a wonderful film resource to have in one’s own city) and made me painfully aware of what I have been missing in my life in Budapest.
The story it told – of a genetically engineered plant that had the effect of making people who smelt it happy – sounds simplistically sci-fi but this was far from the case. We became very involved in the lives and emotions and issues of all the people who are involved in the process. One of its greatest strengths is that from start to final frame, we were never quite sure about the direction we were going to go with the story and development – the directions we did go though, were always fascinating and wholly convincing as well as, in the final analysis, being very thought-provoking. At the end it made one consider very carefully some major philosophical questions about the nature of happiness, about human feelings and how genuine and ‘real’ they are – and if, in fact, if this last point is actually truly significant as far as one’s relationships with other people are concerned.
On a simple level the film can recall elements of Invasion of the Body Snatchers and Little Shop of Horrors but there is a creeping sense of dread about the film that is marvelously conveyed by the filming style. Like her compatriot Michael Haneke, Jessica Hausner seems to be able to create a chilling and very emotionally cold environment into which actual feelings and emotions of the characters have enormous impact. The camera work is slow and at times hypnotic, the dialogue is largely spoken quietly and the stillness of a research laboratory also helps to create this mood so that the implications of what is happening become even more powerful.
The cinematography and framing of everything is superbly masterful and a major element in the success of this film. With framing it is often as careful and precise as Wes Anderson – but without that directors mannered elements while her use of rich and vibrant colours recalls Almodovar at his best. It is the care given to these elements as well as the subtle soundscape with much silence that so superbly creates the tremendous tension with which this film abounds. When voices are raised or there is rapid or violent action, it is invariably short-lived but incredibly powerful.
So absolutely gripping from start to finish. Do seek it out if you can; I do not think you will be disappointed.