Of late, Norwegian, Danish and Swedish television and film has – deservedly – received a lot of attention and adoration. The countries have their masters in crime, drama and comedy genres, yet few of us would know their names. Hopefully with Force Majeure, the name Ruben Östlund will start to become commonplace, and the rest of his career will continue to impress.
Force Majeure [Turist] is an example of very high-class filmmaking, elegant yet simplistic. Whereas some films use the medium to present vistas of sheer beauty, others choose to quietly tell a tale. This is a mixture of both, focusing on a family holidaying in the French Alps, experiencing some drama once an avalanche incident spotlights some shaky parenting. östlund brought the film to Cannes 2014 where it was awarded the Un Certain Regard Jury Prize – it got many critics talking (and laughing), proving its worth before general release. It looks terrific and centres on some fantastic performances.
To explain the story would spoil the pleasure in watching the scenes unfold naturally. It is, to synopsise it as briefly as possible, a look at a family dynamic eroding after a distressing event. Much like Funny Games, there is a twisted glee to seeing a WASP family lose their dignity over something they never expected. Johannes Kuhnke as the father Tomas is simply wonderful. A very handsome, intelligent father, he looks like the perfect role model. When our perception of him changes, as it does for his wife (Lisa Loven Kongsli) and kids, you can see him play on that external judgement. It is a gradual alteration, spanning over the 120 minute runtime, but it is judged perfectly. The time elapses without many superfluous elements felt, concluding eloquently, with a very realistic (and comedic) presentation of a domestic dispute having preceded it.
Chapters [Ski Day X] are punctuated by the controlled explosions of the Alps, set to the frantic violin of Vivaldi’s Four Seasons III. In many respects it’s an obvious artistic play to show tension and outbursts – common tropes of the film – yet it also links to the playfulness all round. There is a beauty to the film, but at its core, it is a low-budget black comedy. So, it uses symbolism in due part, still preserving its domesticated, grounded heart. The drama that pulsates through the film is so recognisable for anyone who has had some familial outburst on holiday. And so you watch on with heightened attention, curious to know how things will be resolved, and entertained by the hurdles that impede Tomas and his wife and children.
It is not a film that has any twists or spoilers to wow the audience (and even though this review reads like it wants to detract you from knowing much, it is only to keep the film fresh upon viewing), but it is constructed around very stark images and themes. Force Majeure will stay with you – tickling you or itching at you (depending on how you react to the neuroses on show). Whatever your perception may be, you will certainly remark on the superb talent– cast and crew – able to make such an unadorned movie laden with insightful, enjoyable moments.
