Norway excels with a powerful film on terrorism
(Luigi Noera from Berlin in collaboration with Marina fearful – Photos are published courtesy of the Berlinale)
Presented in competition at the 68th Berlinale, Utoya 22. Juli is the latest feature film by Norwegian filmmaker Erik Poppe, inspired by the attacks - by young Norwegian extremists - took place on 22 July 2011 e, especially the shooting on the island of Utoya, where many children were attending a campus organized by the Labor Party and following which died well 69 people.
The characters staged by Poppe there is neither really exist. In order to make the film, the director is yes adhered mainly to the testimonies of the survivors, but he preferred to create a completely fictional characters, which, nevertheless, immediately they seem more real than ever. This is the case, eg, the nineteen Kaja, protagonist of the film, which - which visited the island to spend a few days with her sister Emilie - is followed step by step from the beginning. And she, therefore, that, After that the film footage about the car bomb explosion were shown, It begins with the break through the fourth wall, applying directly to the viewer looking into the camera, while it is engaged in a telephone conversation with his mother that gives information on the assassination attempt just happened. This is the only direct interaction that she has with the public. From this moment on, the camera will not stop to follow only for an instant, with a long sequence plan - strictly realized with hand-held camera - lasting well 72 minutes. 72 minutes, the exact duration of the shooting on the island of Utoya. A choice filmmaking that never, ever would have come closer to reality.
Very few minutes after entering the field of young Kaja, therefore, after witnessing a fight between the young protagonist and her sister Emilie, we are immediately thrown into the heart of the story at the same instant in which, overs, We hear gunshots and see, immediately after, some guys who are starting to flee in terror.
From this moment on, Poppe succeeds with outstanding craftsmanship to carry on the story by following a simple script and a classic scheme, demonstrating an extraordinary mastery of the medium of film, through which he manages to touch the heart every innermost fear of the viewer and playing with it almost, strong that the idea of showing on the big screen something really happened can not help but increase the sense of fear and discomfort as well as in the best horror films - which generally reflects Poppe, who, faithfully all rents - rarely happens. And then - except for a few seconds just before the final - almost never the bombers are shown there. We do not know who they are, we do not know what they look like. Initially some of the victims even claims that the gunmen are even policemen. What we are given to see it is mostly the young protagonist terrified that runs from side to side in desperate search of her sister and, at the same time, trying to save themselves from bullets, which provides aid to a seriously injured girl, finally, that - even for a moment of estrangement from reality - he begins to hum the first notes of True Colors Cindy Lauper. Overs, steadily, screams of terror and shooting, now more distant, now dangerously close.
As the Austrian filmmaker Michael Haneke has managed to teach us, often it is the "no show" that contributes to the growth of the right tension in the viewer. Erik Poppe, its part, He has been able to fully exploit this technique and, following almost to the letter also signs of Zavattini, He has been able to create a very personal direction, showing courage even in bypass some basic rules and without fear to shift his attention - at some point - the young protagonist to a guy just met.
In short words, come diceva François Truffaut, even just opening a newspaper you can find the right inspiration to make a film. And by staging events so tragic, Poppe is undoubtedly result particularly inspired. This one's Utoya 22. July is, therefore, a highly disturbing and painful product, virtually flawless in its final yield, further proof that even the most classic patterns - if treated with the right skills - you can get something absolutely new and very personal.
marina fears