09.20.08
Review: “Reprise”
If there ever was a film that celebrated the intricacies of young male culture, “Reprise” is that film. Preciously poised somewhere in the vein between French New Wave pioneers Jean-Luc Godard and Francois Truffaut, newcomer Joachim Trier’s vibrant and prosaic mediation teeters back and forth between being overreaching and simplistic. As discerning as it may be, it is a true work of art on every level; a portrait that says just as much with its bold strokes of intensity as it does with its delicately observant moments that capture life’s unspoken questions and human mysteries in a way I’ve never seen before. “Reprise” is a breath of fresh air, with fresh faces and fresh talent sculpting a breathtaking personification of the abstractions of love, life and, more so, everything in between.
Eirk (Espen Klouman-Høiner) and Phillip (Anders Danielson Lie) are best friends who share an intense passion for writing, an interconnected soul and a seat on the rough ride from boyhood into early adulthood for which they could never have been fully prepared. We meet them as they stand face to face, nervously holding onto their first novels in which their entire hopes and dreams are manifested in such a way that they shall dictate the rest of their lives. They have their group of culturally rebellious friends, a “boys pretending to be men” club if you will, who welcome singularity but repel it at the same time. They have better halves too; Erik has Lillian (Silje Hagen) and Phillip, Kari (the gorgeous Viktoria Winge), who mean different things to them at different points on their journey to wherever it is fate has planned for them to end up.
Both young men will taste bittersweet success and the just plain bitterness of failure. Their passion will morph into obsession, their emotional blockages into indescribable, overwhelming outlets for feelings and experiences they only ever imagined. Roles will reverse; counteractions of the real and imagined will cause destruction and will make amends. Boundaries will be challenged, the past and present will meet, touch, and depart; fast-forwarding, rewinding, replaying, all to within an inch of becoming unbearably powerful.
Trier captures all of this and none of this, and more than I have the power to describe, with an attentively tender camera. At the same time he explodes all notions of the idealistic macho manner of conduct which energetic and testosterone-addled boys are meant to emulate, leaving their pain, imagined or real, in a compartment forbidden to be opened at all times. As a result, walking, but barely functioning, by-products of society’s need to conform to only one idea of masculinity fill the streets like accidents just waiting to happen.
Trier explores this, emphasising the void produced between the double lives such individuals as Erik and Phillip are forced to live, the exception being that he gives them the power to break free from that tradition. On the outside they exist, or are trapped, in the picturesque world of conformity that accepts them just as much as they accept themselves. Inside, however, frustrations, expectations and angst brew, which they are unable to express because they are not allowed to, and they don’t allow themselves do so either; except in between the lines of their manuscripts and the finer details of their being.
Between the lines of actuality and the imagined is where Trier’s potent focal point is aimed, and it is here where he channels a consciously poetic stream of narrative rebellion. In the middle of scenes that seem to focus on vocal interaction between his characters, Trier hits the pause button. Suspended in reality, they remain motionless while their words, thoughts and desires unleash themselves. Thus, the unsaid takes centre stage and normally unimportant moments of wordless communication become vital. Its narration, much like that of “Amelie,” puts things into perspective, but doesn’t force you to look at anything from one particular angle – presenting boundless space for interpretation.
In line with a faithful ritual of the youth, Trier spends time articulating the “what if,” “should have,” “could have” or “would have” alternative realities that run parallel to life, as we know it. Embodying what may have come if plans were allowed to unfold without determent; Trier’s imaginative forecasts make for striking commentary. In my mind, “Reprise” plays out like a figurative novel, where you purposely skip pages or chapters to read what happens next only to find out, when you go back and read the bits you skipped while you dipped your toe into the future, the present took a violently different turn and the pages rewrote themselves just when you were finally beginning to understand it all. All you thought you knew or understood takes on a completely different meaning the further the film divulges into the pasts, presents and futures of its wholly original and electrifying characters.
Trier doesn’t try to be poetic, he just is. As is his debut, which grabs hold of your attention using its lugubrious magnetism, and never, not even when the film comes to an end ambiguously, grants you control. Not of your emotions, your thoughts or your breath. As a filmmaker, Trier’s potential cannot be contained using commonplace words and explanations – it’s limitless and otherworldly. The film is a testament to the liberation of cinematic exploration, with nothing stifling Trier’s creativity or getting in the way of him saying exactly what he wants to. As simple as ten, nine, eight, seven, six, five, four, three, two and one; a minor masterpiece is born. And will forever ruminate exactly where it belongs, in the minds and souls of those to whom it matters most, those like myself.
Fatac Rating: ****½
Reprise. Directed by Joachim Trier. Written by Eskil Vogt and Joachim Trier. Cinematography by Jakob Ihre. Costumes by Maria Bohlin. Editing by Bugge Couttè. Music by Ola Fløttum and Knut Schreiner. Starring: Anders Danielsen Lie, Espen Klouman Hoiner, Viktoria Winge, Odd Magnus Williamson, Pal Stokka, Christian Rubeck, Henrik Mestad and Henrik Elvestad. Running Time 105 minutes. Age Restriction: Not Rated. Year: 2008. In Norwegian w/subtitles. Rating: 4.5 out of 5 stars. [A+]
Download: “Deceptacon,” the song playing during the comical party scene turned pillow fight.
Craig Kennedy said,
September 20, 2008 at 1:37 am
I need to watch this one again so I can properly appreciate your enthusiastic review. It’s been sitting on top of my TV for almost two weeks.
One thing that sticks out for me is the way it doesn’t take the path you sort of expect it to. When they mail off their transcripts you assume one will get accepted and the other not and that the failure will go into a tailspin, but it’s very different and more complex than all that…
Also, yeah, we like Viktoria Winge.
Nice review Nick. You’re good when you’re jazzed about something!
Nick Plowman said,
September 20, 2008 at 1:41 am
It is probably one of the most complex films I have seen all year and the thought of reviewing it was daunting, so I put it off and reviewed crap like Taken instead. But thanks for saying that, I loved it, and there is nothing I like more than that coming through in my reviews. See it again, it is even better on the second viewing [for me, anyway].
J.D. said,
September 20, 2008 at 2:12 am
*SCREAMS*
That was stunningly perfect, man. Like, PP is the only better review you’ve written I can think of. CHRIST, man. It does the film complete justice, and it’s random and weird, and I love it.
WHOO, NICK!
Sam Juliano said,
September 20, 2008 at 4:44 am
J.D., it’s close with PATTI SMITH and UP THE YANGTZE among the best reviews Nick has written this year so far. He really captures the essense of teh film, and he’s right to say it falls between the work of those two great European directors.
The “In line with a faithful ritual…..” paragraph is really stunning in a critical sense and captures some of the film’s complexities.
I agree with Craig, that when you are passionate about something, you write brilliantly and infectiously.
Joseph B. said,
September 20, 2008 at 6:30 am
I wasn’t a big fan of this film. I have nothing against placing young, insufferable intellectuals at the forefront of one’s movie (which basically is the lead for every French new wave film I adore), but I didn’t want to be in the same room with this group. The film soars with the energy of youth one moment (the party scene which morphs into some weird pillow fight) and then turns and breaks down any energy I had for them the next by having its main characters pout and maliciously slander each other behind their backs. Very inconsistent for me.
christian said,
September 20, 2008 at 8:54 am
You made me curious to see this. I always like insufferable angsty intellectuals — only if they’re French. Plus it’s cool to see what the new kids are doing.
Kerry said,
September 20, 2008 at 10:02 am
This is one of your very best efforts Nick, I love it when you love a film because then we get to read stuff like this, which, I don’t think I have ever read anything like it anywhere else – and when it comes to reviews, that’s so important. For what it is worth, I loved “Reprise” as well, even with it inconsistencies.
Dave said,
September 20, 2008 at 10:12 am
Nick, when you love something, you don’t write reviews, you write little pieces of art that you will one day look back on and feel nothing but pride for. Good one mate, one of the very best films I have seen this year, and in ages, and the day I can capture my thoughts on a film as lyrically as you is the day my life is complete! And Happy Birthday Nick :)
Nick Plowman said,
September 20, 2008 at 10:22 am
Thanks all for the kind words, it’s always nice to know that people out there can appreciate my strange way of expressing my love for certain movies.
Joseph, isn’t that the way of the youth though? Up and down, buoyant the one moment, down the next? I thought it was a very accurate, albeit a little unrealistic at times, depiction of youth culture – the inconsistency is a part of it in a big, big way.
Michael said,
September 20, 2008 at 8:14 pm
Lordy I need to see this now!!
Salmaya said,
September 21, 2008 at 9:43 am
Great film, great review, it was inevitable :)
Justin said,
September 21, 2008 at 5:48 pm
that’s a monumental effort there Nick, I must see this as soon as possible
douglas.racso said,
September 21, 2008 at 5:53 pm
love this film!
Nick Plowman said,
September 21, 2008 at 8:25 pm
Indeed Just, you do. I hope it gets a release in SA, it deserves one.
Daniel said,
September 22, 2008 at 2:43 am
What everybody else said!
I really wish I could see this one again, too. It was probably one of the most promising movies of the year, and I remember loving the cinematography and soundtrack as well. Weird release, though – this played at a festival here in MSP like two years ago or something before it was released again in May. Good thing – it’s not one to miss.
Matthew Lucas said,
September 23, 2008 at 11:51 pm
Brilliant review Nicky. Your first paragraph sums the film up perfectly. It’s good to know some things just get better with age – you included. :-)
I really want to see this one again. I fell in love with it immediately but I’m surprised how little it has stuck with me.
Good call on comparing the narration to AMELIE. Very apt.
Nick Plowman said,
September 24, 2008 at 12:15 am
Well, for the record, I heard about this blog and got all excited about it because of your [excellent] review. The quote from the director about this being a male The Virgin Suicides? I was sold. So thanks :)
Yeah, I haven’t let it leave my mind coz I keep watching bits and pieces over and over again, lol. The beauty of scene selections!
franzpatrick said,
October 21, 2008 at 2:35 am
I love this film… but when I recommended it to friends, they were like, “Oh my God, Franz. It was SO boring.” I should’ve known not to recommend to them because it’s not “Hollywood”/accessible enough. Insightful review!
Maria Fermindoza said,
March 2, 2009 at 10:11 pm
Hey, awesome review!
I was just wondering.. does anyone know what the first song being played at the party scene was? It was like this motown, RnB song. I’m so in love with it, but I can’t even seem to find it, not even after googling every single variation of the lyrics that I can actually hear. Help? :)