Cinema

"At the Sea', a great actress for a small film

In competition at the Berlin Film Festival is Kornél Mundruczó's swinging feature starring Amy Adams

“At the Sea”,  “We Are All Strangers”

3' min read

Translated by AI
Versione italiana

3' min read

Translated by AI
Versione italiana

 Amy Adams is always a certainty and it revolves around her (excellent) performance in 'At the Sea', Kornél Mundruczó's new film presented in competition at the Berlin Film Festival.

The American actress plays Laura, a woman who returns to her family after going through rehabilitation due to alcoholism.

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Her return home, however, is different from what she expected: her husband Martin seems undecided whether to trust her again; her teenage daughter Josie treats her with strong hostility; her young son Felix remains detached from her at first. The days at the beach will be a way for Laura to try to understand who she really is and how important relationships with those around her can be.

At the Sea is a film about trauma, in which Mundruczó returns to fathom female psychology as he did in one of his most famous (and overrated) works, Pieces of a Woman.

Traumas that in this case are only partly connected to motherhood, but instead originate in the protagonist's past and in particular in her conflictual relationship with her father figure, a dance celebrity, whose presence is emphasised by the continuous and often irritating flashbacks with which Mundruczó constantly interrupts the narrative. Through fragmented editing, the Hungarian director tries to piece together the puzzle pieces that make up Laura's life and the existential reflections she is carrying around.

 

The look in the car

It opens (and essentially closes) with a glance into the camera of the protagonist in this film, which explicitly leads the audience to be Laura's true friend and confidante, a figure who, in the various moments the film is narrating, does not seem to be really understood by anyone.

Only dance - both as an outlet and as liberation - seems to reveal its true self, but here too, Mundruczó overdoes it by falling a little too much in love with its choreography and direction.

It is not news that the author of 'White God' and 'That Day You Will Be' has a fair amount of talent, but at the same time his style is too self-congratulatory and the narrative is too flimsy to hide certain unnecessarily aestheticising choices.

There remain a few good sequences and a remarkable performance by the leading lady in this film that never manages to be as incisive as it should.

 

We Are All Strangers

Far superior are the results of 'We Are All Strangers' by Singaporean director Anthony Chen.

For the author, this is the conclusion of the trilogy about growing up, which began with his 2013 debut 'Ilo Ilo', with which he won the Caméra d'or at the Cannes Film Festival, and continued with 2019's 'Wet Season'.

At the centre of the plot of 'We Are All Strangers' is a 21-year-old boy, Junyang, who enjoys life doing basically nothing while his father breaks his back to support them. When the relationship between Junyang and his girlfriend takes an unexpected turn, the young couple will be faced with the responsibilities of adult life sooner than expected.

Carefully written as much in the dialogue as in the description of the characters, "We Are All Strangers" is a successful coming-of-age story that confirms the talent of its author. There are a few moments of fatigue during its approximately two and a half hours duration, but the merits clearly outweigh the flaws in this film that is able to shake and move. It could find a place in the festival's final palmarès

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