“Turn over” nothing personal (2009), “Leave me alone.” _linz
Daily living, busy farm
I felt pretty much humbled afterwards.
Nothing Personal (2009 / I)
forest assessment: the man of the house Martin story
Author: Cruiz Dwyer, (sinncross@gmail.com) from South Africa
If you have a penchant for ands swirling round in. seaweed close-ups, then this is certainly the film for youotherwise, despite its spirit and intrigue, the level of confusion means that for me, it won stay in the memory for too long.
Anne (Lotte Verbeek) has decided to start her life again and leave Holland, the milieu of what we can speculate has been a messy divorce, with nothing other than the clothes she is wearing and a backpack. She is in a whirlwind of pain and anger and has decided to reject the world and all people. She is quite rude to the few people she comes across. So she wanders through extremely beautiful and desolate Irish countryside scraping an existence.
So I was quite pleased to see this, which, unbeknownst to me, has been a bit of a festival darling, sweeping all before it at Locarno winning six awards including the FIPRESCI, with multiple wins at the Nederlands Film Festival, and top prize at Marrakech.
Verbeek plays an unnamed Dutch woman who finds herself in Ireland after the end of her marriage and, having opted for an itinerant life free from life trappings, ends up working on the isolated estate of recent widower Martin (Rea). They strike up an agreement: she will work for food on condition that neither exchanges any personal information about the other.
After finding herself alone and detached from society, an unnamed woman (Lotte Verbeek), backpacks through Ireland seemingly wanting to lead a solitary existence. With no more than the clothes she has on her back and some utensils like a small tent, the woman discovers an isolated house belonging to Martin (Stephen Rea) who also appears to be living his life alone.
perverse beauty, and my company.
starry sky, the Iraqis wander
forest assessment: I only read the introduction, did not see a complete piece, so this is the second-hand comment like doctoral dissertation LiteratureReview, stepped on the shoulders of our predecessors, we look at the overall situation.
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finished writing the above comments, I suddenly felt very strange: Why write the actor is a neat and 4X4, and the idea of ??quick and smooth, while the written text of the heroine, really struggling, off The reins Mustang.
I not alone, I do not companions
The gradual acceptance of their feelings for one another is well constructed although like at least one other commentator I felt the use of some fractured chronology was ambiguous and unsatisfactorily edited.
the Xiangxi Xianglian, soothe pain, injury
There is the eventual, inevitable tragedy, punctuated with some (mostly wry) as comedy along the way but some sense of uncertainty at the end Whatever else it may be, it features two very moving performances that are deserving of any awards the film receives.
There is an emotionally powerful story to be told within Nothing Personal and this is noted by a wonderful use of minimal music and colour variety, however it never really succeeds as expected. The narrative does a decent job on impressing the experience of loneliness onto the viewer but, it is unfortunate that Verbeek and Rea are unable to find the connection between their respective character and the narrative material, and the story can feel thin when the credits roll. Still, Nothing Personal is not a film which should be easily dismissed.
Unfortunately this undoubted emotional engagement seems to have come at the expense of narrative coherence. Whilst I don expect everything handed to me on a plate , it felt quite an uphill struggle trying to follow the Director clues about what was actually happening. I couldn quite work out if the chronology was chopped up or not, and I felt the main device of leaving history unspoken between the pair was unnecessarily allowed to overwhelm plot lucidity at times, leaving me with too many unanswered questions for it to be a consistently rewarding experience; I look forward to reading the future IMDb message board musings of more perceptive viewers. I suspect the film will be compared to Ondinesimilar location and trong, mysterious, beautiful foreigner theme and whilst undoubtedly more cerebral and emotionally resonant, it a shame that its increasing tendency to veer into a somewhat perplexing swamp rather lets it down.
I like films that leave you guessing about the characters inner thoughts, motives and actions. Combined with the powerful imagery, it makes this one linger in the mind long after the house lights have switched on. Although I found the last scene puzzling and out of place and while the storyline might have been tightened up here and there, I am certainly keen to see what Urszula Antoniak comes up with in her next project.
The result is impressive but curiously forgettable, and feels like the idea for a short stretched out into a feature -length film (albeit one that cleaned up at the Locarno Film Festival). We are certainly pulled into the head of the main character, but as her puzzlement and anomie for the world increases so does ours for the film, so any chance of redemption (or explanation) is not just missing, it redundant.
Eventually she chances across the most awesomely stunning peninsular hideaway, which took my breath away (location is so important in cinema). She is very rude and forms an uneasy symbiosis with Martin who gives her food in return for manual labour. He agrees to not ask her any questions, and make no demands from her outside of their contract.
Nothing Personal marks the full-length feature debut for Urszula Antoniak. Her control on scenes really does allow for some lovely landscape imagery, if muted by the colour scheme and harsh weather that surrounds the film, for the viewer to gaze up. It all works in enhancing the reclusiveness of the characters and the visual aids thus synch nicely with the thematic elements being explored. This naturalness is barred by some odd editing problems which occur infrequently.
There are some exquisitely observed scenes, the sensuousness of her running the seaweed through her hands (several times) and their connectedness with nature form a counterpoint to their individual alienation and personal sorrow, their unrevealed grief. That and the scene in which she demonstrates an extraordinary culinary talent reveal a refinement that he shows us from the outset with his solitary decorum.
A very promising cinema debut. Though most of it is set on the Irish West coast, the whole film has an Eastern European feel to it: sparse dialog, little music, beautiful still shots of landscape and interiors and relentlessly grim weather. I don find the choice of location at all artificial. If you want to get away from one of the most densely populated countries in the world on a budget, the West of Ireland doesn seem such a bad choice.
Director Urszula Antoniak was in attendance and said that this was her first film, it was very personal to her, and it was a perfect expression for her, she said she had all the means and finances she wanted and described it as a “work of love”.
wanted Martin is much older, refining, step by step in the marital life used to people. Behave, the heart is melancholy but pretty smooth.
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I am still young, cross body arrogance and reckless
The deal works for a while, but inevitably resistances crumble and the pair form a strong and, for the audience, steadily intriguing the bond . Their personal as well as cultural differences clash and then mesh, leading to a co-dependency allegorical to most ormal relationships.
While neither Verbeek nor Rea provide strong acting performances both are adequate in depicting the different means by which people approach a feeling of isolation. Rea character takes a more traditional approach to the experience whereas Verbeek seems somewhat off-the-wall. This is not a bad thing as this helps to differentiate the characters and make them more unique, but some of her actions can seem, rather odd in. an almost overly poetic manner.
my hometown in the Netherlands, I have abandoned everything, even the rocket so that the ring of my heart.
away from me, let me stray
Lotte Verbeek and Stephen Rea, two highly accomplished actors, take on this thoughtful two-hander from Polish-Dutch débutant Urszula Antoniak about loneliness and the difficulty of human connection
jealously guarding their homes, day nostalgia
lovers new death, my heart sad
Antoniak clearly has a good eye, and her performers to give their all, but as the film the central premisea Dutch girl wandering into the Galway countrysideis never explained (beyond the financial needs of a Dutch-Irish co-production), the result is perplexing rather than engaging. While Antoniak restraint is admirable, from a dramaturgical perspective we are left to scratch our heads while indulging in shots of beautiful countryside.
The film contains no violence while language is strong but used rarely. One scene could constitute as sexual in nature but otherwise there is none to speak of, yet breast nudity does feature in two or three scenes .
Alone in her empty flat, from her window Anne observes the people passing by who nervously snatch up the personal belongings and pieces of furniture she has put out on the pavement. Her final gesture of taking a ring off her finger signals she is leaving her previous life in Holland behind. She goes to Ireland, where she chooses to lead a solitary, wandering existence, striding through the austere landscapes of Connemara. During her travels, she discovers a house that is home to a hermit, Martin . Written by Warsaw Film Festival
Antoniak is one to watch, but whether one could say the same for the film is not so much a question of quality but one of taste.
This is a film not so much about loneliness, but about being alone. While the female lead clearly had a very negative experience before the story begins (loss of a loved one or traumatic end of a relationship?), one senses that her being alone in this remote corner of Europe is something she deliberately chose and eventually prefers. It seems male viewers have problems with her arrogance and rudeness, while women (including yours truly) find her strong and full of character. Stephen Rea provides a perfect match for her impulsive behaviour and injects a gentle sense of humor. Fortunately their developing elationship avoids romantic clichés.
no wonder that the appearance of text and structure naturally reflects her psychological tension. October 24, 2011
I pair of luggage, I have only this body clothes.
furniture recycling by the passers-by, my heart shattered.
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security was a wild girl, cynical reclusive.
They e pretty much the only two characters we see. Anyway the relationship obviously develops but in the most fantastic and eventually heart-floodingly moving way, that renews Anne faith in humanity and allows her to rejoin the living. I think the ending stuff is pretty iconic, and so well crafted in terms of plotting, so delicate. Very much of a feather with Esther Rots film Can See Through Skin which also won awards at the Nederlands Film Festival.
Author: scrumptiously from United Kingdom
forest assessment: the perspective of the hostess Anne , :
I watched the this alone in a foreign yao yuan de ju the far from home and found it highly resonant. It is a love story, and one of some the sort of healing of the senses.
west coast of Ireland, lush cold tidal storm ability to heal my pain hurt?
lush cold, moisture storm
Do not ask my name, and do not know where I come.
Nothing Personal tells an intriguing story of loneliness and this becomes quite apparent due to the less than normal use of dialogue, minimal use of accompanying music, controlled camera shots and the muted colour scheme which fills every scene. All of these traits slowly increase as the film continues, and from a visual and audio manner it is great to see the relationship between the woman and Martin develops. The narrative uses a linear flow but it becomes quite a shame that it is broken into noticeable chapters: each chapter begins with a black screen and a word, such as arriage Beyond hurting the flow of the film these wordings do not exactly portray the tangible events about to occur, but rather abstractly feel as if the director needed to guide the viewer into a particular point of thought in regards to the events about to take place. This guidance erodes at the loneliness theme of the narrative and inevitably makes it more difficult for the viewer to truly appreciate the resonance of story and the characters. An aspect which could have gotten a little extra information for story purposes is in regards to the history of both main characters. By the conclusion, the plot ultimately retains an element of uncertainty as it is difficult to truly gauge the strength of the conclusion on characters who the audience knows almost nothing about.
Belying its title, othing Personal is clearly a very personal film. Set on the west coast of Ireland, this two-hander explores the decision to leave virtually everything behind and offers a study of loneliness and reconnection through a gradual re-building of trust. With strong performances from both leads, I was increasingly absorbed as their characters unfolded, and the film is at its best in the gentle humour and the slowly developing relationship between them; there are some lovely touches and moments, like stopping the wind blowing through the grass.
unbridled, broke into the site
February 23, 2012 at 9:03 pm Comments (0)
