Anhedonia

I loved this - thrilling, uncanny - and strangely important. Some moments funny, some heart-breakingly honest, this film gives you plenty of space to make of it what you will - I was still thinking about it days later.

One of a kind. Loved this from start to finish! A "metaphysical thriller", featuring dream worlds that resemble a corporate version of the Black Lodge in Twin Peaks, with a hilarious but terrifying villain like something out of a Coen Brothers film. Otherworldly and incredibly emotional.

NOTE: Not for everyone! If you don't like weird films, or films that challenge you then this won't be for you. It's unlike anything I've seen before. I love arty films so this was exactly my kind of thing.

Anhedonia (2019)

A literal, physical journey is the structure in Henry's 'Anhedonia' that holds this story together. It is very much equal and parallel to the emotional journey 'Kino' embarks on, as he traverses the many miles of countryside to reach his musical mentor. Each scene, with a few exceptions, is framed in a somewhat cold way with little bias to whether it is protagonist or antagonist in shot. This constant approach is like a control against which the emotional arc of Kino is juxtaposed. By measuring the lead's progress against the stable and considered desolation we can gauge where he is and how far he has to go. Kino is persued by several entities on his quest. Some are physical, in the form of amoral bounty hunters and questionable executives. Sometimes it is the personal and professional criticism of Kino we watch him face. But always it is the self deprecating and melancholic tendancies hanging over Kino that he struggles to escape. Henry channels influences such as Lynch and Kubrick in his long, deliberate takes and compositions. Wide, establishing vistas and dialogue rich two-shots alike brim with an unsettling foreboding. However, the film is not void of humour either; some verbal exchanges, clever editing and frame blocking all contribute to an understated presence of humour.

The use of a void-like space in the story, where the rules of time and space appear 'shifted' is a device that elevates the film and is in itself a talking point. 'the territory', as it is known, acts as a metaphysical bridge and seems to be, at least in part, tailored to whomever visits there.

Anhedonia is a low budget film but is executed in such a way that the packaged end product somewhat belays the modest financial backing. Camera work, audio and post production are all of a very high quality and one can't help but feel that the film appears exactly as the writer/director wanted it to. Indeed, while at times the film might seem indulgent, is this not exactly what every filmmaker would strive for..? The opportunity to write and make real a story without distracting agendas from outside parties?

"Ahedonia" is a real gem! One of those that are becoming all too rare. It is a delight to watch : the unusual pace of the story leave us captivated, the characters are interesting, starting with Kino (the late composer Arvo Part's alter ego); the director succeeds into bringing together poetry, dazzling visual and editing ideas and even humor in this drama. All of us need this kind of films that deal with Art (with a capital A), friendship and beauty, all in a lively and original way.

The film made me want to follow the works by Michael Henry, the English director, who is also the producer and an actor. I won't be surprised to see more and more people talking about his works.

I wanted to like it so much. There are few things I enjoy more than discovering new, brilliant filmmakers. You should have seen me jumping up and down after happening upon Tropical Malady (2004), which at the time was obscure even by Cannes film festival standards. I definitely can take arthouse - I'm French, for crying out loud -, I can take slow, I can take weird.

Don't get me wrong, there is definite talent in Anhedonia. There is tone and personality. Interesting subject matter. Good use of inside/outside scene contrast. Lots of work on the sound design and photography.

But overall, it did not live up to the rave reviews for me. When, as a viewer, you embark upon deconstructed storytelling, you want something to hang your hat on to. It may not be plot, it may not be character development. But, something. The eerie weirdness of Robbe-Grillet, the depth of insight in Godard, the sheer beauty of Lynch's nightmares, the maniacal machines of Greenaway. The desperate layer-peeling of Coppola's Conversation, Nolan's Memento or Aronofsky's Pi. Most of all, what you need to get through the night is a little something called tension.

And tension, for me, was not there. The main character is on a quest, and there is a ruthless killer on his trail, but none of that matters if there is no truth there, to make you care.

That is where Anhedonia let me down. It is a nice intellectual construction. But I found it artificial through and through. The depressed hero, the maniacal villain, the enigmatic mentor, the multi-dimension universe all go through the expected motions. But for me, they did not resonate. It felt like there was no point other than the complexity itself, a convoluted path leading you back to where you started with nothing to show for it.

It may well be that I was expecting too much. Or that I am not the intended target. Or that I missed the point. I do hope it is the latter. I do hope the filmmaker will, in time, have lots to say about life, art, love, death or whatever it is he wants to talk about. I will watch his next film. Because there are few things I enjoy more than discovering new, brilliant filmmakers.