Nothing Personal

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.

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".

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.

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.

They're 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's 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.

I felt pretty much humbled afterwards.

A unique storyline that captures the viewer's attention, wondering what these two will make of each other where primarily neither want to relate intimately with anyone else. A very interesting film in terms of every unspoken gesture, facial expression and events-packed silence. Part of the fascination is the viewer constantly wondering, "What will happen between them next?"

And it is this tension that makes for a total attention. Can they love? Will they connect? Who will open up first? Why were they so alienated in the first place?

Yes, a very existentialist piece reminiscent of Bergman movies, perhaps; certainly treating similar themes. By the end of this film, I was half in love with 'You', the female protagonist. Yup, it really got to me. Maybe you too.

This movie is the director's ultimate fantasy. Through the brat girl, she projects not only her puerile attempt of rebelling against goodness on account of her own problems, but also her biggest one: her overwhelming and shameless oedipal desires toward her own father, in the image of the man, who, by the way, happens to be alone, sensitive, compassionate despite her millennial tantrums. The perfect ending to the fantasy (after she lies naked next to the dead "father", romanticizing thus consumation of the act), is that they won't have to live a real life together and he leaves all to her. Predictable,

Belying its' title, 'Nothing 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.

Unfortunately this undoubted emotional engagement seems to have come at the expense of narrative coherence. Whilst I don't expect everything handed to me on a plate, it felt quite an uphill struggle trying to follow the Director's clues about what was actually happening. I couldn't 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 Ondine – similar location and 'strong, mysterious, beautiful foreigner' theme –and whilst undoubtedly more cerebral and emotionally resonant, it's a shame that its' increasing tendency to veer into a somewhat perplexing swamp rather lets it down.

If you have a penchant for 'hands swirling round in seaweed' close-ups, then this is certainly the film for you – otherwise, despite its' spirit and intrigue, the level of confusion means that for me, it won't stay in the memory for too long.

precise, minimalist, strange. almost a form of poem. maybe a visual haiku, story of a trip, a meeting and solitude. a circle. impressive images. memories from Bergman. and dust taste. a portrait. or only testimony. a search and its terminus point. a parable. or only fragments from a house and a garden. the mixing of algae remains for me the central image. a gesture like a prey. or only need to save essence of search. because, the actors , in this case, are shadows of places. and sign of subtle desire to be part of them. sure, after film end, a lot of hypothesis bloom. but it remains only the taste of honey and ash. and a white package. like last gift.