The Other Side of Hope is a Kaurismaki classic, full of bittersweet sarcasm and existentialism, if by the latter we mean an honest reflection of what is. It also contains some great music, although I sometimes think that it is how he lets music exist in his films that makes it great, rather than the music per se.
By centering his story around a Syrian refugee in Helsinki, the film brings forward the view of the migrant/refugee, and that is very important,because we do not only see the European view of the Other; Kaurismaki enters the Other's reality in modern fortress-Europe. It helps us think what it really means to be a young man/woman stuck in these postmodern concentration camps, waiting for some bureaucratic agency to review your asylum application and define, from some thousand miles away, whether the hell that you fled from can be officially called "war" or whatever. Or what it means to carry this burden and walk in the same streets with the "true Finns" or other nationalistic, xenophobic scums. It also depicts the power of solidarity, albeit in Kaurismaki's typically sarcastic manner.
Anyhow, Kaurismaki always seems to take a certain distance from the things he narrates (some call him a snobbish filmmaker, others may claim that he makes a caricature of his characters), but his magic lies on the fact that it is precisely this distance (plus tons of alcohol, apparently) that makes his films so honest and humane. There is always a certain absurdity in play, yet to me Kaurismaki does realism in the most accurate meaning of the word. You exit the cinema and you see (and hear) this absurd realism applied all over the city. This film is no exception. It may not be his "magnum opus", but his kind of artists doesn't need this bourgeois terminology at all. It is what you make of it.
By centering his story around a Syrian refugee in Helsinki, the film brings forward the view of the migrant/refugee, and that is very important,because we do not only see the European view of the Other; Kaurismaki enters the Other's reality in modern fortress-Europe. It helps us think what it really means to be a young man/woman stuck in these postmodern concentration camps, waiting for some bureaucratic agency to review your asylum application and define, from some thousand miles away, whether the hell that you fled from can be officially called "war" or whatever. Or what it means to carry this burden and walk in the same streets with the "true Finns" or other nationalistic, xenophobic scums. It also depicts the power of solidarity, albeit in Kaurismaki's typically sarcastic manner.
Anyhow, Kaurismaki always seems to take a certain distance from the things he narrates (some call him a snobbish filmmaker, others may claim that he makes a caricature of his characters), but his magic lies on the fact that it is precisely this distance (plus tons of alcohol, apparently) that makes his films so honest and humane. There is always a certain absurdity in play, yet to me Kaurismaki does realism in the most accurate meaning of the word. You exit the cinema and you see (and hear) this absurd realism applied all over the city. This film is no exception. It may not be his "magnum opus", but his kind of artists doesn't need this bourgeois terminology at all. It is what you make of it.