If you like surrealism and dark fairy-tales, and you haven't seen November yet, watch it before reading my review, because I wouldn't want to influence your expectations.
When I started watching November all I knew was IMDb's Drama, Fantasy, Horror categorization. Little did I know that I was about to experience two hours of a beauty so mesmerizing that it would almost bring tears to my eyes.
November is one of those rare cinematic creations that transcends the medium from mere entertainment into a profound work of art. I can think of only a handful of directors that have lifted the art of cinema to this level, such as Akira Kurosawa, Stanley Kubrick, David Lynch and Lars von Trier.
November is a surreal, dark fairy-tale that takes place in a mediaeval Estonian village. The story is a mix of Shakespearean romantic drama and rural folklore that pleasantly reminded me of the magical countryside fairy-tale atmosphere in the works of the Croatian naive art painter Ivan Generalic, as well as the imaginative surreal comics by the Greek-French comic creator Fred (Frédéric Aristidès).
The most breathtaking aspect of November is its cinematography. The film is shot in moody, darkly romantic black and white photography with beautiful lighting and screen compositions.
But November is filled with beauty in multiple layers. A beautiful soundtrack - incorporating Beethoven's Mondschein-Sonate - intensifies the atmosphere, the costumes, sets and overall art direction are gorgeous, and there's even lyrical poetry of a poignant grace. It will be a challenge to create something more romantic than November has established.
Last but not least, the casting and actors are also laudable. The two main female characters radiate a magnetic beauty, and the peasants look like they have been time-transported from an actual mediaeval village.
