rashomon111's reviews

It seems that Campion has chosen to take a more anthropological approach for many aspects of this film, especially in order to render the immensity of the landscape, a key metaphor in the film. Exquisitely lit compositions, pockets of shadows, and light playfully caressing details in the frame. However, the film danced back and forth between being a painterly study of historical Montana and an intensely intimate portrait of a group of characters bound by self-loathing.

Campion seemed especially disinterested in giving a full bodied and complex relationship to the two queer characters in the film. They were only there to vindicate and serve the feminist cause.

EXTRANO is a beautiful and intelligent piece of cinema.

JBschapira's comments are completely sophomoric and ridiculous. Before people criticise, can they criticise the film by the type of film that it aims to be. Not every piece of cinema HAS to be drama heavy -- and truthfully -- most of the great auteurs eschew drama in favour of tapping away at something far more existential and provocative. Voila...the magic of cinema begins.

Sure we can all be sucked in by the feel good drama of something like YOU CAN COUNT ON ME... but this kind of film is a good drama. Not great cinema. EXTRANO is made by a director who clearly has different intentions. It's like comparing a poem and a persuasive essay or story. It's impossible.

In response to Schapiro's comments : you should give up your critical analysis of cinema. Your review of EXTRANO is SO off the mark. You obviously have nothing but two sticks to rub together for a brain.... Hence...why Extrano won the tiger award at Rotterdam..and you my friend, are writing dumb ass responses (green with envy?).

If you don't get this (and I wonder if you understand other interesting films by Argentina's new wave...Lucrecia Martel, Santiago Palavecino --- OR if you care for any interesting world cinema at all...Tsia Ming Lang, Shohei Imamura, Achichatpong Weersakathul, Arnaud Depleschin...yadda yadda yadda....)

Criticise a film on the level it seeks to be received at: Not on the level YOU (as somebody clearly cinema ILLITERATE) seek to find. You sound like a child.

I'm guessing that this website is generally pro Sommersault. Or at least the ten or so first posts that I have read. I will therefore try and be clear and dispassionate in my objections and praises for the film.

It's a lovely simple story in some respects. The opening sequence is very promising (we start with something epic and shattering -- and the cinematography here feels more restrained) but as we move into the mountain sequences there tends to be a lack of restraint in the choices made by the director/DP/art director.

For example, the overly codified red gloves, goggles -- are more reminiscent of an advertisement or a video clip than the subtlety required in rendering the poetry of this story.

There are also some other story elements that feel visually indulgent and unnecessary. For example: the shot of her diary -- when did we see this diary being used / what relevance does this have to the story or character when it feels out of keeping for a girl who is going through some kind of transgressive sexual journey. It feels more kin to a girl who is top of her class at school. We don't need to make her into an artist to care for her.

Also -- the hose scene. Perhaps it's the way they set it up, but to me it felt like an unnecessary visual gimmick -- it should have been motivated by the character.

The performances in general are really excellent.

Although I do believe that the "touch" metaphor is handled with too much force -- IE slowed down close-ups etc take the beauty away from these moments feeling organic to the character.

Politically, I question the over abundance of liminal characters (for example -- it felt terribly PC to have a middle aged gay man turn down this hot young man, as well as the indigenous family with aspergers) but despite these conceits interesting interactions still emerge. I was more curious about the Lynne Curran character -- the relationship with the girl was really unexplored and I think this 'surrogate' mother daughter relationship would have strengthened the intensity of the story and highlighted the problems she has with authority figures in general (and especially 'mother' figures vis a vis her own developing sexuality).

This film is not a classic nor is it completely awful. It is great for a first feature although more interesting as a fish out of water Australian film with extremely high production values -- than as the work of an auteur with something different to say.