No review here yet, so until another turns up / is brave enough to set their impressions down, I'll share a few:
First: = well, knowing how long this took to realise / get up onto the screen and for the cost (hereon listed as - just - Euro20, 000 only! Really?!) then can only admire, well done.
But then, as a work of entertaining time investment to watch, work out what's being set up .. well, now, 's'truth!
As seems to hold with my own experience that anything with little purpose can pass for film from this nation!
This one is mainly an opportunity to see a bloke appear - and NOT a plot spoiler to give that is: 'teleport', apparently - although never clear, why?* - coz that's in the synopsis; (although I came to it not knowing that for the first incident, so held a brief interest until so stated so by main character soon after that, er 'splash') - in "twenty six" overseas locations ..!
Right: although as said, you never know why?*
Nevertheless, you can just imagine the come-on to star (Pannu Tuomikko doing the 'teleporting' in bewildered fashion), and moreover, the pitch justification to the producers / money providers to have concocted a 'plotline' that will involve the chance to hob nob around said locations! (No wonder it took near on ten years to complete.)
* Director, writer both say that not knowing / showing the reason why was deliberate, for audiences to make their own take on it: but presumably, at minimum, is an obvious metaphor for absent husband / father, and for me as an outsider to (but, ah, 'particular' interest in) Finnish mores, merely seemed to set up another version of the recurring theme that seems to crop up with astonishing regularity in Finnish film storytelling: that its men in relationships, be that partner or husband to their spouse, even as father**, are irredeemably useless, inadequate - as, literally here, basically absent (check the reconciliation lovemaking interlude "37 seconds" of best time of the month!: his wife, Teija's assessment) - to their women, **as would seem to, according to this film, also include their barely contemptuous daughters too.
Is this really true of Finland? Since if not, then what's this one supposed to be trying to convey, if not surely insulting and unconscionable to its menfolk?
But certainly in keeping with much of Finnish film plotting, - unless you like almost blink and you'll miss them exotic location shots - another virtually total waste of time to endure: although I must admit, the ending left an intriguing ponder: at which time, having tolerated sitting through such claptrap, you can at least then enjoy the best bit of this film; not only the closing, but the industrial sounding closing credits soundtrack. (his first too, I believe, of Martti Antilla.)
But then, as a work of entertaining time investment to watch, work out what's being set up .. well, now, 's'truth!
As seems to hold with my own experience that anything with little purpose can pass for film from this nation!
This one is mainly an opportunity to see a bloke appear - and NOT a plot spoiler to give that is: 'teleport', apparently - although never clear, why?* - coz that's in the synopsis; (although I came to it not knowing that for the first incident, so held a brief interest until so stated so by main character soon after that, er 'splash') - in "twenty six" overseas locations ..!
Right: although as said, you never know why?*
Nevertheless, you can just imagine the come-on to star (Pannu Tuomikko doing the 'teleporting' in bewildered fashion), and moreover, the pitch justification to the producers / money providers to have concocted a 'plotline' that will involve the chance to hob nob around said locations! (No wonder it took near on ten years to complete.)
* Director, writer both say that not knowing / showing the reason why was deliberate, for audiences to make their own take on it: but presumably, at minimum, is an obvious metaphor for absent husband / father, and for me as an outsider to (but, ah, 'particular' interest in) Finnish mores, merely seemed to set up another version of the recurring theme that seems to crop up with astonishing regularity in Finnish film storytelling: that its men in relationships, be that partner or husband to their spouse, even as father**, are irredeemably useless, inadequate - as, literally here, basically absent (check the reconciliation lovemaking interlude "37 seconds" of best time of the month!: his wife, Teija's assessment) - to their women, **as would seem to, according to this film, also include their barely contemptuous daughters too.
Is this really true of Finland? Since if not, then what's this one supposed to be trying to convey, if not surely insulting and unconscionable to its menfolk?
But certainly in keeping with much of Finnish film plotting, - unless you like almost blink and you'll miss them exotic location shots - another virtually total waste of time to endure: although I must admit, the ending left an intriguing ponder: at which time, having tolerated sitting through such claptrap, you can at least then enjoy the best bit of this film; not only the closing, but the industrial sounding closing credits soundtrack. (his first too, I believe, of Martti Antilla.)
