A deeply moving and relatable story about an ordinary family bound together and almost torn apart by their shared suffering. Themes of love, loss, conflict, resentment and the maddening allure of nostalgia play out amongst the various characters as they try to hold their fragile worlds together in the face of almost unbearable pain. A philosophical reflection on the nature of perspective is cleverly handled as the viewer's own perspective on the various characters shifts throughout the film as more of the story is gradually revealed. A highly recommended and exciting debut from this clever and passionate film maker.
3 Reviews
Point of view - literally
tsds15092 October 2018
Otwin K. Biernat tells his touching story without visible cuts, enabling him to continually uncover - and at the same time to amplify - the untold tensions within this (seemingly) ordinary family. By letting the audience witness the unfolding events without interruption, he induces a certain, theatre-like impression. This feeling of being close to, being amidst the happenings is even more intensified by the camera work, taking the perspective of the central figure, source and catalyst of the family's tragic situation, the mother. She is the silenced, unexpressed 'problem'; invisible but still very present, silent but at the same time clearly resonant through the music of the film, thus implicitly shaping the developments of this family drama.
Watching this movie is somehow intimidating, as one inevitably starts to reflect on - and analyse - his/her own family history and dynamics as well as crucial experiences with and/or related to different family members. While remembering and understanding, at some point you'll unavoidably ask yourself: Who am I (in my family)? Would I act in a similar situation like Lukas, like Anne, or Didi? Like the father? The mother? Ultimately, you'll realise that it 'just' depends on the point of view.
To live in illusion or die in truth?
jelenablazanovic16 March 2018
Warning: Spoilers
This film is about Karl Kramer, an elderly man dealing with his wife Maria's misfortune when she, an opera singer, loses her voice. Their three children visit for Karl's birthday, bringing a psychologist along with them to hopefully help ease the burden of dealing with Maria's loss.
The siblings argue and Anne, the sister, breaks out into tears. Despite the tumultuous atmosphere, Karl never loses sight of his beloved wife, constantly engaging with her.
What once seemed to be overshadowed by Maria's grand persona, all comes to surface in this boldly experimental film.
One of the underlying questions posed during these breathless eighty-five minutes, is who we are in the face of loss. The answer is precisely what Karl is terrified to know.
His son Lukas attempts a reality check when he presents a family photo album to his father, in vain. He breaks the fourth wall and shouts: "Mom, I hate you!"
A glimpse of truth, no matter how painful, becomes the beautiful relief of a hope to shatter the walls of illusion and start anew.
Karl remains in his world together with his wife, and even though their children are very much alive and vocal, their voices will never replace that of his beloved Maria, which internally, and eternally, guides his being.
In experimental fashion, Otwin Biernat chooses a one shot sequence, which evokes and projects the echo of Maria beyond the screen and onto the audience. Daringly setting out on a journey towards the company of such masters as Michael Haneke and Sebastian Schipper, 'Point of View' is a strong prologue to what this young filmmaker has in store.
In experimental fashion, Otwin Biernat chooses a one shot sequence, which evokes and projects the echo of Maria beyond the screen and onto the audience. Daringly setting out on a journey towards the company of such masters as Michael Haneke and Sebastian Schipper, 'Point of View' is a strong prologue to what this young filmmaker has in store.
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