Festivals

This unconventional documentary thrives in its dissection of the ins and outs of a decrepit pawnshop in a grey neighbourhood.

Spearheaded by good-hearted owners who unfortunately lead their business to its demise through a mix of kindness and poor management, the pawnshop becomes the epicentre of the action. We’re engulfed in its chaotic nature, which simultaneously serves as a kind of psychotherapeutic space for both workers and customers. Nonetheless, the private (non-business-related) struggles faced by our protagonists feel somewhat underplayed.

Finally, it’s worth mentioning that while the indoor scenes are magnificent (featuring some notably striking photography), the brief glimpse into the surrounding community and environment, which peaks with the fantastic big sale meant to save the failing business, leaves you wanting to explore more of this outside world.

With a strong ensemble cast, this film excels particularly in its exploration of themes such as fatherhood, and the curious connection that can exist between a father and daughter, despite their apparent emotional distance. Another well-executed theme is maturity and the psychological toll that the passage of time can have on one’s sense of self-worth and self-doubt especially when one has devoted a lifetime to a creative endeavour, as is the case for the character portrayed by Stellan Skarsgård.
Nonetheless, plotlines driven by the presence of Elle Fanning feel somewhat forced and unnecessary. While there is nothing wrong with the acting itself, and her role clearly serves as a source of conflict between Gustav Borg (Skarsgård) and his daughter Nora (Renate Reinsve), the more comedic tone it introduces feels out of step with the film’s otherwise dramatic atmosphere. This contributes to the sense that the narrative stalls at times in its emotional build-up, though it ultimately arrives at a satisfying, if somewhat predictable, resolution.

The film is explicit in its depiction of the Russo-Ukrainian war, specifically the early stages of Russia’s offensive in February 2022, and provides pointed social commentary on Russian-Ukrainian relations and the West’s role in the conflict. Stylistically, however, the film serves more as a vehicle for expressing the universal threats that armed conflict poses to civilian life.

Beyond the sporadic references to real-world events, the central focus remains on two characters trapped within the four walls of their newly acquired, expected-to-be happy home. This sense of confinement makes the story easily transposable to other military conflicts. It is precisely this claustrophobia that brings out the film’s strongest qualities, as director Zhanna Ozirna exhibits great care in capturing the stillness and quietude of the setting to heighten the prevailing sombre mood of the siege.

However, the film falters when its perspective shifts from the external conflict to the internal struggles of the couple. These tensions feel trivial and futile in light of their dire situation. This narrative turn culminates in upsetting behaviour and questionable decision-making by the characters in relation to their environment.

Having only read the synopsis and not the original book, the tone and focus of the film come as an unexpected surprise. Instead of a survival tale, it presents a family drama that explores the value we place on our own lives and those of others.

The story unfolds through an unconventional structure that keeps you on your toes, making you question whether certain scenes are real or imagined. A delicate piano score preserves the tenderness at the heart of the plot, even though it’s paired with an underwhelming twofold love story.

Several scenes suffer from overacting by three of the four lead actors. The sole consistent performance is delivered by Ramzy Bedia, whose outwardly stoic yet inwardly caring portrayal of the arbiter stands well above the standard set by his companions.

Considering the existence of recent films like Midsommar (2019) and The Menu (2022), this movie feels formulaic and unoriginal, falling short of its predecessors in several ways. Visually, it lacks the striking appeal of Midsommar, its exploration of the cult of personality is less profound than The Menu, and the tension it builds is weaker than in both.

Even the musical aspects fail to engage or leave a lasting impression. This is an unfortunate shortcoming, given that this should be the film’s strongest element, considering the central figure is a renowned pop star (played by a rather uninspired John Malkovich).

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