Like when he shows her a Frankenstein-like scar over his right collar bone: "Lightning is no laughing matter. Highly moving film. And we know she’s telling the truth, because we’ve seen it happen. When she comes across a man with a smell that confounds her detection, she is forced to confront disturbing insights about herself. (Surprisingly, perhaps, it’s playing not in Cannes’ Midnight Screenings section, but in the tonier Un Certain Regard section.). 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Or when they exchange wild, sloppy kisses right before having extremely awkward sex in the woods. When she comes across a mysterious man with a smell that confounds her detection, she is forced to confront hugely disturbing insights about herself and humankind. Slow difference …and then surprises sent this film into a different ‘Twilight Zone’ seen before one were reality never so poignant failed, throwing faith in humanity further into a darken pit where left to abuse ourselves further excepted our faltering future. In a world of human monsters, Tina and Vore's eccentricities are supposed to make them human; in reality, they just look weird and creepy. Roland's always mooching off of Tina: he doesn't contribute financially to their shared house and barely even pays attention to her when they're eating dinner together. “Border” is dark and unsettling and proudly deranged; it’s the kind of shocker that may not survive too well outside the festival environment, but seems to be a necessary part of every Cannes. But there’s an otherworldly poetry to the imagery here that takes this oddly affecting film beyond an allegory for cultural difference and oppression. She has always assumed that “different” means “worse”, but when she encounters the creepily magnetic Vore (Eero Milonoff), who shares with her the unusual gift of being able to smell emotions, particularly fear and guilt, she learns the truth about herself. Director Ali Abbasi serves up a sometimes-funny, sometimes-twisted, sometimes-sweet tale that keeps viewers guessing right up to the closing credits. SMELLS LIKE MEAN SPIRIT - My Review of BORDER (4 Stars) Nominated for Best Achievement in Makeup and Hairstyling at this past Academy Awards, BORDER slipped by … It drew uneasy laughter in the Salle Debussy on Thursday, and then a robust round of applause when the film ended. Abbasi, whose only previous film was the 2016 horror movie “Shelley,” takes us on a wild ride, with black comedy bringing laughs that catch in the throat when Tina’s professional and personal lives unexpectedly collide. Good dog."). It’s all tied in to the scars on her body and the hair in unexpected places and the hint of a tail, and the appearance of a man named Vore with some unusual appetites and a familiar look to him. And that’s as much as you should know about the plot of this earthy fairytale from Ali Abbasi, based on a short story by Let the Right One In author John Ajvide Lindqvist. Nevertheless, Tina is a highly respected member of the Swedish customs team portside, with a perfect record of apprehending perpetrators. Childbirth and supernatural infants, which were part of the plot of “Shelley,” also figure prominently here, but in a much more satisfying and clever way. Tina and Vore's sex scene is a bit much, to put it mildly. This original and mercilessly intense fairy tale is simply unmissable. The film seemed to keep this grinding slow pace throughout and it never really picked up. All rights reserved. Directed by Wes Miller. Like when he jokes around with Tina by disguising a tin of grubs (which he uses to feed his ... well, I'd better not) as a home-made bomb, complete with a time-piece and stray red wires. This is fantasy romance with a snarl of misanthropy and more bite than a vampire school reunion. [Full Review in Spanish]. An outsider with unusual gifts descends on a small community in Ali Abbasi’s creepy exploration of cultural ‘otherness’. In a 2002 interview with author Salman Rushdie, American filmmaker Terry Gilliam made a provocative, but striking argument about why it's "too easy to love" the title character in Steven Spielberg's 1982 alien-adventure "E.T. We see the ugly, mundane world through her eyes (lit mostly with an antiseptic silver-green/blue color palette): people at her job are anonymous because all she can think about is her own inexplicable behavior and unflattering appearance. In many ways, it's the perfect genre film in its refusal to conform to any familiar tropes, instead opting to dip its misshapen form into several cinematic molds, only to shatter them. We spend so much time watching Melander think about doing something that when she finally makes a move, her inherently jarring actions seem even more unnerving. 2018 Cannes Film Festival Recap & Reviews. Just as “Let the Right One In” provided some unique contributions to vampire lore, “Border” etches the characteristics of certain creatures from Norse mythology and folktales. Border is more resonant than you’d expect, and one of the oddest movies of the year. But Tina and Vore aren't just ugly-looking: their animal-like behavior is especially bewildering and depressing given that they live in an otherwise pseudo-realistic environment, where time passes like molasses through a strainer. Movies: Border; Swedish security guard Tina (Eva Melander) thinks she is the only one of her kind, a woman afflicted with … Sadly, their mutually exaggerated appearances—as well as how their monstrous nature is mercilessly sensationalized by writer/director Ali Abbasi and his co-writers Isabella Eklof and John Alvide Lindqvist—is so off-putting that I often found it hard to sympathize with Tina and Vore. As she walks barefoot through the primeval forest surrounding her remote cottage, foxes frolic and enormous elk materialize. Shawky are among the filmmakers presenting their work at this year’s festival, All the film festivals latest news, deals and doings, Terry Gilliam's Epically Troubled 'The Man Who Killed Don Quixote:' A Brief History, Sony Classics Picks Up Lebanese Director Nadine Labaki's 'Capernaum', Cannes Confirms ‘Don Quixote’ for Closing Night, Praises Court Win: ‘Cinema Has Regained Its Rights’, Cannes Report, Day 2: ‘Rafiki’ Makes History, ‘Don Quixote’ Scores Legal Victory, Terry Gilliam’s ‘Don Quixote’ Loses Amazon as US Distributor, Wins Court Fight to Screen as Cannes Closer. Border is only really at its best when focusing on Tina’s rediscovery of her true nature. Abbasi, Iranian by birth and now resident in Sweden, mines the otherness of being an outsider in a closed community. Kudos are also due for the excellent tech credits, especially Frida Hoas’ naturalistic yet fairy-tale-like production design, Christian Holm’s subtly eerie sound scheme and the prosthetics and visual-effects work. “Yes,” says Tina. Cannes 2018: Director Ali Abbasi delivers a formidable load of WTF with a work that’s part horror film, part allegory about our fear of outsiders. Psychological Infections: Brandon Cronenberg on Possessor, 8 Films to See at the Nightstream Virtual Film Festival, When You Have a Hammer, Everything Looks Like a Nail: Jim Cummings on The Wolf of Snow Hollow.
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