Tag: Lukas Moodysson

WE ARE THE BEST! – The Review

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You typically wouldn’t associate the words “sweet” and “heartwarming” with punk rock. But this dichotomy is at the center of Lukas Moodysson’s new film WE ARE THE BEST! Sure, the trio of wannabe punk-rockers that the film revolves around wear oversized rags for clothes, messily cut their own hair, and have no respect for authority, but they are also in the seventh grade. They’re cute and harmless even when they look like they will spit in your face and kick you in the shin at any moment. This fact alone makes the film’s journey back to Sweden in the 80’s not as hopeless as the parents and teachers of these lovable losers would lead you to believe.

Klara (Mira Grosin) and Bobo (Mira Barkhammar) are two Stockholm girls that have traded in the 80’s big hair and neon leggings for a more androgynous look. They believe “punk isn’t dead” as Klara’s older brother leads them to believe (Joy Division is now all the hipster rage). Nevertheless, their rebel yell must be heard and they find an outlet for their frustration one day while being forced to listen to a metal band at the local community center. In the spirit of punk music, the two grab the center’s instruments and start hammering away on them without a clue as to what a chord or musical note is. This somewhat changes when they bring a third member into their punk band – a quiet, frequently ridiculed, good-girl named Hedvig (Liv LeMoyne). But now that the band is formed, can the trio grow together as a whole and as individuals? More importantly, can they succeed in a world that looks down upon them?

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There’s a difference between presenting yourself as different or as a “punk” and being treated as an outsider due to a lack of acceptance by the rest of the world. This struggle in BEST! is made all the more poignant because the main characters are 13 year old girls. Often in other films that relay a similar message we watch 18 yr old boys whose parents and friends “just don’t understand” (thanks Will Smith). Again, we witness parents who either attempt to connect with their daughter but in all the wrong ways – I don’t think a clarinet in a punk band is the best idea – or almost completely disregard their daughter’s passion so they can live out their own child-like lives. So even though the problems might still be the same, at least the outsiders here aren’t the typical outsiders we’re used to seeing.

Director Moodysson has a carefree way to how he lets the film unfold. Scenes are effortlessly strewn together that reveal the awkward vulnerability that is inherent in youth. An emphasis is placed on character rather than conflict. Of course that doesn’t mean there isn’t some external elements that threaten to tear the trio’s dream of punk stardom to pieces. And at times you really do hope they succeed. When Klara proclaims, “You’re in the world’s greatest band,” with such confidence, you almost believe her. Sure, they only know one song – their attempt at a political message about the importance of ongoing warfare instead of popular social norms called “Hate The Sport” – but their lively spirit is intoxicating.

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Even though I grew to love the characters that were learning about life and maturing before my very eyes, I still felt a desire for something richer. The girls’ conversations frequently feel off –the -cuff and more improvised than inspired. Of course there’s subtext in scenes like when the duo corrupt their new God-loving friend Hedvig by chopping off her hair (all done on camera mind you), but none of the scenes last long enough or contain anything particularly worth noting. A spat over some punk boys that Klara and Bobo both pine after seems more like a requisite coming-of-age hurdle than an imperative distraction in the journey of the characters. At least the trio of actresses plays the scenes with such heart that you can smile and shrug your way through them.

Frequently cute and energetic – what the film may look in substance it more than makes up for in the director’s love for the characters and their story. The film seems something of a passion project for Moodysson since his wife created the comic-book that serves as the basis for the film. WE ARE THE BEST! seems to capture the indelible memories that its creators formed from the early 80’s growing up in Sweden. Though the film exists as a sweet escape back to the days of reckless abandon, I doubt the memory of the film will last as long for the viewer as it will for its creators.

3 1/2 out of 5

WE ARE THE BEST! is now available On-demand.

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CIFF Review: MAMMOTH

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Chicago International Film Fest 2009 – Review: Mammoth

Mammoth, the latest film written and directed by Lukas Moodysson, is a two-hour contemplation of family, materialism, and the seemingly universal quest for a better life for our children.   Unfortunately, the film states its point pretty clearly in the first twenty minutes, and then proceeds to persistently repeat itself for the remaining one hundred minutes.

The film has been compared to Inarritu’s Babel, in that it centers on four intertwined stories that occur simultaneously across the globe.   Ellen and Leo are a happily but busily married couple in New York.   Ellen (Michelle Williams, Brokeback Mountain) is an emergency room surgeon, while Leo (Gael Garcia Bernal, Babel, Y Tu Mama Tambien) is a computer whiz, a video game aficionado, and most recently the creator of a wildly successful website.   While Ellen spends long night shifts at the hospital and Leo flies to Bangkok to close a multi-million dollar investment deal, their daughter Jackie is left with the Filipino nanny, Gloria.   Meanwhile, Gloria’s own children in the Phillipines struggle with the distance from their mother and the reasons for her absence.

Perhaps the most dominant theme throughout the film is “guilt”.   Both mothers, Ellen and Gloria, work hard to provide a solid upbringing for their children, but feel guilty over leaving the actual rearing of their children to someone else.   Ellen finds a substitute in a child stab-wound victim at the hospital, while Gloria dotes on the American child in her care while sending all her money home to build a new home for her own family.   Leo, in a perpetual state of “protracted adolescence” according to his wife, explores the poverty-stricken and tourist-riddled world of Thailand, feeling nostalgic for his youth and guilty over his newfound wealth.   He tries to befriend and help Cookie, a Thai prostitute, but ultimately treats her in much the same way she’s always been treated.

Moodysson’s tale tries very hard to be complex and meaningful, but comes across as overwrought and slightly stale.   He does manage to create some interesting parallels, though.   Irony is used, perhaps too much, in the portrayal of the two families.   Both mothers want what the other has: Gloria wants more opportunity for her children, while Ellen wants to be closer to her own daughter.   Leo’s relationship with Cookie is mirrored by Gloria’s young son Salvador who tries to find work so that his mother can come home, only to be taken advantage of by an American.

Overall, I found the film to be tiresome and over-written.   The quality of the acting was hard to gauge with lackluster writing, but no performance stood out as either amazingly good or bad.   The movie was not without its finer points though.   Moodysson’s more poignant moments are the ones that he lets speak for themselves, without characters commenting or explaining.   In one scene, after a long night in the emergency room and unable to sleep, Ellen curls up in her daughter’s small bed, clutches a stuffed animal to her side and dozes off, her anxiety over their relationship for one moment eased.   While exploring Thailand in another scene, Leo stops his cab to gape at an elephant standing by the road.   He stares in wonder at the animal, mimicking the movement of its trunk with his arm, while the cab driver stands behind him, bored by this sight that is commonplace for him.   These moments speak volumes more towards Moodysson’s ideas than most of the dialogue does.