Credit: Altered Innocence
great cast it’s a beautiful film to behold, but its visual design is unfortunately in the service of material that is too monotonous and without depth to make an impact.
by director Isabelle Stever great cast is a German family drama that seeks to provoke, which is easy to assume given its portrayal of a toxic and incestuous relationship between mother and son. But those looking for cheap thrills or simple shock value should look elsewhere, as Stever has crafted a clever character study that feels more like a mash-up of two very specific Isabelle Huppert vehicles, namely Michael Haneke’s. . the piano teacher and Christophe Honoré My mother. Nadja (Sarah Gerther) is a strict and stern ballet teacher who pushes her body to the limit. Reliant on prescription drugs and refusing to use the cane her battered musculature and joint systems so desperately need, Ella Nadja seems to thrive on the pain she forces herself to endure. A random visit to her mother’s house in a neighboring town introduces the viewer to Mario (Emil von Schonfels), the son Nadja abandoned when she was a baby and whom her mother has cared for since infancy. Mario, now 18 years old, is a burly young man who spends his nights going to clubs and participating in various libertine activities. It’s pretty obvious from their interactions that Nadja hasn’t seen her son in nearly two decades, though the two make up for lost time by almost instantly beginning a sexual adventure, one in which Nadja experiences joy for the first time in years, because , as clearly articulated, she is nothing more than a masochist, a trait shared by her son.
great cast it is not so much a psychological survey of his characters and their actions as an observational study; there are no answers to be found when it comes to why of all, though Nadja’s fractured relationship with her own mother certainly hints at some underlying issues. Stever and cinematographer Constantin Campean opt for a visual style that could best be described as ethereal, the handheld camera becoming an omnipresent observer seemingly floating and dancing around these characters, occasionally pausing when fixated on detail or action. whether it be the movement of the undulating shoulder blades or the carefully manicured bun on the head of a young dancer. Deep focus is rarely used, with an emphasis on a single element in a given shot, often depicting both background and foreground as a blurred haze and darkening more than it brightens, which is certainly an apt visual metaphor. for the approach taken for this material. Truly, the images captured within great cast they are nothing short of fascinating and often beautiful to behold.
Unfortunately, the film as a whole is far more monotonous, its characters cruelly narcissistic and rudely unsympathetic. Everyone here is only motivated by their own shortsighted desires, using each other for their own selfish motives, which may sound pretty authentic as a reflection of the modern human condition, but it’s never dramatically convincing. Stever and screenwriter Anna Melikova also never found a metaphor they couldn’t beat to death, with Mario at one point fucking his mother with the very cane she refuses to use, no need to explain. Gerther and von Schonfels fully commit to their roles, delivering exactly what the material demands, and while there is a certain amount of innate audacity in what they are asked to do here, they are never asked to deliver much depth. so it is quite difficult to care about the result. Due, great cast lands as a prime example of the kind of film one can easily admire without even enjoying it, the visual design and stunning cinematography demonstrating heady elements that almost, but not quite, distract from the bland stupidity of the taboo material. That all of this is clearly by design doesn’t make it a less frustrating viewing experience.
Source : inreviewonline.com