(EUFF) Film Review #68: HOPE [Screened on 27 May 2023]

As far as watching movies is concerned, I have a habit of avoiding reading too much on a film I am about to enter a cinema hall for. Therefore, I must say I was surprised by how detailed the storytelling is in Hope based on the synopsis I saw. Clocking at approximately two hours without credits, I wondered how the film is going to portray what was written in the plot summary. Sødahl’s approach is a visual diary from Anja’s perspective, taking us day by day through Christmas and New Year of what could be Anja’s last for both. The merit in this strictly linear form of storytelling is the raw emotions witnessed from Anja and Tomas’s characters, amongst others. The effectiveness in this linearity is enhanced through the use of handheld cinematography for the most part of the film - giving the audience a more intimate view of the story as it unfolds.

Sødahl’s Hope is as relatable as it is distant to any average (Singaporean) viewer. On one hand, the grim diagnosis of Anja and the fragile state of her relationship with Tomas are not unique to a couple or family of any particular race or nationality. Yet, the differences between their personalities, for instance Anja’s devotion to her children versus Tomas’s perceived workaholism despite them being equally successful in their careers in dance and theatre - two sister fields in the larger performing arts domain, are not common to many working couples and parents in the 21st Century. Not to mention their blended family structure whereby Anja also shows some form of motherly affection to the two eldest children of Tomas, from his earlier marriage.

Despite the complexity of Anja and Tomas’s story and relationship, their ordeal as Anja inches closer to the brain surgery she needs in order to survive is the heart of this film. Apart from the linear storytelling and handheld camera work, it is stating the obvious that Andrea Bræin Hovig and Stellan Skarsgård’s performances were the other stand-outs in Hope. Hovig’s explosive turn as Anja was complemented by Skarsgård’s relatively calm (but no less emotional) portrayal of Tomas. The result is an almost depressing but equally moving viewing experience as the audience understands how Anja and Tomas got to where they were and how they moved forward so as to attain the happiness they both had been lacking for at least twenty years.

Typically, to assess a film’s quality, from a technical standpoint, I should look at the film’s use of music, its production design and costumes and make-up work, etc. However, I have decided to pay less attention to these aspects, for they were not the most effective tools to help Sødahl tell her story.

On the same note, some audiences may find the ending whereby Anja’s fate after the surgery is left hanging, unsatisfactory. This is especially so considering Sødahl’s linear storytelling technique which would leave many assuming they would get to see whether Anja survives the operation or not. That said, I am glad Sødahl did not develop an ending for Anja in that regard. If the telling of this story is to zoom in on how a couple reconciles for the sake of their loved ones, and more importantly, for themselves, before it’s too late, “too late” should not be shown.

All in all, Hope is a small but touching Norwegian gem that is not for every moviegoer but should be caught on the screen by as many of its target audience as possible. Sødahl made a deeply personal picture and she had her best attempt at it in my opinion.

Hope bags 4 stars on my Letterboxd.

About the Author: Jarrett is a devoted cinephile for over half of his life. Apart from movies, coffee keeps him awake and music keeps him alive. Having studied theatre and performed as an actor before, he's also a sucker for great performances.

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This review was written as part of a series of reviews by SFS writers for European Film Festival 2023.

For more films and info on EUFF 2023, visit the official website: https://www.euff.com.sg/

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About European Film Festival 2023:

The European Film Festival (EUFF) is an annual event that showcases a curated selection of European films. The films showcased in this festival may belong to a specific country, but they are all representative of Europe’s shared cultural heritage. EUFF is a window into the intriguing world of European cinema and also offers a platform to young Singaporean film-makers.

More info on HOPE: https://www.euff.com.sg/film/norway/hope

About the Movie:

GENRE: Drama | Romance

DIRECTOR: Maria Sødahl

CAST: Andrea Bræin Hovig, Stellan Skarsgård, Elli Rhiannon Müller Osborne, Alfred Vatne, Daniel Storm Forthun Sandbye

M18 | 2019 | Norwegian w/English subtitles| 126 minutes

SYNOPSIS: 

Anja and Tomas live together with their blended family, but have grown apart over the years. When Anja is diagnosed with terminal cancer, they are forced to confront their neglected love and come together for the sake of their children. Through their struggle, they rediscover their love for each other and learn to truly appreciate one another in this touching love story that is all about Hope. This semi-autobiographical film directed by Maria Sødahl is based on some of the experiences she faced with her husband.

HONOURS

Director Maria Sødahl has received several awards for her film-making including Best Director at Montreal Film Festival (2010) and Best Director and Best Screenplay at Kanon Awards (2011).

This review was written as part of a series of reviews by SFS writers for European Film Festival 2023.

For more films and info on EUFF 2023, visit the official website:  https://www.euff.com.sg/