3096 Days (2013) @ 3096 Tage

How much weight did Antonia Campbell-Hughes lose to play a paedophile's muse? Apparently he kept her malnourished so she'd look more like daddy's little girl.

The real Natascha Maria Kampusch

At a glance:

3096 Days (2013) by Sherry Hormann (Desert Flower, 2009) is based on the 2010 autobiography of Natascha Maria Kampusch, the Austrian woman known for her abduction at the age of 10 back in 1998. Kampusch was held in a secret cellar by her kidnapper Wolfgang Přiklopil for more than eight years, until she escaped in 2006. The lass has gotten worldwide attention since and she's some kinda celebrity activist now, takin pics with Sri Lankan kids and whatnot.

Bad news on the doorstep:

Since the movie is based on her account of the harrowin events, we get a decent technical runaround e.g. the renovated dungeon and other physical details of the incarceration. However, while Antonia Campbell-Hughes really gives her all as Natascha and Thure Lindhardt makes a memorable villain, the little emotions are absent in this screenplay and her terrible ordeal -- one that you would expect to be riddled with desperation, reflection and total anguish -- seems as if it wasn't even a true story. Guess what? Maybe it isn't. There are plenty of documented instances where Miss Kampusch was caught lyin about the details and you can read online the many competin theories as to what really happened durin those 3096 days. See, some people think she's not so much a victim as she makes herself out to be. Apparently, she even cried when told about the fate of her abductor. All the speculation is infinitely more fascinatin than the movie proper, so do give it a Google. Read the IMDb boards, if you like. It would surely go some way towards explainin why these characters seem so one-dimensional. There simply isn't enough goin on here to convince the viewer than Natascha was bein held against her will.

"Fuck. I'm gonna miss prom night."

Perennial wonderment:

Maybe if the renowned German filmmaker and director Bernd Eichinger didn't die with his unfinished script, we'd have a better movie. After all, he did option her book and wanted Kate Winslet for Natascha, you know? Couldn't been like The Reader (2008), maybe. Anyway, this movie is apparently also based on his unfinished script.

Thirtysomething Antonia Campbell-Hughes playing a thirteen-year-old girl?
It would've been illegal to cast someone true-to-age, perhaps.

Home but never alone.

Reminds me of:

A bit of Trade (2007) and The Reader (2008) but those were well above average movies. This one's more like The Seasoning House (2012) if you're talkin about how hollow it feels.

I can't remember if I cried:

The sight of Antonia Campbell-Hughes in all her frail nakedness invites disgust and some sympathy but it's hard to invest in her character because we don't get to see what makes her tick. Some sequences in this drama approach art but somethin just ain't right with the whole setup. By the way, extended scenes of the girl in the nude do serve as one of the few ways by which we can feel some force of realism behind the turns of events, so you're pretty much completely shortchanged if you're watchin anythin less than the 1hr50min cut.

Most memorable line:

None. However I would like to mention that the dubbed British English dialogue is rather strange and off-puttin. Did they manage to go as far as they wanted to with this production idea? One reviewer I read remarked that you get Irish and Danish actors, playin Austrian people who talk with German accents.

Some of them want to use you.
Some of them want to be of use.

Amacam joker, berapa bintang lu mau kasi?

A follow-up movie oughtta be interestin. One that disputes her version of events. It would've been a more meaningful endeavour that would've been taken seriously if little Amelia Pidgeon played the girl throughout the whole show, without an older actress supplantin her. Meanwhile, we can all watch Michael (2011) or go kidnap our own pre-pubescent chick to see for ourselves if it really is this easy to keep a girl in your cellar for 3096 days and take her out shoppin once in a while.★★
Bonus material:

So this is what Miss Kampusch does with her time these days.

I Spit On Your Grave 2 (2013)

Jemma Dallender in a spot of rape & revenge for I Spit On Your Grave.

At a glance:

"I shit on your grave!! I do!!"

Director Steven R. Monroe follows up on his R & R hit (rape and revenge) I Spit On Your Grave (2010) with the inevitable I Spit On Your Grave 2 (2013) -- this time with a slightly prettier lead in Kristin Kreuk lookalike Londoner Jemma Dallender (a bit like Hanna Mangan Lawrence too, innit?) and with better, more memorable villains, although they are typically East European again, as Hollywood's preferred criminal profilin will have it. The beloved critic Roger Ebert, who famously rubbished the 1978 original and its 2010 remake, is probably turnin in his grave right know, knowin that this franchise has managed to outlive him. For what it's worth, the product is a more polished, technically accomplished concept sequel with improved realistic torture for you gore hounds out there. This reboot features Katie, a wannabe model who gets more than she bargained for, after agreein to a free photo shoot with some dodgy blokes. Highlights include an extended rape scene on the floor and several good kills involvin a shitty toilet bowl (literally), a cement mixer and an electric prod, not to mention an excellent nipple removal scene reminiscent of Grotesque (2009), plus the best, most graphic castration scene I've ever seen on film.

Bad news on the doorstep:

We gotta nip it in the bud, I say.

I think it's a story of two halves, in more than one sense. The rape bit is nasty, steady stuff. However the revenge bit, which I believe to be central to makin these kind of movies work, is only partially present. Jemma Dallender actually commands a stronger screen presence than her predecessors Camille Keaton and Sarah Butler but the narrative robs us of any sort of meaningful reflection on the part of the aggrieved character that would have made retribution sweeter. The downtime I'm talkin about involves only a subway pigeon roast and a few half-arsed conversations with a sympathetic priest in a church. Notwithstandin some logistical concerns that plague the story and requires frequent suspensions of disbelief, Katie's unlikely escape and rebirth as the hellbent avenger is hard to relate to because she goes from desperate, helpless victim to a calculated, punchline-hurlin badass too quickly. She seems to have forgotten about the anguish that drove her so far in the first place, while we have been invested to see her keep it, especially for the decisive moments in which she is to exact her revenge. Huntin down her captors become an exercise in car-crash curiosity and the payoff we ask for is reduced to a series of shock violence and human depravity.

Jemma Dallender is a little tied up at the moment.

"Nice shoes. Wanna fuck?"

Perennial wonderment:

How should we do I Spit On Your Grave 3 ? I say, have a male lead this time, a pizza guy maybe, who gets raped and tortured by some old maids. Any better ideas? Drop me a line below.

Reminds me of:

I Spit on Your Grave / Day Of The Woman (1978) and Thriller - A Cruel Picture (1974). It's rare but I do find that this movie has actually provided a reasonably more entertainin modern times reupdate on those rape and revenge movies, although it broke no new ground.
I can't remember if I cried:
The nipple removal scene!

"Hmm... I wonder what this does..."

Most memorable line:

None.

Amacam joker, berapa bintang lu mau kasi?

Starburst Magazine's Paul Risker framed it well: "For all the controversy of Straw Dogs' notorious rape scene, the film remains a reflection of the ideologies of its director Sam Peckinpah. It explores the individual’s relationship to violence and the necessity of violence for survival. Whilst this reflection is embedded in the film’s subtext, I Spit on Your Grave 2 asks you to attempt to find a reason to celebrate it by projecting meaning and metaphor onto it where none exists." The movie could have been 15-20 minutes shorter, to achieve what it did. By the way, I saw a 107-minute version, so don't get shortchanged because I read that there are some festival cuts around.★★1/2
Bonus material:
I have loads of photos for you below but I don't suggest you click through unless you don't intend to watch the movie. Enjoy!

Joe Absolom gives it up for the best castration scene in cinema history.

Rape For Profit (2012)

Rape For Profit: Women and children are helpless victims and it's all men's fault.

At a glance:

Narrow and naive, to say the least.

Backed by executive producer Jada Pinkett Smith and her NGO Don't Sell Bodies, Eric Esau and Jason Pamer's Rape For Profit (2012) is a Mew Films documentary the Huffington Post apparently calls "disturbing and provocative", though of course the writer behind this randy movie review blog will dismiss as little more than a narrow and naive worldview of the world's oldest profession, based on a few prostitutes in downtown Seattle, or to use a more sympathetic term as advocated by the film's extremely one-sided take on the trade, "prostituted women". Culled from hundreds of hours of ridealong footage with Sea-Tac street crimes unit and the Seattle high-risk victims unit, this 86-minute film purports to take the audience undercover for an up-close look at the true nature of the sex trade. Hmm... surely a movie review on a documentary that is against the objectification of women does not belong on a blog that verily celebrates it such as mine?

Bad news on the doorstep:

Hmm... I wish I had a therapist who looks like this.

The only thing powerful about this documentary is how the supercharged cops shame and shout at pimps, not to mention how the filmmakers see fit to drive around ambushin customers in some sort of vigilante effort to administer guilt, to the extent of causin an accident. You see the pigs in made-for-camera Batman-type roles, brandishin their brand of law with healthy doses of morality lectures. Even more gung-ho are the filmmakers, who directly confront the johns and ask them how they could do it to their wives, why porn ain't enough and why they had to come out and act on it, with no intention of procurin a meaningful answer. Far from bein an insightful tell-all exposé, this is the moral catharsis of several well-intentioned individuals and their respective organisations whose hearts are no doubt in the right places, however the total demonisation of the johns and the total vindication of the girls reflect a painfully mainstream point of view. Footage of interviews with mayors, councillors, district attorneys and even industry experts who all endorse the same position seal this for me as a missed opportunity. If you truly believe people who say "very few women end up around the world in what we call prostitution without a history of prior sexual harm" and that porn is a dress rehearsal for men who look for hookers, then go ahead and watch it.

Kiddie porn?

Perennial wonderment:

Did you know that whores ask would-be customers to whip their dicks out so that they can filter out cops? Just about the only genuinely interestin thing I learned from this movie. Oh wait, I also learned that cops surf backpage.com and escort sites lookin for a lack of hip and waist development in under-aged girls that are advertised as barely legal. Haha!

Reminds me of:

All those we've lost along the way.

I can't remember if I cried:

Rape victim with a pretty sad general history of abuse.

Some of the horror stories shared by the victims are truly heartbreakin but the filmmakers' forceful handlin of the pimps and also the whores are so laughably didactic and deluded that I find the effort almost difficult to believe as an unstaged documentary. Among the include "Don't say sorry to me, say sorry to her", "Do you think she wanted to grow up to be in some alley to suck dick?" "You are happier here now! This is much better for you!" and "You're precious, you're a princess and you have value and worth and I'm sorry you didn't grow up hearing that." Bah.

Johns can't seem to spell right, can they?

Amacam joker, berapa bintang lu mau kasi?

The mention of Green River killer Gary Ridgway (a necrophiliac with a penchant for whores) and various other unhelpful content serve only to cloud the issue further, though I'm glad that cop did manage to get the 24-hour drop-in help centre open after so many years of tryin. Check out the official website and Facebook fan page for more info. However, if I were you, check out American Courtesans (2013), Whores' Glory (2011) or even I Am A Sex Addict (2005) for a less naive viewpoint, if not a more entertainin and fascinatin one.★★
Bonus material:

"It has been said that prostitution and rape are two sides of the same coin."

I saw this witty review on IMDb written by an American user called timlin-4. My sentiments on this film seem closest to this fella, so I'll publish it below verbatim, since I cannot better it.

The Haunted Dollhouse (2013)

Tranny cop sex: Just in case you're not confused enough in The Haunted Dollhouse (2013).

At a glance:

Wanna take it out and check if I'm anatomically correct?

At first, I thought this 2013 omnibus horror from Full Moon Features is actually Devildolls (2012) because the latter lists it as an alternative title and most items on its IMDb page seem to check out. When I discover that none of the vignettes match the synopses of the movies they were apparently culled from i.e. Demonic Toys a.k.a Dangerous Toys (1992), Ragdoll (1999) and Doll Graveyard (2005), I realise it's actually a completely new release, but again, culled from other Full Moon movies! Anyway, I'm glad to know that producer and director Charles Band is still goin strong. In all fairness, at least the doll theme is legit, so the package does do what it says on the tin. The first part, culled from Skull Heads (2009), is called The Protectors and is about some thievin con artists who pretend to be Hollywood filmmakers on a location recce, so as to loot an old Italian castle, but soon discover they're up against some skeletal creatures who can zap dead people into zombies. The second story, culled from Dangerous Worry Dolls (2008), is about the superstitious practice of worry dolls, set against a women-in-prison backdrop. The last story, Demonic Toys, is culled from Dollman vs. Demonic Toys (1993) and I couldn't even tell you what goes on here because I was already too confused to follow after the second story.

Jessica Morris has nice eyes. Oh, the CGI skull dolls are cool too!

Bad news on the doorstep:

Yep, we have a bad case of over-packaged under-editin here. Characters zoom by, emotions change all too easily from scene to scene and your understandin of events oscillate accordingly.

Perennial wonderment:

Nothin to wonder here. It's obvious that blatant repackaged anthologies like these should serve only as a callin card for us to look up the originals from which they were culled. It's definitely preferable to have endured a bad movie in its entirety than to have seen only parts of a potentially good movie, so imagine havin to watch mere parts of movies that are probably bad in the first place!

Robin Sydney with barely any plot or clothes to work with.

Reminds me of:

All the times I watched those Chucky movies. Did you know that the fear of dolls is called pediophobia? Well, better a pediophobe than a paedophile, eh?

I can't remember if I cried:

When this palm-sized chick in a bikini starts screamin even before she turns around to see what she was supposed to be afraid of. Ah, Melissa Behr. Who cares if you can't act when you look so good still?

Dry humping your elderly servant while she's cooking in the kitchen.

Most memorable line:

How often do you hear someone say the word "obstreperous" in a horror movie? This sure is some FUBAR shit goin on here.

Amacam joker, berapa bintang lu mau kasi?

Feeling fucked yet?

Culture Crypt nails it: "Remember the heyday of Blockbuster Video, when a new Full Moon release meant hands that eagerly clutched a VHS tape with excited anticipation to see not only the movie, but the ahead-of-their-time Videozone segments that played after the film? Those days are over. They have been over for several years, in fact.  The exact beginning of Full Moon’s decline is difficult to pinpoint. One top candidate for that dubious honor may be their predilection for filming two movies at the same time when in actuality they were splitting one cohesive story into two separate films (see Trancers 4 and Trancers 5 for an example). Now, like Devildolls before it, Charles Band attains a new low in fan exploitation by presenting an 'anthology' that is actually three truncated versions of previous Full Moon films cobbled together into one semi-coherent disappointment." Go there for what I consider to be the most definitive review on this unfortunate movie, if you even could call it that.★★
Bonus material:

Melissa Behr has a stunning body. Wonder what she's up to these days?

The Stranger Within (2013)

Estella Warren about to mount William Baldwin in The Stranger Within (2013).

The ghostly Katia Winter. Yeah I would.

At a glance:

Philosopher Erwin Neutzsky-Wulff's son Adam is a Danish TV series director makin his feature film debut with the R-rated Hollywood thriller The Stranger Within (2013). The earlier Sony title was The Stranger Inside but I think they're all too generic still. Anyway, it's completely Adam Neutzsky-Wulff's baby since he wrote, produced and directed it, and the biggest sellin point is that it sounds like an erotic thriller since William Baldwin and Estella Warren star in it. She's some kind of famous actress who survives a kidnap and rape, and he's the concerned psychiatrist husband who decides to take her to a holiday home on a remote island. Things get groovy when some bird appears on their doorstep (Sarah Butler, in various states of dress and undress again, just like she was in I Spit On Your Grave, 2010) with blood on her hands, seemingly havin just survived a hikin accident in which her boyfriend died. We're let in on a series of mindfucks but it does stop short of turnin into a home invasion thriller. Oh, there's a part too for Katia Winter -- I vaguely remember her naked body against Kellan Lutz in Arena a.k.a. Death Games (2011).

Bad news on the doorstep:

BDSM necrophilia? Nope. Oughtta be, though.

The billin is attractive and the performances are well above serviceable for an $800k flick but I didn't like bein whisked here and there so quickly in the early stages, while hardly connectin to the characters. The stock mystery thriller soundtrack compliments the rather predictable proceedings once they get to the house. It's not the most original of stories and if you watch a lot of thrillers, maybe the payoff twist won't really do it for you. To be honest, I only got this because I saw Kim Bodnia (that badass in the Pusher movies) in the cast listin but turns out he cameos as a masked kidnapper for just a few minutes! What a waste of a top actor -- didn't even get to see his face! Fuckin muppet.  

Perennial wonderment:

Estella Warren: Blushed and bemused.

Don't know modellin works but when I first saw Estella Warren in Planet of the Apes (2001), I thought she had an over-blushed kind of sex appeal that I don't particularly enjoy in an actress. Oh well, at least she finds work. Did you know she's a foodie and about to start some cookin shows and a culinary career of some sort?

Reminds me of:

The Hand That Rocks The Cradle (1992), Sleeping With The Enemy (1991), Fatal Attraction (1987), Basic Instinct (1992) and this movie here (don't click it if you still want to watch the movie proper because you'd make out the twist right away).

Did you know:
Estella Warren is a world-class synchronised swimmer from Canada?

Watch out for:
There's a nice little song somewhere in the middle of the movie which I later found out to be Joan Westgate's Nothing Is Real. I'm tempted to say this is the best thing about the movie but that would be slightly too harsh. Her fans on YouTube said it anyway. Ha.

Amacam joker, berapa bintang lu mau kasi?

For a thriller that wants to be taken seriously, the groundwork is pretty dodgy and the characters make pretty strange decisions sometimes. Well this ain't Mulholland Dr. (2001), that's for sure.★★
Bonus material:

Sarah Butler asks Estella Warren if her boobs are too small.

KL Gangster 2 (2013)

Rosyam Nor goes for Sheera Iskandar's extra virgin goodness in KL Gangster 2.

"Pat pat siku lipat, siapa download aku sunat!"

At a glance:

Unceremoniously leaked online more than a full month ahead of its theatrical run this 3 October, filmmaker Syamsul Yusof's dreams (and Daddy's dough) must've gone up in flames last night, as KL Gangster 2 (2013) will now be forever known as Skop Production's RM 4.5 mil prequel that goes into the game with no hope of nibblin anythin near the record RM 11.74 mil the original posted late in 2011. Poor thing. I dragged all my middle class friends to the cinema and paid cash money to watch the first movie twice, just to make sure they had the funds to make this one. Things were still very upbeat three weeks ago when its excitin YouTube trailer was released to more than a million views.

Bad news on the doorstep:

KL Gangster 2: Tauke or taugeh?

The package is generally overlong at almost two hours, with Zizan's wannabe gangsta funnyman role, so celebrated in the first instalment, ostensibly overstayin his welcome, along with all that overdone Canto and Hokkien palaver you get from everyone else. Adam Corrie repeatedly sayin one line in Cantonese only to follow it with the correspondin Malay translation is a fatal example of how it all goes pear-shaped on this occasion. You just can't do that! When KL Gangster first hit the screens in 2011, it played along the fine lines between the lame and the laughable, while deliverin Malaysia's answer to Hong Kong's popular 90s series Young And Dangerous (Syamsul actually outright name drops Chan Ho Nam this time) in a surprisingly refreshin and fun way. This 2013 prequel boasts a "dream team" cast addition in veteran villain Rosyam Nor but while the man acquits himself well, all that trash talk throughout has worn too thin and there is seriously very little poison left in Soffi Jikan's Bangladeshi sting. Even Syamsul Yusof's unpolished stab at the Chinese dialects are exposed this time as he attempts longer lines. The first product was an enjoyable and successful hit-and-run. This one sorely needed a stronger script and newer elements.

"Who uploaded my movie?! Who?!"

Perennial wonderment:
How did the movie fall in the wrong hands? What an unfortunate development. As Soffi Jikan quips in the movie: O.O.O. -- Out of order.

Reminds me of:

How Hugh Jackman was completely heartbroken when an unfinished copy of his labour of love X-Men Origins: Wolverine (2009) was uploaded a month before it was released in cinemas. The perp, a New York movie fan by the name of Gilberto Sanchez, 49, pleaded guilty and got a year behind bars. Will they get to the bottom of this one? Do me a favour, fellas. Go watch this one in the cinema because whatever its flaws, it deserves to be seen on the big screen, especially for the ambitious action sequences near the end.

Most memorable line:

"Ini malam manyak sui laa. Pukul tiga pagi lagi mau kacau orang ka? Sejuk sejuk ini macam ah, baik lu balik peluk bini bikin anak maa." Love the new mullet, Syamsul! Oh, Rosyam Nor has a good one too. "Eh barua, gua mau kasi ingat sama lu ah, duduk sini lu punya tempat diam-diam, lu jaga sama lu punya anjing-anjing hitam. Jangan nanti hari Deepavali, orang pecah kelapa, lu pecah kepala." Not gonna make many MIC friends any time soon.
Watch out for:

Babi-cue punya perempuan:
The deliciously milfy Angeline Tan Yoke Yeah.

The incredibly and deliciously milfy Angeline Tan Yoke Yeah (of Pi Mai Pi Mai Tang Tu fame, who seems to be enjoyin a new lease of big screen life lately, starrin in films like Cinta Beruang and Hantu Air). She actually gets quite a lot of screen time but cannot turn the movie around. By the way, Sheera Iskandar's err... "heavy" return as the once-pious disco sister is a complete letdown, contributin little to the proceedings.

From hati kering to poket kering?

Amacam joker, berapa bintang lu mau kasi?

As a staunch supporter of this franchise, I wanted it to be good so badly -- and more importantly, I wanted it to make money. What are the chances now for KL Gangster 3? My heart goes out to Syamsul Yusof, who has apparently lodged a police report this mornin over the matter. "Sorry ah, lengcai. Lu punya ending tarak chantek maa." ★★1/2
Bonus material:

All That Matters Is Past (2012) @ Uskyld

Full frontals, baby crownings, rotting corpses and jilted lovers.
All that matters is present!

At a glance:

Well whaddya know. It's my first stab at the Toronto International Film Festival and I've picked out a shocker from the leftover schedule. Sara Johnsen's Uskyld (literal: "innocence") is a rather engrossin Norwegian crime drama that cuts close to fart house fare like Lars von Trier's Antichrist (2009) but she masterfully keeps it accessible by framin it as a dodgy love triangle set in the woods. TIFF programmer Steve Gravestock sells it as "part Cain-and-Abel story, part Rousseau-influenced meditation on innocents destroyed by a corrupted society", about childhood sweethearts William (Kristoffer Joner) and Janne (Maria Bonnevie) who are suddenly reunited as adults and inextricably thrust into an idyllic life of peculiar, self-imposed isolation. The past unravels and you can blame it all on William's damaged pervo brother, Ruud (David Dencik). This isn't the horror rehash of Bergman's Summer With Monika (1953) that I thought it was from the trailer. We're taken well into the obscenest ends of R-rated territory, so prepare to squirm in your seats as several cinephiles lacking the requisite intestinal fortitude for it have left the theatre presumably in disgust, as reported by Toronto Film Scene's Jovana Jankovic.
Bad news on the doorstep:

"Do you feel as if we've been zapped into an Ingmar Bergman movie?"

Maria Bonnevie and Kristoffer Joner
go au naturel in the name of art.

Twitchfilm's Todd Brown didn't fancy it much, decryin its "unlikeable" characters, which he insists are "given no context whatsoever". Man has a point, so it's lucky for us that cinematographer John Andreas Andersen had plenty of filler footage - the proceedings are punctuated by hypnotic visuals of wildlife and whatnot (shot on both 16mm and 35mm). They've even got a couple of special effects done with help from the folks behind Troll Hunter (2010), I think. Anyway, I think what really nibbled at the tension in such a competent and layered film is the unfortunate choice of a non-linear narrative that went back and forth one time too many. Maria Heiskanen from Maria Larsson's Everlasting Moments (2008) provides the narrative voice as a policewoman tryin to piece together the chillin aftermath of what was supposed to be a grippin fable, only that her role contributes little towards the mystery. On the whole, I'd have liked several distractin elements omitted in favour of a tighter, more conventional coming-of-age caper.

Perennial wonderment:

I'd like to know for certain if I read too much into the prominent depiction of traditionally Satan-affiliated creatures in the film - goats, maggots, ravens to name a few.

Reminds me of:

A little bit of Womb (2010) with all these closeups of sex and nature. The night previous I was also watchin a movie about terrible secrets - Beautiful Kate (2009).

I can't remember if I cried:

When I forgot that the Scotiabank Theatre doesn't do discount parkin on weekend nights and I ended up payin a score. That's more than the bleedin movie ticket!

Amacam joker, berapa bintang lu mau kasi?

I think perhaps it tried a little too hard but I won't begrudge it. I love the music score as well. Definitely diggin up Johnsen's previous works Kissed By Winter (2005) and Upperdog (2009), so here's hopin for more fun and FUBAR material from her in the near future. For a more polished and substantial review, check out ioncinema.com's Nicholas Bell. Here's to hopin this will score a distributor soon and you lot will be able to find it on a DVD shelf between The Cement Garden (1993) and Dumplings (2004), if not at the cinemas proper.★★★
Bonus material:

L-R: Director & scribe Sara Johnsen,
actor Kristoffer Joner & cinematographer John Andreas Andersen.
Toronto International Film Festival 2012.
Photo credit: Norwegian Film Institute

Sara Johnsen & John Andreas Andersen build an embarrassment of rich visuals.