[TIFF Review] Sirāt, The Fence, It Was Just an Accident, Sentimental Value

This is my first time attending the Toronto International Film Festival (TIFF) as media. On the first day, I watched a total of four films. Three of them were award-winners from the Cannes Film Festival, and the remaining one was The Fence, directed by Claire Denis, the winner of the Silver Bear for Best Director at the Berlin Film Festival.

Sirāt

The film is set against the backdrop of a rave party. The opening scene shows the organizer setting up speakers in a desolate desert and connecting them to a power source. The camera then focuses on the connected speakers, and powerful, thumping rave music begins to play. The camera shifts to capture the vast desert and cliffs, evoking a feeling reminiscent of 2001: A Space Odyssey, though the scene feels oddly juxtaposed. Following this, a rave party officially begins, with people dancing ecstatically. We don't know why they are so engrossed – is it just the music, or are they trying to escape their troubles and liberate themselves?

Luis (Sergi López) and his son Esteban (Bruno Núñez Arjona) later arrive at the rave party venue. This older and younger pair seem out of place among the crowd. They are there to find the missing daughter/sister, Mar. Since they are searching for Mar, they must hold onto some hope, but this film is ultimately about despair. The electronic, psychedelic music playing in the background serves as both the rave's soundtrack and the film's score, its pulsating bass creating a sense of unease and agitation throughout their journey.

At the beginning of their journey, Luis tells his son Esteban, "We shouldn't have come here." After the journey, this line resonates with even greater poignancy. The film's plot and twists are as shattering and impactful as the background rave music. The film concludes with another rave scene, where we finally seem to understand why they are so engrossed and lost in the moment. However, the film doesn't end there. Fate plays another trick on the characters, and the music shifts to sound like something from a video game. Is it possible that the characters' lives are just a game? One of them asks, "How did we get here?" Was it destiny? Luck? Through the journey of Luis and Esteban, a father and son, along with a group of strangers at the rave, the film witnesses the uncertainty of life.

The Fence

The film is adapted from a stage play, and its overall staging has a theatrical feel. The main scenes, as the title suggests, take place on either side of a fence, making the entire setting feel like a stage. The editing and cinematography also don't try to break away from this theatrical sensibility. The plot and dialogue are almost presented straightforwardly, leading to a slow overall pace. Despite the actors' dedicated and energetic performances, the film fails to build tension. The script itself delves into themes of race, class, human worth, and dignity. The fence itself carries strong symbolic meaning, separating two groups of characters. Unfortunately, the director's approach seems ill-suited for the big screen.

It Was Just an Accident

The film revolves around a group of people who were detained and abused due to wage disputes. While the theme itself is dark, involving the trauma and fear of the abused, the director presents it as a farce or a black comedy, incorporating satire of Iranian society, which prevents the film from becoming overly somber. The story itself seems absurd: a family's car breaks down, a passerby offers help, and that person's friend, upon hearing the car owner's limping gait, remembers a limping man who once detained and abused them. This leads to the man's kidnapping, which escalates and involves a larger group who experienced similar abuse. These protagonists have vastly different personalities and professions – some are naive, some calm, some impulsive. However, upon hearing the limping man's name, they all impulsively want to kill him. But they encounter a problem: the man denies being the abusive limping man, and they can't be sure. As a result, their agitation and arguments become comedic before the camera. After the farcical events, they finally discuss their experiences of abuse, allowing the audience to understand their intense reactions. Behind the laughter and jokes lie very dark memories.

Through this absurd kidnapping scenario, the director allows the audience to see the impact of detention on dissidents and the different perspectives on revenge. Some believe in striking back with violence when the opportunity arises, seeing the regime and abusers as unyielding. Others think this plays into the regime's hands, wanting them to become as brutal and lose their kindness and compassion. Still others worry that the entire situation is a trap set by the regime. Regardless, these are all chains imposed by the regime, stemming from the hatred, fear, and trauma of detention and abuse. From the moment they were detained, their lives changed, and they lost control of their thoughts and their lives.

The first half of the film is laugh-out-loud funny, the middle section is full of moral contemplation, and the ending echoes the theme with a chilling resonance. It's a fascinating journey that is both bizarre and deeply relevant to today's society, offering audiences entertainment and laughter while also prompting reflection. By the end, the conclusion leaves a significant suspense, leaving us uncertain of the protagonist's fate, but knowing he has not yet escaped this shackle, still easily pulled back into painful, terrifying memories. Perhaps this intangible fear is the greatest weapon of an authoritarian or dictatorial government. Whether one has been abused or never detained, under such fear, no one can truly enjoy freedom.

Sentimental Value

This film centers on a filmmaking family. Gustav (Stellan Skarsgård), the father, is a renowned director who hasn't made a new film in over a decade. His elder daughter, Nora (Renate Reinsve), is a celebrated stage actress, while his younger daughter, Agnes (Inga Ibsdotter Lilleaas), who acted in her father's films as a child, has stepped away from the industry to focus on her family. The story unfolds after Nora and Agnes's mother passes away, leading to a reunion with their estranged father, Gustav, and the subsequent events.

The film heavily emphasizes the family's history. Nora's family has lived in the same house for generations, with narration occasionally supplementing details about their ancestors' experiences. The title itself refers to the "sentimental value" of this house – Nora and Agnes grew up there, but it's also a place filled with shadows, as their parents argued and divorced within its walls. Although they moved away years ago, they seem reluctant to sell it, with Nora even wanting to keep some old belongings. Gustav plans to use this house as the setting for his new film, which will depict his late mother’s suicide there. Each family member harbors complex emotions towards the house and each other. Despite their differing life experiences and encounters, they share many commonalities, yet they focus on their disagreements and grievances, overlooking their shared experiences and emotional bonds. The script is exceptionally nuanced, exploring family relationships and complex human emotions through the daily lives of the characters and Gustav's process of preparing his new film.

The film's character portrayals are intentionally subtle. The characters are clearly filled with emotions and thoughts, but these are never explicitly stated. When Gustav discusses the script with actress Rachel (Elle Fanning), she repeatedly asks about the characters' motivations and thoughts, to which he simply replies, "What do you think?" Viewers, too, will likely find themselves contemplating the characters' inner lives, but the film offers no definitive answers, leaving room for audience interpretation. Underneath this subtle script, the actors' nuanced performances are crucial. Renate Reinsve, reuniting with director Joachim Trier, conveys a subtle sadness through her eyes and expressions alone. Her portrayal of a stage actress, including scenes of her performing on stage, is deeply moving, showcasing her captivating presence. Stellan Skarsgård's performance is, as always, brilliant; his mere presence commands attention. In typical Joachim Trier fashion, the film beautifully captures both the city and nature. Against these stunning backdrops, Renate Reinsve and Stellan Skarsgård's performances, complemented by Hania Rani's score, convey their characters' loneliness and melancholy even without dialogue.

Photo: TIFF