A restaurateur befriends a Syrian refugee who has recently arrived in Finland.
A restaurateur befriends a Syrian refugee who has recently arrived in Finland.
Sherwan Haji Sakari Kuosmanen Kaija Pakarinen Niroz Haji Janne Hyytiäinen Ilkka Koivula Nuppu Koivu Simon Al-Bazoon Tuomari Nurmio Abdi Jama Antti Virmavirta Timo Torikka Olli Varja Pia Riihioja Kati Outinen Maria Järvenhelmi Katja Tolonen Mohamed Awad Seppo Väisänen Milka Ahlroth Karar Al-Bazoon Ismo Haavisto Tommi Eronen Vesa Häkli Dome Karukoski Pekka Wiik Erkki Lahti Mikko Mykkänen Minna Maskulin Show All…
Den andre siden av håpet, Pakolainen
Like Roger Federer’s forehand or Jiro Ono’s sushi, Aki Kaurismäki’s deadpan is one of those beautiful things that’s been refined beyond all reason over years of intense practice, eventually approaching a perfection that makes it easy to predict but impossible to deny.
Consider one early bit of business in the Finnish filmmaker’s latest fable, a wordless sequence in which a middle-aged man named Wikström (Sakari Kuosmanen) leaves his wife (Kaija Pakarinen). It’s the dead of night. The man is wearing a suit and looking at his reflection in the bedroom mirror; his wife is pouring herself a drink at the tiny table in the corner of their kitchen. A fat cactus sits next to her booze. Wikström saunters over, places…
The Other Side of Hope is a stylishly retro, captivating refugee story. Focused on a Syrian man's excruciating experiences of surviving in Finland, while searching for his missing sister, it's highly naturalistic with its storytelling, coupled with the inherent iciness of Scandinavian cinema.
With a throwback cinematography, The Other Side of Hope managed to squeeze the maximum entertainment values out of an otherwise minimal, uneventful story. We follow the protagonist, Khaled, played by a mesmerizing Sherwan Haji, as he experiences the heartless bureaucracy of the Finnish asylum system, and subsequently the generous assistances from a quirky, equally down and out local restaurant owner.
Despite its drastic tonal shifts, from initial impassiveness, to subtle absurdist comedy, and to its oddly melodramatic…
The Other Side of Hope
TIFF 2017 film #3
Reason for pick ….. Aki!
Anticipating watching a new Aki Kaurismaki is like anticipating a dinner with a friend you love, but only see every few years. You know they’ll basically be the same, and you’ll rehash all those familiar stories that bond you, and await the glib and sardonic observations on events that have transpired since you last supp’d.
Something is different this time, though. While the conversation runs much of the usual course, and there are all the familiar hallmarks of dry sardonic mixed with absurdism and rock-and-roll, this dinner is different; it’s more urgent. While Aki’s previous work, Le Havre, dealt with immigration, this film, in the light…
Structurally misguided, to put it mildly. Imagine The Immigrant if Ewa and Bruno don't meet until the film's second half, following an hour that juxtaposes her arrival in the U.S. with his completely separate efforts to finance and open the theater/brothel. In the absence of any thematic parallels between the two stories (and there really aren't any here), there's nothing to do but (im)patiently wait to see how they'll inevitably intersect. When they finally do, it's hard not to think back on e.g. the big poker game* and wonder why the hell this movie wasted our time with it. Who cares how the restaurant gets purchased?! (Especially if it's gonna be thanks to sheer luck.) Charitably, one could view…
In considering The Other Side of Hope, one thing has to be said: the world changes, but fundamentally Aki Kaurismäki doesn't change. That's not to say that his films are somehow insensitive to the times or insulated inside their own aesthetic bubble. Far from it. Rather, we could think of Kaurismäki's film style as something that simply exists, like iron or xenon. Then his films serve as experimental models in which "Kaurismäkianism" itself is the control group. How does it respond to the problem of poverty, or Shakespeare, or the silent cinema? What does the form do when pressed into the service of an urban landscape study, or brought to bear on the question of immigration? And so on.…
"You might be wiser but I’m older. Let me make a call."
My first encounter with the most famous Finnish director, Aki Kaurismäki, happened to be his latest feature and a second part in a trilogy (it started as the harbour trilogy but it is apparently now the refugee trilogy). And I must say I really liked it.
The way Kaurismäki manages to connect the downright tragic with offbeat humour is superb. Without spoiling things there is one scene towards the end of the film where this is executed in perfection: He shows us one of the core problems of the current refugee wave and and simultaneously criticizes this problem in clever and funny way.
There were many other memorable…
The only Aki Kaurasmäki film I had seen before this was Leningrad Cowboys Go America. It was quirky, hilarious and steeped in an appreciation of good old fashioned rock'n'roll. Almost 30 years later, The Other Side of Hope certainly hasnt forgotten its roots but this is a significantly more mature work by a director at the top of his game.
Infused with a wry sense of humour delivered with the straightest of poker faces, this film is full of some rousing chuckles. His film also has a cool, singular aesthetic redolent of a 50s America betokening a simpler time, sporting some funky design and featuring some great music. I can only imagine that his…
I might be biased. Seriously, if I had the $$$$, I'd adopt every Syrian refugee I could. Let's be honest. I'd even leave the USA and go to another country that had a civilized leader.
This movie is about people with heart and people searching for the ones they love. There are also some evil/racist people that work against our main character.
Overall, I found it charming, sweet, compelling, and relevant. I turned down the opportunity to see Christopher Robin for this and I think I made the right choice. Hopefully, Movie Pass lasts another week or two so I can get to see all I can before they spontaneously combust.
-There's a lot of fish in this film: herring, fishballs, sardines, and sushi.
-A man wants to get rid of a dog.
I would pay good money to see Kaurismäki punch Michael Haneke in the face.
...and I adore
(barely even a 3).
Olive green sorrow and a smiling little dog. I'll never forget the mound of wasabi on the sushi. Syrian refugees in painterly scenes of solitude, an unlikely neo-expressionist Finland. Kaurismaki has accomplished one thing that no other director has, at least not so eloquently and streamlined. He created a timeless universe that floats a few inches off the ground that can be evenly measured across his 35 plus year career. You can't distinguish 1988 from 2017, a baby's breath of soft dystopia with no top or bottom, cold as ice but familiar like a loaf of bread and a chicken. Moomin's prayer beads, darkest pastels and brooding eyes. Broom closets are for sleeping, dog is for petting.
This film arrived at a perfect time for me during NZIFF. A beautifully pitched deadpan comedy which also manages to provide commentary on the ongoing immigration and refugee influx into Europe without preaching. You could say that Kaurismaki presents a too-idealised world which doesn't exist but in this world in which we currently live, we need these stories to give hope for something better.
เจ๋งดีอะ ตลก ชอบเพลงด้วย คิดว่าลงตัวสุดๆ ไอดอล
Humane, funny, and, despite the ambiguous ending, hopeful.
I don't really get his jokes, but there are few of them that were super hilarious.
Argh, the retro visuals.
Watched on mubi
Love Kaurismäki’s humour (and other emotions presented in the film) as usual
Always remind me that emotions is what you feel not what you see
aki kaurismaki is becoming a favorite director. warm and gentle in his kindness but still bitterly melancholic
Como todas las pelis de Kaurismäki que ví, EL OTRO LADO DE LA ESPERANZA (me) hace bien, es un refugio a este mundo hostil en el que nos toca vivir, con sus personajes adorables, tan humanos, que lidian con la realidad que los rodea, con dignidad y buenas intenciones. El joven sirio que llega a Finlandia, buscando asilo, y el hombre finlandés que renuncia a la vida que tenía para llevara adelante un restaurante, llevan adelante esta comedia dramática tierna y simpática, plagada de gags estupendos, con ese estilo kaurismakiano que no falla.
Tackling a frustrating and complex issue with deadpan humor and brutal narrative efficiency might just be how one could describe any Aki Kaurismäki film, including The Other Side of Hope, which flips back and forth between two, seemingly separate, narratives, until they meet unexpectedly around the midway point and, in a moment of frustration and hopelessness, find solace in one another. There is joy to be found in the human spirit that persists in the face of predestined disaster, a joy that we could all stand to experience every now and then.
Listen. I fell in love with Finland.
That sushi-scene made my day.
La amé, desde la estética media noir hasta la ambigüedad de los personajes. Me causó lo mismo que con Whisky, me reí y angustie toda la película
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