To those born at the verge of the 21st century, the memories of Germany’s division because of the Berlin Wall is but a mere lesson contained in history books. The wall created many divisions that took roots in the physical division but fully manifested in the ideological division that East and West Berlin had respectively. What The Edukators sought to capitalize on is the ideological division that haunted the unified Germany. Years after the collapse of the full, certain anti-capitalist sentiments are found in the disgruntled lower classes who enjoy the benefits of capitalism the least. This very clash of both the pro-capitalist and anti-capitalist sentiment is at the very core of the film. The main protagonists of the film are a ragtag group of self-proclaimed anti-capitalist teenagers, comprising of Jan, Peter, and Jule, who brand themselves as “The Edukators,” whose main objective was to strike fear into the bourgeois sector of Berlin’s society.

Although there was glimpses of artistry in the non-violent vandalism that The Edukators did, the film was unable to sustain this and eventually fell into the trap of devoting excessive amounts of time in the overdevelopment of the characters. Rather than fully capitalizing on the potentially interesting perspective of capitalism for those born into a reunified Germany, the film chooses to devote most of its time in the petty affairs of the group. It is for this very reason that one can easily dismiss how passionate The Edukators truly are for their cause against capitalism.

The film falls flat once it chooses to shift the focus of the narrative to be solely on the dynamic of the group. The anti-capitalist dissipates completely despite having kidnapped one of the bourgeois individuals who placed Jule in a huge debt. Despite being placed in such a precarious situation, the petty affairs of the group continue to remain as their main topic of conversation. Hardenberg, the individual who they kidnapped, is who the audience is able to empathize with easily since he has to deal with the love affair between the group and the pettiness of it all. Despite the film’s attempt to incorporate the clash between pro-capitalist and anti-capitalist during this part, it feels forced given how the film conveniently remembers that it was intended to discuss the ideological difference regarding capitalism. The integrity of their dedication towards the cause is highly doubtful at this point given how what is imprinted in the minds of the audience is how typical that they choose to prioritize their obnoxious problems over their ideology.

Put succinctly, The Edukators was film that had much potential in it. Discussing the ideology behind anti-capitalist sentiment from the perspective of teenagers could have been an interesting topic to pick apart. However, the film chose to completely derail from this path and go the obvious path of discussing the typical lives and problems faced by teenagers. What promised to be an insightful and thought-provoking film in the first few minutes lead to great disappoint that makes the viewer feel deeply unsatisfied.

The use of the theme of time travel can often lead to quite a perilous place. There is a necessary logic as well as delicateness that seems to be demanded upon entering its realm. Done thoughtlessly, time travel can become a point of contention, causing confusion and instability to the audience. However, the meticulousness can often lead to great payoffs—as what can be seen in the film Los Cronocrímenes or Timecrimes.

What stands out immediately is how organic the entirety of the film is. Despite of how integral time travel is within the film, there is a lack of extensive set designs or added special effects and oddly enough it works to the advantage of the film. Rather than bank solely on the inherently sci-fi nature of time travel, it overtakes it and uses dread and suspense to give the film its own take on time travel. Whatever fascination is often associated with the possibility of time travel is taken out the window by Timecrimes and places it under a more sinister and ominous perspective.

The main protagonist of the film is Héctor, an unassuming man who seems to be quite mild mannered, if not, a tad bit of a stereotypical man. The sound track lends itself well to the suspenseful theme that the film is going for. One is immediately on guard because this is not the typical time travel movie that deals with fanciful things such as correcting a decision in the past. Instead, what is revealed that it becomes more of an internal issue that, unfortunately, involves a few unsuspecting casualties.

The time loop within the film is set off by Héctor himself in an attempt to escape an anonymous bandaged man who set out to murder him. Slowly, it is built up that the very man who set everything in motion was Héctor himself. Soon, the events that were dreaded a few minutes beforehand now come into light. Through the very actions of Héctor, he has doomed himself in a time loop with no foreseeable escape.

It is this sudden twist of events that cause the audience to divert their emotional investment of support and empathy for Héctor to disappointment and aloofness. He is revealed to be a more despicable individual than what he lead on himself to be. Self-centered and conniving, all his actions that ultimately placed him in the situation he finds himself in also involved others as collateral damage. Manipulating time has brought out the worst in Héctor, turning him into a sort of rampaging beast that sought his self-interest that unfortunately lead to no avail.

Timecrimes was available to provide a different and darker perspective with regards to individuals meddling with time continuum. This very nature of the film is what lended itself so easily to utilize a soundtrack and shots that complemented its intention of a more sinister tone. It’s lack of flashy effects and extensively designed sets allowed the feeling of dread to sink in deeper due to its simplicity and bareness further accentuating the mood.

Perhaps one of the best things regarding Europe as a whole is the diversity of culture it has. Comprising of numerous countries with their respective cultural subtleties, each region has their own lore that they can share towards a wider audience. This is exactly what can be seen in Trollhunters as the film focuses mainly on finding out whether the trolls of fantastical, childhood stories can actually be found throughout Norway. Personally, I believe that the reverence cultures have for their respective mythological creatures is a universal experience. With this in mind, Trollhunters was able to completely utilize this in an exciting yet appropriately themed adventure in pursuit of the trolls of legend across Norway.

The style that the film was shot in was in a found footage style which created a sort of cinematic experience that felt as if the audience was along with the crew as the material was being shot. Aside from this, there is also the clear focus of the film on distinctly Norwegian characteristics that further bolstered the tone overall. Being a film about trolls in Norway, I believe that the meticulousness behind this is much appreciated. All throughout the film, the audience feels a pervasive coldness that makes the individuals in the film be characterized accordingly. There are moments of excitement or other intense emotions, but in a comparative sense, these are much toned down especially given the fact that they are face-to-face with the mythological creatures in majority of the scenes.

Another touch that helped the film become more memorable is the addition of Hans, who was soon revealed to be a troll hunter hired by the government. In the face of the unknown, he acted as their sole connection to a world that was previously unimaginable. Hans’s gruff exterior soon gave way as he developed a relationship with the college students, who can also be said to be the main protagonists of the film, who documented his exploits.

Although the entire film can be said to have quite the cold demeanor similar to the climate in Norway, there were still moments that gave way to warmth. Such instances would be the comedic moments between Hans and the students. One of the more memorable scenes in the film is where Hans cautioned the group about the appetite of trolls for devout Christians. Religion jokes are always a sure-hit but what made it more effective was the serious manner in which Hans delivered this fact which left both the students and the audience questioning whether he was serious or not.

Despite of going with the trend of having a documentary style film, what distinguishes Trollhunters is how it did not utilize it excessively. The stayed true to the style by having the prerequisite messy shots but not obsess on it. The film did not bank merely on its style of shooting but instead was able to relay an interesting narrative that was able to bring to life a mythical creature believed only to exist in fairy tales.

Perhaps the most challenging film to watch throughout the whole semester, Holy Motors is the epitome of what art cinema is. With a runtime almost spanning for two hours, Holy Motors is no easy watch most especially to those with little to no background in the more eccentric side of European film. A fair warning that should be given to anyone who is interested in watching the film—take everything you know about movies and throw it out of the window. Holy Motors is undeniably a challenging watch but is rewarding in its own way, distant from how one derives it in most films.

The film starts off with Oscar, who can be said to be our main protagonist, journeying from his home towards his workplace. Given his appearance being a suit and tie, one would assume that he is headed towards the city’s business district. What comes as the biggest surprise is that he actually works as an actor for hire of sorts. The limousine he rides is filled with a plethora of items needed for a costume, ranging from wigs and to silicone face skins. Throughout the entire film, what the audience is given is a complete disclosure of the work which “Oscar” (given that we can now only assume that to be his name) does. From the most innocent, such as acting as an impoverished old woman who begs on a bridge, to the most bizzare, acting as a deranged homeless man who bites off the fingers of a woman. There is no discussion of any sort to elaborate as to who Oscar truly is and why he does this nature of work. The transitions of the film move from one role to another, leaving the audience to ascertain for themselves who Oscar is and what are his motivations for doing such work.

The folly, perhaps, when faced with a film as eccentric as Holy Motors is to analyze it in a similar way one does with Hollywood films. I think that behind the oddity that one feels while watching the film, it also provides an opportunity to discuss the role of acting. Quite meta given that a film with actors is discussing how acting can be but it deserves the merit of being highlighted. As it stands, Oscar is seen from beginning to end working various roles with little to no regard beyond his basic needs, such as for food and rest. This life can be said to be analogous to what a handful of actors face. Once they hit it big, they become primed to be automatically prepared to take on the next role in order to further the career high they are enjoying. Holy Motors can be seen as a critique as to how varied the roles an individual can have on a daily basis. Neglecting to see that behind all these roles is the core of our humanity, it drives one to lose their identity making everyday reality seem like a chore.

As the film wraps up, it amps up the oddity even further as we see that Oscar is left behind to become a part of a family of monkeys. However, the message has already been sent across. There is a certain degree of artistry and vindication when it comes to entering and exiting multiple performative roles, may it be on the scale of daily life or one similar to Oscar’s.

What can be said to be on the opposite side of the spectrum placed vis-a-vis to The Edukators is Good Bye, Lenin! Both films present their own take on the historic division that was caused by the Berlin Wall back in the 1990s. The difference with Good Bye, Lenin! is that it tackles the ideological division a bit closer compared to The Edukators.

In the film, we are immediately introduced to Alex (who is also portrayed by Daniel Brühl) whose family is found on the Eastern side of the German divide. What is established in the earlier portions of the film is the lifestyle their family has given the socialist nature of their government. From their external roles, down to the kind of food they eat, Alex and his family are truly living the socialist life. All of their clothes are hand-me-downs and the instant food they have is only one single brand that all of their comrades have. Immediately after this is established, the stability of their family is rocked, both in a familial sense and in a societal sense. First, their mother suffers a heart attack and falls into a coma. Soon right after, the Berlin Wall was declared to be torn down in order finally merge the two separate sides of Germany.

One would expect the film to take a darker turn given the way events played out but instead it surprises the viewers and comically elaborates on all the changes that occurred almost overnight. The once bright future which both Alex and his sister possessed had been tossed aside given their desire to become a part of the alluring capitalist system. His sister, Ariane, drops her pursuit for a college degree, and begins to work at a Burger King that seems to have magically popped out of nowhere. For Alex, he starts working at a company that sells and installs satellite dishes. All seems to be well for the meantime up until the point that their mother reawakens to a Germany she no longer knows.

Mainly through the efforts of Alex, he and his sister attempt to reenact the normalcy of life they had in East Germany before the Berlin Wall fell. One can argue that it was foolish of them not to break the news to their mother rather than create a false world but one cannot disagree that this was one of the elements that worked well in the film. Given the lighthearted nature that the film undertook in tackling the ideological difference of East and West, it was unsurprising to see that Alex and his sister did the most outrageous things to convince their mother that East Germany still stood. The ridiculousness of it all gives way to the endearing love they possess for their mother.

The inevitability of the claws of capitalism intruding into the safe haven of Alex’s family finally came in the form of a Coca-Cola ad. What sealed the deal after this was how the one time that their mother left their apartment was also the same time a helicopter was carrying a beheaded Lenin.

All in all, Good Bye, Lenin! was a lighthearted film that took the serious affair of varying ideologies and made it more personal through the perspective of a family caught in the middle of such a great change.

The overall feel of Lars von Trier and Jørgen Leth’s The Five Obstructions can simply be described as a peculiar yet fascinating experience. The film, shot in a pseudo-documentary style, primarily focuses on the mentor-mentee relationship between von Trier and Leth. The latter is the renowned filmmaker of a 13 minute short film entitled The Perfect Human (1968), which von Trier tasks him to remake a total of five times. In order to make things more interesting, von Trier also places certain limitations in each of Leth’s remaking of the movie consequently giving the film its name, The Five Obstructions.  

The film immediately starts with Leth speaking to von Trier about the task of remaking he is about to undertake. The audience is left with little to no idea as to who these individuals are and what the reason for their actions is. The anonymity given to von Trier is what can lead the audience to see him as a despicable figure. Demanding and extremely inconsiderate of Leth, von Trier can be seen for the most part as a masochist who enjoys seeing Leth struggle and become frustrated with the limitations he has placed. Given this context, one is naturally drawn to root for Leth as he faces the endeavors contained in each of von Trier’s obstructions. Leth’s demeanor lends itself towards this as well since he can be seen as an earnest and hardworking individual, unquestioning and constantly putting up with whatever tricks von Trier comes up with.

What is greatly appreciated across the various challenges which is hurdled towards Leth is the undeniable talent that he possesses. Although bits of The Perfect Human are gradually shown to the audience, the transformation it undertakes with Leth at the helm is breathtaking. He injects new life to a the same film he had made years prior without losing its essence in the process. May it be a difference in editing or a complete overhaul of art style, as seen when he transformed it through animation, Leth is a capable director and his work stands as the very proof of this.

Eventually, as any individual subjected to what can be said to be torture, Leth snaps at von Trier due to his unreasonable demands and seemingly unending list of conditions. Leth decides to jump ship and let his creativity flow. He completely took the helm during the latter portions of the film and recreated the scenes with him having the last say.

What can be considered to be the climax of the film went hand-in-hand with von Trier revealing that his intention in constantly challenging Leth was to inspire him to create films once more. The last few minutes of the film were dedicated to showcasing the complete and compiled version of the reinterpretation of The Perfect Human alongside the motivational words of von Trier for Leth.

The Five Obstructions is definitely a meta film at the very core. A film placed within a film, alongside the pseudo-documentary style it utilized, the deep investment of emotions from the audience is decently rewarded. The endearing motive behind the vexing role which von Trier had to play makes the entire film feel rewarding as there is redemption for both von Trier and Leth.

L’avventura, or The Adventure in English, discusses in its extensive runtime the disappearance and search that ensues in search of Anna. However, as if to trick moviegoers, L’avventura completely lacks a sense of excitement and rush one would expect from a film entitled the adventure. For majority of the film, we are placed at the mercy of Anna, Sandro, and their other wealthy friends who continuously go on and on about their rich problems. It is worth mentioning though that despite the black and white treatment of the film, the Mediterranean setting in the film is still beautiful to take in. Perhaps, rather than presenting a compelling narrative that one would assumed to discuss the main conflict L’avventura opted to focus on constructing its shots to fully convey the kind of reality wealthy individuals operate in.

To the dismay of many, the initial distress caused by the disappearance of Anna soon dissolves into nothing. Even Sandro, the partner of Anna, begins to immediately show interest to Claudia, who is one of her friends, despite of Anna’s disappearance being still fresh. What becomes apparent throughout the film from this point onwards is how elaborately discussed the kind of lifestyle that the wealthy possess. Seemingly typical just like how the characters in The Great Gatsby are said to easily swap partners from time to time during their outrageous parties, two of the people dearest to Anna begin dating and soon forget that she is even missing. The focus then shifts to the somewhat boresome game that Claudia and Sandro play with each other, either one not willing to give into the other’s desires so easily. Soon enough, it is revealed that Claudia is the one who is the being played by Sandro. At one point of the film, both parties have finally agreed that they are to be each others lovers (while still ignoring the fact that Anna has not returned) but Sandro still sleeps with a prostitute.

Put simply, L’avventura featured all the traits that one would assume the rich would have. Their aloofness from the realities of life and even from their immediate reality blinds them into a habit of extreme self-indulgence. Love and other formalities stand no chance in the face of individuals similar to Sandro and Claudia, for their privilege allows them put their self-interests come first.

The first of many collaborations between director Claude Chabrol and actress Isabelle Huppert, Violette Noziere is a cross between a coming-of age period piece and a film noir told from the perspective of the femme fatale. Anchored by Huppert’s performance as a teenage girl drawn to a dark, seedy lifestyle while dreaming of a bougie, romantic one and the crimes she consummately commits to justify both, the film is a tale of class, moral, and familial betrayal that boasts Chabrol’s trademark use of a sharp cast, loaded silence, and dry atmosphere to leave its audience with a empty but upset feeling in their gut.

The film’s production design and cinematography are traditional and realistic, a visual style that Chabrol favors – stripping back the scale and grandiosity of setting allows for characters to shine, and Chabrol is best when extracting layered, incisive performances from his actors, as seen in Les Cousins and The Champagne Murders. Huppert’s performance as the title character is what colors the film, as you can observe from any poster or still from the film. Her Violette is steely, vampish, stoic, and spiteful, but all these qualities only peek out from underneath the façade of innocent everygirl that Violette masks her desires with when Huppert wants to. Violette’s role as a criminal (prostitute, thief, and murderer, in that order), thanks to Huppert, doesn’t stem from a mustache-twirlingly malevolent place – rather, the bored and bewildered expressions she wears during her passive moments connect her actions to an ennui that’s rooted itself deep in Violette, and the need to bury it drives her, since nothing else in the girl’s environment is half as motivational.

The characters who act as predator and prey during Violette’s misadventures, also well-performed by the actors and actresses behind them, are Violette’s mother, who serves as the next best thing to an antagonist, due to her suspicions of Violette’s exploits but helplessness to stop any of it, Violette’s father, an ineffectual man who represents everything she hates about their less-than-bourgeois lifestyle (and may be an effective source of trauma, if Violette’s admissions of incestuous abuse are to be believed), and Violette’s lover, a rakish leech who expedites Violette’s descent into prostitution and thievery, if only to help fund his day-to-day comfort. With company like this, the film doesn’t make it hard to empathize with Violette, crime and punishment and all.

More than a sordid crime drama or cautionary tale, Violette Noziere presents its audience with the pyrrhic victory of a coming-of-age story subverted. Violette never quite reaches the heights she dreams of (an expensive lifestyle stimulating enough to erase the boredom slowly weighing her soul down to murderous depths), but she represents a cathartic, youthful desire to violate all the rules you’ve been presented, joyfully and out of spite. Further than that, she manifests the dream of getting away with it all – the film ends with a statement mentioning her eventual vindication (after a shortened sentence) and return to a normal life. Violette may be a murderess who indlged in sex and violence to their violent ends, but she’s somebody that anyone who’s less than mature enough has the luxury of aspiring to be – given they don’t act on those desires the way she skillfully does. But the film, like Violette, coyly refuses to tell its audience to be inspired by her story, hiding in a frame of drab, grey, and lurid content – implying that you are to feel nothing, but giving you just enough of a tale to make you consider what you can get away with.