As a connoisseur of European cinema with a soft spot for social satires, I find Sonja Prosenc’s “Family Therapy” to be an intriguing and thought-provoking film. The director’s unique spin on Pier Paolo Pasolini‘s “Teorema” is both refreshing and challenging, offering a bit of a bait-and-switch that keeps the viewer engaged.
Following its debut at Tribeca’s international narrative competition, Slovenian director-writer Sonja Prosenc presents her third film, the social satire “Family Therapy,” in Sarajevo for competition. This new work by the filmmaker offers a humorous take on Pier Paolo Pasolini’s “Teorema” premise, as the appearance of an attractive, young stranger causes turmoil within a displeasing, newly wealthy Slovenian family. For much of its duration, it makes for enjoyable viewing. However, Prosenc intentionally lets the storyline become unhinged, continuing long past several logical conclusions. Similar to her previous films “The Tree” and “History of Love,” both filmed by the gifted Mitja Ličen (“Small Body”), the stunning cinematography, powerful performances, and visually stunning production design help mitigate the shortcomings of the screenplay.
The initial scenes, showcasing a burning car on the side of the road with a frantic family trying to escape, might initially lead you to believe that this family plays a significant role in the movie. However, it turns out that they are only peripheral characters, and the main focus is actually the Kralj family – fittingly named ‘Kings’ – who whizz by in a luxurious vehicle without pausing to offer assistance.
25-year-old Julien (Aliocha Schneider), a fresh French arrival for an extended stay, finds the cold, unfriendly actions of the Kraljs unsettling, particularly since he’s the son of family head Aleks (Marko Mandić) from a previous relationship. It seems that father and son are not well-acquainted, and Olivia (Katarina Stegnar), the artist-gallerist wife, along with their troubled teenage daughter Agata (Mila Bezjak), do little to make him feel welcome.
The main setting for most of the action, the Kralj residence, is breathtakingly beautiful. A marvel of concrete and glass architecture, it stands on the forest’s edge, boasting a sleek, minimalist interior design. This modern abode is equipped with advanced smart home technology that ensures privacy while offering a close watch over the surrounding nature.
Julian’s being around disrupts the family’s secluded and strictly structured lifestyle. His compassion and kindness cause both physical and symbolic cracks in their lives, yet in Prosenc’s unbalanced script, these splits do not necessarily result in significant discoveries or transformations.
Initially, the movie starts with numerous seemingly significant events that may hint at a captivating narrative, but eventually turn out to be irrelevant diversions. For instance, the brief episodes portraying the sexual tension between Julien and both mother and daughter serve no substantial purpose in advancing the storyline. Conversely, the lengthy segment depicting Ana Đurić-Konstrakta’s avant-garde performance at the snobbish artworld party, where Aleks embarrasses himself, conveys its message swiftly but lingers excessively.
I must admit, Prosenc’s actors are truly dedicated, even when they’re given limited resources to work with. Mandić, with his sparkling, manic gaze, breathes life into the tortured writer with an unconventional fascination for outer space. On the other hand, Stegnar’s icy queen character softens with worry for her fragile daughter, a role that mirrors their real-life relationship. As the plot’s divine intervention, Schneider, the French-Canadian actor, may not be as fully fleshed out, but he manages to make Julien a sympathetic figure, ready to embrace his role in this imperfect family.
In a movie where atmosphere outshines storyline, it’s essential to highlight Tatjana Čanić Stanković’s magnificent production design, as well as the costumes by Gilda Venturini and Dubravka Skvrce. However, what truly stands out is the powerful music composition by the Slovenian musical duo Primož Hladnik and Boris Benko, who go by the band name Silence.
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2024-08-18 01:46