‘Caravan’ Review: Tender Debut Feature Focuses on a Single Mom’s Experience with Her Disabled Son

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Zuzana Kirchnerová’s film “Caravan” starts with a succession of serene vacation scenes. A panoramic view of a peaceful swimming pool appears first. Next, there’s a close-up of a beach ball filled with sparkling sequins. Sunlight dances gently on the water’s surface in lazy arcs. A soft voiceover soothes, “It will be beautiful, David. You’ll understand soon.” The speaker is unveiled as a mother comforting her child, lying together under a white blanket. This scene could be how Terrence Malick might create an advertisement for an Italian villa, though the tranquility is fleeting.

Zuzana Kirchnerová’s movie “Caravan” begins with beautiful holiday scenes. It shows a calm swimming pool, a sparkly beach ball, and sunlight playing on the water. A gentle voice whispers, “It will be nice, David.” The speaker is a mother trying to comfort her child before they sleep together under a blanket. If Terrence Malick made an ad for an Italian holiday home, it might look like this. However, the calm soon vanishes quickly.

The story unfolds primarily in Reggio Calabria, Italy, as well as Bologna and the Czech Republic. It centers around Ester (played by Ana Geislerova), a 45-year-old single mother, and her 15-year-old son David (David Vodstrcil). Their peaceful vacation with affluent acquaintances takes an unexpected turn when they are asked to reside in a caravan. This sudden request arises due to the friends’ struggle to manage David’s behavior; he has intellectual disabilities, which at times manifest as explosive physical outbursts. After eavesdropping on a condescending discussion about David, Ester, feeling frustrated and upset, departs with David in the caravan. During their journey, they are accompanied by Zuza (Juliana Brutovska), a lively free spirit.

I, a follower of film, am thrilled to be part of the conversation about “Caravan,” a remarkable piece that marks the reemergence of Czech cinema in the Cannes official selection after nearly three decades. Interestingly, the director, Kirchnerová, stands as the sole Czech filmmaker to win the Premier Prix at Cinéfondation, Cannes, back in 2009. One might wonder why it took her so long to leverage that victory. The common thread in her previous works, which explore the responsibilities of female caregivers, seems to offer a compelling explanation.

“Caravan” is no exception, delving deeply into the reality of providing full-time care for another human being while preserving one’s own identity. In this film, Ester, the protagonist, experiences the harsh impact of her role as a caregiver, with her personal existence gradually fading, leaving no signs of self beyond her caregiving duties. This poignant narrative is a testament to the struggles faced by many in similar situations.

Due to its road-trip structure, the narrative of “Caravan” isn’t overly structured or linear; instead, scenes progress somewhat randomly as Ester, David, and Zuza journey through life. The theme of sexuality is recurrent, occasionally connected to David’s adolescent curiosity but mostly concerning Ester’s struggles to understand romance in her unique circumstances.

Dating can be tricky for single parents due to the delicate balance between when and how to reveal they have a child, a decision that impacts their child’s wellbeing as much as anything else, and also carries an element of secrecy about being a single parent. In Ester’s case, she faces unique challenges on top of this, as she navigates her son’s exposure to the world in a way that differs from the typical experience of parenting a teenager.

A significant moment in Ester’s personal relationships presents an unusual portrayal of sexual consent: Ester is approached by an elderly farmer who has hired her and Zuzi for casual work. Initially uncertain, Ester permits the man to touch her, leaving the situation unclear for the viewer. When Zuzi discovers them, she perceives the old man as forcing himself on her friend, reacting with immediate anger and swiftly removing Ester from the farm. Later, Ester cries, adding to the scene’s ambiguity, only to explain that she was, in fact, enjoying herself. Zuzi responds with regret and laughter.

As for me, David is growing that subtle peach fuzz on his chin, just as Zuza describes, and the movie doesn’t provide a clear answer about how he navigates his budding fascination with other bodies. However, this film, deeply rooted in Kirchnerová’s real-life experience of raising a child with Down syndrome and autism, carries an underlying softness throughout. The more challenging scenes are not merely there for drama; they resonate with authenticity and offer a powerful personal account.

David, despite having the physique of a strong young man, vents his anger in an uninhibited and childlike manner. He doesn’t hold back when expressing his frustration, which unfortunately leads to harmful outbursts. Dealing with this situation, Ester shows great patience and love, but her efforts are often met with limited support from the outside world, making it a challenging ordeal for her.

This storyline doesn’t offer any surprising twists, yet that’s perfectly fine. Some films are all about the journey, providing pleasure or even discomfort intentionally. This particular film is designed to lead you on an emotional voyage that can be both sentimental and painful at times. It carries out this mission with a clear-sighted approach, drawing from real-life experiences.

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2025-05-24 03:46