As a movie lover with a penchant for observing the intricacies of human relationships, I found “Family Time” to be a captivating and poignant portrayal of a family navigating their way through the holidays and beyond. Having spent countless Christmases with my own family, I could relate to the dynamics between the three generations in this film, and the undercurrents of tension that simmer beneath the surface.
In a similar vein to how “Paranormal Activity” captures the eeriness of ordinary events, the movie “Family Time” portrays the tension of dysfunctional holiday gatherings in a seemingly unassuming manner. It’s as if you’re peeking into a family’s private moments without their knowledge. While Tia Kouvo’s debut feature is undeniably well-written, directed, and acted, her subtle approach can make you momentarily forget that what you’re watching is a carefully crafted work of fiction.
This comedy-drama set within a single family during Christmas and beyond doesn’t introduce any novel concepts. However, the astute portrayal – both casual, critical, and compassionate – results in a film that surpasses expectations, offering much more than meets the eye initially. Finland’s Oscar entry, directed by Kouvo, won awards for best film, direction, and screenplay. Although it may not garner international attention, this work underscores Kouvo as an emerging cinematic talent to watch.
Initially, Jesse Jalonen’s cinematography showcases a sense of neutrality by highlighting the opening and closing of a front door, through which our main characters enter – yet it’s only their waists that are visible, suggesting the door itself might be the primary focus. It doesn’t take long to understand that this rustic A-frame house serves as the residence for retired grandparents, who have gathered for their annual Christmas celebrations along with their descendants.
Their interactions exhibit a cozy routine laced with occasional bickering. Ella (Leena Uotila), the matriarch, often worries about her husband Lasse’s (Tom Wentzel) drinking habits, insisting that he’s backsliding after a period of sobriety. However, their daughters remember several instances where Lasse’s drinking caused family embarrassment. Susanna (Ria Kataja), who recently got promoted to the head window dresser at a big store, is married to Risto (Jarkko Pajunen) and together they have two school-aged kids – Kassu (Toomas Talikka) and Hilla (Elli Paajanen). It’s Hilla, who can be quite particular, that at one point successfully gets a drunk Grandpa removed from the dinner table. Helena (Elina Knihtila), a divorced woman with a sharp tongue, seems uninterested in dating again. She eagerly anticipates her grown child Simo (Sakari Topi) leaving home, which would leave her in peaceful solitude.
The movie splits into two comparable halves, where the initial segment focuses on traditional holiday celebrations that, despite being familiar, occasionally veer off course. The grandparents are each showing signs of decline, whether it’s confusion or an untimely incident of incontinence. In a stolen moment during the sauna, the sisters share their grievances, with Susanna expressing her dissatisfaction towards her devoted partner who is well-liked by all – yet his conversations fail to engage her and he appears oblivious to her romantic needs.
In this story, I, as an observer, find myself witnessing Hilla boldly addressing Grandpa about his alcoholism, subtly suggesting what they could have achieved with the money spent on drinks (“Wonder if we could have done something amazing with that cash, instead”). Meanwhile, Simo, a towering figure, momentarily escapes the undercurrents of tension to perform daring spins in a shopping mall parking lot. When asked about his love life, he vaguely indicates his romantic interests might lean elsewhere, but the older generation here seems too preoccupied with their own concerns to delve deeper into that topic.
After the younger relatives depart, we catch fleeting glimpses into everyone’s individual daily routines. Simo indeed takes up residence in his own apartment, while Grandpa receives a visit from an old acquaintance (Matti Onnismaa) from his past seafaring adventures. The most poignant moments revolve around Susanna and Risto coming to terms with the deterioration of their marital dialogue. It’s evident that neither one is entirely in the wrong, but they certainly manage to frustrate each other, ultimately leading to tears and even physical altercations.
Despite the explosion, “Family Time” maintains a distant, almost academic perspective on raw, intimate emotions. The characters don’t seem to be prone to dramatic outbursts; they usually steer clear of conflict and opt for bland friendliness instead. Not even a family death elicits significant emotional turmoil.
Through a talented ensemble, Kouvo skillfully turns ordinary lives into captivating tales, where subtle details gradually build a larger narrative that maintains an air of enigma. These characters may not be mysterious, but the missing pieces suggest more about what we don’t know or overlook in others, even those thought to be closest to us. Unlike Aki Kaurismaki, this director doesn’t flaunt her minimalist style, but subtly replicates it, incorporating some of his dry wit – yet, she uses these techniques for a narrative approach reminiscent of covert observation. “Family Time” exhibits compassion in a way that feels authentic and documentary-like, a deft trick that’s impressive due to its understated effectiveness.
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2024-12-21 14:16