‘The Ice Tower’ Review: Cinema Itself Corrupts an Innocent Child, as Marion Cotillard Plays Its Icy Queen

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In the chilly, dreamlike realm of Lucile Hadžihalilović’s film “The Ice Tower,” a young girl escapes from her foster home and seeks shelter in the movie studio’s basement. She becomes fascinated with the film being made – and its lead actress, portrayed by Marion Cotillard – much like a child would be drawn to a sinister temptress in a Grimm fairy tale. Fittingly, the story they’re filming is “The Snow Queen,” resonances of which permeate the movie’s multiple layers, extending even to us, the audience, whom Hadžihalilović aims to ensnare within her crystalline prison.

Marion Cotillard and Lech Kowalski Hadžihalilović previously worked together on the 2004 film “Innocence,” which marked the beginning of the director’s ongoing exploration of dark themes that blend the unsettling with the artistic. In this early collaboration, Hadžihalilović portrayed the initiation of children into disturbing rituals, a topic that only their elders appeared to comprehend. In “Evolution,” the boys were trained to give birth, while in “Earwig,” a mysterious caretaker inserted a set of frozen dentures into a girl’s mouth, following orders from an unknown benefactor located far away.

Initially appearing both striking yet drab, “The Ice Tower” deviates from this norm by introducing us to Jeanne (Clara Pacini), a young girl on the verge of fleeing her foster home the next day. From then on, it’s up to her to decide how she wishes to utilize her newfound freedom. So far, she has been trapped in a cramped cabin atop the Alps, isolated from urban life and virtually all influences of modern culture. The appeal of fame can be as captivating as royalty for someone who has spent their days consuming porridge in the countryside, but these ideas must somehow reach her.

Does Jeanne have a deep knowledge of “The Snow Queen,” but has she ever watched a movie in her life? Is she awestruck when she meets Cristina Van Der Berg (portrayed by Cotillard, resembling a stern Marlene Dietrich-like figure), or does her innocence erase the vast social divide between them? It’s unusual for Hadžihalilović to omit details about how Jeanne was brought up. However, it might be interesting to understand if she is magnetically attracted to the moving light of the film projector, or if her encounter with this mysterious modern magic was just a chance occurrence.

To put it simply, it’s not unexpected that a child might be captivated by cinema, possibly serving as an autobiographical character for the director. However, considering the era depicted in “The Ice Tower” (which coincides with some filmmakers facing controversy over attempts to influence minors), it could have made more sense if these events occurred during theater rehearsals instead. I’m trying to apply logic to the French director’s surreal and heavily sensory-driven style, which prioritizes dreamlike connections over straightforward answers, much like the films of David Lynch.

Through large, almost animalistic eyes, Jeanne, portrayed by Pacini, eagerly explores all the new sights around her with keen interest. Her naivety, to rephrase, is her most valuable trait. Yet, she’s shrewd enough to handle difficult situations tactfully. Jeanne instinctively declines a ride from a stranger down the mountain, and she perceives the subtle implications in the movie when a character referred to as “doctor” (August Diehl) enters to give an injection to the main character after one of her outbursts. What exactly is in that syringe? Could Cristina be what some tabloids once labeled as a substance abuser?

In her screen performances, Cotillard often exudes a strong sensitivity that is both her strength and a point of contention for some viewers (yet it’s often what makes her projects like “Two Days, One Night” stand out). However, in the film “Cristina,” she portrays someone who is cold and distant, which goes against her usual energetic nature. This is intriguing to director Hadžihalilović, whose films have a chilling, psychological effect, similar to taking a freezing plunge. Characters like Eva Green or Angelina Jolie are more fitting for the role of Cristina, but Cotillard’s smile could shatter the entire illusion created in the film. Despite this, she fully commits to the role and carries it through to the deeply disturbing ending, where Cristina tries to corrupt a girl whom she saw as a younger reflection of herself.

As I found myself ensconced within the enigmatic world of “The Ice Tower,” I couldn’t help but feel as if I was being gently lulled into a trance by the filmmaker, Juliana Hadžihalilović. Her unique storytelling approach, which involves prolonging sequences to the point where the audience almost feels numb, was on full display here. Similar to her earlier work “Earwig,” she immerses us in a state of near-hypnosis through repetitive elements – the soothing score, the shimmering lights, and the prismatic patterns cast by a crystal ornament taken from Cristina’s costume.

Initially, these elements can seem monotonous, but if you permit your mind to wander and engage with the film on an almost subconscious level, it becomes something far more mesmerizing. The intricate details in the cinematography, set design, costumes, and sound design gradually reveal themselves, transforming “The Ice Tower” into a dreamlike state.

In a parallel manner, we find another movie showing at the Berlinale alongside this one – the film by Hadžihalilović hints at a dead diamond that could possibly mirror our own selves.

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2025-02-16 21:46