In the event that you are at any doubt about how to respond when your moderate husband announces plans to lead a religious sect-the answer is running, very quickly and far away-the Swedish drama “RAPTRES” should be proven both indulging and educational. Even if it is not, the film of the writer and director John Blåd remains both things, although his fictional novel is not completely surprising. She focused on an initial Christian woman in a remote northern village in Sweden in the thirties of the twentieth century, and lost her grip on her marriage and social status when her husband becomes a bad teacher, Blåhed text from the korpela movement that launched Luthera in the twenties of the twentieth century, ultimately transferred to the doctrine of hatred For women – facts that the film adheres to the least ambiguity.
However, “Raptures” indulged in the magic of sufficient patients with the behavior of his non -advanced characters to attract the strange audience of Arthouse, which should also be attracted through the lesser pleasures of the elegant movie ingenuity – through its amazing remote sites taken in luxurious luxury images. By dp mimmo hildén. If the quiet mediator of the film sometimes appears to be at odds with ugly actions and spiritual disturbances disorganized by his characters, it is easy to say that this is the design, and discover how beauty and luxury external rituals can tempt the new churches. After winning the first prize in the Rotterdam’s great competition, the “Raptures” should not face a problem to find believers in the world of distribution.
Although the film is classic in technology and construction, it is characterized by a basic linguistic sharpness: it is the first feature to be written and performed in Meänkieli, which is the minority language of Vinik The movie. (Blåd himself was born and raised in the region, and the movie’s look as it is not to feel tourism.) They are decisive details in a story that depends on isolation and the defense of marginal rural societies; The dialogue between Meänkieli, Swedish and Finnish, alternates, with great effects on the energy balance between the characters in each key. Coding translations in color (white, blue and yellow, a nice local touch) to indicate what is spoken when, and while some viewers may lose the course of these fine details, it is not at the expense of the tuning cohesion.
The continuous school teacher Rakel (Jessica Japovsky) is fluent in Meänkieli and Swedish, which is a dual language that raises doubts between the local population of uneducated leaks in the small village where it settled with marriage (Jakob öhrman) and her daughter Elsa (Maria Issakainen). The trick, the handsome and society, Todor, is better love-the situation that serves him well when he visits to Toivo Korpela (Samuli Niittymaki), the founder of the real life of the aforementioned movement, the village to spread its own gospel, and in the end he leaves, in the end, he leaves, in the end, at the end He leaves, leaving the diocese of its transformation impatiently in need of a leader. Tudor quickly in the breach. Rakel, the role of supportive supporters, who is increasingly inconsistent with her function as a local teacher, pays the role of supportive support. By the time when he started public sexual relations with most of his females, it is safe to say that her fears were founded.
Greatly, the accumulation of this uninterrupted state is more tight than the repercussions, due to the great extent that the wonderful Grabowsky performance contributes to a lot of tension as Rakel’s deficit begins at dawn. The sect itself is dramatic in broad stroke It is completely towards the humble society towards such extremist behavior. Although there is a strong threat to Oöhrman’s performance, Teodor’s inner life is more closed than ever behind a hollow glass staircase.
As a period of time, “Raptures” is clearly overwhelmed with regard to its long time, place and the way of life-thanks to Vilja Katramo and OKKU RAHIKAINEN in a very rural way, but the design of antagonist production, harsh silhouette and the Bristle designer Victoria Mattela in the north. But there is a time in a timely manner to slowly show it about the ease of excitement in societies to any adequate man to declare himself closer to God than others, and toxic enough to reap the benefits of that confidence for himself alone. Whether it is in religion, politics, or the simplicity of the family, the dynamics of worship is not old.