A mentally-ill but very musically gifted man lives trapped in the surreal world of his own imagination. When reality is visible, the only thing he wants is to see his beloved daughter, but he isn't permitted to.
Karen, a young woman from the Baltic countries, marries fisherman Antonio to escape from a prisoners camp. But the life in Antonio's village, Stromboli, threatened by the volcano, is a tough one and Karen cannot get used to it.
The ocean contains the history of all humanity. The sea holds all the voices of the earth and those that come from outer space. Water receives impetus from the stars and transmits it to ... See full summary »
In Boston, the four Naldoff brothers make a comfortable living running money scams. But the youngest brother, Lee, is dangerously attracted to the excitement of the underworld lifestyle. ... See full summary »
Robert Lewis Stephenson,
Handke-Haneke-esque exploration of the idea of observation.
I've seen a lot of films in recent years that seem to come from the Michael Haneke School of detached, forensic, precise observation of the lives of the characters. In a few cases, this style is married with an off-beat, slightly surreal comedy, something I associate with Haneke's fellow Austrian, Peter Handke. I'm thinking of this film, and of DOGTOOTH, by Lanthimos. Both DOGTOOTH and the EXCHANGE have a wry, ironic but very original way of looking at the world. In the EXCHANGE, the lead character undergoes some kind of breakdown that is also a transformation; he can no longer look at life in a "normal" way, he begins to see unusual patterns in things, he begins to observe things differently, and to be aware of himself observing things, observing the observer; something that surely echoes with his work as a physicist, where it is now clear that the fact of observing phenomena actually changes their state. Although Kolirin doesn't seem to know where to go with this idea (the ending is good, but not exciting) this provides a fascinating, funny and weird cinema experience... thought-provoking and odd.
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