On his 30th birthday, Tom Fassaert receives a mysterious invitation from his 95-year-old grandmother Marianne to come visit her in South Africa. At that time, the only thing he knows about ...
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Ever since she was a young child, filmmaker Ester Gould has been amazed by the sheer self-confidence of her older sister Rowan, whose boundless creativity and natural beauty tended to make ... See full summary »
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Gijs Scholten van Aschat,
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On his 30th birthday, Tom Fassaert receives a mysterious invitation from his 95-year-old grandmother Marianne to come visit her in South Africa. At that time, the only thing he knows about her are the myths and predominantly negative stories his father told him. She was a femme fatale who went through countless men, a famous model in the 1950s, and a mother that put her two sons into a children's home. Fassaert decides to accept her invitation. But when his grandmother makes an unexpected confession, his venture becomes much more complicated than he could ever have imagined.
The film screams multi-generational incest, but of course, it is never explained. There are hints of the great grandfather's interest in Maryanne, the grandmother.In some ways this is a Holocaust survivor film, but that too, is never developed. All we know is that because Maryanne's father was a self-hating Jew they moved from Germany to Holland. It is a film with few secrets shared. Why did grandmother live in South Africa? Where did her money come from? How did the film maker deal with his grandmother's passion for him and apparently his father? Despite the lack of disclosure, it is hard to stop thinking of grandmother. In many ways the evasive nature of of the film conveys the grandmother's evasive personality.
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