Far North
A friend recently asked what I thought about high definition TV. I replied that I thought high definition moving images were great, but they are not a recent discovery. They have been around for over a hundred years and as far as I’m concerned are called cinema. For me, it doesn’t matter whether your home TV set up has a 50 inch HD flat-screen monitor, THX surround sound and other gimmicks – nothing will ever beat seeing a projected image on a cinema screen.
Which brings me to writer/director Asif Kapadia’s Far North; a must-see at the cinema for those who enjoy staggeringly beautiful landscapes that transport you to another time and place. It’s an adaptation of Sara Maitland’s short story about a mother and daughter, Saiva and Anja, dwelling and surviving alone in the unforgiving icy tundra somewhere in the north. One day Saiva comes across a dying man called Loki and against her better judgement nurses him back to health. However, events are complicated when both mother and daughter begin to compete for his affections.
Michelle Yeoh, Michelle Krusiec and Sean Bean all contribute understated but excellent performances, particularly Yeoh, who has the most difficult role as Saiva. The spare screenplay contains very little dialogue but the cast milk every subtle nuance, look and gesture to create a rare and palpable sexual tension that recalls the brilliance of Nic Roeg’s 1971 masterpiece Walkabout.
Roman Osin’s incredible cinematography shows off the stunning Norwegian locations to tremendous effect. Menacing snow covered mountains, the endless tundra and frozen seas generate an astonishing, almost dreamlike sense of loneliness. The perilous landscapes offer few clues as to precisely when this is set, or even who these characters are. I assume they are indigenous East Asian Eskimo hunter-herders perhaps, and soldiers in flashbacks appear to be of Russian origin sometime around World War II, but the film is somehow all the more powerful and intriguing through placing these characters against a not clearly defined background and time. This powerful and intriguing setting enhances the deep sense of isolation and makes the extremely disturbing ending all the more horrific. Dario Marianelli’s quietly effective music score also compliments the hugely atmospheric drama.
Spiritually, this is a fatalistic tale, almost like a Greek tragedy like Oedipus Rex where characters destinies are pre-determined by the gods and cannot be changed. A key element in the story is how Saiva was told at an early age by a tribal shaman that she would bring disaster on all who came into contact with her. The results of this terrible curse, shown through flashback, lead her to choose to live away from other people, with only her daughter for company. However, when she chooses to help Loki his fate is sealed. The tragedy that ensues is both inevitable and (in the case of the shocking finale) a self-fulfilling prophecy. Obviously, this is not what the Bible teaches, especially when it comes to the issue of spiritual curses, which we can be free from in Christ.
To be fair, this is not a film for everyone, for two main reasons. Firstly and most obviously, not all will appreciate the languid pacing, sparse plotting and minimal dialogue. However, those not brainwashed by the need for continual car chases who stick with it will find their patience richly rewarded.
Secondly, there is the question for Christian audiences whether its worldview can be considered noble, lovely and true. Spiritually I’ve already suggested it isn’t but I didn’t think the violence was gratuitous. Although the ending is horrifying it doesn’t dwell too much on blood and gore, and I have always taken issue with Christians who think such events can never be justified in a film when the Bible is full of such tales. I don’t think Judges chapter 19 will be made into a film any time soon, but its more horrific than anything here.
With the above caveats firmly in place, this is a very good and hugely underrated film, destined for cult status.
Simon Dillon, March 2009.
