‘Caravan’ Review: A Tough and Intimate Czech Drama Carried by a Superb Lead Actress

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Actress Ana Geislerova is well-known within the Czech Republic, having made her breakthrough in the mid-’90s and amassing numerous awards in the early 2000s with films like “Innocence” and “Something Like Happiness”. However, apart from appearing alongside Cillian Murphy and Jamie Dornan in the 2016 film “Anthropoid”, a movie about Nazi assassinations, she remains largely unrecognized outside of her native country.

It’s unfortunate since her exceptional portrayal in Zuzana Kirchnerova’s challenging debut film, Caravan, suggests that Geislerova is a gifted actress who merits greater recognition. In the role of Ester, a solitary mother navigating an Italian road trip with her disabled adolescent son, David (David Vodstrcil), Geislerova conveys love, despair, pain, sensuality, and profound frustration. Struggling to maintain closeness while also asserting her independence, Ester comes to terms with the reality that she might soon have to allow David to live his own life.

Kirchnerova, who has a background in making documentaries, drew inspiration from her personal experience of raising a child with Down syndrome and autism. Together with co-writers Tomas Bojar and Kristina Majova, she crafted a script that resonates deeply, reflecting both the reality and keen insights of their shared experiences. She avoids exaggerating or trivializing the challenges Ester encounters daily.

In a heartfelt manner, I’d express that she unveils the tender love of a mother wrestling with challenges, finding profound joy in her son’s presence, despite our inability to share typical parent-child conversations. At moments, it feels as if Esther and David are sharing a unique, secret language, fostering a bond that leaves others in awe, longing to decipher its mysteries.

The movie opens showing the duo residing at an idyllic summer residence belonging to long-time friends of Ester in Italy. However, David’s turbulent demeanor, characterized by destroying a glass coffee table in front of other children, causes them to be considered unwanted guests. The hosts then transfer them to an old trailer on the property, but Ester refuses this arrangement. In the dead of night, she makes off with the car keys and sets off, taking David along for an uncertain journey.

The remainder of the story, titled Caravan, shows mother and son traveling through southern Italy, where they pick up a free-spirited Slovakian hitchhiker named Zuza (Juliana Brutovska). Now, this makeshift group of three causes quite a stir as they search for spots to park their camper van and enjoy the beaches. They’re also trying to scrape together enough funds for the rest of their trip. Consequently, the mother, Ester, finds herself taking temporary jobs as a farm laborer to earn some extra cash. This involves striking deals with questionable Calabrian farmers.

In Kirchnerova’s film, we are not privy to Ester’s or David’s backstory, nor details about David’s father and his circumstances. Instead, the movie primarily focuses on the current situation – how Ester navigates the challenges of looking after David, who alternates between peaceful playfulness and abrupt outbursts, reminiscent of a typical teen. However, David’s mood swings can be erratic, as demonstrated in an early scene set at a public beach where he behaves unpredictably by touching himself inappropriately.

Ester has grown accustomed to such actions, and carefree Zuza appears unfazed by them, engaging with David while maintaining a balance. There’s an effortless camaraderie among the three, as if they’ve been companions for a long time. However, there are also tensions, particularly when Ester realizes that she can’t continue living this way indefinitely.

While the movie doesn’t directly explain the consequences once summer ends, there are instances when it echoes Charlotte Wells’ film, Aftersun, by focusing on a parent-child duo who might be experiencing their final adventure together. It captures both joyful and difficult moments that are about to become cherished memories.

As a gamer, I found Kirchnerova’s direction immersive yet slightly suffocating, with the camera often focusing tightly on close-ups and medium close-ups. It seemed like she was aiming for an intensely subjective experience. The trio of Ester, David, and for a while Zuza, created their own protective shell that rarely got penetrated by outsiders, be it rowdy teenagers lounging on the beach or a young farmer named Mario Russo who quickly attempted to charm Ester after hiring her.

It’s striking and genuinely authentic that Ester yearns to be enticed, as portrayed by Geislerova. She shows Ester as a woman who has sacrificed much for her child, but craves freedom, warmth, and passion. In certain aspects, Ester and David share similarities, and Kirchnerova suggests this through their synchronized actions. Both characters are brimming with sexual desire and the urge to escape, yet bound together like many mothers and sons often are.

Together with the experienced Czech actress Brutovska, Zuza offers a striking contrast as the relaxed character, while debutant Vodstrcil delivers a believable portrayal that remains understated, even during David’s outbursts.

Regardless of the boy’s situation, “Caravan” ultimately illustrates his teenage-like behavior, causing Ester to grapple with issues that many parents face when their children mature. This might be Kirchnerova’s most impressive achievement: She has turned a singular and intensely personal story of hardship into a film that resonates with everyone, reflecting experiences we can all relate to.

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2025-07-10 19:24