In the film “The Fishing Place,” by avant-garde director Rob Trezenga, experimental techniques are consistently employed. This World War II drama is intentionally puzzling, catering exclusively to connoisseurs of “slow cinema” and art-house spectators. The narrative clarity is deliberately sacrificed for an emphasis on visually striking scenes and overly dramatic performances. Dialogue remains sparse throughout, with long shots that build tension dramatically. Unfortunately, these techniques make the film feel unbearably slow. The strangeness escalates, leading to a confusing and disappointing third act twist that was intended to be clever but falls flat instead.
A Nazi Spy
As a cinephile, I found myself immersed in the chilling narrative set amidst the frosty landscapes of Telemark, Norway, under the oppressive Nazi rule. I, as Anna (Ellen Dorrit Petersen), a humble housekeeper with a limp, made my haunting arrival to a secluded coastal hamlet by boat. The camera, like an unseen observer, trailed me in a prolonged, fluid shot, suggesting that I was moving towards something ominous, almost as if drifting towards an inevitable storm.
The eerie sense of foreboding was further accentuated as the Priest (Andreas Lust) and Hansen (Frode Winther), the film’s menacing antagonist in SS uniform, made their own ominous entrances, mirroring my journey, creating a chilling symphony of suspense.
Anna traverses snowy terrain to reach a house for an official dinner. Upon arrival, she’s handed an apron and tasked with setting the table for the guests. Meanwhile, the master (Eindride Eidsvold) clashes with his two sons while his wheelchair-bound wife (Gjertrud L. Jynge) observes. The doctor (Ola Otnes) cautiously speaks to Anna privately, advising her to be wary of whom she talks to due to the speed at which rumors spread in a place filled with secrets. As if on signal, Hansen seizes Anna and discloses her covert objective: she was assigned to monitor the priest’s political endeavors and report back on his activities.
In a surprising turn of events, Anna discovers a girl named Ella Maren Alfsvåg Jørgen secretly residing in the priest’s assigned residence. Despite his weakened state, the priest acknowledges he didn’t request a housekeeper, but maintains a polite demeanor and asks Anna to look after the unexpected guest. Before they can properly adjust, both Anna and the priest are summoned by the master’s wife.
Empty Characters and Flights of Fancy
In “The Fishing Place,” essential details about Anna’s predicament are left implicit, leading the reader to surmise that she was compelled by the Nazis to infiltrate the town. Hansen, who is the only character with direct dialogue, subtly suggests her past through suggestive and threatening comments. He wields authority over Anna and seems intent on asserting his sexual control. Their interactions initially create a tense atmosphere for Anna, and then the tension dissipates when Tregenza abandons realism in the narrative. This is a recurring issue that may try your endurance.
It’s challenging to connect with Anna since she remains largely undefined and appears as an insubstantial figure. Petersen speaks sparingly, often staying in the periphery as an unnoticed servant. This is understandable considering her assigned role. As a maid, she can gather information through her persistent presence, which is seen as mundane and routine. However, the issue lies in Anna’s lack of personal disclosures about her thoughts or anxieties. She occasionally shows kindness and rare moments of emotion in certain scenes, but she is unpredictably aloof and distant in others. This could be a means for her to cope with her challenging circumstances. Unfortunately, we can’t truly understand her because her character doesn’t reveal itself. In essence, it’s tough to cheer for someone who remains an enigma.
Art-House Cinema Theatrics
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In his work, Tregenza, particularly in Talking to Strangers and Gavagai, is known for employing tracking shots and long edits. Some find him hit-and-miss, but there’s no disputing the fact that The Fishing Place showcases stunning cinematography. Tregenza skillfully captures a scene’s essence by initially focusing on specific elements, then gradually pulling back the camera to encompass a broader perspective without resorting to cuts. He deftly moves among characters within sets, yet offers a more expansive view as they journey through Norway’s frosty landscapes.
In this story, the setting plays a significant role, yet some viewers might argue it’s merely decorative. This issue becomes more apparent as events unfold without any background or context. The scenes transition abruptly with major changes, leaving little room for gradual build-up or suspense. No matter how impressive the visual effects, they cannot compensate for glaring plot inconsistencies.
The Movie Set at The Fishing Place stirs up the most controversy as Tregenza abruptly ends the film after 70 perplexing minutes, breaking the fourth wall in the process. Instead of a climax or conclusion, we’re treated to a backstage look at the making of the opening scene. This unexpected shift catches viewers off guard. The narrative flow is disrupted like an infected limb being amputated. We find ourselves on location in Norway, observing assistant directors, makeup artists, and actors preparing for Petersen’s entrance. This raw, unedited footage stretches out for a painful 20 minutes. The reason behind this decision remains elusive, as the story is left hanging due to what appear to be questionable artistic choices.
Experience at The Fishing Place is tantalizingly intriguing yet ultimately unsatisfying. Sparks of interest are ignited like glowing embers only to be extinguished before anything meaningful unfolds. The film can be likened to an attractive trinket that initially catches the eye, but later turns into a dust-collecting ornament. The Fishing Place features dialogue in Norwegian and German with English subtitles. It is a production by Living Daylights, and it premieres at MoMA in New York City on February 6. The film will debut at Laemmle Theaters in Los Angeles on March 7th, with additional cities screening it from Cinema Parallel and Epoche Motion Pictures thereafter.
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2025-02-06 03:35