Susan Granger’s review of “Force Majeure” (Magnolia Pictures)
The ‘picture perfect’ Swedish family is introduced in the opening scene, as Tomas (Johannes Bah Kuhnke), his wife Ebba (Lisa Loven Kongsli) and their two beautiful children, Vera and Harry (real-life siblings Clara and Vincent Wettergren), pose for a photographer on the first day of their skiing vacation at Les Arcs in the magnificent French Alps.
The following day, when they’re enjoying a festive lunch at an outdoor café, a terrifying cascade of snow seems to be headed directly towards them. “It’s a controlled avalanche,” explains Tomas. “It doesn’t look controlled to me,” retorts Ebba, as they’re suddenly blanketed in an eerie mist. During that brief interim, panicked Tomas grabs his iPhone and flees, while Ebba tries to protect the frightened children.
Sheepishly returning shortly afterwards, Tomas realizes that their family dynamic has changed. And it’s not just because of what he’s done. It’s also because he lies about leaving, a denial which infuriates Ebba even more, as they recount their contrasting versions of what happened to Norwegian friends (Kristofer Hivju, Fanni Metelius) at their Alpine hotel.
Written and directed by Ruben Ostlund, it’s a provocative psychodrama, revolving around a man’s survival instinct and subsequent guilt. “The male superhero is the most reproduced character on film,” says Ostlund, explaining why he created Tomas’ shameful torment.
This deliberately paced, marital-discord dilemma is set against visually stunning skiers gracefully gliding down the meticulously manufactured slopes, punctuated by squeaking sounds emanating from the creaking ski lifts that transport them back up the mountain – gloriously photographed by Fredrik Wenzel.
Selected as Sweden’s official entry for the foreign language Academy Award, “Force Majeure” is an emotionally eviscerating 8, exploring gender stereotypes and assumptions.
