This film opens Friday in San Diego at Landmark La Jolla Village.
For many, it can be difficult to imagine how one might respond in the face of great danger. In Hollywood, such a situation gives filmmakers the opportunity the show the story’s lead overcome great adversity and act in a heroic manner. The Swedish production Force Majeure takes a vastly different approach to the subject matter, using a brief moment of panic as a springboard to tackle serious issues in a low-key, humorous and very telling manner.
The title refers to an irresistible compulsion or event that prevents one from fulfilling a contract. Both certainly apply to the plot. At the center of the impending controversy is Tomas (Johannes Kuhnke) and Ebba (Lisa Loven Kongsli), a couple vacationing with their kids in the French Alps. When an avalanche suddenly strikes, one embarrassing act sends the family into turmoil. Conversations and confrontations ensue, many of which are amusing. However, the rationalizations for the behavior lead to even more awkward and uncomfortable disagreements.
On a technical level, it’s a beautiful looking film. The mountainous locations are stunning. But this isn’t an action film, disaster epic or a travelogue. The avalanche itself is handled in a single shot. It’s a brief, frightening and tense minute, but the movie itself isn’t about the snow. It’s about the actions of one person and toll of what they have done, which may have more devastating consequences than the event itself.
In fact, it’s fascinating to see such a brief scene develop into an exploration of gender roles. As the leads tell their uncomfortable story of the day’s events and express themselves, friends and acquaintances become involved. Particularly funny is Kristofer Hivju as a close friend of the family. He comes across as an incredibly nice guy, but when he attempts to tread lightly and express an understanding of all persons involved, even he comes under attack from his significant other.
One can certainly understand and relate to Ebba’s reactions and behavior. And the movie takes dark pleasure in emasculating Tomas at numerous points. Yet as the story progresses, it interestingly peels back a few extra layers. In spite of comments from others that suggest the contrary, the male lead does appear to feel a great deal of societal pressure to behave and respond to situations in a particular way. It’s impressive that so many unexpected issues are raised in the viewer’s consciousness as the movie unfolds.
The final scene is open to interpretation and there are no stated answers to the questions raised – which is the point. This movie’s goal is to inspire discourse about the ideas brought forward, most notably gender roles. Yet despite the heavy themes, the general tone and approach isn’t overly serious or ponderous. And after all of the film’s awkward silences, as well as probing (and not to mention funny) conversions, it accomplishes its task effortlessly.
Not to oversell it, but one can easily predict Force Majeure as a frontrunner for a Best Foreign Language Film Oscar nomination. Those in the mood for something unique that challenges and defies expectations should certainly seek it out.