Review of Movie Truth and Justice
- December 22, 2019
- Andrew S Gillis
Estonia’s new shortlisted Oscar contender in the Best International Feature category has a beautiful family story painted on a tremendous historical canvas.
Already a locally based record-breaking box office blockbuster, Estonia’s official Oscar Friday entered the Academy’s shortlist at the Best International Feature Contest earlier this week, the second time in history that this small Baltic state has Rated by a movie Based on Anton Hansen Tamasare’s early 20th Century novel, a five-generation ethnic story is familiar to every child of the Estonian school, truth and justice. But the beautiful adaptation of the young author – the director, Daniel Tome – is also a deadly meditation on the human condition, spread across a beautiful historical canvas.
Truth and Justice were created on a government grant of nearly $ 3 million, which is very modest by Hollywood standards but big money for the character of domestic Estonia. Shot immediately, it looks like budget production is high. Indeed, it sounds like an old-school middle-bred Oscar bait that may have won more than one award in the David Lane era, but 21st-century academy voters are likely to be a little A bit of seriousness and relevance.
That said, Tom finds universal grace notes in a large-scale rustic agenda that resembles Thomas Hardy, Marcel Pignol, Nate Hamson, and Laura Ingalls Wilder. This is not the director’s first brush with Oscar, who was previously nominated in 2011 for his traditional action short The Confession. After the Fair in Boston and the Black Knights in Tallinn, Tute & Justice will make its US debut next month in Palm Springs.
Between 1872 and 1896, the story began with the recently married farmer Andreas (the Phantom people) and Quote (Mike Schmidt) arriving at their new home, Roberts Rise, a swamp house. Who is entering the forest with a swamp? For reasons that are never fully explained, one of his neighbours, Perio (the Pride Vojemist), drunk, vows to drive the newcomers, as he did for the previous two owners.
What was with But young newlyweds are more resilient than they expect, and are working hard to transform their lifeless fields into farm and family homes.
As the years progressively in the changing seasons, Krott has raised two daughters, leaving Andres anxious to serve as the future overseer of the farm by a male heir. Meanwhile, feudal neighbours are continuing their last war. After agreeing to create a joint drainage channel between the two properties, Perio repeatedly stops him to thwart Anders.
There are strong echoes of Pignol’s Jean de Florette, though it was actually published 30 years after Thamesir’s novel. The dispute has led both men to local courts over several decades of abusive legal interference over the past several decades. In the process, Andreas gradually mixes with the patient, the affectionate, the caring, the weeding the family, the bullying ideals.
Destiny eventually grants Andreas with his son, but he also becomes a widow and increasingly bitter. He married another wife, Sui, a maid girl, Marie (Easter Canto), whose union runs a lot of gossip in the local town areas. But both Andreas and Perio learn a hard lesson in old age as their children reject the growing disgust that has poisoned their lives.
In the end, the Drone Guard King Lear of Robbery Rise was left alone to reflect on all the love and positions that he reproached with his stubborn, proud pride. “What is the life of a human?” “Just a blade of grass before the dirt.”
From time to time, dragging and repeating oneself over two hours of lost time, Tut and Justice relies heavily on stock chords and thunderous chords, while some modest sub-plates and even small players make very minimalist designs. Are.
The alleged criticism of this book’s alleged religious prejudice is also lost, especially in the international cut, which is 16 minutes shorter than the domestic version.
Nonetheless, Tom is able to breathe a dirty life into the often overpriced ancient material. The cast is equally strong, especially the people and the Voyage Masters, who both prevent heartbreaking changes from young headlines to crusty older men.
Most of all, this visceral tale is a traditional wide-screen sensory feast, enriched with candle interiors, royal scenes, aerial shots and swollen musical starks. Truth and justice can be painted with a broad brush, but the canvas is beautifully detailed.
Venue: Black Nights Film Festival, Tallinn
Production companies: Allfilm
Cast: Priit Loog, Maiken Schmidt, Priit Voigemast, Ester Kuntu, Simeoni Sundja, Indrek Sammul, Marika Vaarik, Maria Koff, Risto Vaidla, Ott Raidmets, Loora-Eliise Kaarelson, Ott Aardam
Director, screenwriter: Tanel Toom, based on the novel by Anton Hansen Tammsaare
Producer: Ivo Felt
Cinematographer: Rein Kotov
Music: Mihkel Zilmer
Editor: Tambet Tasuja