Film ReviewsIn The Fade; The Point of No Return
Feb 7, 2018 Anchorage Press
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Diane Kruger gives an Oscar-worthy performance as Katja Sekerci in Fatih Akin’s film, In the Fade (Aus dem Nichts, original title). Katja is married to a Nuri, a Kurdish man and immigrant played by Numan Acar. Everyone makes mistakes and at times may take questionable paths, in the case of the couple, he was a drug dealer and she was his client; but people change and they make better decisions when given the opportunity and a reason. For the young couple, the reason was love and hope in the form of their son, Rocco (Rafael Santana); this is where the story begins. Then, the unthinkable happens, Katja’s reality is and life are blown to smithereens through a terrorist act, what follows is her journey through the legal drama and emotional roller coaster that comes with it.
In The Fade is Director Fatih Akin’s narrative about the fear and realities that face many immigrants—that of being targeted for the sole reason that they exist. Akin is German of Turkish descent, and his body of work reflects the biases that he has witnessed throughout his life and community, these biases and the discriminatory practices that come along with them create struggles and confusion about cultures, religion, sex, etc. In The Fade is interesting on many levels, it’s multifaceted, and a beautifully executed character study of grief itself—it turns out, sometimes, there is no getting through it or over it, and perhaps that is OK, even if it means jarring and inconclusive endings.
Akin’s film provides a reality check on institutional biases and those of the majority. When the terrorist incident happens that leaves Katja without her husband and son, the system’s representatives look towards conflicts and stereotypical suspects first—was it the Turkish mafia? – before looking at the rising tide of Neo-Nazi activity. Akin puts the character of Katja in the eye of the hurricane, so it is through her interactions with family and institutions that the director informs the viewer. This dynamic makes the viewer a key and omnipotent player in the plot development. When directors or writers give viewers/readers this level of knowledge over situations, it leads them to care for the characters, to suffer with them, and to wish they could help. The empathy viewers fill for Katja is nothing short of noble. Kruger’s performance further draws the viewer in, she knows she’s being watched, but uses this to deliver Katja’s state of mind through distant looks, and methodic actions. If at times the plot seems muddled, it only corresponds to Katja’s proximity to the edge of it all, to the chaos and emptiness into which she descends, and the calm that follows once she accepts her pain.
Akin’s film is quite beautiful, and the sound design only makes it better. The film was named after the song by the band Queens of the Stone Age, and its lead singer, Josh Homme, scored the film. The great acting, and thoughtful design were only a couple of reasons why In The Fade was selected to compete at the Cannes Film Festival where Kruger won for Best Actress. The film was also nominated as the German entry for Best Language Film for the Oscars. And most recently won the 2018 Golden Globe Award for Best Foreign Language Film.
Bear Tooth
In the Fade
R - Some disturbing images, drug use, and language including sexual references.
Showing on Monday February 12 2018 8:40 PM (106 Minutes)
In The Fade is Director Fatih Akin’s narrative about the fear and realities that face many immigrants—that of being targeted for the sole reason that they exist. Akin is German of Turkish descent, and his body of work reflects the biases that he has witnessed throughout his life and community, these biases and the discriminatory practices that come along with them create struggles and confusion about cultures, religion, sex, etc. In The Fade is interesting on many levels, it’s multifaceted, and a beautifully executed character study of grief itself—it turns out, sometimes, there is no getting through it or over it, and perhaps that is OK, even if it means jarring and inconclusive endings.
Akin’s film provides a reality check on institutional biases and those of the majority. When the terrorist incident happens that leaves Katja without her husband and son, the system’s representatives look towards conflicts and stereotypical suspects first—was it the Turkish mafia? – before looking at the rising tide of Neo-Nazi activity. Akin puts the character of Katja in the eye of the hurricane, so it is through her interactions with family and institutions that the director informs the viewer. This dynamic makes the viewer a key and omnipotent player in the plot development. When directors or writers give viewers/readers this level of knowledge over situations, it leads them to care for the characters, to suffer with them, and to wish they could help. The empathy viewers fill for Katja is nothing short of noble. Kruger’s performance further draws the viewer in, she knows she’s being watched, but uses this to deliver Katja’s state of mind through distant looks, and methodic actions. If at times the plot seems muddled, it only corresponds to Katja’s proximity to the edge of it all, to the chaos and emptiness into which she descends, and the calm that follows once she accepts her pain.
Akin’s film is quite beautiful, and the sound design only makes it better. The film was named after the song by the band Queens of the Stone Age, and its lead singer, Josh Homme, scored the film. The great acting, and thoughtful design were only a couple of reasons why In The Fade was selected to compete at the Cannes Film Festival where Kruger won for Best Actress. The film was also nominated as the German entry for Best Language Film for the Oscars. And most recently won the 2018 Golden Globe Award for Best Foreign Language Film.
Bear Tooth
In the Fade
R - Some disturbing images, drug use, and language including sexual references.
Showing on Monday February 12 2018 8:40 PM (106 Minutes)