Toivon tuolla puolen

The Other Side of Hope tackles a timely matter, the refugee crisis in Europe in the wake of the ISIL wars, with a wry and deadpan sense of humour, resulting in a product with a lot of personality and colour. It's a Finnish film that received international attention but doesn't present the Finns themselves in a totally positive light- but then, we know the Finns haven't been the only ones to show a complete lack of humanity and empathy towards those who've suffered so much.

The film boasts a number of memorable characters, particularly Waldemar Wikström, who purchases a restaurant called The Golden Pint while looking for a new line of work after a separation. A profitable business, he is told, because people drink when times are bad, and more when times are good. He finds himself leading a staff of three Finns, then a dog, and finally Khaled, a Syrian refugee only looking for his sister. Wikström brings Khaled in after the courts decide, rather dubiously, that there is no war in Aleppo.

The Other Side of Hope isn't naive in imagining a harmonious outcome for everyone. It brings us a vision of hardships that nevertheless, with its humour and hope, inspires, and brings a smile to the face.

In modern-day Helsinki, the lives of two characters are followed: Waldemar (Sakari Kuosmanen) is beginning a new life as a single man and opening a new restaurant; and Khaled (Sherwan Haji) is a refugee from Allepo, Syria seeking asylum in Finland.

This film deserves credit for taking on a subject that continues to grab headlines and personalizes it. The Finns in this movie are mostly portrayed as generous and fair-minded with a few exceptions: some are seen as idiotic government bureaucrats (an international problem), and others are seen as downright nasty thugs (a bigger international problem).

The directing style by Aki Kaurismaki is in his usual style of being deliberately austere and distant with moments of dry humour. It works well mostly but there could have been room for a few moments of deeper emotion considering the subject matter.

A shocking twist at the end does give the film some jolt but the ambiguity of the situation (which is also far-fetched to a degree) is unsatisfying. Despite this, "The Other Side of Hope" is a fine film. As it focuses mostly on Khaled, Haji comes off as a very fine anchor for the movie. - dbamateurcritic

Most of us have never had a 'refugee experience'. Many have read about it and some take a close interest, but usually it is something that happens to others in distant places. The confusingly labelled comedy-drama The Other Side of Hope (2017)is remarkably effective in bringing the refugee experience right into our face. Once seen, it is hard to regard it as only happening to nameless people in faraway lands.

The narrative frame has a haphazard quality about it, as if the audience has stumbled upon a vantage point from which we can see two hopeless lives randomly collide. After finally walking out on his alcoholic wife, dour Finnish salesman Waldemar (Sakari Kuosmanen) throws the sale proceeds from his business into a high-stakes poker game and makes a small fortune. After buying a run-down restaurant, he encounters Khaled (Sherwan Haji) sheltering among his rubbish bins. The Iraqi refugee had arrived in Helsinki via a coal-cargo ship while fleeing for his life. Refused refugee status and held for deportation by heartless Finnish authorities, Khaled is stateless, friendless, and homeless. Waldemar offers him work and shelter and tries to help him locate his sister who became lost while trying to escape the Syrian Civil War.

The story contains little humour. Its 'comedy-drama' label comes from totally deadpan performances that verge on absurdism, aided by a dark, almost noir filming palette. Most of the sub-titled dialogue is delivered without expression, which emphasises the heartless world into which the refugee is pushed. Dramatic situations that cry out for emotional expression are left cold, and it is this denial of the natural that most hits the viewer. For example, when the Finnish immigration official interviews Khaled for his refugee status, the honesty and sadness of his story are overwhelming yet not a trace of emotion is evident in either interviewer or interviewee. When Khaled is asked what he wants, the depth of his despair is in his words, not their expression: "I do not matter".

An element of the unexpected can add to the enjoyment of a movie, but perhaps not in this case. If you expect an entertaining comedy-drama from a nation well-known for its dark quirky humour you may be disorientated and possibly disappointed. The intention of this film is not to entertain, but to confront, inform, and engage. As global refugee problems continue unabated, The Other Side of Hope does not offer comfort or clarity, and this is reflected in its open-ended conclusion. The film's major achievement is how it makes us look directly into the face of the hopeless and hear the voice of the dispossessed. It leaves a heavy footprint.

Remember the pretty boy Ronan Keating singing that you say it best when you say nothing at all? Of course you don't, you only listen to good music. But this could be the very motto of Finnish legendary moviemaker Aki Kaurismäki's latest. This minimalist masterpiece is so achingly simple and elegant and yet so complex in a good way, that there's no really good way to describe it, if you don't understand Kaurismäki's style already. „Toivon tuolla puolen" („The Other Side of Hope" in English, „Teispool lootust" in Estonian") is like a haiku: it can convey so much with so little words and even so little action. I can't find fitting comparisions here, but Kaurismäki comes across like Jim Jarmusch's less snobish cousin: even more concentrated on what it's like to be human and small things that life is actually made of. They both value storytelling through details but Kaurismäki's approach is more mainstreamfriendly: you don't have to invest yourself fully all the time to make sense of what's going on exactly. „Toivon tuolla puolen" offers two bittersweet stories interwining, about refugee in strange and hostile land and old entrepreneur who leaves his wife and finds fresh start in running a diner. It often feels like comedy – Kaurismäki's approach could be called Finnish version of Soviet nostalgia that many 30-year or older viewers will respond to and enjoy. Judging by Estonian premiere, it's a real crowdpleaser. But deeper down it's more about bleak and sad side of human existence: loneliness, being unwanted, trying to find purpose when everything has fallen down. And, of course, about how there's no winning with nowadays' refugee crisis – it brings suffering for everyone involved, except for maybe those who like to attack people who „shouldn't be here". I give this quietly hilarious and heartbreaking masterpiece a near- perfect score. Although it doesn't break new grounds for Kaurismäki, I can't think of a way how it could be improved in any meaningful way. The movie's not gonna satisfy everybody, nothing will, but it's almost perfect the way it is. Deceptively simple but powerful experience that you can't imagine getting from anybody else than Kaurismäki.

Saw this at the Berlinale 2017, where it was part of the official competition for the Golden Bear. The synopsis on the festival website was not really promising, but my prejudice disappeared gradually during the screening. Although the movie has a certain inclination to become a fairy tale where everyone will live happily ever after, the ending has some darker sides to downplay the assumed optimistic story. One of these darker sides lies in the several times appearing "Finland security" men, who are up to no good.

Our first main protagonist Khaled is seeking asylum in Finland. From the outside, it looks like a very clean process as far as shown to us. The idle waiting time related to the asylum application procedure does hide the rough edges we often read about, namely that asylum seekers among themselves are making trouble when seeing others with a different religion or other political position, or even worse when seeing GLBT behavior that they are not prepared to allow. Intolerance can be very problematic here, given that the people are packed together, while at the same time being bored to death, doomed to wait, unable to do anything useful. Due to their numbers and possible variations in asylum seekers, it is a sheer impossible task to sort and separate them in such a way that such troubles are prevented. In this movie, however, the asylum seekers are living harmoniously together, and help each other where they can without seeking favors in return. What does Finland do what we apparently are doing wrong in The Netherlands??

Our second main protagonist Wikström follows a completely different path. On a random morning, he leaves his wedding ring and house keys with his wife, who is clearly alcohol addicted. He sells his stock but keeps the storage space (will become unexpectedly useful later). What also proves useful is his poker face, and he succeeds in multiplying his amount of cash considerably, to the extent that he can buy a restaurant including staff. The capabilities of the restaurant staff that he takes over with the rest of the inventory and furniture, do not look very promising from the outset, but he keeps them nevertheless.

For the first 30 minutes or so, the stories of above two main protagonists run their completely separate course. We see them in turns, both paths clearly delineated, simply by having other people and another decor visible. After his asylum request being denied, and just before being transported to a plane to be sent back, Khaled escapes and starts an uncertain life on the street. He is found sleeping between the trashcans by fresh restaurateur Wikström, from which moment on their lives become mingled.

The restaurant business does not go as well as may be hoped. Given the quality of the staff that he inherited when buying the restaurant, it can be no surprise from the first day on. For example, when someone orders sardines from the menu, that seems to mean that he receives a half opened can. More humor follows later on when they try out different restaurant types, e.g. sushi being prepared out of a cooking book. Other experiments also hardly succeed. A surprise inspection is handled in a way not exactly by-the-book but they pass. These humoristic scenes are intermixed with the more serious main line of the story.

The story includes a series of lucky strikes and happy coincidences that is overwhelming, bordering on statistically impossible. But otherwise there would have been no story to tell, so who am I to complain. The musical fragments we witnessed, most in cafés or restaurants, even one where Khaled plays the sitar (is that the proper name?), albeit not relevant to the story itself, are included (I think) as ornamentation or as local folklore, or simply happened to be available and deemed a waste when left out.

All in all, this movie is much better than what the average synopsis promises. On the other hand, it is not easy to describe what it is exactly that makes the movie attractive. The serious undertone cannot be overlooked, given the hostilities encountered by Khaled, and the motivation for the denial of his asylum request is also a farce, based on wrong facts that we see refuted on TV, and gives Finland a bad name. However, the parallel story with Wikström and his restaurant takes good care of ample relief from the heavy material. I usually lower my expectations when a book or movie builds on two or more parallel story lines, by assuming that none of the stories could offer sufficient material to stand on its own feet, but this time my prejudice proved unjustified. The way both stories were mixed without disturbing the logical flow of events, may be one of the reasons this movie was awarded by the International Jury of the Berlinale 2017.