Louder Than Bombs

Greetings again from the darkness. Sometimes we just can't "get over it". Three years after a war photographer dies in a suspicious car accident, her husband and two sons find themselves in various states of emotional distress. Everyone deals with guilt in their own way, but these three seem to be doing anything and everything to avoid actually dealing with the emotional fallout.

Writer/director Joachim Trier (Oslo, August 31) delivers his first English-speaking film with an assist from co-writer Eskil Vogt and a terrific cast. As we would expect from Mr. Trier, it's a visually stylish film with some stunning images … and the timeline is anything but simple as we bounce from past to present, and from the perspective of different characters (sometimes with the same scene).

The creativity involved with the story telling and technical aspects have no impact whatsoever on the pacing. To say that the film is meticulously paced would be a kind way of saying many viewers may actually get restless/bored with how slowly things move at times. Trier uses this pacing to help us experience some of the frustration and discomfort that each of the characters feel.

Isabelle Huppert plays the mother/wife in some wonderful flashback and dream-like sequences, while Gabriel Byrne plays her surviving husband. Jesse Eisenberg as Jonah, and Devin Druid as Conrad are the sons, and as brothers they struggle to connect with each other … just as the father struggles to connect with each of them. In fact, it's a film filled with characters who lie to each other, lie to themselves, and lie to others. It's no mystery why they are each miserable in their own way. The suppressed emotions are at times overwhelming, and it's especially difficult to see the youngest son struggle with social aspects of high school … it's a spellbinding performance from Devin Druid ("Olive Kitteridge").

Jesse Eisenberg manages to tone down his usual hyper-obnoxious mannerisms, yet still create the most unlikable character in the film … and that's saying a lot. Mr. Byrne delivers a solid performance as the Dad who is quite flawed, and other supporting work is provided by David Strathairn and Amy Ryan. The shadow cast by this woman is enormous and deep … and for nearly two hours we watch the family she left behind come to grips with her death and each other. It's a film done well, but only you can decide if it sounds like a good way to spend two hours.

Acclaimed Norwegian filmmakers Joachim Trier and Eskil Vogt has done another profound film which will be talked about in years to come. This film was chosen for the main program at this years Cannes festival, after Trier's last movie was shown in the festivals' "Un certain regard"- program. Joachim Triers granddad, Erik Løchen, participated in the main program with his acclaimed "Jakten"/"The hunt" in 1960, and Lars von Trier is also said to be a distant relative, though I haven't found the proof of that.

In this drama we meet the men, and the woman (Isabelle Huppert) of which their life has circled around. The mother died a couple of years ago in a car accident after colliding with a meeting trailer. The husband (Gabriel Byrne), which is a teacher, and the two sons has moved on, and we come into their lives when there is to be a memorial exhibition for her, when the oldest son (Jesse Eisenberg) just see his first kid being born at the hospital, and the youngest (Devin Druid) is seemingly living in his own world and in the video games he plays.

The film must be interpreted by each viewer, and will mean different thing to each one giving time to this film, but I would say the film is about awareness in your own life, as well as the difficulty in living together with other persons, especially if you don't have the communication needed.

The film is also from time to time bringing you into the thought of all the main persons, and especially into the youngest son's stream of consciousness of weird thoughts. The three men communicate, but are all keeping secrets from each other. These secrets seem more or less profound for each of them, and are all stories which should be told. How this all unravels is the excitement and tension of the film.

Well, go watch it! The film has capability to both be life changing and food for thought, and I liked it on that basis. I was expecting the film to have a stronger emotional impact on me, which disappointed me a little, but it sure will do that to others, depending on life experiences.

The style has obviously been very influenced by several great film makers, amongst them, some of the French masters. An obvious reference to me was Louis Malle's masterpiece "Le feu follet", and Luis Bunuel's "The Discreet Charm of the Bourgeoisie", but there's many more.

We've just seen the start of the magic to come out of the friendship between Joachim Trier and fellow script writer and filmmaker Eskil Vogt. I sense there are great films to come out of this cooperation.

Well worth a watch, but don't expect an action movie. Be ready to use your brain.

Director Joachim Trier makes his English-language debut with the drama Louder Than Bombs, an intimate portrayal of one family's relationship and the struggles they must overcome in the face of death. The film made its debut at the 2015 Cannes Film Festival and, coupled with Trier's reputation as an acclaimed filmmaker and visionary, is sure to make waves in the indie/art house film scene.

Isabelle Reed (Isabelle Huppert) a famed photographer who felt most comfortable in war and conflict-ridden areas, was the center of her husband Gene (Gabriel Byrne) and two sons', Jonah (Jesse Eisenberg) and teenager Conrad (Devin Druid), world. No one could have predicted that she would leave behind a familial conflict of her own doing after her untimely and suspicious death. Three years after the accident, Isabelle's works are being thrust into the spotlight when a museum in New York City asks to use her photographs for a retrospective gallery installation. Her husband accepts, as he is slowly moving on with his life and sees this as a great opportunity to honor her. However, he discovers that an accompanying New York Times article speculating Isabelle's actual cause of death is set to run simultaneously with the gallery opening, and threatens to expose the devastating truth that Gene was intent on hiding from his youngest son in order to protect him. He has no choice but to enlist his oldest son Jonah to help him get through another painful confrontation.

Louder Than Bombs is an unwavering, head-on look at the human desire for connection and the need to be understood. It's obvious in Conrad's behavior by acting out and alienating himself from his father's attempt to reconnect, as well as in his brother Jonah's promiscuity, even when he has a wife and newborn baby at home. Gene's attempt to bond with his two sons is affected by his own flaws. This humanistic condition for connection is at the forefront of the film and engages the audience into contemplating how and why we act the way we do, focusing on the relationships within our own family.

What sets Louder Than Bombs apart from other films of recent memory are the surreal moments Trier infuses within the story. Disregarding the traditional method of linear storytelling by shifting between the past and the present, these added moments put visuals to feelings that have a hard time being expressed otherwise. They are not the character's dreams, rather, they are daydreams- or what one wonders about without limitations. These moments are hauntingly beautiful and stand out as works of art on their own.

On the acting front, the assembled cast could not have been better. Jesse Eisenberg is fantastic in the role of Jonah, his trademark quick-witted clamor is controlled and even understated, serving as the voice of reason in the film. Gabriel Byrne plays the widowed Gene with sensitivity as a conflicted father trying to navigate his own direction in life, who is not without his own flaws. Devin Druid embodies the angsty, brooding teenager Conrad to such a believable degree while still holding onto the innocence of being a misunderstood child. These, plus the stellar performances from Isabella Huppert, David Strathairn, and Amy Ryan, truly give the film it's footing.

The title- Louder Than Bombs– suggests an epic, grandiose drama, but instead, what Trier creates is a meditative and restrained film that is not at all loud or brash. It is a psychological trip that leads back to the celebration of one's own uniqueness coming together to fulfill the family dynamic. There is no doubt that Joachim Trier took a risk with Louder Than Bombs, but I believe his creative vision has the potential to pay off tenfold.

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This film tells the story of a father and his two teenage sons, who core cope with the untimely death of their wife / mother due to a traffic accident. Their grief is further complicated by a breakdown on communication.

I tried very hard to understand the story, but honestly I didn't understand a thing. "Louder Than Bombs" tries to tell a story of a dysfunctional family, but it ends up being an aimless drivel. I have no idea what the story is trying to convey. It jumps between the past and present inexplicably, and there is little continuity and connection between the past and present. And what's the fascination with decomposition of bodies? Those scenes are just plain gross. Perhaps the scenes are there to be provocative, but they simply alienate viewers from the film. Furthermore, it is not interesting to see teenagers sulk all the time. I regret having wasted my time watching this indecipherable collage of scenes.

'LOUDER THAN BOMBS': Four and a Half Stars (Out of Five)

Insightful drama flick, from Norwegian filmmaker Joachim Trier (in his English-language film debut). The movie tells the story of a husband, and his two sons, that are trying to cope with the death of the boys' mother. It was directed and co-written by Trier, with Eskil Vogt (Trier's usual writing partner). The film stars Gabriel Byrne, Jesse Eisenberg, Devin Druid, Isabelle Huppert, David Strathairn and Amy Ryan. It's a really well made movie, and it's also intensely involving.

Isabelle Reed (Huppert) was a very famous, and successful, war photographer; until her death, in a horrible car accident. Gene Reed (Byrne), and his sons, Jonah (Eisenberg) and Conrad (Druid), are still trying to get over her death. It appears as though Isabelle's death was a suicide, and her former coworker, Richard (Strathairn), is about to publish a newspaper article saying so. Gene wants to tell Conrad, who doesn't know this about his mother's passing, before the article is released; but Conrad is becoming increasingly hard for his father to talk to. Jonah recently had a child of his own, and he's just returned home, for the first time in a long while, to spend time with Gene and his depressed brother.

The movie is really well directed, and written, and the performances are all decent as well. It's a really sad story, with very well thought out and realistic characters. What's most impressive about the movie, is how inspiring it is (despite all this). Finding light in seemingly overpowering darkness, is a really hard thing to do; but Trier impressively pulls it off. He also tells the story in a pretty fresh, and unique way too. I really like this film.

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