REVIEW — Silent Youth (2012)

FilmJuice have my review of Diemo Kemmesies’ almost silent film Silent Youth.

It would have been easy for Silent Youth to come across as either a dry technical exercise or an incomplete proof of concept; Little more than seventy minutes-long, the film is best understood as an exploration of how a romance might evolve in the absence of spoken cues. However, while that description may invoke memories of weird experimental works like Ingmar Bergman’s The Silence, Diemo Kammesies’ first film is actually a really quite affective and effective love story involving two young men who are too terrified to speak about what they feel, let alone who they are.

Silent Youth is a beautifully shot film that positively revels in its long silences. However, despite shifting from one pregnant pause to another, the film never feels repetitive as each of the silences reflects a different mood and another stage in the boys’ burgeoning relationship. Sometimes the silence is framed with sunlight and uncut grass in a way that evokes warmth and lust, other times the silence finds Kirill leaning back into a darkened corner as a means of capturing a momentary panic over the decision to have sex with a man. Despite this being his first feature film, Diemo Kemmesies’ direction is subtle but assured and the performances he coaxes from his actors are nothing short of mesmerising.

My review points out that Silent Youth can be seen as an art house film that makes use of storytelling techniques developed in the era of silent film but — on a more visceral level — this is a film about living in the shadow of homophobic violence and finding a way to reveal your feelings to another person without getting your head kicked in. Kemmesies establishes this fear of homophobic violence quite early on when Marlo’s love interest talks about being stripped naked and beaten up during a visit to Russia but while that fear is never again alluded to, it does explain why Marlo’s lover is definitely the more cautious of the two.

The fact that I didn’t initially pick up on this subtext says something about the lightness of Kemmesies’ touch but it also says quite a lot about yours truly: I can completely understand being reluctant to express one’s interest in another person for fear of being rejected and spoiling a potentially rewarding friendship but fear of being physically attacked either for expressing an interest or rejecting one is definitely outside of my lived experience. I guess this would be one of those ‘check your privilege’ moments then…

10 Works of German Expressionism

Videovista have my (rather long) piece on German Expressionist film entitled Apocalyptic Adolescence.

The piece gives a list of eight particularly noteworthy works of Expressionist cinema and ends with two works which, though not Expressionistic, seem like logical reactions against the trend.  One of the challenges of writing this piece was the slow realisation that the term “German Expressionism” is now effectively meaningless.  So I attempted to keep track not only of how the term changed, but also to look at all of these films through a rather definite understanding of what it meant to be a part of the Expressionist movement.

The list includes : The Cabinet of Dr. Caligari, The Student of Prague, The Golem, From Morn to Midnight, Genuine : A Tale of a Vampire, Waxworks, Nosferatu, Metropolis, The Last Laugh and Pandora’s Box.