The 2012 Tribeca Film Festival is roaring along smoothly, as celebrities, cinephiles, and NYC residents of all stripes descend on Lower Manhattan for this ever growing event.  There are many films making their World Premiere at this prestigious gathering, including one from NYC based production company Ghost Robot, who bring “First Winter”, filmmaker Benjamin Dickinson’s directorial debut.

“First Winter” takes the viewer to upstate New York and a yoga commune of sorts, where the harsh winter is setting in, and a catastrophic power outage changes the dynamics of the sojourn.  The film’s premise is fairly straightforward, as a tightly knit group who share the same world view must overcome human emotions in a fight for survival.  But the straightforwardness pretty much ends there, as the narrative unfolds in what can only be called an unconventional manner; one that is deeply personal, revealing, brave, and most importantly real.

Left to right: Matthew Chastain (Matt), Jennifer Kim (Jen), Benjamin Dickinson (Thomas), Lindsay Burdge (Marie) in First Winter Photo credit: Adam Newport-Berra

The film certainly is not shy about looking in a forthright manner at the contradictions that can be part of the yoga world.  Certainly, their lives revolve around spiritual enlightenment along with healthy eating and exercise, but they also indulge in drugs, alcohol, and sex with multiple partners simultaneously in what can only be described as an orgiastic atmosphere.  Judgments could be made immediately by audience members, but one should take caution before doing that.  The film is telling a story in a way that feels uncomfortable, but allows, if given a chance, an understanding of both human and cosmic ideas in a deeper way.

A way of life, a specific world view is what defines these characters.  It can be seen in the laborious preparations of the vegetable laden fare, the big ideas, the deep philosophical issues facing the world that are discussed in many scenes, the hard work and physical struggle involved with this simpler, more rugged way of life.  How many people chop wood for their heat, grow vegetables and fruits for canning to survive the harsh winter?  Sure, these characters smoke doobies, indulge in other things some in society frown upon, but these are their choices and the film simply seems to lay them out, forcing the viewer to confront them.

Paul Manza (Paul) in First Winter Credit: Adam Newport-Berra

It is made easy through the naturalistic way the actors bring to life on the screen these actual lifestyle choices.  The honesty in their portrayals is uncanny, slipping the viewer into this world many have never seen before, whether they want to go there or not.  This naturalistic realness that flows from the characters creates a certain level of discomfort however.  As the film goes on, it becomes increasingly difficult to empathize with them, as more and more flaws are exposed.  But again, that is the beauty of the film, it is unapologetically honest.

Contrary to the limited ability to manipulate light in a natural setting outside covered in white snow, the interior scenes were superb in their use of lighting.  Cinematographer Adam Newport-Berra uses a painterly touch to give insight into the characters’ thoughts and relay important sub-textual information.  Shadows or beams of light that cross characters in what must have been due to choices made by the visual team and director, elicit a semiotic response in the viewer that is undeniable.  Using sources like fire, sunlight piercing a shade, and a variety of others gives the film a polished look that aided the narrative and never interfered with it.

Left to right: Lindsay Burdge (Marie), Haruka Hashimoto (Haruka), Jennifer Kim (Jen), Paul Manza (Paul) in First Winter Credit: Adam Newport-Berra

The film unfortunately lost some of its pacing as it progressed, but perhaps that was due to the elevated emotional ground it stood on earlier in the narrative.  There were also a couple of moments that felt a tad contrived, but they were few and far between, as the film set a high bar for intensity that was bound to be missed a few times.  That is what happens when a filmmaker actually takes chances and tries to tell a story that is unconventional in method and subject matter.  This film will elicit a reaction from viewers, one way or another, that is a fact.

The 2012 Tribeca Film Festival is taking over Lower Manhattan with a great vibe and it really has just begun.  Over the next ten days, one of the most diverse array of films ever brought together will light up the screens at many theaters across the area.  There is literally a film for everyone, and for most, there are likely many that will please.  Looking for a violent, intense, and dark, both psychologically and literally, thriller?  One film that can deliver this is “Rat King”, from Finnish filmmaker Petri Kotwica.  The film just made its international premiere at TFF, but there are still at least two more chances to catch it there.  Onto some thoughts on the film.

Max Ovaska as Juri and Julius Lavonen as Niki in Rat King Credit: Mika Orasmaa

Hardcore gamers often keep themselves immersed in the subculture, spending most of their time in dark rooms illuminated only by their flickering computer screen, and with the advent and improvements in online gaming, the ability to connect with others who are similar is easier than ever.  In “Rat King”,  Juri, a soon to be graduating high schooler who has lost touch and connection with nearly everything in his life except gaming, befriends someone online in the gaming world who turns out to be another student, Niki.  After disappearing online for a period, Niki meets up with Juri looking for help with a “new game” he has become embroiled in, one that has real stakes involved, and one that you cannot quit until you win.  The plot continues to intensify as the film races towards its conclusion, upending assumptions and confounding expectations.

Julius Lavonen as Niki in Rat King Credit: Mika Orasmaa

Maybe it’s the long winters, prolonged periods of darkness, or other factors, but films from Finland and other Scandinavian countries seem to generally have a great sense of the visual aspect of filmmaking, which is especially important for thrillers like “Rat King”.  Kotwica and DoP Mika Orasmaa have a keen sense of lighting to enhance the narrative thrust as well as the tension in a given scene.  The film genuinely has a psychological effect on the viewer from the lighting choices alone, intensifying the effects from the action and narrative elements unfolding on the screen.  On the other hand, the intensity of the semiotics involved may bother some who do not enjoy being put into an altered mental state, even though it is mild in this film’s case.

Niina Koponen as Mia and Julius Lavonen as Niki in Rat King Credit: Mika Orasmaa

Inventive camera angles and movements metaphorically illuminate the film’s narrative as well, almost taking the viewer inside the minds of the characters at times.  Extreme, and they are truly extreme, close-ups, while close in physical distance, put a certain psychological distance between the viewer and the characters early on.  As the film progresses, these extreme close ups tend to pull back a touch, allowing the viewer inside the characters’ motivations, fears, and desires even when they utter nary a word.  Into this wizard’s brew of stimulation goes a hard driving soundtrack and score that keep the blood pressure elevated throughout.

The young actors in the film do commendable work, showing great chemistry with each other that goes beyond one’s expectations for actors of this age group.  Max Ovaska (Juri) and Julius Lavonen (Niki) adeptly portray the angst involved with “plugged in” youth “unplugging” by entering into real human interactions.  They also keenly display how friendship in youth can blossom quickly into a desire to help someone out in the most dire of situations.  Juri’s girlfriend Mia, played by Niina Koponen, is an adequate narrative foil for the two male leads, showing a compassion and a certain softness that blends well with a strength and self reliance during her character’s evolution.

Max Ovaska as Juri and Julius Lavonen as Niki in Rat King Credit: Mika Orasmaa