The digging up of the past – and the hiding of secrets in the present – are the themes of Valeska Grisebach’s complex, subtle, opaque new drama which seems to withhold some of its narrative meaning from the audience, moment-by-moment. It is set, like her previous film Western, in Bulgaria’s remote and beautiful mountainous country, where memories of the Balkan wars (and the communist era before that) are still fresh and where there is money to be made and resources to be exploited for those who are ruthless enough.
As with Western, Grisebach uses nonprofessionals for many very likable supper-and-drinking-and-reminiscing scenes with people gathered round tables shooting the breeze, scenes that don’t need a particular reason to exist, other than their easy, garrulous energy. And as before, Grisebach shows an interesting reluctance to conform to conventional narrative templates – though while this film actually does conform to Chekhov’s ancient rule about what happens to the gun produced in act one (well, act two in this case), the denouement isn’t the usual arthouse flourish of violence. I felt however that in the course of this film, Grisebach was feeling and improvising her way through all this ambient detail towards a meaning that she (and we) didn’t really reach.
