When visiting zoos and wildlife sanctuaries, we don’t find it strange to come across animals far removed from their native lands: lemurs in the Bronx, penguins in Rome, bonobos in Berlin. In our in…
” poignantly explores that feeling of place and belonging, together with the evanescence of our impact on those who follow us. It’s a film of big themes on an intimate scale that lovingly acknowledges the unimaginable wealth of stories inside everyone we encounter, while also looking at how we negotiate the place of memory in our lives. Hartmann’s conduit is a young ethnologist cataloging a rural island community before a new tunnel changes the population and landscape.
The tunnel is real, and so are a number of the people Dara speaks with who will shortly be displaced. Some live in homes built by their families generations earlier, like Birte and Leif, unable to imagine their farm covered in asphalt, whereas others are more recent arrivals with less of a connection to the land. While exploring the area, Dara comes upon an abandoned house in which she finds photo albums and the journal-like diary of a librarian named Agnes Sørenson.
During her explorations, Dara meets a young guy named Lucek , part of a Polish crew laying fiber cable in the area. Like the people she’s been interviewing, most of the Poles are real laborers in Denmark who at one point talk about their hopes on first arriving in Scandinavia, the dreams they had of bringing their families there, and the disappointments and prejudice that followed.
There’s one other fictional role, Käthe , a woman who works on the ferry and watches the passengers while imagining the hopes and dreams of those who pass briefly before her during the short sea journey during which time seems to stand still.
The steady, unforced electricity between Loven Kongsli and Gierszał proves incredibly compelling, her simple radiance matched by his understated charisma; they’re also terrific with the non-professionals. Visuals have an admirable formal rigor that insists on the centrality of people rather than cold compositions, which is very much in keeping with the film’s generous exploration of humanity.
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