Avant-garde filmmaker Rob Trezenga remains true to experimental form inThe Fishing Place, a befuddlingWorld War II dramathat’s solely for “slow cinema” and art-house audiences.An interesting premise purposely loses narrative focus in favor of stylized visuals and exaggerated theatrics.The dialogue remains sparse and minimal throughout, with extended takes that linger for dramatic effect. These tactics don’t work and make an already short film achingly sluggish. The weirdness compounds until a bizarre and frustrating third act turn that’s meant to be clever but lands with a colossal thud.
A Nazi Spy
The Fishing Place
Set in Telemark, Norway, during the Nazi occupation, Anna (Ellen Dorrit Petersen), a housekeeper who walks with a limp, arrives by fishing boat to the remote seaside village. Her entrance, viewed as a long tracking shot with her standing on a dolly, gives the impression that she’s floating towards something troubling. This same approach is used as the Priest (Andreas Lust) and Hansen (Frode Winther), an SS Officer and the film’s antagonist, follow in similar fashion.
Anna treks through the snow to a house for a formal dinner. She’s immediately given an apron and asked to set the table for the guests. The Master (Eindride Eidsvold) argues with his two sons as his paraplegic wife (Gjertrud L. Jynge) watches. The Doctor (Ola Otnes) pulls Anna aside and whispers a warning. Be careful who you talk to. Word travels fast in a place harboring secrets. On cue, Hansen grabs Anna and reveals her true mission. She was sent to spy on the Priest and report on his political activities.
10 Underrated Spy Thrillers From the 2000s
From action packed teen thrillers to dreamlike arthouse projects, these are 10 underrated Spy thrillers From the 2000s.
Anna and the Priest are surprised to find a girl (Ella Maren Alfsvåg Jørgen) hiding in his assigned home. The sickly Priest admits he never asked for a housekeeper, but remains cordial and has Anna care for the young interloper. Anna and the Priest have little time to settle down before the master’s wife requests their presence.
Empty Characters and Flights of Fancy
The Fishing Placeleaves much of the critical exposition unsaid.You’re left to infer that Anna was in some kind of trouble and selected by the Nazis to infiltrate the town. Hansen, the only character who speaks directly, hints about her past with lecherous intimidation. He has power over Anna and is willing to exercise sexual dominance. Their scenes begin as troubling, establishing a palpable sense of dread for the protagonist, and then lose tension when Tregenza steers away from realism. This is a common annoyance that will test your patience.
The 30 Best International Movies of 2023, Ranked
From drama to comedy and everything in between, the world of ‘foreign film’ has produced the most amazing movies of 2023.
Anna is never fleshed out and seems like a hollow vessel. Petersen says little while hovering in the background as an ignorable servant. This makes sense given her forced objective. A maid can collect information as her constant presence is menial and expected. The problem is that Anna offers no private insight into her thoughts or fears. She exhibits kindness and rare flashes of emotion in some scenes, and is inconsistently cold and distant otherwise. This may have been a coping mechanism to deal with her fraught situation. We never know because her character doesn’t express herself.It’s hard to root for someone when they’re a complete mystery.
Art-House Cinema Theatrics
Tregenza (Talking to Strangers,Gavagai) is renowned for his use of tracking shots and long edits. He’s hit-and-miss here depending on your perspective.There’s no denyingThe Fishing Placehas beautiful cinematography.Tregenza has a primary focus, then pulls the camera back to expand the scope of a scene without cuts. He weaves between characters on sets but allows a grander perspective as they trudge through Norway’s frigid snow.
The surrounding environment becomes a key player, but detractors can critically argue it’s all fluff. This is especially noticeable as time passes without any explanation of what happened previously. Scenes just occur with monumental changes and little rising action to fill in the gaps.No amount of cinematic bells and whistles can overcome egregious plot deficits.
15 Arthouse Directors Who Helped Define the Genre
Arthouse cinema usually stands out for nuance and aesthetics. These are the most influential directors who are all considered icons of the genre.
The Fishing Placeproves to be the most divisive when Tregenza ends the actual film after 70 head-scratching minutes and shatters the fourth wall.There is no climax or conclusion but a behind-the-scenes look at how the opening was done. This happens suddenly and without warning. The fictional plot is hacked like an infected limb. We’re on set in Norway watching assistant directors, make-up artists, and the cast prep for Petersen’s introduction. This continues uncut for 20 excruciating minutes. Why? There’s no easily discernible reason. The story is left unresolved because of questionable artistic intentions.
The Fishing Placeisamaddening experience.Glimmers of intrigue are stoked like burning embers and then doused before anything substantive takes place. The film can be best be described as an ornament that initially looks good before becoming a paperweight collecting dust.The Fishing Placehas Norwegian and German dialogue with English subtitles. A LivingDaylights Production,The Fishing Placepremieres at the MoMAin New York City on February 6. It will open at Laemmle Theaters in Los Angeles on March 7th, with other cities following thereafter from Cinema Parallel and Epoche Motion Pictures.
