What would you do if you suddenly arrived at your apartment, that apartment that you only use from time to time, but that's yours anyway, and found a couple living in it? This is precisely what happens in this film to Walter, a peaceful university professor, who has lived a boring and routine life for decades, and sees his life change when he arrives at his New York apartment for a conference and meets two illegal immigrants living there, convinced that they had rented it. Who visits whom? It depends, I think, on the perspective.
The film is directed and written by Tom McCarthy, who could have done better if he was more direct in what he wants to say to his audience. The script is effective in telling a good story, but it should be more frontal in the way it tries to question the way we react to immigrants and the problem of immigration in post-9/11 America. The film does indeed want to question the justice of the authorities' treatment of these immigrants, but it does not want to openly criticize that subject, which is particularly relevant for us in Southern Europe, as we have immense newcomers swimming across the Mediterranean. On the other hand, he also does an interesting exercise in putting the peaceful life of a mature man inside out. Sometimes what we need is a shake-up to start enjoying life in another way, and to find new forms of happiness.
The cast is powerfully led by Richard Jenkins. The actor is good, and his work here is strong enough to withstand most of the film. Personally, I had no problems with the way the character changes and I don't see it strange that he is interested in the drum. Here, in Portugal, this kind of instrument became popular thanks to the Portuguese contact with Africa (as you certainly know, my country was present there for a long time) and I remember seeing schoolmates, white like me, with similar drums. The actor is good, but establishes an uninteresting relationship with Hiam Abbass. The actress does her job well, but she has little to do, and their chemistry was not convincing. I never realized if they come together out of guilt and fear or if there really is any affection. More convincing was the relationship between Haaz Sleiman and Danai Gurira, and Sleiman's joy and optimism is a welcome bonus, although it is hard to believe from the moment he is arrested. Shouldn't prison have a more devastating effect on the morale and optimism of someone like him?
Technically, it is a discreet film, betting more on the history and performance of the actors than on any scenic subterfuge. Cinematography is standard, the sets and costumes are what we would expect to find. The soundtrack has nothing really appealing about it, and New York City, which is particularly photogenic, was really underused.
The film is directed and written by Tom McCarthy, who could have done better if he was more direct in what he wants to say to his audience. The script is effective in telling a good story, but it should be more frontal in the way it tries to question the way we react to immigrants and the problem of immigration in post-9/11 America. The film does indeed want to question the justice of the authorities' treatment of these immigrants, but it does not want to openly criticize that subject, which is particularly relevant for us in Southern Europe, as we have immense newcomers swimming across the Mediterranean. On the other hand, he also does an interesting exercise in putting the peaceful life of a mature man inside out. Sometimes what we need is a shake-up to start enjoying life in another way, and to find new forms of happiness.
The cast is powerfully led by Richard Jenkins. The actor is good, and his work here is strong enough to withstand most of the film. Personally, I had no problems with the way the character changes and I don't see it strange that he is interested in the drum. Here, in Portugal, this kind of instrument became popular thanks to the Portuguese contact with Africa (as you certainly know, my country was present there for a long time) and I remember seeing schoolmates, white like me, with similar drums. The actor is good, but establishes an uninteresting relationship with Hiam Abbass. The actress does her job well, but she has little to do, and their chemistry was not convincing. I never realized if they come together out of guilt and fear or if there really is any affection. More convincing was the relationship between Haaz Sleiman and Danai Gurira, and Sleiman's joy and optimism is a welcome bonus, although it is hard to believe from the moment he is arrested. Shouldn't prison have a more devastating effect on the morale and optimism of someone like him?
Technically, it is a discreet film, betting more on the history and performance of the actors than on any scenic subterfuge. Cinematography is standard, the sets and costumes are what we would expect to find. The soundtrack has nothing really appealing about it, and New York City, which is particularly photogenic, was really underused.