Krzyk: Losing Control is a very dynamitic and remarkable film that explores factors of emotional stress and thus mental breakdown of one person. Krzyk in Polish is pronounce as a syllable meaning that encompasses the core concept of the film, a concept that is very physically engaging, which at times feel like a long unnecessary dream and an overdue tightly packed spring which is about to burst.
Lena (Gina Henkel) is a bacteriologist in the movie who has become overboard on the desk. One night after a dull day that turned into night on her way home, she hears the inaudible cries of a woman in a crashing car which is lit up in flames. She notifies the police and returns to her place.
That scream, together with the woman whose life was taken in that crash torments her evenings and all through the days. They drain her. One that little by little but inevitably conducts her to the fact that she has to admit what happened to her dead born child.
The beginning of Polish filmmaker Ewa Wikiel’s film work was based on her experience of traffic where she reports that there was a shout from a person who was involved in an accident. She penned this script together with fellow German writer/director Halina Rasinski dealing with what many rarely speak about or even consider: the loss of a baby during birth or through miscarriage?
Throughout this process, Lena has moments of anger management problems – more than ever since she, for some reasons, acted and behaved in a more destructive way than she had when trying to comprehend the reality inside herself.
The unique aspect of this film as compared to others is that the audience should not necessarily be meant to like the female lead character or feel sorry for her and this is what is very important for such stories wherein women who have lost their children are either overly sanitised or viewed solely as heroines by the society or its filmmakers. Rasinki and Wikiel want you to know that grief is messy and everywhere even and even more so where mothers are concerned.
Henkel in particular as Lena is not only convincing but dares to stand up in doing so with complete abandonment of any puppetry and in the end of the day even invokes sympathy towards such a complicated character. Still, she manages to adhere to her dedication as she continues to hurt herself and others in various ways, manifesting unfinished splinters in each unreserved effort made to maintain one’s insides from bursting forth.
And even if it is the end, even if it means that how crazy she is, is internal combustion, she will be buried in a car interred somewhere and we will still be there. No wonder that scribes, however, still find courage tobestow civilized boredom on our captivating heroine, hence, yes, commitment does pay off in the end.
The music, the visuals and the panting itself all have this continuous feel like its one long succession of nightmarish hallucinations with which the plot progresses well but does not overly tax the viewer’s perception due to the presence of a constant, though not particularly oppressive, sad atmosphere.
However; much as it seems rather problematic considering the scream itself has been introduced rather ambiguously which then becomes key issue because without understanding such catalyst first hand then quite a few parts could hardly be destroyed which otherwise should have been.
However, Henkel’s performance as always together with the unique way motherhood-induced grieve is portrayed in a the film still makes it worth watching it at least once.
Watch free movies like Krzyk: Losing Control on Fmovies
