I haven’t seen writer-director Ruben Östlund’s Force Majeur (Sweden-France-Norway-Denmark, 2014), one of the most feted arthouse films of this year, but my anticipation has increased after watching (experiencing?) the film which preceded it, his second feature. There are at least two levels of ‘play’ going on in the film: there’s the ‘play’ of the boys (though it’s actually bullying rather than the ‘innocent’ kind); and the play with the spectator’s head, which makes for an interesting, and sometimes uncomfortable, experience.
Based on actual court cases in Gothenburg, Sweden, the film follows a group of black lads as they part con/part bully two white, and one lad of East Asian extraction, out of their stuff. The racial politics could, in the eyes of the ‘wrong’ (racist) audience, be quite incendiary as the film represents the black lads in a (negative) stereotypical way. As an arthouse film (in both Sweden and elsewhere given the film’s visual style – more below), however, we might expect it to be seen by the ‘right’ (middle class) audience who may be appalled by the racist stereotyping presented.
However, it all happened so it’s not racist is it? These questions might give you some idea of the way Östlund teases (plays) his audience. It’s a bit like near the start of Crash (US, 2004), where two African-Americans talk about negative stereotyping before robbing two middle class white people on the street. It’s shocking to see obvious racist stereotypes in modern cinema (there are plenty of non-obvious ones). Östlund, who co-wrote and directed, doesn’t offer the emotional catharsis of entertainment, which we get in Crash, but the unnerving camera eye, most commonly utilised by Michael Haneke, with which to observe events. The film virtually forces us to ask the question whether we are watching a racist film or not; it is a good question.
The camera is mostly still, with some pans, and uses long takes and long lenses to observe the action from a distance, which often appears to be taking place on location with passers-by oblivious to the filming. This ‘dispassionate’ distance puts us in the position of an onlooker who can only observe and not intervene. Very little intervention from passers-by actually goes on. In one scene, where the black gang beat up one of their own members, a man who saw what was going on tells the victim he’ll be a witness in court for him. While this scene is obviously completely staged (please let it be!), it’s still shocking to think people won’t get involved; though the passivity of people, when confronted with problems on the street, is well documented.
Östlund does not simply ‘have it in’ for the gang, as a coda the dads of the white lads take out their revenge in a quite outrageous way; presumably this too happened. Two women do intervene at this but didn’t call the police!!! Sorry for the exclamation marks but that’s how the film works: ‘call the police!’ was bellowing in my head.
Assuming it all happened, an absolutely key issue for if it hadn’t then the film would be read differently, Play brilliantly questions our morality. The Daily Telegraph reviewer, who gave the film 5*s, felt the film was ‘partly about a kind of paralysis wreaked by political correctness’. That’s to be expected from a right wing newspaper that doesn’t understand that ‘political correctness’ is a term of abuse aimed attempts to avoid discrimination. For me the film’s about voyeurism and interrogates our values; or rather encourages us to interrogate our values. And I don’t think the film is about race, rather it is suggesting that class is the key social factor. The gang have little, compared to their middle class victims, who we first see shopping in an anonymous Mall; one of whom has just lost 500 kroner to no great distress. Their parents, barely seen, seem more interested in work and only belatedly respond to a distress call. In a materialist society, materialism is the source of conflict. Östlund doesn’t take sides he just shows us uncomfortable truths.
A mostly non-professional cast are brilliantly marshalled though I am still puzzled by the scenes on a train with a cradle which seems to show up near the end, but the point is lost on me. Enlightenment welcome in the comments below please.