Border

Border (Gräns, 2018) tackles the two most pressing phenomena of our time, trolling and border security.  The film opens with a shaky medium shot where protagonist customs officer Tina is seen looking out from the shore, doubles as her parking lot, at a cargo ship moored at the harbor.  She clumsily picks up a cricket from the dirt and gently puts it on a blade of tall grass, with the car parked she is ready for another day at work.  She is extraordinary ordinary and alarmingly ugly that perhaps not even a mother can love.  I was watching lots of Youtubers opining on IBIS as in in-body image stabilization being the standard of modern filmmaking.  Ha.  It was a bit of a disappointment seeing that opening shot so shaky that any self respecting Youtuber would not approve.

Border is based on a short story by John Ajvide Lindqvist who also pens Let the Right One in.  Both are set in the mystic Nordic Sweden with wacky storylines and even wackier characters who are ostracized by society.  The two stories center on characters that are almost mirror reflections of each other; they are simultaneously the same and yet different.  In Border the woke character is Vore who stays woke and helps Tina woke and discover who she really is, sexually and otherwise.  There is no growth without pain as Tina plays detective at work and her own origin story.  By the end of the film, Tina has transformed.  Instead of gently picking up a cricket and rests it on some landing, she has no qualms of just treating it as food.  The film shocks and awes in its own quiet and subdued way, especially on the sexuality front which is as unpredictable as it can get.  Nothing seems obvious underneath the clothes.  The handheld shaky camera work and the overall art direction seems to suggest documentary and a very much down to earth aesthetic, but the story is just anything but or like the late Lagerfeld says (Border) is very much down to earth but just not this earth.  The movie is rated R.