‘Father’: Film Review

“Father” begins with a mother. Dragging her two sullen, uncomprehending kids along with her, Biljana strides onto the grounds of the factory from which her husband was let go more than a year before and harangues the foreman about the severance package they still have not received. The children are hungry, she wails, there is no money to buy food.

The action refocuses immediately around the woman’s husband, Nikola as he hears about his wife’s attempt at protest suicide and rushes to the hospital. She is in recovery but borderline catatonic, and their traumatized kids — an older boy and a younger girl — have been taken away by social services. Nikola is not allowed to see or talk to them until the local authority, headed by petty tyrant Vasiljević decides he is fit to parent them.

In long, spartan scoreless takes, he encounters animals and humans good and bad, lucky and doomed, but mostly Nikola is alone, and we can practically feel the weedy paths and cracked pavements under his feet. This places an extraordinary onus on Bogdan, who delivers a towering performance that somehow still manages to project smallness, as his ordinary-man character is progressively whittled down by outside forces until all that’s left is this rangy personification of utterly singleminded will.

Please, correct this statement.

Serbia DOES share a border with Romania 🤷🏻

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I want dir. Bong’s Mother bluray and this movie’s bluray and storage together at bookstand

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