A fresh take on family dynamics: ‘Family Therapy’ by Sonja Prosenc
Slovenian director-writer Sonja Prosenc returns with her third feature, Family Therapy, a social satire that premiered at Tribeca’s international narrative competition and is now contending in Sarajevo. This film offers an absurdist twist on the classic premise of Pier Paolo Pasolini’s Teorema, where the arrival of a charming young stranger disrupts the dynamics of a wealthy Slovenian family. While the film is engaging for most of its duration, Prosenc’s narrative occasionally spirals out of control, extending beyond several natural conclusions. However, the film’s stunning cinematography, strong performances, and breathtaking production design provide ample compensation for its screenplay flaws.
A striking opening
The film opens with a dramatic scene: a smoking car bursts into flames on the side of a road, and a family of three scrambles to safety. This moment serves as a bit of a bait-and-switch, as the family in distress plays only a minor role in the story. Instead, the focus shifts to the Kralj family — the titular family — who speed past the burning car in their fancy vehicle without stopping to help.
Meet the Kralj family
The Kralj family, whose name translates to “King,” is composed of patriarch Aleks (Marko Mandić), his artist-gallerist wife Olivia (Katarina Stegnar), and their unhappy tween daughter Agata (Mila Bezjak). The arrival of 25-year-old French newcomer Julien (Aliocha Schneider), Aleks’s son from a previous relationship, disrupts their isolated, rigidly ordered existence. Julien’s empathy and kindness lead to both literal and metaphorical fractures in their lives, but these breakages don’t always lead to major revelations in Prosenc’s uneven screenplay.
A modern architectural marvel
The Kralj home, where most of the action takes place, is an architectural beauty of concrete and glass, situated at the edge of a forest. Decorated in a modern, minimalist style, the house features smart technology designed to keep the outside world at bay while allowing the family to keep a wary eye on nearby nature. This setting serves as a stark contrast to the emotional turmoil brewing within its walls.
Julien’s impact
Julien’s presence disturbs the family’s carefully maintained facade. His arrival evokes sexual tension in both Olivia and Agata, leading to a series of small incidents that initially seem promising but ultimately serve as mere distractions. In contrast, an extended scene at a pretentious art world party, where Serbian artist Ana Đurić-Konstrakta performs and Aleks humiliates himself, makes its point quickly but drags on too long.
Strong performances and stunning visuals
Despite the screenplay’s shortcomings, the film’s actors deliver committed performances. Mandić brings a manic twinkle to his eye as the writer obsessed with outer space, while Stegnar’s haughty ice queen melts with concern over her frail daughter. Schneider, as the deus ex machina of the plot, makes Julien a decent human being willing to accept his role in this flawed family.
A feast for the senses
In a film where ambiance trumps plot, special mention must be made of Tatjana Čanić Stanković’s glorious production design, the costumes by Gilda Venturini and Dubravka Skvrce, and the striking score by the Slovene musical duo Primož Hladnik and Boris Benko, who perform under the band name Silence. These elements combine to create a visually and aurally stunning experience that elevates the film beyond its narrative limitations.
Final thoughts
Family Therapy is a visually captivating film that explores the complexities of family dynamics through an absurdist lens. While the narrative may falter at times, the strong performances, stunning visuals, and evocative score make it a worthwhile watch for cinema enthusiasts. For those interested in experiencing the film firsthand, you can watch the trailer here.
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