Involuntary
In the past few years Swedish culture has become something of a byword for arty, intelligent filmmaking.

In the past few years Swedish culture has become something of a byword for arty, intelligent filmmaking. Let The Right One In and the Millennium trilogy are two examples of novels that have become critical hits world-wide, and whetted our appetites for all things Swedish. But what else has been going on up Scandinavia way?

First-time director-writer Ruben Östlund’s Involuntary indicates that the independent spirit of Swedish cinema remains intact even as it becomes the most popular kid in international film-school. A series of small storylines are presented without narrative comment, and little narrative direction either; the film has a theme rather than a plot. The theme is the nature of social dilemmas: when is it acceptable to go with the flow, and when is it right to do what you want?

Five storylines depict this theme in different ways. A family party is disrupted when a firework injures the patriarchal host, and yet continues at his insistence; two adolescent girls test the limits of their nascent sexuality, and adult tolerance of it; a bus driver challenges the consciences of his passengers on a long journey; a teacher finds that dissent has consequences; and a debauched weekend in the countryside worsens the pack mentality in a group of lads.

Stylistically, Involuntary is challenging – scenes are filmed in extended single takes, and the faces of characters are frequently obscured by their surroundings. People from outside of the camera’s frame speak unseen. This unorthodox visual style is not instantly endearing, but it has the effect of making the viewer concentrate harder on the meaning and delivery of what is said. Listening to the characters interact almost becomes a game, where we are left guessing what a person’s face might look like as they converse.

The film is billed as a tragi-comedy, and it’s a well-judged tag. The scenarios are often extremely uncomfortable to watch, mainly because many hinge of the sheer social awkwardness of initiating confrontation of any kind. In one scene, the teenage girls embark upon a flirtatious exchange with a hapless man on the bus. His horror at being targeted by girls who clearly understand their jailbait status is acute – and amusing to look upon. Awkwardness becomes the joke, and Involuntary owes a tidy debt to The Office, Curb Your Enthusiasm, and other 21^st century comedy cringe-fests.

Lately Hollywood directors have been rather keen on poaching from Swedish cinematic breakthroughs, and I predict painfully anodyne remakes of these sacrificial lambs. Having already been nominated for a Best Foreign Film Oscar, I hope that Involuntary is in no danger of being remade by an unimaginative LA hack. It stands as a unique, clever piece of social commentary, and hopefully audiences will be able to see past the subtitles and avant-guarde techniques, and enjoy the witty, thought-provoking dramas that unfold.