Click to Skip Ad
Closing in...

TIFF Review: Goran Paskaljevic's 'When Day Breaks' Is Well Shot, But Overly Sentimental

News
by Nikola Grozdanovic
September 12, 2012 10:00 AM
4 Comments
  • |

“With this film, I’ve attempted to do something very complicated,” says Goran Paskaljevic during his introduction to the screening of "When Day Breaks." “To make a simple film.” One of Serbia’s most prominent filmmakers, Paskaljevic’s films have been premiering at TIFF since the 90s, and his brand new one, about a 70-year-old man learning about his true identity, follows suit. Believing that nowadays world cinema is lacking in emotion and true feeling, the director hopes that "When Day Breaks" will prove different. This envelope of hope however, was pushed too far.

We follow Misha Brankov (Mustafa Naderevic), a retired composer, who gets a letter about out an old box that had been dug up in the Old Fairgrounds of Belgrade, a site used as a concentration camp during the Second World War. Brankov’s visit to the museum changes his life forever when he finds out that he was adopted, and is the son of Isaac and Sarah Weiss, a Jewish couple that died in the camps, concealing their son's identity in order to protect him. His father, a composer himself, left an unfinished piece in the box, and the film follows Misha as he attempts to play the finished version and premiere it live. After decades of life and nearing the end, how do you react to something that shakes up your birth and origin? It’s a solid premise but, apart from some stand-out factors, the story drowns in its own simplicity.

Naderevic carries the entire picture on his shoulders, and is certainly the film's MVP. In almost every frame of the film, his Misha is a touching and soulful old man, his face a mosaic of emotion. The confused son, the desperate composer, the hopeful old man, Naderevic has it all in his arsenal. The film's cinematography is terrific too, shot to show the isolation Naderevic is surrounded by, the bleak surroundings of barren lands and dilapidating buildings lensed with a misty brown tint. It could have been a festival darling this year, were it not for the clanking flaws at the center.

There is a certain kind of desperation that you notice in this film, an intense hope to be liked and this is, ultimately, what brings it down. The script pours sentimentality until it begins to seep through every facet, including the acting, and you realize very early on that you can tell exactly where this is going. There's not enough here to sink your teeth into because as soon as we find out about the unfinished piece his father left him, we know exactly what’s coming.

Unlike festival highlights "Tabu" and "Amour," which also focus on elderly protagonists, "When Day Breaks" uses a predictable and oversaturated story to support its characters. As touching as it has to be at times, finely shot with a good eye for faces, and acted with compelling eagerness by Naderevic, the film never surprises or, when is all said and done, moves the audience. We are forced into sympathy towards the characters by the desolation that surrounds them, whether in thought or in the physical world, but it mainly feels manipulative. As Serbia’s official selection for the Academy Awards next year, "When Day Breaks" will be trying to win over the hearts of the Foreign Language branch of the Academy, but if their heads have anything to say about it, its prospects aren't too bright. [C]
 

News
  • |

More: Review, TIFF, When Day Breaks

Free Indie Movies and Documentaries    

4 Comments

  • PRADIP BISWAS, THE INDIAN EXPRESS NEWSPAPERS, INDIA | August 17, 2014 9:34 AMReply

    WHEN DAY BREAKS: CINEMA IS MANY TAKES
    BY PRADIP BISWAS, THE INDIAN EXPRESS NEWSPAPERS, INDIA
    JURY MEMBER INTERNATIONAL FILM FESTIVAL AND FRIBOURG INTERNATIONAL FILM FESTIVAL. CURATOR INTERNATIONAL FILM FESTIVAL.
    44TH INTERNATIONAL FILM FESTIVAL OF INDIA, GOA, 2013

    Goran Paskalvic, the Serbian maestro, who chaired the 44th IFFI Jury in 2013 at goa, has made more than eight engrossing films that stay with time. His new film WHEN DAY BREAKS was shown at the IFFI venue to a high applause of the film participants. Says Goran: “With this film, I’ve attempted to do something very complicated. To make a simple film.” The little say is indicative of his shrift and codification of social ideas.

    One of Serbia’s most prominent filmmakers, Goran Paskaljevic’s films have so far been premiering at TIFF since the 90s, and his current film is about a 70-year-old man learning about his true identity. It follows suit with more concentrated approach keeping the focus firm. The general belief is that nowadays world cinema is lacking in emotion and true feeling. Bu Goran hopes that WHEN DAY BREAKS is surely to prove damn different. This ultimate inner faith of hope however, seems pushed too far.

    In WHEN DAY BREAKS when We follow Misha Brankov (Mustafa Naderevic), a retired composer, who gets a letter about out an old box that had been dug up in the Old Fairgrounds of Belgrade, a site used as a concentration camp during the Second World War. Brankov’s visit and encounter with the museum mutates his life forever when he finds out that he was adopted, and is the son of Isaac and Sarah Weiss, a Jewish couple that perished in the camps, concealing their son's identity in order to save him. Quite with a cinematic touch Goran parades how his father, a brilliant composer himself, left an unfinished piece in the box, and the film follows Misha as he attempts to play the finished version and premiere it live at luminous point of time. Goran curiously stirs up emotion after decades of life and nearing the end, how do you react to something that sparks off question of birth and origin? It’s a solid premise but, apart from some stand-out factors, the story grows rich in its own simplicity.

    Naderevic carries the entire picture on his shoulders, and is certainly the film's forte. In almost every frame of the film, Goran lights up Misha which is a touching and soulful old man, his face a mosaic of emotion. The confused son, the desperate and sturdy composer, the Panglosian old man, Naderevic has it all in his arsenal. The film's cinematography is nimble and too alive, shot to show the isolation that Naderevic is surrounded by, the bleak surroundings of barren lands and sprawling buildings shot with a misty brown tint. The process reinvigorates the film..
    This critic discover with utter surprise that there is a certain kind of desperation that the viewers could notice in this film, an intense hope to be liked and this is, ultimately, what brightens up the work. Some cticis think that the script pours sentimentality until it begins to seep through every facet, including the acting, and you realize quickly that you can tell exactly where this is going. Goran keeps no mystery in the film’s movement that may detract one’s thinking process.
    Unlike festival highlights TABU and AMOUR which also focus on elderly protagonists, WHEN DAY BREAKS EMPLOYS a predictable and oversaturated story to support its characters. sO touching attimes that it has to be at times, finely shot with a good eye for faces and cinematic brilliance. When all said and done, the film finally moves the audience. In fact, we are sensibly forced into sympathy towards the characters by the desolation that surrounds them. As Serbia’s official selection for the Academy Awards next year, WHEN DAY BREAKS IS likely to be trying to win over the hearts of the Academy presence.
    Goran must be said to have clicked with the thinking audience if at home or abroad festivals.

  • PRADIP BISWAS, THE INDIAN EXPRESS NEWSPAPERS, INDIA | August 17, 2014 9:23 AMReply

    WHEN DAY BREAKS: CINEMA IS MANY TAKES
    BY PRADIP BISWAS, THE INDIAN EXPRESS NEWSPAPERS, INDIA
    JURY MEMBER INTERNATIONAL FILM FESTIVAL AND FRIBOURG INTERNATIONAL FILM FESTIVAL. CURATOR INTERNATIONAL FILM FESTIVAL.
    44TH INTERNATIONAL FILM FESTIVAL OF INDIA, GOA, 2013

    Goran Paskalvic, the Serbian maestro, who chaired the 44th IFFI Jury in 2013 at goa, has made more than eight engrossing films that stay with time. His new film WHEN DAY BREAKS was shown at the IFFI venue to a high applause of the film participants. Says Goran: “With this film, I’ve attempted to do something very complicated. To make a simple film.” The little say is indicative of his shrift and codification of social ideas.

    One of Serbia’s most prominent filmmakers, Goran Paskaljevic’s films have so far been premiering at TIFF since the 90s, and his current film is about a 70-year-old man learning about his true identity. It follows suit with more concentrated approach keeping the focus firm. The general belief is that nowadays world cinema is lacking in emotion and true feeling. Bu Goran hopes that WHEN DAY BREAKS is surely to prove damn different. This ultimate inner faith of hope however, seems pushed too far.

    In WHEN DAY BREAKS when We follow Misha Brankov (Mustafa Naderevic), a retired composer, who gets a letter about out an old box that had been dug up in the Old Fairgrounds of Belgrade, a site used as a concentration camp during the Second World War. Brankov’s visit and encounter with the museum mutates his life forever when he finds out that he was adopted, and is the son of Isaac and Sarah Weiss, a Jewish couple that perished in the camps, concealing their son's identity in order to save him. Quite with a cinematic touch Goran parades how his father, a brilliant composer himself, left an unfinished piece in the box, and the film follows Misha as he attempts to play the finished version and premiere it live at luminous point of time. Goran curiously stirs up emotion after decades of life and nearing the end, how do you react to something that sparks off question of birth and origin? It’s a solid premise but, apart from some stand-out factors, the story grows rich in its own simplicity.

    Naderevic carries the entire picture on his shoulders, and is certainly the film's forte. In almost every frame of the film, Goran lights up Misha which is a touching and soulful old man, his face a mosaic of emotion. The confused son, the desperate and sturdy composer, the Panglosian old man, Naderevic has it all in his arsenal. The film's cinematography is nimble and too alive, shot to show the isolation that Naderevic is surrounded by, the bleak surroundings of barren lands and sprawling buildings shot with a misty brown tint. The process reinvigorates the film..
    This critic discover with utter surprise that there is a certain kind of desperation that the viewers could notice in this film, an intense hope to be liked and this is, ultimately, what brightens up the work. Some cticis think that the script pours sentimentality until it begins to seep through every facet, including the acting, and you realize quickly that you can tell exactly where this is going. Goran keeps no mystery in the film’s movement that may detract one’s thinking process.
    Unlike festival highlights TABU and AMOUR which also focus on elderly protagonists, WHEN DAY BREAKS EMPLOYS a predictable and oversaturated story to support its characters. sO touching attimes that it has to be at times, finely shot with a good eye for faces and cinematic brilliance. When all said and done, the film finally moves the audience. In fact, we are sensibly forced into sympathy towards the characters by the desolation that surrounds them. As Serbia’s official selection for the Academy Awards next year, WHEN DAY BREAKS IS likely to be trying to win over the hearts of the Academy presence.
    Goran must be said to have clicked with the thinking audience if at home or abroad festivals.

  • PRADIP BISWAS, THE INDIAN EXPRESS NEWSPAPERS, INDIA | August 17, 2014 9:22 AMReply

    WHEN DAY BREAKS: CINEMA IS MANY TAKES
    BY PRADIP BISWAS, THE INDIAN EXPRESS NEWSPAPERS, INDIA
    JURY MEMBER INTERNATIONAL FILM FESTIVAL AND FRIBOURG INTERNATIONAL FILM FESTIVAL. CURATOR INTERNATIONAL FILM FESTIVAL.
    44TH INTERNATIONAL FILM FESTIVAL OF INDIA, GOA, 2013

    Goran Paskalvic, the Serbian maestro, who chaired the 44th IFFI Jury in 2013 at goa, has made more than eight engrossing films that stay with time. His new film WHEN DAY BREAKS was shown at the IFFI venue to a high applause of the film participants. Says Goran: “With this film, I’ve attempted to do something very complicated. To make a simple film.” The little say is indicative of his shrift and codification of social ideas.

    One of Serbia’s most prominent filmmakers, Goran Paskaljevic’s films have so far been premiering at TIFF since the 90s, and his current film is about a 70-year-old man learning about his true identity. It follows suit with more concentrated approach keeping the focus firm. The general belief is that nowadays world cinema is lacking in emotion and true feeling. Bu Goran hopes that WHEN DAY BREAKS is surely to prove damn different. This ultimate inner faith of hope however, seems pushed too far.

    In WHEN DAY BREAKS when We follow Misha Brankov (Mustafa Naderevic), a retired composer, who gets a letter about out an old box that had been dug up in the Old Fairgrounds of Belgrade, a site used as a concentration camp during the Second World War. Brankov’s visit and encounter with the museum mutates his life forever when he finds out that he was adopted, and is the son of Isaac and Sarah Weiss, a Jewish couple that perished in the camps, concealing their son's identity in order to save him. Quite with a cinematic touch Goran parades how his father, a brilliant composer himself, left an unfinished piece in the box, and the film follows Misha as he attempts to play the finished version and premiere it live at luminous point of time. Goran curiously stirs up emotion after decades of life and nearing the end, how do you react to something that sparks off question of birth and origin? It’s a solid premise but, apart from some stand-out factors, the story grows rich in its own simplicity.

    Naderevic carries the entire picture on his shoulders, and is certainly the film's forte. In almost every frame of the film, Goran lights up Misha which is a touching and soulful old man, his face a mosaic of emotion. The confused son, the desperate and sturdy composer, the Panglosian old man, Naderevic has it all in his arsenal. The film's cinematography is nimble and too alive, shot to show the isolation that Naderevic is surrounded by, the bleak surroundings of barren lands and sprawling buildings shot with a misty brown tint. The process reinvigorates the film..
    This critic discover with utter surprise that there is a certain kind of desperation that the viewers could notice in this film, an intense hope to be liked and this is, ultimately, what brightens up the work. Some cticis think that the script pours sentimentality until it begins to seep through every facet, including the acting, and you realize quickly that you can tell exactly where this is going. Goran keeps no mystery in the film’s movement that may detract one’s thinking process.
    Unlike festival highlights TABU and AMOUR which also focus on elderly protagonists, WHEN DAY BREAKS EMPLOYS a predictable and oversaturated story to support its characters. sO touching attimes that it has to be at times, finely shot with a good eye for faces and cinematic brilliance. When all said and done, the film finally moves the audience. In fact, we are sensibly forced into sympathy towards the characters by the desolation that surrounds them. As Serbia’s official selection for the Academy Awards next year, WHEN DAY BREAKS IS likely to be trying to win over the hearts of the Academy presence.
    Goran must be said to have clicked with the thinking audience if at home or abroad festivals.

  • maish | January 4, 2013 10:03 PMReply

    Reviews reveal more about the critic than the movie.
    One sees in a movie or reads in a book what is already inside him or her.
    As a 78 yr. old lover and viewer of movies since the Wizard of Oz(1939) and a lover of films both foreign and American, which deal with the human condition I may be considered "unsophisticated", because my wife and I and those who just attended this film at the Palm Springs Film Festival, found it extremely powerful, moving, with a cast which was outstanding, shot beautifully with muted colors. As a Jew who would have gone up in a chimney, if his grandparents had not migrated to the U.S. in the early 1900's, the film is heartrendering and like getting kicked in the groin.
    The purpose of a movie is to provide an emotional experience, to gain insight into the beings of other people, frequently from different cultures and times, and yet recognizable because of the commoness in our humanity and to teach us and give us insight into ourselves.
    Tonight, as always happens when I see a power house film, Iwill fall asleep thinking of this movie and its meaning and relevance to my life and those I know and love.
    This film maker and these actors have by expanding my horizons, given me a great gift.
    I thank them.

    M.Goretsky M.D.
    Palm Desert,Ca.

Email Updates