Many of the elements that trouble me about Playground are stylistic: Kowalski shows intense command of his material, but his repertoire of effects feels over-familiar. What starts as rigorous detachment becomes a different sort of cruelty: in a way that’s not intended cynically, but that finally feels cynical, detachment becomes merely an effect, just as the CGI that went into making this scene realistic is a hyper-sophisticated effect, a display of expertise applied to the abject. Julia Kelly was born in 1969, studied English, Sociology and Journalism in Dublin, and escaped to London for the mad, bad years of life. One boy starts walking around the kid, poking him with a stick—then the full horror of the scene erupts, as they beat him to death at great length, every moment of the atrocity captured in a lengthy take that presumably depends on CGI for its verisimilitude (the end credits list special-effects technicians). Well, how far would someone go to make a movie about a real-life incident that was as horrific then as it is today? Section three introduces Czarek (Przemek Balinski), a handsome blond lad first seen staring blandly at a crying baby in a cot; we then see him put upon by his mother and older brother. Östlund came to mind because of Playground’s mall sequences, and the use of a detached observational, surveillance-style viewpoint in his 2011 film Play, which follows a case of teenage bullying at almost unbearable length. With Ray Bradbury, William Shatner, Keith Dutson, Kate Trotter. The intimate talk quickly spins out of control, leading to an unexpected ending. But I’ve never witnessed such an abrupt collective exit as happened during Playground—and it seemed very much as if this was not just a panicked gut response but, consciously or unconsciously, a mass protest. There’s also the question of whether it’s appropriate, from the point of view of ethics or just of taste, to depict particular types of horror. In Playground, the cold parental home, and particularly an exterior of this suburban house—its front garden an absurd, fussy little forest of ornamental trees behind iron fencing—here seems to function as a shorthand for the dehumanizing environment that Gabrysia has apparently grown up in. There are plenty of troubling issues in Playground that will no doubt fuel further discussions of the film. CHRISTOPHER STEVENS: Refreshers and Flying Saucers, Opal Fruits, Space Dust and Toffos - the shelves of my school's tuck shop were heaped with sweets, all at a penny each. The … Yet this very detachment that in theory should make the final scene so rigorously demystificatory makes it all the more unpalatable: Kowalski shows at a distance, seemingly without dramatic rhetoric, and yet the dramatic rhetoric is there, only subtly hidden. While trying to save Fitz and Phil Coulson from Hell, Radcliffe had a glimpse of the infinite knowledge contained in the Darkhold and became obsessed with the idea of getting the book for himself since that moment. The film’s final image is a two-shot of the boy murderers sitting side by side, blank-faced, numbed, looking not so much shattered by what they’ve done as just vaguely wiped out. Seemingly pumped up on their bullying of Gabrysia, Szymek and Czarek walk cold-eyed in slow motion, like movie gangsters, as various adults stand motionless watching them in impotent horror, seen from the boys’ POV; the sequence’s final shot shows the boys from above, walking through a field of frozen adults, as if the film’s realism has suddenly taken on an edge of nightmare. Enter now a movie titled Playground, aka Plac Zabaw, that comes from the mind of Polish Writer/Director Bartosz M. Kowalski (The Red Spider 2006, A Dream in the Making 2012). There’s a gradual trickle of exits, sometimes speeding up as a film goes on, because one departure encourages the waverers until, there being safety in numbers, it’s only the truly courageous, committed, or simply inert who choose to stick around. The reason why Eve has arrived here with Addie (and the dog Alfie) is never really completely explained. on It also lacks precisely what made Östlund’s film so uncomfortable—the fact that we could never entirely be sure whether we were intended to identify with Play’s victims, or its bullies, or whether we could only adopt the position of adult bystanders unable, or unwilling, to intervene. Point made—and none too subtly. I’ve seen walkouts at festivals before, for all kinds of different reasons—boredom, bemusement, incomprehension—and they’re usually pretty much the same. But Kowalski is misleading us. It is the theme for the film A League of Their Own, which starred Madonna, and portrayed a fictionalized account of the real-life All-American Girls Professional Baseball League.Madonna was asked to record a song for the film… One is the very fact of asking children or teenagers to enact scenes of extreme violence: you hate to imagine how this drama felt to Kowalski’s young nonprofessional cast, although the end credit for a psychologist suggests the ramifications were thought through very responsibly. Ending Explained is a recurring series in which we explore the finales, secrets, and themes of interesting movies and shows, both new and old. The elegant multi-texturing of the sound mix, giving us the boy’s cries at a distance, makes them all the more distressing. One thing which “Playground” has in common with a considerable number of other films at San Sebastian is a portrait of a huge chasm between authority and the young. A lot of finely tuned work has been put into the sonic effect that makes us feel: he’s so near, yet so far, and we can do nothing. 1,155 likes. Unless, that is, we protest by getting up and leaving, refusing to be complicit. Later in the same scene—shot in a single extended take—a further intensification of the already horrific action caused a second wave to jump up and go. The playground element, of course, is a clear reference to the infamous playground scene in T2 when Sarah Connor watches families get incinerated by the Skynet-caused nuclear holocaust. Movie Info On the last day of school, a 12-year-old girl sets up a secret meeting with a boy. Though she may not always seem it at first glance because she spends much of the film in a state of dread or outright terror, Wendy Torrance (Shelley Duvall) is … All of her memories are intact, but with no physical evidence that contradicts the claims of her husband and her psychiatrist, and she sets out in search for solid evidence of her son's existence. ". Another question arises!—what was the point of this? They look at a video-game store, advertising something called Flames of War (there is in fact a board game of that name, but presumably that’s not what’s represented here). By Katherine Harrington, Contributing Writer. Like the in-depth, diverse coverage of Cryptic Rock? Not only did the Bulger case spark a sort of collective trauma in the UK media and elsewhere, because of its stark exposure of the extremes of juvenile disturbance, but also the revelation that the boy and his killers had been glimpsed on security footage made the UK aware as never before of the ubiquity of video surveillance as a benign or troubling guardian presence. The boy, lured away by Szymek and Czarek—although we don’t see how—is seen happily toddling along with them, swinging in the air as he holds their hands. Taylor argues the government has failed to manage the pandemic effectively for business owners and explains what the future of theaters could look like in the streaming age. Help us in support to keep the magazine going strong for years to come with a small donation. To that end, after kidnapping Melinda May and connected her to the Framework, he and Aida successfully used a LMD of May, which was late… The action depicted in the final section feels inexorable, and makes for intensely unpleasant watching. The scene made me wince more than any recent screen violence I can remember; it’s not because we see anything in precise detail, since we’re so far off, but we know what’s being done—and worse, we know whom it’s being done to, and by whom. The film offers some determining causes that are timeless constants—parental distance, uncomprehending adult disapproval, poverty, excessive responsibility at a young age—but it also throws in elements that are effectively new, as if in a deliberate updating of the Bulger story. What Kowalski is displaying, ultimately, is nothing more than his own cold audacity. 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