the central focus of michael winterbottom 's " welcome to sarajevo " is sarajevo itself , the city under siege , and its different effect on the characters unfortunate enough to be stuck there .
it proves the backdrop for a stunningly realized story which refreshingly strays from mythic portents ( " platoon " ) , racial tumultuosness ( the risible " the walking dead " ) or a tinge of schmaltziness ( " schindler 's list " ) .
the two leads , stephen dillane as a reporter and emira nusevic as an orphan with a plight few can identify with , are extremely believable ; not one moment with them involved rings false .
the question is not what went right .
the question is what went wrong .
for one , the film fails to provide a political overview of the war as it progresses ( the dillane characters reports an american plane departing from sarajevo as it departs , and that 's about it . ) .
the assortment of high - profile supporting actors , ranging from woody harrelson as a yankee reporter " into " liquor and cigarrettes to marisa tomei as a huggable children 's aid or somesuch are incapable of rising above the sketchiness of their characters , albeit they strive .
the interrupted use of authentic war footage somewhat hampers the rest of the film , it makes the fictional characters seem powerless by comparison .
still , winterbottom eschews mawkishness through flashy , frantic editing and imaginative use of music .
and it 's a plus , because he does n't toy with our emotions with sentimental blandness .
he wants us to know that in war , no one is victorious .
the sweet hereafter starring ian holm , sarah polley , bruce greenwood , tom mccamus , gabrielle rose , arsinee khanjian , alberta watson , maury chaykin , caerthan banks .
produced by atom egoyan and camelia frieberg .
script by atom egoyan ( based on the novel by russell banks ) .
directed by atom egoyan .
running time : 110 mins .
rated r .
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_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ atom egoyan 's powerfully meditative " the sweet hereafter " is as anything as haunting and transcendental as i 've seen this year .
it not only explores the aftermaths of a terrible tragedy with magnificent subtlety , with cold , and stunning shots of the backdrop of this mistfortune but also by telegraphing the sense of devastation that has permeated the small town with an enormous amount of dignity and respect for each and every soul affected .
ian holm as the somber , lonely lawyer seeking compensation for the townspeople , has a decency and a restraint uncommon with lawyers , he 's a lion for the wrong reasons :
the pain for having lost his daughter ( she 's a druggie who frequently calls him begging for money ) is reflected on the town .
and in
some mesmerizing flashbacks , we witness how she lost her purity .
it 's one of the most strikingly breathtaking takes on the loss of innocence i 've ever seen .
but the most astounding part goes to sarah polly , the peaceful , benevolent girl who , in contrast to the other characters , remains the most mentally stable during past , present or future .
her ability to convey concealed pain and unconditional love is the opposite , yet near - revolutionary role that won emily watson an oscar nomination for " breaking the waves " .
both women are torn apart by an extraordinary incident but it is only then that we truly see , truly feel , their wordless , omnipotent love .
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the sweet hereafter " though , is atom egoyan 's movie and as of now , he is emerging as the definite face of independent cinema .
after surging to worldwide recognition with 1994 's " exotica " , " the sweet hereafter " makes him something
few people in this industry can call themselves : an artist .
he interweaves time with a delicacy and sees a soul with a purity that is just not common .
Output: P