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Lore is an unsettling coming-of-age
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JN
oward the end of Lore, Cate
Shortland's brilliant new film
scheduled to open March 8
at the Main Art Theatre in Royal Oak,
there is a moment that crystallizes the
film's concerns in a most unexpected
way.
Having led her younger siblings
on a nightmarish journey through
Occupied Germany, Lore (the
startlingly self-possessed Saskia
Rosendahl) finally delivers them
to her grandmother's home outside
Hamburg.
Understandably concerned by their
disheveled appearance, the older
woman asked where they have come
from, and her granddaughter replies
almost off-handedly, "We've come
from the Black Forest:' It's an under-
statement of Olympian proportions,
with echoes of the dark fairy tales of
the Brothers Grimm.
In that moment, Lore's answer
links the film's bleak odyssey with the
underside of a German culture that
has made it inevitable and necessary
for its people to be kicked by the Allied
forces, good and hard.
And it is the low-key way in which
Shortland and co-screenwriter Robin
Mukherjee make the connection that
suggests the indirect but effective
manner in which this film renders its
judgment on Germany's crimes and
strange aftermath of the war.
Adapted from the middle story in
English-born novelist Rachel Seiffert's
2001 triptych, The Dark Room, the
film follows Lore, her sister Liesel
(Nele Trebs), twin brothers Jurgen
(Mika Siedel) and Gunter (Andre
Frid), and their infant brother Peter
as they stumble their way across the
new interior borders between British,
Russian and American zones.
At the same time, Lore is expe-
riencing another, more mundane
but no less confusing and diffi-
cult journey through adolescence
(making her a sort of sister to the
character Abbie Cornish played in
Shortland's acclaimed debut feature,
Somersault).
Their literal journey will be made
a bit easier when they are joined by
Tomas (Kai Malina), an exhausted but
hardened young refugee who may or
may not be a Jew escaped from a death
march.
But his presence merely multiplies
Lore's burden by introducing not only
the fraught elements of sexual awaken-
ing but also her growing sense of guilt
over the conduct of her parents, high-
ranking Nazis.
Shortland is Australian, but her hus-
band is a German Jew whose family
was devastated by the Shoah. Perhaps
that explains her decision to tell this
story in an oblique, elliptical style,
reflecting her own indirect relation-
ship to events.
Seemingly important narrative ques-
tions are left unanswered, and moral
messages are suggested rather than
stated.
The film is driven forward by its
obsessive focus on textures and an
underlying ambivalence about nature.
Lore is a film in which the "yuck fac-
tor" is never very far from the sur-
face — not only the inevitable blood
and gore that trails behind battles
and bombings, but the often no-less-
unpleasant effluences that occur natu-
rally without the brutal intervention of
human violence.
When Lore finds a photo of her
father on a poster about Nazi war