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“Not a Word,” The latest film from Slovenian-German director Hanna Slak, presents a psychologically profound examination of the troubled dynamic between a mother and her quiet son. Set between Germany and France’s wintery, frigid landscapes, the drama delves into the effects of passion and emotional neglect on its central characters. The story captures how the mother’s professional ambitions lead to a growing distance between parent and child, ultimately impacting the son’s emotional growth. With its jarring narrative, “Not a Word” delivers a commentary on passion, connection, and parenting. It’s a compelling look at a woman torn between her passion and the real-world emotional needs of her child that she’s failing to meet.
Original Title: Kein wort
Directed by: Hanna Slak
Year: 2023
Country: Germany, Slovenia, France
Length: 87 minutes
In the complex psychological drama, Maren Eggert delivers a quietly moving performance as Nina, a devoted orchestra conductor whose life is consumed by her passion for classical music. However, a shocking incident at her son’s school reveals that she is not as connected to Lars as she had believed. She tries to become closer to the closed-off, introverted boy, but despite her attempts to bridge the emotional barrier between them, she repeatedly fails to do so. Nina’s conversations with her son are constantly interrupted by notifications on her phone and urgent messages from her orchestra members, which symbolize her misplaced priorities. Each interruption serves as a reminder of the emotional distance growing between her and her son. Although Nina excels in her professional life, her decision to prioritize these distractions reveals her shortcomings as a mother. It emphasizes her lack of awareness of how her neglect negatively affects the emotional well-being of both her and Lars. To establish a healthy relationship with her son and ensure he does not go down the wrong path, she has to figure out how to balance her passion for conducting music and nurturing a proper relationship with her son. She must realize that a true parent will listen to and understand their child’s needs.
In his feature debut, actor Jona Levin Nicolai portrays Lars with an unsettling amount of emotional detachment that elicits both intrigue and unease. As the story is narrated through the unreliable eyes of Lars’ preoccupied mother, we are only given glimpses into his personality and do not come to learn much about his character. However, it quickly becomes apparent that Lars shares his mother’s obsessive tendencies, letting himself be consumed by his fascination with electronic gadgets. Lars’ sudden new fixation on lighters adds a layer of depth to his character, particularly when juxtaposed with the backdrop of a schoolmate of his who was recently kidnapped and brutally murdered. Despite his teachers’ insistence that there was no evidence of there being a connection between Lars and the girl, as the plot unfolds, the event appears to have a much more profound effect on the boy than one would have thought. This impact leaves both Nina and the viewers questioning his potential involvement in the tragic incident and the nature of his unusual fixation.
While the performances are the heart of “Not a Word,” the film’s technical elements serve as the framework that holds it all together, amplifying the emotional weight of the narrative. With an all-star crew on board, all technical elements seamlessly work together to elevate the narrative to even greater heights. In a film where sound plays a crucial role in the plot and characters, Slak uses a phenomenally composed classical score by Amélie Legrand as a recurring motif to reflect Nina’s self-imposed emotional constraints. Meanwhile, celebrated cinematographer Claire Mathon, renowned for her visually rich work on “Portrait of a Lady on Fire” and “Spencer,” among various other films, takes a more classical approach in this film, expertly capturing the muted and cold tones of seaside commune Locmaria, France during winter to convey the isolation and lack of warmth between the characters. Finally, the film’s precise editing by Bettina Böhler, known for her striking work with auteurs like Angela Schanelec and Christian Petzold, emphasizes the immediate consequences of every action, adding weight to every significant movement and a new layer of depth to the narrative.
Additionally, the ability of Slak to convey the underlying emotional landscapes and the tragic consequences of characters struggling to navigate them is truly remarkable. Through her masterful direction, she delves deep into the psyches of her characters without relying on lengthy verbal expressions. Using visual imagery, she provides profound insights into the troubled dynamics between a mother and son. The frames in “Not a Word” feel like windows into the characters’ emotional world, revealing their unspoken desires, frustrations, and misunderstandings that define their relationship. It is a testament to the director’s skill that she creates an intimate atmosphere, inviting the audience to witness the quiet yet profound tragedy of their disconnection.
In conclusion, “Not a Word” is a remarkable exploration of the emotional disconnect between a mother and her son, portrayed through convincing performances by Eggert and Nicolai. Director Hanna Slak captures the internal landscapes of her well-written and complex characters, accentuated by a masterful classical score, visually striking cinematography, and a setting that parallels the connection between its two central characters. The film serves as a commentary on the challenges of balancing personal ambitions with the emotional needs of a family as a parent, highlighting the tragic consequences of neglecting the latter.
“Not a Word” screens at the 2023 Toronto International Film Festival as part of its Platform lineup
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