Varjoja paratiisissa

I think I'm going to like Kaurismaki. I really like his world view: this is all about two working class people who largely fail to find a good reason to live in their depressing surroundings, but come to find at least a little bit in each other. Any love story thrives on the charisma and chemistry of the leads, and it's remarkable how involving the two leads are despite acting almost completely deadpan and seeming to hate each other most of the time.

Kaurismaki sen de böyle film çektiysen benim hiçbir yönetmene inancım kalmadı artık. çünkü bu amk dünyasında böyle davranan bir insan yok. robot muyuz biz aq salağı seni

The kind of doctor I need hasn't been born yet

A carefully composed working class romance. Typically of Kaurismäki, it sparsely channels various stylistic references into empathic tragicomic poetry in which every cinematic gesture is an awkward & pained contrivance or a muffled emotional outreach. Its best moments seamlessly express both. I fear a lot of this may not translate too clearly since it often uses distinctly Finnish (non)expressions as punchlines or points of contrast. Funny yet compassionate yet miserable yet strangely uplifting

"Tipik bir Kaurismaki filmi" cümlesi okuyana ne ifade ediyorsa, tam tamına film o. Not: Bu olumlu bir yorumdur.

There is an atmosphere of social desolation a little bit reminiscent of Olmi, and the sparse dialogue and slight underacting place this somewhere between Fassbinder and sixties Bresson, but basically this is unlike anything. It's distinctly Aki Kaurismäki, on his third feature film already a formidable auteur. A parsimonious drama that packs a real punch.

Is this the Scandinavian answer to Stranger Than Paradise?

I did start watching the Proletariat trilogy in the wrong order, but it doesn't really matter. This is another tale done in the true Kaurismäki fashion of deadpan line deliveries and forlorn Helsinki city streets that often seem void of people. Loved all the actors in this one and I like that Nikander, while being such a downplayed person, also has another side to him that's more fierce and decided. Also, this movie reminded me of a time when everyone smoked, EVERYWHERE.

Two sad people make the best out of a bad situation. Cold, yet warm in it’s intent. And a surprising moral about the importance of communication in relationships.

The leaves have not quite fallen yet. This is prime early Kaurismäki. Old Helsinki is beautiful.

I love how she was at the bingo place for 3 minutes and confidently said "yeah, no, bye". That's how all great love stories should begin.

Kaurismäki very much shares Jim Jarmusch's extreme deadpan humor, but doesn't share his focus on hipster outsiders, instead telling small scale stories about working class loners. I have yet to see a film of his I don't love.

Sombras no Paraíso estreava há 35 anos na Finlândia. Gostei mais do final do que teria coragem de admitir, isso de alguém que odeia finais felizes é um puta elogio. BlurayRip no MakingOff.

w/ Buket

Viewed March 2, 2021.

Kaurismaki is only 29 when he directed this, but his style is already ripe from the get-go.

i'm not sure i watch movies so much as watch myself watch movies, but this is a nice movie to watch myself watch

Well-edited, fast-paced quirky love story, with class awareness: My favorite Kaurismaki so far.

More positive and optimistic and less minimalistic, so I liked more than Match Factory Girl.

This is an example of other side of Finnish society. Ordinary people, their ordinary life and their ordinary absurdity. The problem is that it is not entirely funny.

The anti-Hollywood love story. Unfortunately I'm not a big fan of Kaurismäki's direction overall... I have a hard time finding out whether it's Kaurismäki's view or if 1986 Finland was really like this.

The deadpan is almost too much. But at such a short runtime it's hard to really complain about such things.

Pellonpää's performance couldn't be better suited for the story, and the pessimistic unpredictability of his character's daily life has poetic value.

Maybe the stakes are too low, maybe his style, while mature in worldview and milieu, was still a bit slack in the editing department. Anyway, it's tough going, but what saves the love story from being a formal experiment is Kaurismäki's genuine feel for working class lives and their rough beauty.

Wonderful mix of deadpan comedy, uplifting sweetness and depressing realism. The two leads give excellent performances and help make the film's variations in tone fit together perfectly.

Aki Kaurismäki #1

I like to think of myself as a dilettante of dry humor, and maybe it was the translation, but I couldn't tell that this was supposed to be a comedy. It was quiet, subtle, and awkward, but it is neither funny, nor bad. I was thinking I'd check out some more of Kaurismaki, but after this I expect little. Not like there's a hell of a lot of renowned Finnish directors out there, so maybe he is the best.

Hilarious, tragic, spilling over with minimalist style. One of Kaurismaki's best.

Didn't notice any but one joke, but this was enjoyable enough in a Finnish sort of way. Why do all Finns look slightly ominous?

Definitely a unique sensibility displayed here; all signs in style and character portrayal point to me loving this. I come out mixed.

Finnish misery is a great source of comedy when dealt with right.

A pleasant little working-class love story with charming performances from Kaurismaki regulars Kati Outinen and Matti Pellonpää. Short and sweet, with the usual dose of deadpan comedy.