tiff 2021: 'as in heaven' review

By @nadreviews

    Flora Ofelia Hofmann Lindahl in As In Heaven (2021)

     When daring to envision a brighter future ahead, wishing and hoping for all the glorious things that could be, so often the response that brings one back down to earth is “it’s just a dream.” Is a dream really just a dream? Lise (Flora Ofelia Hofmann Lindahl) has an exciting prospect to look forward to: in a family of eight younger siblings, she will be the first to attend school. Lise has in front of her an image that she wants to create. On the verge of womanhood, she is starting to leave pieces of childhood behind for a brand new experience out in the world. That she’s facing such a big realm of possibility gives her the feeling of power, as though she can control anything that comes her way. But when her pregnant mother Anna (Ida Cæcilie Rasmussen) is in difficult labor and has a vivid vision that threatens livelihood, Lise discovers a much greater power in her path: fate. Inspired by Marie Bregendahl’s classic novel ‘A Night of Death’, writer-director Tea Lindeburg tells a resonating story of late-nineteenth-century superstition in the visually stunning debut feature As In Heaven.

    Set on a wistful rural farm in Denmark over a century ago, the film moves poetically and rings with contemporary chimes. As In Heaven has the look of a whimsical classic period piece and the feel of a living nightmare. It’s a vivid, modern tale of a teenage girl experiencing budding sexuality, searching for autonomy, and pressured by a community enraptured in anti-science beliefs. In addition to a coming-of-age thread, Lindeburg explores the dangerous impact of letting a vision rule rather than guide. Many of the characters in this film believe in the power of visions and fate, that God has a plan for each and every person, that there is no real way of influencing an outcome when it’s already been decided. Such is the viewpoint taken when Lise’s mother Anna falls ill during childbirth. Having had a vision that the delivery of a boy would be difficult, and that she would die if anyone called for a doctor, Anna is determined to endure the pain. Even if it threatens her livelihood and that of her children. Lindeburg’s powerfully observed story about the horrors women faced in the nineteenth century ring eerily true in today’s age. The film explores the collective thoughts of a community and how they are ultimately detrimental to the protagonist’s future, specifically her independence. Should something happen to her mother, the responsibility to look after the family and tend to the farm will fall entirely onto Lise’s shoulders.

    The ominous opening scene, one that showers Lise with a raging red storm, is among the most vivid film imagery in recent memory. The image, along with its contrast to the whimsical farmland, are an instant hook. As In Heaven moves in an assured, poetic way that creates an all-consuming atmosphere. Every little detail melts into each frame. From Marcel Zyskind’s cinematography and Nina Grønlund’s costume design, to Jesper Clausen’s production design, tremendously textured work brings the setting to life. Lindeburg does a wonderful job of establishing a sense of place, not just visually but also emotionally. Lise’s perspective is a guiding force in the story, through which all happenings are filtered as she grows more and more stunned by what she sees. One of the most resonating elements of the story is the expectation and societal pressure on women to follow in the footsteps of their mother, their grandmother, their great grandmother. To carry on their traditions and beliefs, no matter the cost.

    The absorbing quality of As In Heaven is a fascinating parallel to how intently the character of Lise absorbs her surroundings. It’s almost as though she is the all-knowing one above, watching over everyone and everything, willing something to happen with all her might. Her hopelessness makes the unfolding of the film all the more tragic. Lise’s attempts to take control of her own life and its trajectory is a waking nightmare. The tremendous performance by Flora Ofelia Hofmann Lindahl is the compass that brings the film together. Lise goes on a compelling journey in the span of a fairly short runtime. The horror quality of the film sees her encounter moments of breathtaking fantasy. As In Heaven is an all-consuming, nightmarish turn of events that takes some time to find a footing but is helped by such haunting imagery. At the core is an intriguing tale about standing on the shoulders of the women who have come before.

As In Heaven had its premiere on September 9th at the Toronto International Film Festival. TIFF21 runs September 9-18, 2021.

    Flora Ofelia Hofmann Lindahl in As In Heaven (2021)