NOWHERE IN AFRICA

REVIEWED BY JAVIER ALDABALDE GADEA

Our rating: 2 out of 5

Because of: sexual content

Rated:

Nowhere in Africa, the Oscar-winning film from director Caroline Link, stands as one of the most widely praised European exports of the last couple of years (second only to Pedro Almodóvar's Talk to Her), and with good reason. The movie presents such a great mix of epic filmmaking and character development that it's almost impossible not to like it. It certainly worked with the Academy members, and it's not hard to figure out why. They fall for this kind of motion pictures, and, after seeing the film, I can't argue with their decision. Nowhere in Africa is definitely somewhere.

When the Nazis' hold over Germany is beginning to grow, the Redlich family flees to the African continent in search of safety for them and their only child, Regina. The man, Walter (Merab Ninidze), quickly accepts this new home in Kenya, but the same can't be said about his wife, Jettel (Juliane Köhler). She is unwilling to settle in this newfound place, for she has always lived comfortably in her home back in Germany. Thus, the relationship between husband and wife begins to fall apart, while their daughter befriends a local native, Owour (Sidede Onyulo), and forges a bond with the lands of Africa and its people. The acting is one of the film's highlights. Juliane Köhler is wonderful as Jettel. This is a strong, memorable character arc, and Köhler pulls it off beautifully. Merab Ninidze gives an honest, powerful performance as Walter, and both Lea Kurka and Karoline Eckertz are amazingly good as Regina. The supporting cast is compelling as well. 

Sidede Onyulo (a largely unknown actor in this side of the Atlantic), is also memorable as the family's loyal servant, Owour, and the other actors don't stay behind. Many will call this a "Holocaust film", but Nowhere in Africa cares more about its characters than it does with the Nazis. Besides, most of the movie takes place in Kenya; we are only given a glimpse of Germany. The relationship between the three main characters is what makes the film. Most of the movie is told by Regina's perspective, and it's fascinating to watch her grow in African lands. Walter adds some complexity to the plot, but Jettel is the true heart of the film. She's an amazing individual. At first, she is reluctant to settle in Kenya and start a new life. By the end of the film, however, Jettel ends up being a completely different character. After enduring the many difficulties they go through in Africa, these characters come out stronger than before, and their love for each other is all the more powerful. Few character arcs this year are stronger than Jettel's.

The lush cinematography is another of the film's strengths. There are some shots early on in the film that are breathtaking in its beauty and epic on scope. The African continent is the ideal setting for this film. There's a sense of beauty, danger and melancholy that only Africa (and Kenya in particular) can provide, and it sometimes reminded me of The English Patient (although Nowhere in Africa is not nearly as dark or as powerful as Anthony Minghella's film). The atmosphere is incredibly strong, and Caroline Link proves that she's also at home when it comes to the more "technical" aspects of the production. Without a doubt, the element of Nowhere in Africa that will unsettle some viewers is the sexual content. However, with the ever-handy fast-forward button, this shouldn't be a big problem. Foul language is few and far between. There is some violence, but it's not gory or shocking. Of course, the themes explored in the film may be too complex for children and young teens, but this depends on the individual

It's true that Nowhere in Africa is sometimes reminiscent of Hollywood's own endeavors, but the movie's unwillingness to give any easy answers defies that description. The viewer will find his allegiance switch from Jettel to Walter, and so on, although Regina remains likeable throughout the entire screen time. Many have argued that The Crime of Father Amaro deserved to win the 2002 Best Foreign Language Film Oscar, but, although the Mexican film is also striking and powerful, Nowhere in Africa leaves a stronger emotional impact, and therefore I consider it to be worthy of the prize. This is the latest cinematic gem to have come from Germany, and it will be remembered for years to come.