A few months ago, I attended Europe on Screen 2023, a film festival that brought me on a deep, introspective journey. Held in the vibrant city of Denpasar, this event is a celebration of European cinema, and it took place from June 16 to 25, simultaneously in 7 cities across Indonesia, including Denpasar.
In Denpasar, the films found their canvas at two distinguished venues: Alliance Française and MASH Denpasar. If you’re unfamiliar with these locales, a quick Google search will lead you to their doors.
At the festival, I had the opportunity to watch two films, “Narcosis” from the Netherlands and “Beautiful Minds” from France. In this discussion, I’ll delve into the emotional tapestry of “Narcosis,” saving my thoughts on “Beautiful Minds” for another time. Suffice it to say, both films left a profound impression.
When I approached “Narcosis,” I carried no preconceptions. The title seemed to hint at a story centered around drugs, but it didn’t take long to realize that this Dutch film explored the depths of the human psyche, not chemical substances.
Delves into a condition known as “narcosis,” a state of consciousness loss that afflicts divers in the ocean's depths. However, beneath the waves of this metaphor, “Narcosis” navigates the turbulent waters of loss and grief.
The narrative unfolds non-linearly, shifting past and present, a year after the father’s tragic disappearance while diving. The family, left in the wake of this tragedy, carries the weight of their grief.
The youngest, Sonja, grapples with her loss in a way befitting a child of her age. At around 6–7 years old, she clings to the belief that her father still exists in a world beyond, conversing with him in her imagination and sharing tales of her remarkable dad with friends.
Boris, her older brother, around 9–10 years old, deals with the loss differently. With a deeper understanding of his emotions, he navigates the turbulent sea of grief, at times grappling with frustration. He even embarks on diving adventures in a nearby lake, attempting to understand the Narcosis that claimed his father.
Sonja and Boris develop their own unique coping mechanisms, reflecting the profound impact of loss. Yet, they yearn for guidance, a steadying presence. Unfortunately, this support doesn’t emanate from their mother, Milier.
Blameless in her own grief, Milier seems to carry the heaviest burden among the three. Her mourning appears to engulf their lives, but her attention to her children is somewhat lacking, resulting in strained relationships.
In the end, Milier comes to the realization that life must continue. She recognizes her responsibility to care for and show affection to her children.
Grief and mourning are complex topics. Each individual navigates these emotions in their unique way. Understanding this diversity in coping is crucial, as it sharpens our empathy when observing others’ experiences.
Watching “Narcosis,” my friends and I emerged with a profound insight into the varying shades of sorrow. We agreed that during such trying moments, our loved ones need our presence more than words.
“Narcosis” is a masterfully crafted film. While the non-linear narrative posed some challenges, the journey through the characters’ emotions was utterly captivating.
The film’s poignant opening, with its upside-down perspective gradually righting itself, symbolizes life’s unpredictable nature. As the saying goes, the only certainty in life is its inherent uncertainty.
The First Version is Published on Balebengong but the original link went missing. I don't know why, so lets published it here.
