Engulfed by sadness is Pakistani immigrant Maryam at the police station

Engulfed by sadness is Pakistani immigrant Maryam at the police station. Her son Walter had left a voicemail message asking if she could come pick it up at the mall, but on arrival turned out to be the building ablaze. Walter was killed in a bombing, she learns to her dismay. The detective would immediately know the fine. ?? We have a bomb and a dead Pakistani, so please understand you or what angle we're looking for. ??

Welcome to the world of Torn, packed with narrow pigs for a second to think logically. Let's start with the authorities, who apparently have never heard of a normal examination. There has been an attack, so state immediately that the offender is one of the victims. Where wisdom comes from, is disregarded. Like the fact that volhangt an average shopping mall with security camera ?? s that could provide conclusive evidence. And maybe it would have been an idea to which voice to use as evidence?

In the meantime, there is also a second grieving mother appeared. Initially Lea will find support from her fellow sufferer, but she chooses soon the side of the police. Why Maryam never told her that Walter has ever behaved aggressively once against a group of racists in a movie theater? And then it appears again that the boy ever went to the mosque. The horror! Lea will immediately have nothing to do with the terrorists mother.

Disbelief about the idiotic shortsightedness, Maryam slinks off. But when it appears that Leah ?? s son Eddie was bullied and called once in his rage something evil about the bullies, the roles are suddenly reversed. Eddie did it of course! If they are the offensive false allegations shortly before been completely forgotten, Maryam sees her chance to vent her frustration once equally well on fresh scapegoat. Her husband is now fed up with all biased Americans who daub their home with Terrorists go home ??! ??. Back to Pakistan does indeed seem to him the best option. Cleverly enough, the country from flights if your son is one of the main suspects of the massacre.

The intention of the director Jeremiah Birnbaum must have been to show the public how prejudices can blur the image of the truth, but his silly incapacity is rather his own film that does. Tom says more about the author than about society.

The 1911 deceased composer Gustav Mahler wrote in his creative peak his Sixth Symphony. The four-part composition was five years before his death, first performed and was nicknamed "The Tragic". Characteristic of the piece are the three hammer blows that were allegedly three tragic events in the life of Mahler. This symphony plays an important role in the French coming-of-agedrama Le Dernier Coup de Marteau (Hammer The Last). Filmmaker Alix Delaporte has also a symbolic analogy hung on, but it does well to force anything. And tragically, it is not at all.

The latter is also due to the introverted protagonist. Thirteen-year-old Victor is a talented football player and lives with his mother in a caravan somewhere on the southern French coast. He has a close relationship with his mother, suffering from cancer Nadia. Victor has always maintained that he does not need to know his father himself. Things are different in front of Victor's father as a conductor does the local concert hall to. The boy seeks contact with his agent, which as you can guess, is busy directing the Sixth Symphony by Mahler. From that moment Delaporte can loose with the parallels between the work and life of Mahler and the worries of its youthful protagonist. There is intimate contact between father and son.

Sometimes Victor life directly affects the said symphony. For example, if he completely fallen under the spell of the music and his mother wants to hear the best part of a dilapidated tape. But just as often cutting the interfaces which Delaporte would barely touch wood if they are too abstract. Starring Paul Romain playing figure was given high praise from the judges in Venice, but the young actor fights visible against the limitations of his introverted role. Victor is not exactly the kind of guy you talk the ears of the head. New events or twists are often laterally handed him his life without him now himself in the hand. Delaporte clears up a lot of time to outline Victor living conditions, such as dealing with an immigrant family and his football parties, but while parking the emotional world of the boy.

This creates distance. Delaporte uses an observational style in which direction they like a fly on the wall observing the developments. This passive style will not be able to please everyone. The hand of the filmmaker herein is even greater when you consider that she was also responsible for the screenplay. The 'go-with-the-flow approach "keeps the viewer at a distance and makes the viewer hardly share the experiences of the boy. This French drama of small gestures and emotions was very appealing to be as timid direction of Delaporte not as had been in the way. Of conscious symphony of Mahler said according to the understanding and taste of the performer should be left out of the final hammer. That must have exactly what also advocated the maker of this babbling youth drama. A misconception, because dramatic level, the film had still may give a blow.