Stages

Watching STAGES is like watching two completely separate films. Roos and Martin are divorced yet they meet regularly at bustling restaurants and cafes to reminisce the past and argue about the present. Their feelings for each other are complicated and frustrating, but one thing is clear– Roos and Martin both fear loneliness. Then there is their son, Isaac, — a recluse who is withdrawn and completely distant from the outside world. Although it is apparent that Isaac has been directly affected by his parents' relationship and divorce, the film ironically portrays him to have almost no direct interaction with his parents. In the restaurants, most of what Roos and Martin say to each other is trivial banter, but when Roos tries to mention Isaac's withdrawal, it only seems to spur on a recriminating argument between the couple. And once it's evident that neither can effectively deal with the issue, Roos and Martin quickly turn the conversations back to things less troubling. What is most striking about STAGES is its stark contrasts: chaos and noise constantly surround Roos and Martin during their long dialogues while a barren silence envelops Isaac and his loneliness and detachment from reality. Similarly, Isaac's movements are shot from a distance and Roos and Martin's conversations are shot in extreme close-up, with each slight wince, chuckle, tear, forced laugh, glance, and subtle gesture enlarged under the microscopic view of the camera. And that is exactly what this film examines and uncovers; not so much of what is spoken, but more so of what's not. (In Dutch with English subtitles) – KL