WATCH THE TRAILER HERE
First, the Recap:
Scrupulousness. Verity. Trustworthiness. All terms applied towards the actions and attitudes we as human beings strive, or should strive, for on a daily basis when it comes to our interactions with others who come into our scope of influence. Yet, when we find ourselves in a circumstance fraught with frantic choices to make, do we then still aim for the high road, or instead allow inward voices to convince us that taking contrary action to benefit only ourselves is somehow the better path to tread? Veteran war journalist Robert Sternvall (Richard Sammel) has seen and covered it all. Noted for his highly prized photographic skills, the accolades previously gained and still upcoming for an exhibition highlighting his work during the reignited 2016 Armenian-Azerbaijanian conflict in the region of Nagorno-Karabakh get upended when an unforeseen connection forms between himself and well-respected opera singer Sophia Marti (Tatiana Spivakova), tying into his past, and creating the need to traverse a road to admission and, ideally, redemption.
Next, my Mind:
The deeply regarded values of reputation, respect, professionalism, friendship, and basic human connection clash with the specters of journalistic integrity, self-serving resolution, unwarranted success, and buried guilt in this smartly written, well-executed, and wholeheartedly engaging 92-minute indie character drama from director Jivan Avetisyan, writers Mko Malkhasyan and Artavazd Yeghiazaryan, producers Masis Baghdasaryan and Kestutis Drazdauskas, co-producers Marco Gilles and Angelika Schouler, and executive producer Adrineh Mirzayan. While we would easily be able to state that any number of these grander, foundational, and highly utilized elements are often commonplace in cinematic efforts overall, it’s more about the manner by which they’re addressed and how they are woven into the story we as the viewer are witness to. That being said, this critic very much applauds this film for allowing us to be treated to all of this with worthwhile, measurable impact, manifesting a relevant morality tale for contemporary times.
Wrapped within the scope of the already distinctly physical, emotional, and mental tolls that are brought about by war and being exposed to and/or fighting in it, the narrative that finds a distinguished war photographer suddenly at odds with his unsettled conscious carries with it an aura and the weight of both individualistic and nationalistic thematic concepts, succinctly focusing on ambition over honesty while then showcasing larger ideas encompassing pride in one’s country, emphasizing an underlying but still evident current of “we shall not be silenced” that undeniably resonates within you as the viewer, or at least it did for this critic. I very much appreciated the social and moral statements being made here, as neither is coming across as “preachy”, but rather serve as a potent and evocative reminder about the ramifications of poor decisions on a personal level while illustrating the greater aspects of patriotism and fortitude of those fighting for their liberation but having to pay a high price in reaching for it.
Having this combined nucleus of subject matter sustained throughout the film allows it to carry a much more pertinent and intentionally relatable atmosphere, which in turn facilitates the believability and driving designs in how this project emphasizes in both prominent and subtle ways the ripple effect the choices of a few, or one, can have on so many people. Employing present day and flashback sequences aids in filling out the tale with deft impact and needed benefit to us. I also found the methodology behind how the film chooses to bring us to the finale it does fresh and decidedly apropos here, presenting a well-placed exclamation point on the proceedings, the life lessons made clear and in a way that sticks with you. Visually the film is lushly shot, intimate in moments, far reaching and expansive in others, showing us the images of war but ultimately immersing us in one man’s affecting journey even while not sacrificing the film’s larger themes and objectives. The namesake location, when we finally get to see it, is simply breathtaking and belies the more sobering truths we see.
This is my first opportunity seeing Sammel on screen, and I must say I was quite impressed by the German actor’s ability to balance a realistic “everyman” demeanor with the more “battle hardened” (and battle worn in so many respects) war journalist mentality through his portrayal of Robert Sternvall, a man of deep competency and dedication to his chosen profession who’s also hiding a secret that could unravel it all. Haunted by this past option made real in a moment of besieged mindset, his return to the locale of it to cover a newly elevating conflict brings him into the path of someone unanticipated who may end up being a catalyst for the exact revelation he’s dodged for so many years. It’s a mixture of calm resolve and frantic discovery in the backdrop of war that Sternvall finds himself confronting, and Sammel’s controlled intensity that so perfectly encapsulates and visually expounds on the character’s dilemma is both understated and energetic at the right moments, a credit to the actor’s talents. You feel that sense of inner dissension about his character as facets of his deeds are exposed, and this too is a testament to the actor’s
Also a “first” for this critic here was witnessing Spivakova on screen and I found myself likewise gaining quickly building admiration for the actress’ evident diversity in abilities that she brings to bear through her role as Sophia Marti, an established opera star who’s chosen to come home to perform in the town of Artsakh despite the now unstable conditions and protestations of her performing partner and arrogant former flame. When her manager introduces her to Robert, they form a bond that seems to be what they’ve both needed in the wake of their personal lives being in turmoil, offering a chance to bring some additional light into the shadow of armed struggle. But, will their friendship be able to withstand potential disclosure that could see their partnership utterly upended? I fell in love with Spivakova’s absolute natural beauty and how she so confidently carries herself as Marti, a portrait of a woman unyielding in her allegiance to her country, harboring powerful empathy for her people’s plight, while also just being a woman desiring to be appreciated in the right ways rather than used or exploited in any form. Spivakova exudes this kaleidoscopic realm of emotions and determination with impassioned poise and expressive vulnerability.
Primary supporting roles arrive via Sos Janibekyan as Michael Movsisyan, a local journalist, friend, and guide to Robert during his time in Armenia who soon becomes the one to begin digging into his idol’s past thanks to a number of instances that cause him pause and his curiosity for the truth to kick in, Leonardas Pobedonoscevas as Jean Milosh, Sophia’s operatic partner who also has had a past relationship with her that it’s more than apparent he doesn’t wish to let go of, Naira Zakaryan as Tereza Poghosyan, the opera’s producer and Sophie’s de facto “agent/publicist” who tries her level best to keep the show running smoothly while also linking Sophie up with Robert, Benedict Freitag as Eduard Hoffmann, Robert’s tenacious and persistent Berlin-based editor whose desire to aid in his man’s upcoming photo selection and tribute ceremony for the planned exhibition could end up spelling problems Robert didn’t want.
Nina Kronjäger is Laura, Robert’s longsuffering wife who’s support and patience with his career and the toll it has already taken on their relationship could be reaching a definitive breaking point. Additional key supporting turns are made by Armen Sargsyan, Arthur Manukyan, Aram Karakhanyan, and Naré Haykazyan among others. So, in total, bookended by a stirring musical score, “Gate To Heaven” is a dramatically compelling indie feature film that solidly demonstrates why it is, as of this posting, currently enjoying a limited run at select AMC theaters. It is a delving into the depths of historical fact and human nature, our gratefulness for recognition well-earned but our equal need of absolution when facing our faults, and the consequent pursuit of necessary unshackling whether inwardly or externally, individually or nationally. It speaks to the heart’s willingness to do right, but also to ambition’s draw. May this film declare to all of us how important it is that we seek reconciliation and peace, and stand firm for what’s right.
As always, this is all for your consideration and comment. Until next time, thank you for reading!
