WATCH THE TRAILER HERE
First, the Recap:
The consequence of poor choice and separation. When being among those we cherish, every moment being one to keep inside the confines of our minds, it is treasure. However, when circumstances come about that not only threaten to take this away, but actually end up doing so, treasure turns to tribulation. How we react to this, choose to cope with it, and then try to move through it becomes paramount. The question is–WILL we?
Morten (Nicolaj Kopernikus) had it all, or so it seemed. A creatively-driven man, the relationship with his daughter Viola (Kerstin Jannerup Gjesing) was everything. But, when the family’s situation goes awry, Morten’s life has become less than ideal. Now hoping for what seems to be an impossible turnaround, he embarks on a highly unconventional and eccentrically grandiose venture to gain back a more grown up Viola’s (Emilie Kroyer Koppel) attention again.
Next, my Mind:
A family’s brokenness, a man’s fall to ruin, a desperately sought rekindling of precious connection, and the means we might employ to see that which was shattered made right again all commingle, fuse together, and culminate in one of the most endearing, stirring, profoundly impactful journeys on display this Awards season, all thanks to the 19-minute Oscar qualifying short film from writer/director/executive producer Nicolaj Kopernikus, producers Hanne Bruun and Amanda E. Magnusson, along with executive producers Kim Magnusson and Tivi Magnusson. Striking the heartstrings from the very start and purposefully never letting you down from the ensuing emotional rollercoaster it causes you to experience, this tale of inner and outer redemption, reconnection, plus the foundational boldness and beauty of pursuing forgiveness leaves an indelible mark you will not soon forget.
The box of tissues should remain handy in order to absorb a narrative that sees an artistic father now in dire straits who, having being estranged from his beloved daughter due to a highly unsettling encounter years ago, attempts to see her once again so that he may regain her attention, respect, and, ideally, absolution. The film wastes no time in launching us into the beleaguered reality Morten now inhabits while deftly illustrating all that’s transpired before via well-conceived flashbacks that fill in necessary details. Then, with equally effective intent, the catalyst that finally puts his mindset even more firmly on the aforementioned goal becomes a path of reminiscing, reignited resourcefulness, and personal reinvention, leading you with both humor and heartfelt (and breaking) dramatic intensity adeptly showcasing such an affectingly potent undertaking. Imagery of what comes from above us that can either dirty us more or cleanse us is adopted to a small but pertinent magnitude at different points, a clever tool associated with things, even if by conjecture.
To say all leads to a fantastic frenzy of choices, actions, reactions, and desired outcomes would be putting it mildly, and I will simply say that the film’s finale absolutely washes over you with its exquisitely, affectingly, tear-inducing power. What allows the project to have this degree of ultimate eloquence and substance is, as indie film is so astute at providing, a many-layered thematic tapestry delivering further depth to events portrayed. Subjects covering the pain of loss and separation, the realities of homelessness, facing the mistakes we’ve made, being judged or harshly scrutinized by just our outward appearance, realizing the need to improve oneself again, and just being willing to try our best to NOT allow things that are or were fragmented remain so are part of the greater overall narrative’s course, and their inclusion as stated above only makes all we witness more relevant, credible, and persuasive.
Kopernikus outs the writing pen down, steps out from behind the camera, and gives us what we do deeply desire–a performance to remember–which he does here with a passion and fire that both blazes bright and inwardly simmers below the surface through his role as Morten, a man troubled and disheartened by an act many years ago that destroyed all he held most dear. Clearly fallen to a low place of disheveled living, he’s now making efforts to see his adored daughter again, recalling all the valued times together they shared when things were better. Not truly in the best place to accomplish his aim, and then having a particularly revealing moment that changes everything, Morten steadies himself and marches forward with indisputable, albeit very unorthodox, yet fully heartfelt fortitude and all-out force of will to try and make his wish a reality.
It’s an immersive expedition into the soul of a man in pain who only wants to reclaim his joy of life while hopefully redeeming himself in his daughter’s eyes, and both Kopernikus’ heartwrenching fragility and his utter emotive strength that come through Morten’s character are so grounded and well-played by the actor throughout, a character you cannot help but root for one hundred percent. Primary supporting roles arrive first from Gjesing as the younger version of Viola, who fearlessly and with total delightful charm draws you to her character’s interactions with her father and the wonder of what they shared together while then so wrenchingly depicting the sheer agony of what took them apart. Lene Maria Christensen plays Christina, Morten’s wife with whom he appeared happy with but ended up on the wrong side of due to his own missteps that caused their loss of partnership and trust.
Then there is Koppel as the more grown up version of Viola, a young woman enjoying her youth and a calm existence until a sudden and totally unexpected encounter causes her to realize things are possibly about to change, but whether for the better or not remains to be seen. What she doesn’t speak out loud during the finale actually BURSTS forth from her in uncomplicated but present strength of emotion, wonderfully enacted by Koppel. Additional supporting turns arrive from Elias Budde Christensen, Sebastian Jessen, Jonathan Harboe, Christiane Gjellerup Koch, Anders Heinrichsen, Noon Imad Heinrichsen, Zoe Bryan Hertz, Viktor Hjelmso, and Sara Maria Franch-Maerkedahl. So, in total, “From Above” stands up, takes flight, quickly ascends, and transforms into both a sobering and heartwarming tale that we as human beings should ALL take a lesson from, especially from the perspective the film’s apropos title suggests and creatively utilizes.
Because if this doesn’t convince us about the unmitigated necessity for what this film’s foundational core conveys, it may be time to examine our own hearts, minds, and convictions, as there’s no doubt whatsoever we as a world SO require it–reconciliation and abiding, overwhelming love.
STAR RATING (out of 5):
As always, this is all for your consideration and comment. Until next time, thank you for reading!
