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The Forgiveness of Blood (2011) [The Criterion Collection #628] [Re-UP]

Posted By: Someonelse
Date: 14 May 2015 13:47:00
The Forgiveness of Blood (2011) [The Criterion Collection #628] [Re-UP]

The Forgiveness of Blood (2011)
DVD9 | ISO+MDS | NTSC 16:9 | 01:49:33 | 7,46 Gb
Audio: Albanian AC3 5.1 @ 448 Kbps | Subs: English
Genre: Drama | The Criterion Collection #628

Director: Joshua Marston
Stars: Tristan Halilaj, Sindi Lacej, Refet Abazi

American director Joshua Marston emerged in 2004 with the jolting, Oscar-nominated Maria Full of Grace, about a young Colombian woman working as a drug mule. In his remarkable follow-up, The Forgiveness of Blood, he turns his camera on another corner of the world: contemporary northern Albania, a place still troubled by the ancient custom of interfamilial blood feuds. From this reality, Marston sculpts a fictional narrative about a teenage brother and sister physically and emotionally trapped in a cycle of violence, a result of their father’s entanglement with a rival clan over a piece of land. The Forgiveness of Blood is a tense and perceptive depiction of a place where tradition and progress coexist uneasily, as well as a dynamic coming-of-age drama.

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The Forgiveness of Blood (2011) [The Criterion Collection #628] [Re-UP]

Self-imposed borders, whether physical or ideological, often define one's nationality, tradition, and gender. American director Joshua Marston is fascinated by the way these facets of identity overlap, constructing films about young characters forced to challenge predetermined limits of control in their respective cultures and communities. That his gaze focuses so intensely on countries outside of his own—Colombia in 2004's Maria Full of Grace and Albania in 2011's The Forgiveness of Blood—makes his thematic concerns even more evocative. Marston's background in journalism and political science shapes his keen directorial eye, especially in the level of detail he brings to examining the familial hierarchies and cultural stigmas at odds in The Forgiveness of Blood. For him, it's not just about the authenticity of place, but also the authenticity of conflicting experiences.

The Forgiveness of Blood (2011) [The Criterion Collection #628] [Re-UP]

Even though it's set amid the rolling hills and expansive fields of northern Albania, The Forgiveness of Blood is concerned with the restrictions of space. Every frame expresses a sense of division and separation, the naturalistic mise-en-scène often dissected by angular lines and man-made barriers. The film's opening long shot evokes this idea perfectly: A horse-led cart traveling along a narrow makeshift road is blocked by a group of heavy rocks, thus forcing the occupants out to clear the way. Later, it becomes clear that the driver, Mark (Refet Abazi), and his son, Nik (Tristan Halilaj), travel this shortcut everyday to sell bread, despite the escalating verbal threats made by the land's owner, Sokol (Vetan Osmani). Marston reveals the deep-seated animosity between Mark and Sokol during a tense scene inside a local pub, where the men and their kin causally lob accusations back and forth—insults that reek of decades' worth of jealously, hate, and resentment. It's not surprising that a few scenes later, the promise of violence is fulfilled when Mark kills Sokol off screen, producing a crippling blood feud between the two families.

The Forgiveness of Blood (2011) [The Criterion Collection #628] [Re-UP]

Here, The Forgiveness of Blood becomes a kind of prison film, one where the bars and gates of incarceration are not made of steel, but of the customs and codes of an ancient tradition hamstrung by honor and pride. Nik, a typical teenage boy concerned with material things and girls, is forced into house arrest out of respect for the grieving family, while his younger sister, Rudina (Sindu Laçej), a practical and entrepreneurial spirit, is asked to take on a new role as breadwinner, driving the cart around town to sustain the family business. This sudden shift in gender roles is key to the film's examination of ideological borders and how old-school traditions can shamelessly contradict each other. Interestingly, while Marston leans on coming-of-age tropes to develop Nik's rebellious and reckless reaction to the feud, he develops Rudina's struggle almost entirely out of silent reaction shots during times of duress. Her identity and gender struggle is far more internalized and subtle during these moments.

The Forgiveness of Blood (2011) [The Criterion Collection #628] [Re-UP]

The overarching sense of tension and discomfort is visualized throughout the film. Mountains and tree lines are uncomfortably stacked on top of each other by way of telephoto lenses, while the cramped interiors of Nik's family home are often captured in wide angles. Marston's camera placement is consistently fascinating, none more so than during Rudina's cart rides through town, where the viewer is placed directly inside the rickety cab. Our perspective rocks back and forth, as if Albania is being gripped by an earthquake, though the chaotic movement is really an expression of the characters' grueling sense of unease.

The Forgiveness of Blood (2011) [The Criterion Collection #628] [Re-UP]

Ultimately, Marston's script, co-written by Andamion Murataj, allows each young character a choice between individual freedom and collective isolation. The film's sobering outcome speaks to the fascinating ways technology, culture, and family can pull a modern teenager in three separate directions, making their decision-making process a confused and downright brutal battle between loyalty and comfort. The Forgiveness of Blood is one of few modern films to consider such a complex scenario without judgment or rhetoric, giving its many emotional reverberations an infinite quality that's hard to shake.
Slant Magazine
The Forgiveness of Blood (2011) [The Criterion Collection #628] [Re-UP]

Special Features:
- New high-definition digital transfer, approved by director of photography Rob Hardy
- Audio commentary by director and cowriter Joshua Marston
- Two new video programs: Acting Close to Home, a discussion between Marston and actors Refet Abazi, Tristan Halilaj, and Sindi Laçej, and Truth on the Ground, featuring new and on-set interviews with producer Paul Mezey, Abazi, Halilaj, and Laçej
- Audition and rehearsal footage
- Trailer

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