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TIFF 2018: ’22 July’ Review: Dir. Paul Greengrass (2018)

22 July review: Following his magnificent work with the likes of Sunday, Bloody Sunday, 9/11 drama United 93 and the harrowing Captain Phillips, British filmmaker Paul Greengrass focusses his attention on the events of 22nd July, 2011, and the devastating attacks on Oslo by far-right extremist Anders Behring Breivik, who carried out two separate acts of terrorism on the people of Norway. The event unfolded in its capital with a devastating bomb attack on government buildings, and then, just hours later, on the remote island of Utoya, where dozens of teenagers were killed or injured, Breivik brutally picking them off one by one.

Image credit: Courtesy of TIFF

22  July review [TIFF]

We’ve already seen this horrific event captured on film this year, Erik Poppe’s U-22 July, which premiered at this year’s Berlin film festival. Poppe’s film solely concentrated on the attacks on the island, and we never really saw Breivik on-screen or the after effects of this devastating tragedy. The one-take device was employed well, but some of the consensuses from the festival was that it was an element that was not needed. Personally, I didn’t have an issue with it, though can take the point.

Greengrass’ cast his net much wider – in fact, the opening shot in the film is of Brevik preparing for his first attack – he stands in a shed collecting gunpowder that is then loaded into a Transit van – which is then driven to the center of his target area, a car park below government offices, the Prime Minister just feet away. It’s then onto the island of Utoya, dozens of teenagers innocently enjoying their time – some take part in political debates, others a game of soccer outside, unaware of the threat that is heading their way.

The film uses the first reel purely for the attacks, s segment of the feature which is gritty, intense, harrowing, and of course, extremely upsetting. Its coverage is a necessity, but as much as it is horrifying, the second two acts are the most unsettling, Greengrass crafting a very well constructed commentary of the sheer lack of remorse from Breivik, and the devastating impact his actions have on the individuals and families affected.

Related: U-22 July review [Berlinale]

Everything is covered, all of the way through to the well-reported court cast, and naturally, as this is a Paul Greengrass film, everything is tackled with a degree of sensitivity, while at the same time unafraid to display a sense of realism of Breivik’s atrocious crimes.

Greengrass has cast local talent for the film, though chooses to use the English language rather than opt for subtitled dialogue. This would usually grate, but because of the wonderful cast he’s assembled, all of who are outstanding, the fact that they aren’t talking in their native tongue is soon forgotten. A particular stand-out is Jonas Strand Gravli as Viljar, a survivor who has the most focus in the film. We stay close to him as his recovery continues, and we feel every second of his pain. A gentle nod should also be made in the direction of Anders Danielsen Lie, who plays the role of Breivik, which couldn’t have been an easy task. It’s a performance that chills to the very core, and the actor should be given some recognition for a difficult, brave turn of an absolute monster.

Greengrass’ film ranks up there with all of his previous true-story efforts – and actually could be one his best. It’s courageous, sensitive filmmaking that is part-commentary, part examination of the truth, and depicted in an un-glossy, absolutely raw, uncompromising depiction of one the most barbaric tragedies of this century. As well as all that, it’s a complete, masterful piece of filmmaking.

22 July review by Paul Heath, September 2018.

22 July was reviewed at the 2018 Toronto International Film Festival. Click here for all of our coverage.

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