QUICK’N DIRTY: LIVE FROM BERLIN
Michel (Galin Stoev) is a successful art buyer based in Montreal. He enjoys a wealthy lifestyle in a modern city, surrounded by savvy collectors. He left his native Bulgaria with his only daughter Roza 28 years earlier, after his wife tragically passed away (the nature and the details of the disease that killed her are never revealed). He has never returned since. He lives a decidedly Canadian life. He has made a visible effort to disconnect from the Eastern European nation where he was born and lived roughly half of his life. He only speaks French to Roza, whom he now calls “Rose” instead. So much that she forgot how to speak Bulgarian. Michel, whose real name is Mihail, shudders at the thought that his only grandchild should learn his native tongue.
The news of an eight-year-old painter with unmatched artistic skills living the a tiny Bulgarian village reach a very sceptical Michel. He doubts that Nina (Ekaterina Stanina) creates the pieces herself. Her parents must do it for her. He jumps on an airplane after giving the alleged prodigy the benefit of doubt. And he lands in a Bulgaria that he barely recognises, and which hardly understands him. He speaks his mother tongue with a strange accent, locals note. Michel justifies it: “that’s because I think in French”. He has no apparent desire to connect with the culture. But this seemingly precarious nation – the poorest EU member – has a few surprises in store for him.
Michel travels to the countryside and meets Nina and her family. The little girl is notably intelligent and outspoken, with an eccentric behaviour. His relationship to his potential child client becomes a proxy of his relationship to Bulgaria. At first, he takes neither one of them seriously. Gradually, he realises that both the girl and the nation are fascinating on many levels. Alienation morphs into emotional redemption. The two characters bond. Michel left behind more than he could possibly remember, and it’s now time to reclaim his long-lost identity, family and love. But how will his estranged relatives reaxt?
Canadian director Geneviève Dulude-de Celles’s fourth feature film is a convincing and relatable tale of reconnection. It boasts a dark and elegant cinematography with abundant yellow hues. DoP Alexandre Nour Desjardins makes excellent use of fire ad mirrors. Despite the notably cold weather, it is hot colours that prevail. This is no random choice. It serves to legitimise and illustrate Michel’s gradual warming up to the culture.
But this is not a movie without shortcomings. Michel’s relationship to Rose remains largely unexplored. And the little Ekaterina lacks the dramatic skills required for such a complex child character. Her delivery is weak during a crucial face-off between with Michel in one of the film’s final scenes. On the other hand, Stoev’s performance is consistently riveting. The eyes of the Bulgarian actor are bursting with sadness and melancholia, his voice quiet and insecure. The scene in which he reconnects with Bulgarians – spurred by copious amounts of alcohol – is genuinely remarkable.
Nina Roza just premiered in the Official Competition of the 76th Berlinale. A gently stirring and honest watch.
