There
are long-held historical antagonisms between the French and Germans, but Lea
and Aaron believe they are past all that. They are new Europeans. The only
thing standing in the way of their prospective union is her son, Tristan. He
speaks English, the language of his father and Euro-skepticism. The vacation
intended to forge a new family unit will take a tense turn in Jan Zabeil’s Three Peaks, which opens today in New
York.
Aaron
is a lumberjack-looking architect, who would ordinarily be considered prime
husband and fatherhood material. That is how Lea sees him, but Tristan will
need more convincing. That was the whole purpose of this trip, but Tristan is
proving difficult. Lea tries to walk on tight-rope, respecting the place of her
son’s very-present (but not in this movie) biological father, while still
promoting Aaron’s merits. Yet, that often leads to frustration for both of her
male companions.
In
fact, Tristan’s needy, attention-seeking behavior and sometimes alarmingly
dangerous practical jokes start to put a strain on their romantic relationship.
Frankly, little “Tris” seems to be making progress in his cold war to undermine
Aaron. The question is whether he is a bad seed acting intentionally or just a
naïve innocent with a talent for stirring up trouble. Naturally, things will
come to a head on the titular Dolomite Mountains.
Three Peaks is a carefully
calibrated work, featuring three very impressive performances, but sometimes it
is too airless and posed, like we are looking at a series of Ingmar
Bergmanesque dioramas. Zabeil’s disciplined approach shuns melodrama and
histrionics, but its austerity will make some viewers want to scream.
Still,
Alexander Fehling gives probably the best performance of his career as Aaron.
It is slow burning work that builds and compounds. Young Arian Montgomery
constantly causes viewers to rethink and reconsider just how evil Tristan, the
little monster, really is. Arguably, Berenice Bejo has the least developed
role, but she easily convinces us in the power of a mother’s love to ignore or
excuse some unsettling actions.
It
is a bit of a stretch to call Three Peaks
a thriller, but it is far darker and murkier than any healthy conventional
family drama. Cinematographer Axel Schneppat feasts on the harsh but striking
landscape, doubling down on the film’s chilly vibe. This is a film you will
respect, but it is hard to love, just like sulky Tristan. Recommended for moody
Euro cineastes, Three Peaks opens
today (6/28) in New York, at the IFC Center.
