The Frost (El Gebre)
This website has been restored and archived as required reading for Bob Spence's 3rd year course, Beyond Foreign Film. The course spends a good amount of time on Spanish, French and Portuguese film makers. Bob comes to the university from Smash Citi, the digital marketing agency, where he remains the head creative director. He recently gained some notoriety for his viral work promoting a popular Batman t shirt retailer. His "Batman Never Wears A Batman T Shirt" and "Batgirl Doesn't Dig You" videos each had over a million views in the first week. Students can download the entire reading list or request it sent via email from the Film Department webpage.
This was the official website of the 2009 Spanish film, The Frost (El gebre).
The content is from the site's archived pages and other outsider sources.
Original title The Frost (El gebre)
Year 2009
Duration 100 min.
Country Spain
Director Ferran Audí
Script Ferran Audí (Work: Henrik Ibsen)
Music Jesús Díaz , Fletcher Ventura
Photography David Omedes
After the accidental death of their only son Eyolf, Rita and Alfred feel such remorse that they are driven to a fierce fight of mutual destruction. Their sense of guilt compels them to recognize a painful truth: they have been so obsessed with their small selfish needs that they forgot to love their child. As the truth emerges, their inner demons unleash themselves, now free to torture and persecute them unceasingly on a path that can lead them to hope or condemn them forever. Desperately, Rita and Alfred must find ways to make themselves forgive the guilt of what they refused to do in the past.
Awards
2009 : Malaga Festival: Best Costume Design
2009 : 2 Gaudi Awards: Best photography and artistic direction. 11 nominations
REVIEWS
"The whole film is as tight and exaggerated as simply strenuous, even, and in spite of itself, comical"
Luis Martínez: El Mundo Newspaper
"It is ambitious and risky, but also failed: its picturesque sense of the montage and its tonal turns ... do not help the filmmaker to conquer a concrete destiny."
Jordi Costa: El País Newspaper
"An icy drama ... The choice of Audí to wrap the drama in a continuous 'melos' visual and sonorous ends imposing its own logic (...) Rating: ★★ (out of 5)."
Antonio Weinrichter: ABC Newspaper
TOMATOMETER | AUDIENCE SCORE 17%
No reviews
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NFF11 REVIEW: THE FROST [2009]
Posted by Jared Mobara, April 13, 2011
Score: 7/10 | ***
Rating: NR | Runtime: 103 minutes | Release Date: September 18th, 2009 (Norway)
Studio: Alta Realitat / Frost Media
Director(s): Ferran Audí
Writer(s): Ferran Audí / Henrik Ibsen (play)
“What is your bloody wish!”
I am not familiar with Norwegian playwright Henrik Ibsen or his play “Little Eyolf”, on which writer/director Ferran Audí based his film The Frost. Doing some quick research shows that he was a man who wrote about morality and questions of love and loss, so I can assume Audí instilled his spirit since those aspects play a huge role in the film. Viewing it at the Buffalo Niagara Film Festival, the story actually reminded me a lot of William Shakespeare’s “MacBeth”, feelings of guilt and regret ruling the day and uncovering secrets that risk to upend the lives of everyone involved. It’s said later on how the frost kills the fruit but also preserves the seed, and the myth of a man frozen in ice on the mountain visited by Alfred (Trond Espen Seim) speaks to this fact. He is this man and has let the actions of his life destroy him and his family, but when he finally realizes the error of his way, willing to be a better man and father, the Gods show he is too late. He may have escaped death in the figurative ice, but he couldn’t hide from it forever.
Alfred’s sister Asta Eva Eklöf Mørkeset) and wife Rita Aitana Sánchez-Gijón) speak about a cough he has had for a long time that has supposedly disappeared since his return from the wintery slopes of nature. Reborn as a new man, deciding to stop his writing in order to help his crippled son live something resembling a normal life, Alfred is at once whole again. Rita and Asta are aghast at this newfound fervor for life emanating out of the once forlorn, closed-off creature, willing to accept the change and perhaps even move on with their own lives. Asta has always lived for young Eyolf, perhaps loving him more as a mother than an aunt, but with her brother taking a new interest, maybe she could leave and begin her own life. Rita’s brother Raúl Tristán Ulloa) shows interest in Asta and the two have chemistry, but there is still something holding her back as she refuses his affections and is mixed in emotions at his decision to move away. Even so, though, everyone is in good spirits as Asta and Raúl frolic along the beach and Rita and Alfred try to connect in their home, a kiss bringing back the cough.
Eyolf has found happiness too, but his comes in escape from the rest. Constantly told what he can and can’t do, rather than play with the other children, he instead hops a ride with two vagrants, The Widow Rat (Bibi Andersson) and Mopsemand (Fermí Reixach). Insane and eccentric, the two call to mind Shakespeare’s witches, presiding over the action. With otherworldly attributes, he captures the rats in town with a keen sense of smell while she collects them in a sack to drown in the river, getting rid of their filth despite his obvious connection to them. His sense never fails and so their arrival inside the dining room of Alfred and Rita’s home seems oddly important—a telling descriptor of the people inside. Parasitic creatures and selfish for too long, it is the trio of Alfred, Rita, and Asta that Mopsemand has smelled; filth in the guise of success and the façade of satisfaction. But none of them are really satisfied; they haven’t been for a long time. Already having abandoned Eyolf once, resulting in his need for the crutch, they forget their son again while he wanders off towards the water with the rat-catchers.
It’s in Eyolf’s death that The Frost lets free its true nature. Blame is passed around as everyone copes. Rita and Raúl do what they can to remain strong and move on, but Alfred and Asta find nothing besides fear, guilt, and a want to run away. In one of the most beautifully shot scenes of the film, the siblings begin to climb through the branches of a series of trees in Alfred’s yard, the funeral party up at the house mourning. It is like old times, the two appearing more child-like than adult, moving to and fro within the tree limbs as the setting sun halos their silhouettes. But is it right to forget? Once Alfred discovers he has spent the past few minutes not thinking of his son, he flies into an angry rage—he doesn’t have the capacity or luxury to forget. Everyone then devolves into aggression—Asta retreating to her art and self-destruction through casual sex and cigarettes while Alfred and Rita confront each other with the pain and suffering at a boil, vile and vicious words thrown about until an extended fight finally breaks loose.
Strangely, however, while all this happens, The Rat Widow and Mopsemand also mourn the loss of their Little King. The film goes into an odd supernatural-like state of bright flashing light, characters disappearing in the matter of seconds, and the unexplained actions of Mopsemand following Rita while a manifestation of the man in ice haunts Alfred. It is here that the allegorical intrigue rears its head, making the audience question what’s real. Have these vagabond rat-catchers been more than just street people wandering? Has a neighbor, Astrid, and her helping refugee children been more than a minor detail, but actually a way to show Rita how unattached to her own son she was? Only when Eyolf is gone do his parents realize how little they cared, calling to question whether their neglect at the time of his accident was more than unintentional. He is the albatross bringing them down, adding strife to a suddenly incestuous clan that uses love for blackmail and guilt as life’s blood. I’m still trying to wrap my head around the ending, but even without full clarity, Audí has created a work worthy of discussion.
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Waste of time
18 May 2012 | by Andoni Arroyo (Norway)
This is one of the worst movies I've seen lately. I'm very surprised that so many people gave 10 points to this movie, and the reason can't be other that the director, Ferran Audi, has a lot of friend or a very big family. Sometimes it appears to me that the movie intends to be some kind of tribute to Ingmar Bergman (why if not this Bibi Anderson cameo), but the only thing in common with Bergman is that both tried to be profound and only one of them succeed. The best of the film is some of the views from the air of the fjords and the beautiful city of Ålesund. In the case that somebody is interested in this, I recommend a good National Geographic documentary. It works good the use of three languages. The rest is better to forget about it. Waste of time.
More Background on TheFrostFilm.com
The Frost: An Enigmatic Journey into Cinema's Frozen Frontier The Frost, a 2009 Spanish-Norwegian co-production directed by Ferran Audí, has carved out a unique place in the landscape of contemporary European cinema. This haunting psychological drama, based on Henrik Ibsen's play "Little Eyolf," explores themes of guilt, grief, and the disintegration of a marriage in the wake of tragedy. While the film may not have achieved widespread commercial success, it has garnered critical attention and developed a cult following among cinephiles drawn to its atmospheric storytelling and complex character dynamics.
A Chilling Premise
At its core, The Frost centers on the troubled relationship between Rita and Alfred, a couple grappling with the accidental death of their young son, Eyolf. Set against the stark backdrop of a remote Norwegian landscape, the film delves into the psychological aftermath of this loss, examining how grief can twist and warp even the strongest bonds. As Rita and Alfred struggle to come to terms with their guilt and resentment, they find themselves locked in a destructive dance of mutual recrimination and emotional manipulation. The film's narrative unfolds in a non-linear fashion, weaving together past and present to create a tapestry of memory and regret. This fractured storytelling approach mirrors the fragmented psyches of the protagonists, allowing viewers to piece together the tragic events that have led to the couple's current state of emotional paralysis. Through a series of tense confrontations and revelations, The Frost peels back layers of denial and self-deception, exposing the raw wounds that lie beneath the surface of Rita and Alfred's seemingly civilized exterior.
Cinematic Artistry
One of the most striking aspects of The Frost is its visual aesthetic. Director Ferran Audí, working with cinematographer David Omedes, crafts a world of stark beauty and oppressive isolation. The film's color palette is dominated by muted blues, grays, and whites, reflecting both the frigid Norwegian setting and the emotional coldness that has settled over the characters. Long, static shots emphasize the sense of stasis and entrapment, while carefully composed frames turn the landscape itself into a silent character in the unfolding drama. Critics have praised the film's atmospheric use of sound design, which amplifies the sense of unease and psychological tension. The sparse dialogue is often punctuated by long stretches of silence, broken only by the howling of the wind or the creaking of ice. This minimalist approach to sound creates a sense of claustrophobia and dread, even in seemingly open spaces.
Performances That Chill to the Bone
At the heart of The Frost are the powerhouse performances of its lead actors. Aitana Sánchez-Gijón brings a brittle intensity to the role of Rita, capturing both the character's barely contained rage and her underlying vulnerability. Trond Espen Seim, as Alfred, delivers a nuanced portrayal of a man trapped between guilt and a desperate desire for redemption. The chemistry between the two actors crackles with tension, making their scenes together both riveting and deeply uncomfortable to watch. Supporting performances, including Bibi Andersson as the enigmatic Rat Woman, add layers of symbolism and surrealism to the narrative. These secondary characters serve as catalysts for the protagonists' journey of self-discovery, pushing Rita and Alfred to confront the truths they have long sought to avoid.
Critical Reception and Festival Circuit
While The Frost may not have achieved widespread commercial success, it has found a receptive audience on the international film festival circuit. The film made its debut at the San Sebastián International Film Festival in 2009, where it received positive notices for its bold visual style and unflinching exploration of grief and guilt. Subsequent screenings at festivals in Europe and North America have helped to build the film's reputation as a challenging but rewarding piece of cinema. Critical reception of The Frost has been largely positive, with many reviewers praising its atmospheric storytelling and powerful performances. The film has been particularly lauded for its willingness to tackle difficult emotional terrain without resorting to easy sentimentality or moral judgments. Some critics have drawn comparisons to the work of Ingmar Bergman, noting similarities in the film's exploration of marital discord and existential angst. However, The Frost has not been without its detractors. Some reviewers have criticized the film for its slow pacing and opaque narrative structure, arguing that it prioritizes style over substance. Others have found fault with what they perceive as an overly bleak and pessimistic worldview, suggesting that the film's relentless focus on pain and suffering can be emotionally draining for viewers.
Themes and Symbolism
One of the most compelling aspects of The Frost is its rich tapestry of themes and symbols. The film's title itself carries multiple layers of meaning, referring not only to the literal cold of the Norwegian setting but also to the emotional frigidity that has settled over Rita and Alfred's relationship. The frost becomes a metaphor for the ways in which grief and guilt can freeze people in place, preventing them from moving forward or connecting with others. Water imagery plays a significant role throughout the film, often associated with themes of purification and rebirth. The recurring motif of melting ice suggests the potential for emotional thawing and healing, even in the face of seemingly insurmountable pain. However, water also carries connotations of danger and destruction, reflecting the ambivalent nature of the characters' journey toward self-awareness. The character of the Rat Woman, played by Bibi Andersson, introduces an element of the uncanny into the narrative. This enigmatic figure, who appears to have a mystical connection to the natural world, serves as both a harbinger of doom and a potential agent of transformation. Her presence in the film blurs the line between reality and fantasy, suggesting that there may be forces at work beyond the characters' rational understanding.
Cultural and Social Significance
While The Frost is primarily a personal story of grief and marital discord, it also touches on broader themes that resonate with contemporary social issues. The film's exploration of parental guilt and the pressures of raising a child with disabilities speaks to ongoing debates about work-life balance and the challenges faced by caregivers. Rita and Alfred's struggle to maintain their individual identities within the confines of their marriage reflects changing attitudes toward gender roles and the nature of modern relationships. The film's Norwegian setting also allows for an examination of the unique cultural and social dynamics of Scandinavian society. The characters' stoic exterior and difficulty in expressing emotions can be seen as reflective of certain cultural stereotypes, while also serving as a critique of the emotional repression often associated with Nordic cultures.
Legacy and Influence
In the years since its release, The Frost has developed a reputation as a hidden gem of European art cinema. While it may not have achieved the same level of recognition as some of its contemporaries, the film has influenced a new generation of filmmakers drawn to its uncompromising approach to difficult subject matter and its striking visual aesthetic. The Frost's exploration of grief and marital discord can be seen as part of a larger trend in contemporary cinema toward more nuanced and psychologically complex portrayals of relationships. Films like "Blue Valentine" (2010) and "45 Years" (2015) share similar thematic concerns, suggesting that The Frost was ahead of its time in its willingness to delve into the darker aspects of human intimacy.The Frost remains a challenging and polarizing work of cinema, one that demands active engagement from its viewers. Its unflinching portrayal of grief, guilt, and marital discord may not be for everyone, but for those willing to brave its icy waters, the film offers a deeply affecting exploration of the human psyche. Through its haunting visuals, powerful performances, and layered symbolism, The Frost invites us to confront our own capacity for both cruelty and compassion, reminding us that even in the darkest moments, the possibility of redemption remains. As The Frost continues to find new audiences through festival screenings and home video releases, its reputation as a thought-provoking and visually stunning work of art cinema seems likely to grow. For those seeking a cinematic experience that pushes boundaries and challenges expectations, The Frost offers a chilling journey into the frozen landscapes of the human heart.