Childhood Lost, Sisterhood Found

Read Time:3 Minute, 47 Second

MOVIE REVIEW
Paradise Is Burning (Paradiset brinner)
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Genre: Drama
Year Released: 2023, 2024
Runtime: 1h 48m
Director(s): Mika Gustafson
Writer(s): Mika Gustafson, Alexander Öhrstrand
Cast: Bianca Delbravo, Dilvin Asaad, Safira Mossberg, Ida Engvoll, Mitja Sirén, Marta Oldenburg, Andrea Edwards, Isabella Kjellberg, Alexander Öhrstrand
Language: Swedish with English subtitles
Where To Watch: opens August 23, 2024, in New York City (IFC) and September 6 in Los Angeles (Laemmle Royal and Glendale)

RAVING REVIEW: Mika Gustafson's inaugural film, PARADISE IS BURNING, unfolds a profoundly human narrative. The film portrays the complex dynamics of being forced to grow up too fast through the lives of three sisters in a Swedish working-class setting. The film juggles themes of freedom and heavy responsibilities, presenting a journey of emotional depth and stark reality.

The canvas of the film is a seemingly endless Swedish summer, where Laura (16), played by Bianca Delbravo, Dilvin Asaad as Mira (12), and Safira Mossberg, as Steffi (7), find themselves balancing between childhood and the stark realities of independence. Spontaneous adventures mark their days, each moment a fleeting reprieve from their underlying challenges. Yet, the specter of social services looms large, threatening to disrupt their delicate semblance of stability, as captured through Gustafson's visceral, handheld camera work, which immerses viewers directly into the sisters' tumultuous world.

Central to PARADISE IS BURNING is the siblings' intricate bond, their most significant asset and constant reminder of their collective ordeal. The eldest, Laura, prematurely thrust into a parental role, navigates the waters of safeguarding her sisters. Meanwhile, Mira's adolescent defiance and Steffi's innocence add layers to their shared narrative, intricately portrayed with raw authenticity.

Gustafson crafts the film's structure to reflect the sisters' erratic daily life, seamlessly weaving moments of lighthearted freedom with the tension of impending challenges. This episodic narrative underscores the film's central theme: the fragile line separating freedom from ensuing chaos.

The film extends its focus beyond the sisters to the adults in their world, portrayed with a nuanced complexity. Characters like Hanna (Ida Engvoll,) enlisted by Laura to masquerade as their absent mother, are illustrated with a depth that prompts viewers to question the ethical fabric of these adults, adding a rich layer of realism and inviting deeper engagement with the narrative.

The young ensemble's performances—Delbravo, Asaad, and Mossberg—are revelations in their own right. Their unrefined and heartfelt performances anchor the film's emotional core, vividly bringing the sisters' resilience and interconnected struggles to life.

Further, PARADISE IS BURNING offers a nuanced critique of the systems designed to protect yet often fail to understand the unique contexts of those they intend to help. The narrative showcases the sisters' quiet yet resolute struggle for autonomy against indifferent societal mechanisms and bureaucratic hurdles. The film's conclusion, both poignant and inevitable, confronts viewers with the grim realities the sisters face yet leaves a lingering sense of hope and the indomitable spirit of youth.

PARADISE IS BURNING transcends the typical narrative to become a profound exploration of growing up under extraordinary circumstances. It leaves a lasting impression and heralds Gustafson as a filmmaker of notable promise and sensitivity. This film doesn’t just tell a story—it invites viewers to feel and live the experiences of its characters, making it a standout piece that resonates deeply with audiences.

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[photo courtesy of ROOM 8 FILMS]

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