Thunder (2023)
Out of all the areas of human life, sex has long been one of the most shunned and attacked experiences. Despite the action being necessary for birth and continued survival of society, the act has become largely demonized throughout history as something that can bring emotions of shame and embarrassment. With the rise of this more conservative mindset has come an opposing view that celebrates sexual behavior as a vehicle for rebellion and freedom. Set during the summer of 1900 in Switzerland, Carmen Jaquier's Thunder follows a young girl named Elisabeth (Lilith Grasmug) who is forced to return to her family farm to help with chores and work following the tragic death of her sister. When she arrives, Elisabeth is tormented by the rigid ruled and judgements of the village who specifically begin to target Elisabeth for the supposed actions and presence of her late sister. Elisabeth seeks understanding surrounding what transpired with her sister and begins to find her own form of rebellion through sexual encounters with 3 young men.
There is no denying that Thunder is an absolutely gorgeous film when it comes to its cinematic eye. The cinematography by Marine Atlan is breathtaking with gorgeous composition given both to the nature surrounding the village and the human flesh which often is the focus of the narrative. Atlan's capturing of human bodies is sensual and artistic. From their flushes of various colors to their curves and topography, the camera is also respectful as it embraces sensuality and sexuality in a way that feels mature and visceral. For a film so dedicated to the power of sexual freedom, the visual language of the film is a massive highlight of the experience.
The narrative reward of this focus is also meaningful. While there is plenty of conversation to be had within society's reaction to sex in general, the film elevates this conversation by including outlooks on gender and sexual orientation to build a worthy meditation on the complexity surrounding the act. By setting the film in 1900, the feature has a naturally strong backbone to explore the connections between religious morality and sexual behavior with clear through lines that can be made between the setting of the film and the modern day. While the film is not always explicit in its messaging, the runtime is undeniably rich and the film feels worthwhile to engage with.
This is all held together by the strong performances at the center of the film. Lilith Grasmug paints a wonderful portrait of frustration and grief that acts as the emotional core of the feature while the characters and actors around her dance with morals and presence with a real maturity. Specifically within the 3 men she mainly interacts with, played by Benjamin Python, Noah Watzlawick, and Mermoz Melchior, there is a fantastic depth found due to their performances and the vulnerability felt within their characters as a result.
It should be said, however, that while this depth within the film is substantial and the technical craft behind the project is flawless, the narrative does require the audience to work at it a bit. The film's 92-minute runtime can feel meandering at points with the film overall lacking a true moment of venom and size to truly heighten the emotional reaction from the audience. The film's tone is far more quiet and mundane than some might expect; a choice that is sure to cause some audiences to feel bored and prevent them from truly being able to interact with the feature.
This lack of energy is especially felt towards the film's conclusion. As the story builds to what feels like a natural combustion, the actual third act can feel somewhat underwhelming. Many of the film's grand emotional arcs end with little payoff and it is hard to say the ending feels as satisfying as it could have been. While this does fit with the overall style of the feature and in no way ruins the viewing experience, it does feel like a notable weak point as the credits begin to roll.
Overall, Thunder is a wonderful feature. Exploring the interactions between sex and society, the film finds a worthy statement and showcases a confident voice that while quiet, is undeniably effective. While there are places where it feels like the film could push a bit further than it does, the overall film is still rewarding and is worth seeking out!
There is no denying that Thunder is an absolutely gorgeous film when it comes to its cinematic eye. The cinematography by Marine Atlan is breathtaking with gorgeous composition given both to the nature surrounding the village and the human flesh which often is the focus of the narrative. Atlan's capturing of human bodies is sensual and artistic. From their flushes of various colors to their curves and topography, the camera is also respectful as it embraces sensuality and sexuality in a way that feels mature and visceral. For a film so dedicated to the power of sexual freedom, the visual language of the film is a massive highlight of the experience.
The narrative reward of this focus is also meaningful. While there is plenty of conversation to be had within society's reaction to sex in general, the film elevates this conversation by including outlooks on gender and sexual orientation to build a worthy meditation on the complexity surrounding the act. By setting the film in 1900, the feature has a naturally strong backbone to explore the connections between religious morality and sexual behavior with clear through lines that can be made between the setting of the film and the modern day. While the film is not always explicit in its messaging, the runtime is undeniably rich and the film feels worthwhile to engage with.
This is all held together by the strong performances at the center of the film. Lilith Grasmug paints a wonderful portrait of frustration and grief that acts as the emotional core of the feature while the characters and actors around her dance with morals and presence with a real maturity. Specifically within the 3 men she mainly interacts with, played by Benjamin Python, Noah Watzlawick, and Mermoz Melchior, there is a fantastic depth found due to their performances and the vulnerability felt within their characters as a result.
It should be said, however, that while this depth within the film is substantial and the technical craft behind the project is flawless, the narrative does require the audience to work at it a bit. The film's 92-minute runtime can feel meandering at points with the film overall lacking a true moment of venom and size to truly heighten the emotional reaction from the audience. The film's tone is far more quiet and mundane than some might expect; a choice that is sure to cause some audiences to feel bored and prevent them from truly being able to interact with the feature.
This lack of energy is especially felt towards the film's conclusion. As the story builds to what feels like a natural combustion, the actual third act can feel somewhat underwhelming. Many of the film's grand emotional arcs end with little payoff and it is hard to say the ending feels as satisfying as it could have been. While this does fit with the overall style of the feature and in no way ruins the viewing experience, it does feel like a notable weak point as the credits begin to roll.
Overall, Thunder is a wonderful feature. Exploring the interactions between sex and society, the film finds a worthy statement and showcases a confident voice that while quiet, is undeniably effective. While there are places where it feels like the film could push a bit further than it does, the overall film is still rewarding and is worth seeking out!