By JOÃO LANARI BO*
Commentary on the film directed by Alexandros Avranas, now showing in theaters.
“My existence became entirely that of an absent person who, in every act I performed, produced the same act and did not perform it (Maurice Blanchot).
1.
Few films will have the same roots in reality as Apathy syndrome, completed in 2024 by Alexandros Avranas, displays from the first minute. An absolutely plausible situation, in the etymological sense of the word: “plausible” comes from the Latin “verisimilis”, which means “similar to the truth” or “that has the appearance of truth”. This word is formed by the combination of “see” (true) and “similis" (similar). "verus” is the socio-historical circumstance that inspires the narrative, and “similis” is the audiovisual language that expresses it.
It is, therefore, a scientific study of a language, in this case cinematographic: a “philological” film. The plot is concise and objective: a Russian couple of political refugees – the starting point of verisimilitude – immigrate to Sweden, with two school-age daughters, and their asylum application is rejected.
In Vladimir Putin's Russia, especially after the invasion of Ukraine, this is not an exceptional occurrence: it is estimated that one million Russians have left the country, with various destinations, including economic migrants, conscientious objectors and political refugees. Filmmakers, artists, journalists, but also businesspeople and young people have left, escaping the military mobilization, especially that of September 2022.
As with any migration process, some people leave and return, and leave again. Always at the mercy of volatile political conditions, each particular situation can be a huge drama for the families involved. The extreme politicization of the issue carried out by Donald Trump's government is a pathetic example of the treatment of migrants trying to make a living in the United States.
the focus of Apathy syndrome, however, is the cold, irritating and inhumane rejection of the asylum request of Professor Sergei and his family, creating a grotesque and painful Kafkaesque atmosphere – this in a country once considered welcoming to immigrants, Sweden.
The term “Kafkaesque” has entered the vernacular to describe atmospheres characterized by absurdity, alienation, existential angst, omnipresent bureaucracy, and a sense of powerlessness in the face of inexplicable forces. Very few writers have managed this feat—to have their name used as an adjective and incorporated into spoken languages.
2.
Alexandros Avranas' direction of actors, the scenography and the framing, all converge towards this oppressive perception, which today would be defined as dystopian – an (almost) future where asylum requests are refused for reasons that are never clarified, but always pervasive.
This is not mere fiction, despite appearances: the traumatic context exposed in Apathy syndrome unfortunately has solid ramifications in reality. The fear of violence and repression left behind, the lack of convincing explanations for the refusal of asylum, and the uncertainty about the future in the new country, end up generating inevitable anxiety in parents.
The children – Katia and Alina – somatize as best they can, close themselves off and dissociate themselves from reality, entering a coma.
Sergei, we are told, fled Russia after a brutal raid by the security services, taking his wife Natalia and their two young daughters with him. The mere threat of deportation to his home country is tantamount to a death sentence.
A plausible situation, which triggers a chain reaction and brings to light the mysterious and unknown “Resignation Syndrome”, which frequently affects refugee children in Sweden.
The picture is astonishing: according to with the BBC, “The ‘Resignation Syndrome’ was first reported by Swedish authorities in the 1990s. In the 2003-05 period alone, more than 400 cases were recorded. The so-called ‘apathetic children’ have become a political issue amid a growing debate about the consequences of immigration in Sweden, a country where, according to the 2010 census, almost 15% of the population are immigrants.
Over the past decade, the number of children affected by the syndrome has declined. The Swedish equivalent of the Ministry of Health recently reported that there were 169 cases in the 2015-16 biennium.”
Franz Kafka and his absurdly realistic imagery have apparently taken root in the human psyche. Children lock themselves inside themselves, disconnecting the conscious parts of their brains. This vulnerability is particularly evident in those who have experienced episodes of extreme violence or whose families have fled dangerous environments. Some studies suggest that this is a psychocultural phenomenon – a way for the sons and daughters of immigrants to express their trauma.
A present absence, an absent presence. There is no more forceful protest.
*João Lanari Bo He is a professor of cinema at the Faculty of Communication at the University of Brasília (UnB). Author, among other books, of Cinema for Russians, Cinema for Soviets (Time Bazaar) [https://amzn.to/45rHa9F]
Reference
Apathy syndrome (Quiet Life).
Greece/Sweden, 2004, 100 minutes.
Directed by: Alexandros Avranas
Cast: Chulpan Khamatova, Lisa Loven Kongsli, Johannes Bah Kuhnke.
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