The Other Side of Hope 2017 123movies

Watch: Toivon tuolla puolen 2017 123movies, Full Movie Online – Syrian refugee Khaled stows away on a freighter to Helsinki. Meanwhile, traveling salesman Wikström wins big at a poker table and buys himself a restaurant with the proceeds. When the authorities turn down his application for asylum, Khaled is forced underground and Wikström finds him sleeping in the yard behind his restaurant. He offers him a job and a roof over his head and, for a while, they form a Utopian union with the restaurant’s waitress, the chef, and his dog..
Plot: A restaurateur befriends a Syrian refugee who has recently arrived in Finland.
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Ratings:

	7.2/10 Votes: 12,433
	92% | RottenTomatoes
	84/100 | MetaCritic
	N/A Votes: 243 Popularity: 9.898 | TMDB

Reviews:

Europe “welcomes” war refugees. Gallery of portraits in Tati-style sets, and a call to order, always in progress. Uplifting.

In Aki Kaurismäki’s 2016 film Toivon tuolla puelella (“The Other Side of Hope”), the Finnish auteur continues a theme he explored in Le Havre from five years earlier: refugees fleeing to Europe and forced to survive when heartless officials and some locals are against them. While that earlier film was shot in the comparatively exotic setting of the eponymous French port, Toivon tuolla puelella returns to Kaurismäki’s familiar stomping grounds of downtown Helsinki.

The film consists of two converging plotlines. In one, the aging salesman Wikström (Sakari Kuosmanen, a longtime member of Kaurismäki’s acting stable) leaves his wife, wins a lot of money in a poker game, and decides to open a restaurant. In the other, the Syrian refugee Khaled (Sherwan Haji) arrives in Helsinki after fleeing war-torn Aleppo and wandering across half of Europe, but he is worried about his sister that he got separated with along the way. Wikström and Khaled eventually meet and become friends — or the closest thing to friends that Kaurismäki’s exaggeratedly cold and morose Finns can get to each other. Before that, however, the Wikström plotline serves to inject some humour, albeit of an extremely deadpan sort, into a film that, though Khaled, explores the depressing lives of refugees who are shuffled from one center to another and forced to wait for their cases to be processed.

For three decades now, Kaurismäki has made all his films to a very distinctive template that virtually never varies. Its characters speak a minimum of dialogue to each other and show little expression on their faces. The sets are drab in colour and deliberately anachronistic, with gadgets, vehicles or clothes from the 1950s alongside computers and mobile phones from our time. At some point, a band will appear on stage playing oldies rock, blues, or Finnish tangos as the characters look on.

Toivon tuolla puelella doesn’t stray from that template either. Still, the script has enough fresh moments to it that it will feel worthwhile evento longtime Kaurismäki films who have sat through this template many times before. Some of the humorous bits are laugh-out-loud funny, but overall this does feel like a darker film than most of the director’s work. It is ultimately a choked, restrained cry of rage at the way that refugees are treated, by a Nordic society that prides itself on fairness, equality and charity. While Kaurismäki is roughly on the left politically, several of his films have attacked the Finnish welfare state for its opaque bureaucracy and its reduction of human beings to mere papers in a government file. This film continues that critique by depicting the refugees, who come from many countries but manage to band together to lend each other help, as the sort of neighborly solidarity that Kaurismäki prefers to faceless bureaucracy.

I personally wouldn’t find this the best introduction to Kaurismäki. His earlier film Mies vailla menneisyttä (“The Man Without a Past”) depicted with more meat on its bone a down-on-his-luck man lost among bureaucracy, while the über-idiosyncratic romantic comedy Varoja paratiisissa (“Shadows in Paradise”) is one of Kaurismäki’s best achievements in deadpan humour. Still, Toivon tuolla puelella seems to tell a story universal enough to pull on everyone’s heartstrings and is worth seeing.

Hope for cinema
The Other Side of Hope tackles a timely matter, the refugee crisis in Europe in the wake of the ISIL wars, with a wry and deadpan sense of humour, resulting in a product with a lot of personality and colour. It’s a Finnish film that received international attention but doesn’t present the Finns themselves in a totally positive light- but then, we know the Finns haven’t been the only ones to show a complete lack of humanity and empathy towards those who’ve suffered so much.

The film boasts a number of memorable characters, particularly Waldemar Wikström, who purchases a restaurant called The Golden Pint while looking for a new line of work after a separation. A profitable business, he is told, because people drink when times are bad, and more when times are good. He finds himself leading a staff of three Finns, then a dog, and finally Khaled, a Syrian refugee only looking for his sister. Wikström brings Khaled in after the courts decide, rather dubiously, that there is no war in Aleppo.

The Other Side of Hope isn’t naive in imagining a harmonious outcome for everyone. It brings us a vision of hardships that nevertheless, with its humour and hope, inspires, and brings a smile to the face.

Kaurismäki tells a story, to his perennial template of deadpan humour, old-time music, and drab settings, of a Syrian refugee
In Aki Kaurismäki’s 2016 film TOIVON TUOLLA PUOLEN (“The Other Side of Hope”), the Finnish auteur continues a theme he explored in LE HAVRE from five years earlier: refugees fleeing to Europe and forced to survive when heartless officials and some locals are against them. While that earlier film was shot in the comparatively exotic setting of the eponymous French port, TOIVON TUOLLA PUOLEN returns to Kaurismäki’s familiar stomping grounds of downtown Helsinki.

The film consists of two converging plot lines. In one, the aging salesman Wikström (Sakari Kuosmanen, a longtime member of Kaurismäki’s acting stable) leaves his wife, wins a lot of money in a poker game, and decides to open a restaurant. In the other, the Syrian refugee Khaled (Sherwan Haji) arrives in Helsinki after fleeing war-torn Aleppo and wandering across half of Europe, but he is worried about his sister that he got separated with along the way. Wikström and Khaled eventually meet and become friends — or the closest thing to friends that Kaurismäki’s exaggeratedly cold and morose Finns can get to each other. Before that, however, the Wikström plot line serves to inject some humour, albeit of an extremely deadpan sort, into a film that, though Khaled, explores the depressing lives of refugees who are shuffled from one center to another and forced to wait for their cases to be processed.

For three decades now, Kaurismäki has made all his films to a very distinctive template that virtually never varies. Its characters speak a minimum of dialogue to each other and show little expression on their faces. The sets are drab in colour and deliberately anachronistic, with gadgets, vehicles or clothes from the 1950s alongside computers and mobile phones from our time. At some point, a band will appear on stage playing oldies rock, blues, or Finnish tangos as the characters look on.

TOIVON TUOLLA PUOLEN doesn’t stray from that template either. Still, the script has enough fresh moments to it that it will feel worthwhile even to longtime Kaurismäki films who have sat through this template many times before. Some of the humorous bits are laugh-out-loud funny, but overall this does feel like a darker film than most of the director’s work. It is ultimately a choked, restrained cry of rage at the way that refugees are treated, by a Nordic society that prides itself on fairness, equality and charity. While Kaurismäki is roughly on the left politically, several of his films have attacked the Finnish welfare state for its opaque bureaucracy and its reduction of human beings to mere papers in a government file. This film continues that critique by depicting the refugees, who come from many countries but manage to band together to lend each other help, as the sort of neighborly solidarity that Kaurismäki prefers to faceless bureaucracy.

I personally wouldn’t find this the best introduction to Kaurismäki. His earlier film MIES VAILLA MENNEISYYTTÄ (“The Man Without a Past”) depicted with more meat on its bone a down-on-his-luck man lost among bureaucracy, while the über-idiosyncratic romantic comedy VAROJA PARATIISISSA (“Shadows in Paradise”) is one of Kaurismäki’s best achievements in deadpan humour. Still, TOIVON TUOLLA PUOLEN seems to tell a story universal enough to pull on everyone’s heartstrings and is worth seeing.

Other Information:

Original Language fi
Runtime 1 hr 40 min (100 min)
Budget 0
Revenue 1657449
Status Released
Rated Not Rated
Genre Comedy, Drama
Director Aki Kaurismäki
Writer Aki Kaurismäki
Actors Sherwan Haji, Sakari Kuosmanen, Kaija Pakarinen
Country Finland, Germany
Awards 8 wins & 24 nominations
Production Company N/A
Website N/A

Technical Information:

Sound Mix Dolby Digital
Aspect Ratio 1.85 : 1
Camera Arriflex 35 BL2, Cooke Speed Panchro Lenses, Arriflex 35 BL3 Evolution, Zeiss Ultra Prime Lenses
Laboratory Dejonghe, Kortrijk, Belgium
Film Length N/A
Negative Format 35 mm (Kodak Vision3 500T 5219)
Cinematographic Process Digital Intermediate (2K) (master format), Super 35 (3-perf) (source format)
Printed Film Format 35 mm (Kodak Vision 2383), Digital