Understanding “Otherness” in Ali Abbasi’s Border (Gräns)
Aubrey Plaza has somewhat famously been a champion for this 2018 Swedish film, going so far as to hold a private screening to share its wonder. And at the first glance of the trailer, it seemed to be another of the star’s quirky indulgences. But once you sit down to watch the film, it soon becomes apparent that Plaza’s enthusiasm for the Swedish project isn’t some exaggerated publicity stunt.
In Border, Ali Abbasi delivers one of the most compelling and engaging depictions of “otherness” that genuinely resonates with the audience.
Building Bonds
From the very beginning, it’s clear that Tina (Eva Melander) is an outcast. She operates on the sidelines, both in her work and her personal life. Subtle details quickly characterize her otherness, from removing her shoes to take a stroll through the woods to her ability to smell fear and guilt and rage. And the nature of her behavior is as much a mystery to her as to the audience, making her an outcast to the viewer as well.
That is, until Vore (Eero Milonoff) appears.
Vore’s arrival marks a series of turning points that redefine and reframe the film’s focus on otherness. He is similar to Tina, but also different. He is confident where she is reserved. He has knowledge of their secret nature…
