There's probably deliberate ambiguity in the title of this Belgian-made film about the wartime German occupation of Antwerp, with a double-meaning of the central character's name and ultimately his will for self-preservation in deciding between conscience and sacrifice when your life and more importantly, those of others, depends on it.
It's 1941 and we're immediately dropped in on the German Army overseeing their control of the city police force. It's an uneasy time and it's clear the captain in charge is no German lapdog. Later, on his way to work at night in absolutely filthy weather along with his friend and fellow-cop Lode, is the young, recently inducted Wil. Corralled by a German soldier into accompanying him in rooting out a family of Jews, both the young men are immediately tested by subsequent events and come down in favour of the angels in rescuing the family, but their intervention precipitates a terrible retribution by the Nazis whose young, smooth-talking commandant exacts bloody revenge on a rounded-up group of innocent Communist sympathisers, ruthlessly carried out by his grinning goon second-in-command.
Completely unnerved by these events, Wil is pulled this way and that with his obligations to his own family, his introduction to the Belgian Resistance group, his growing relationship with the initially distrusting sister of Lode and finally the expectation that he will subjugate himself to the Nazis and lead them to the truth about what really happened to their missing officer and by extension go on to hunt down and exterminate the local Resistance.
Be warned, this isn't a film for the faint-hearted containing as it does several scenes of look-away brutality, murder and torture. It all ends with Wil having to make his own mind up as to whether he puts his instinct for self-preservation over his inherent humanity and compassion for others. His dilemma is reminiscent, if in a more extreme way, of Winston Smith's in Orwell's "1984" and you probably know how that ends...
This is a dark and bleak feature which holds up a "what would you do?" mirror in front of the viewer and this, even more than some of the graphically harrowing scenes depicted, makes it an uneasy watch.
The ensemble acting is excellent. Lead Stef Aerts in the title role is presented to us initially as a naive, idealistic youth caught in the headlights by events, with his cherubic looks and almost angelic golden curls he resembles a young Art Garfunkel, but as events overtake him, we see him cauterized into the barbaric automaton he becomes at the end. Annelore Crollet as his girlfriend acts as the moral conscience of the film, taking over that role from her brother and it's she who delivers the final verdict on his actions at the movie's shocking climax.
Filmed in hyper-realistic style by Tim Mielants, while I considered there to be one or two implausible plot-jumps and might have welcomed at least some beacons of hope in the narrative, this was nevertheless a compelling study of the opposing psychologies of the oppressors and the oppressed in wartime.
It's 1941 and we're immediately dropped in on the German Army overseeing their control of the city police force. It's an uneasy time and it's clear the captain in charge is no German lapdog. Later, on his way to work at night in absolutely filthy weather along with his friend and fellow-cop Lode, is the young, recently inducted Wil. Corralled by a German soldier into accompanying him in rooting out a family of Jews, both the young men are immediately tested by subsequent events and come down in favour of the angels in rescuing the family, but their intervention precipitates a terrible retribution by the Nazis whose young, smooth-talking commandant exacts bloody revenge on a rounded-up group of innocent Communist sympathisers, ruthlessly carried out by his grinning goon second-in-command.
Completely unnerved by these events, Wil is pulled this way and that with his obligations to his own family, his introduction to the Belgian Resistance group, his growing relationship with the initially distrusting sister of Lode and finally the expectation that he will subjugate himself to the Nazis and lead them to the truth about what really happened to their missing officer and by extension go on to hunt down and exterminate the local Resistance.
Be warned, this isn't a film for the faint-hearted containing as it does several scenes of look-away brutality, murder and torture. It all ends with Wil having to make his own mind up as to whether he puts his instinct for self-preservation over his inherent humanity and compassion for others. His dilemma is reminiscent, if in a more extreme way, of Winston Smith's in Orwell's "1984" and you probably know how that ends...
This is a dark and bleak feature which holds up a "what would you do?" mirror in front of the viewer and this, even more than some of the graphically harrowing scenes depicted, makes it an uneasy watch.
The ensemble acting is excellent. Lead Stef Aerts in the title role is presented to us initially as a naive, idealistic youth caught in the headlights by events, with his cherubic looks and almost angelic golden curls he resembles a young Art Garfunkel, but as events overtake him, we see him cauterized into the barbaric automaton he becomes at the end. Annelore Crollet as his girlfriend acts as the moral conscience of the film, taking over that role from her brother and it's she who delivers the final verdict on his actions at the movie's shocking climax.
Filmed in hyper-realistic style by Tim Mielants, while I considered there to be one or two implausible plot-jumps and might have welcomed at least some beacons of hope in the narrative, this was nevertheless a compelling study of the opposing psychologies of the oppressors and the oppressed in wartime.