"De Surprise" marks the long-awaited return of Mike van Diem (of 1997 "Karakter" acclaim). I had no idea what to expect, but wasn't disappointed: it's a clever, self-written, self-produced dark comedy, that surprises with its off-kilter locations, developments and characters.
Starting with a funeral and quickly progressing to boy-meets-girl, the setup is of the well-traveled romcom variety, but the story heads for loftier territories after this and keeps us engaged throughout. Van Koningsbrugge and Verbaan acquit themselves well in parts that require a more understated, highbrow approach than their usual brand of comedy, and - essential for this genre - I rooted for them all the way through.
What kind of bugs me, though: the main characters in "De Surprise" exhibit a Wes Anderson-ish formal approach to emotions, which, combined with a distinct Wes Anderson-ish quirky world view, setting and storyline, almost made me feel like I was watching a WA-movie, only one without Wes' exceptional talents for art direction and editing.
This is not to say "De Surprise" lacks originality: but the day after, it did impress me more as a tight exercise in style than a profound exercise in storytelling - quite unlike the superior "Karakter". It does re-establish Van Diem as an independent, original filmmaker, and here's hoping he'll stick to cinema the upcoming decade.
Starting with a funeral and quickly progressing to boy-meets-girl, the setup is of the well-traveled romcom variety, but the story heads for loftier territories after this and keeps us engaged throughout. Van Koningsbrugge and Verbaan acquit themselves well in parts that require a more understated, highbrow approach than their usual brand of comedy, and - essential for this genre - I rooted for them all the way through.
What kind of bugs me, though: the main characters in "De Surprise" exhibit a Wes Anderson-ish formal approach to emotions, which, combined with a distinct Wes Anderson-ish quirky world view, setting and storyline, almost made me feel like I was watching a WA-movie, only one without Wes' exceptional talents for art direction and editing.
This is not to say "De Surprise" lacks originality: but the day after, it did impress me more as a tight exercise in style than a profound exercise in storytelling - quite unlike the superior "Karakter". It does re-establish Van Diem as an independent, original filmmaker, and here's hoping he'll stick to cinema the upcoming decade.