‘The Line’ (‘La Ligne’): Film Review | Berlin 2022

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Swiss director Ursula Meier's drama follows a mother and daughter whose abrasive relationship leads to an unusual boundary being drawn between them.

Indeed, the problem with Meier’s latest, despite the strong cast and solid direction, is that it explores the tense and thorny nature of blood ties without ever delving into the psychology of it all, often leaving us in the dark as to why the characters behave the way they do.

The rest of the movie follows the aftermath of that vicious dispute, which leads to a restraining order against Margaret that forces her to stay a hundred meters away from her mom’s home. In order to preserve the boundary, her younger stepsister, Marion , paints a pink circumference around the house that gives the film its title.

Bruni Tedeschi has never been the subtlest of actresses, but someone turned up her volume way too high on this production, making her character lose credibility. A sequence where Christina plays a solo for the last time before her piano gets shipped off is both touching and over-the-top: She’s so much of a drama queen that her emotions are constantly quashed by all the excess.

 

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