Every thing will be fine is the latest film by German director Wim Wenders, and it is notable for its peculiarity. It’s peculiar because there is not really a point or a sence of what Wenders wants us to see, to comprehend. What does it mean? The story is simple: The main character is Tomas (James Franco) a young author. Driving his car on a Quebec country road during a snow storm, Tomas has an accident. At first he is relieved to find that 5 years-old Christopher is uninjured, and he walks the boy to his house. That’s when he meets the boy’s mother, Kate (Charlotte Gainsbourg), and he learns that the dead body of Christopher’s younger brother is under the car. The film explores the impact the accident has on Tomas over the next 12 years. After going through depression, a suicide attempt and the break up with his girlfriend, Sara (Rachel McAdams), life gets better for Tomas. The writer’s block that hampered him is over, and it seems that the tragedy has inspired his writing. He becomes a successful writer and falls in love with Ann (Marie-Josée Croze). Still, Tomas feels the need to go back to that traumatic country road and reconnect with Kate. Later, it’s Christopher, now a teenager (Robert Naylor) who wants to meet Tomas. It is impossible to categorized Every thing will be fine. You could say it is a psychological thriller, but that is not entirely true. Wenders uses some of Hitchcock’s techniques, like the subjective point of views. There is a beautifully shot phone conversation between Tomas and Kate. Through editing, fade in and fade out effects, they seem to be in the same room. There is suspense, scary and intriguing moments. Franco is very good, but Gainsbourg annoyed me with her tendency to whisper every lines and as a result make them inaudible. But this is not about acting, but about how we cope or how we don’t. And how time heals.
Every thing will be fine
Bjørn Olaf Johannessen