manuel-pestalozzi Unfortunately I was not able to watch this film through to the end. It is slow and after about 20 minutes I felt I had seen it all. This is a pity as the black and white imagery that unfolded before my eyes was breathtakingly beautiful. But somehow I expect a movie to tell me a story, to get me involved in the character's lives in some way or other. In this aspect the movie really does fail miserably. It's just a big freak show. Too much style, hardly any substance.The movie is based on a novel by Swiss writer Robert Walser. It was first published around 1910 and reads like excerpts of the author's diary. In their diaries people explore their selves and their relationship with the external world. I think the main problem with Instituten Benjamenta is its failure to distinguish between the external and the internal world – it's just one big stage with a kind of a waiting room atmosphere. That's very fashionable in Modern European Theatre of our days. It can also be very, very, boring. A much better introduction into Walser's world is Thomas Koerfer's movie Der Gehülfe.No doubt the Brothers Quay are talented artists. Their movies live through the imagery, not from the narrative. This is ideal for music videos but maybe less so for a full length feature film.

marcopop Watching this film was a treat. Slow at times, but so stunningly poetic all the time, and once in a while, really intense. As if Kafka and Bergman had just watched "Eraserhead" and decided to do something together. Sort of.

Afracious A quiet and softly spoken man arrives at a ghostly building to enrol for the servants class taught there. He rings the doorbell and is greeted by a monkey's face through the small hole in the door. The man's name is Jakob. He enters and meets one of the two owners (a brother and sister). The brother is unpleasant, and informs Jakob that there are no favourites here. Jakob goes into class to meet the other students. They all announce their names to him and then fall over. The lessons are presumptuous and iterative. They involve the men swaying from side to side and standing on one leg. They really are quite eccentric. The institute seems to be its own little world away from reality, with its low ceiling rooms. The sister soon has a strange fondness for Jakob. This is a very sombre film, but has a unique air to it. The pacing is pedestrian, but you stay with it. The acting is good, and the camerawork is meticulous and probing.

Milo Jerome Institute Benjamenta is an oddity. Let me say that first, get it out of the way. Part of me hesitates from revealing here that it is one of my favourite films of all time because I know I'll make some people reading this mini-review approach it from the wrong angle. A film like this should never become required viewing. You should stumble across it at a repertory cinema somewhere or be beguiled by the video-box art showing the striking visage of Alice Krige as she paces before her blackboard, deerfoot staff in hand. You should find one evening that its the only thing that sounds interesting on TV, or peer at a still alongside a mention in your TV guide and wonder what on earth the picture is supposed to depict. Contained between main and end credits here is a world so visually ravishing and technically abstruse that you are only in the film while you are watching; the rules of the outside do not apply. You peer into the dreamy, foggy black-and-white and what you can't identify for certain your imagination fills out. These are the most special special effects because you wonder 'what' and 'why' by never 'how.' The Institute of the title is a school for servants, the lessons they are taught bizarre and repetitive to the point of making 'deja-vu' a permanent state of being. Is the repetition the point of it all or has the teacher lost the plot? If she has, how come we care? None of this is vaguely like real life. None of it, that is, bar the characters emotions. Or is the whole thing like real life, like Life with a capital 'L?' In the end does this sort of pondering make for a good movie? I won't answer that because I'm terribly biased. Remember the title and look it up sometime. It's the cinematic equivalent of a stunning old-fashioned magician's trick. A monochrome bouquet, a sad smile. There are images, scenes that may make the hairs on the back of your neck think they're a cornfield with a twister on the way. I tried to warn you as quietly as I could.