With the likes of Rare Exports and Tokyo Godfathers becoming cult classics around this time of year, and after a handful have cropped up in the past, this year’s Alternative Christmas Film Advent Calendar focuses solely on foreign language/ non-English Christmas films. Some simply less heard of around the world, and in some cases their home country, while others aren’t deeply rooted in the season. And so, via this year’s Calendar, let’s go abroad for this year’s Christmas vacation.

The final film in this year’s calendar seems almost right to end on after a week that appears to have largely been filled with dramas about feuding families. In fact, today’s entry is perhaps the most conventional Christmas film that may ever appear in any edition of the calendar. In many ways Christmas Story, as the title might suggest, is an out and out Christmas film – alternative simply because of it’s little known status around the rest of the world.

It seems fitting for this year’s Christmas Eve film to be one about the origins of Santa Claus. And a Finnish one to be precise. Housing Santa in his other home of Lapland we see him go from orphaned child Nikolas (Jonas Rinne/ Otto Gustavsson), leaving thank you presents for the children of the families who take him in each year, to the iconic red-suited, jolly fellow of Christmas (Hannu-Pekka Björkman). When he finds himself taken in by strict, hard-working carpenter Iisakki (Kari Väänänen) while his carpentry skills, and opportunities, are enhanced his Christmas ‘operations’ are too, especially when it comes to the distance travelled to the town.

Overtime, as both characters age, a bond begins to grow between them, and Christmas becomes an even bigger part of the year. Rumours begin to spread about who’s really bringing the presents each year. Myth and legend are created by the local children – enhancing the idea of Santa’s origins and the tales around him.

As a whole the film feels strongly in the vein of traditional festive family flicks. From start to finish, unlike other films not just this year but in previous ones too where the point could be up for debate, this is undeniably a Christmas film. The spirit of the season flowing throughout it, making for even more fitting Christmas Eve viewing as the film begins to look at the impact of Nikloas’ actions on the town, and perhaps even beyond as while he himself begins to isolate himself from the town to keep mystery afloat he continues to hold a friendship with growing Aada (Laura Birn).

A film focusing on the origins and spread of both the Christmas spirit and Santa himself. One which knows the mythology that it wants to depict and does it rather well with an enjoyable traditional fashion. Certainly living up to what it says on the tin and being a rather good Christmas Story to end this year’s globetrotting Alternative Christmas Film Advent Calendar on.

Christmas Story can be watched in the following places:
iTunes/ Apple TV
Or, if you’re not able to/ don’t want to find a physical copy, you can find a list of most services housing the film, including in different countries, on JustWatch.

With the likes of Rare Exports and Tokyo Godfathers becoming cult classics around this time of year, and after a handful have cropped up in the past, this year’s Alternative Christmas Film Advent Calendar focuses solely on foreign language/ non-English Christmas films. Some simply less heard of around the world, and in some cases their home country, while others aren’t deeply rooted in the season. And so, via this year’s Calendar, let’s go abroad for this year’s Christmas vacation.

The penultimate day of this year’s calendar has arrived and finally it brings something lighter with more traditional Christmas elements. As mentioned each day so far, Tokyo Godfathers has become something of a cult classic each Christmas, however today we head to Japan for another animated festive offering in the form of The Disappearance Of Haruhi Suzumiya.

It takes a while to realise the lines that The Disappearance Of Haruhi Suzumiya is travelling down. Not that it’s difficult to engage with, more that the recognisable elements are kept at bay by the mystery of the narrative. As teenager Kyon (Tomokazu Sugita) tries to work out not only why none of his friends seem to recognise him, but also the impact they’ve had on his life – particularly school SOS Brigade leader Haruhi (Aya Hirano) who appears to have completely disappeared from the world – gradually themes similar to the likes of It’s A Wonderful Life begin to come through. Yet, as the film asks whether Kyon is in an alternate world, the same with nobody recognising him or something entirely different such thoughts are pushed away as you simply get caught up in the frantic search for answers.

One which takes place in the build-up to Christmas, which the SOS Brigade were preparing for with plans to attend events as the decorations were being pinned around the ordered schoolroom – despite Kyon’s cynicism. The cold is setting in as the snow falls yet despite festive traditions still occurring order is lacking for the central figure as he feels he may run out of time to find answers, as if the big day is the cut off point for him returning to normality.

It’s as the film begins to play with its sci-fi leanings, alongside fantasy elements with the various humanoid figures who pop up throughout the film, that elements relating to not just It’s A Wonderful Life but also A Christmas Carol appear. Time travel becomes a possible explanation, leading Kyon to confront his various relationships with his friends who he initially somewhat dismissed – despite turning up to see them each day in their usual meeting room. All made more engaging by the bright animation which runs throughout, yet still managing to capture the cold wintry environment in which the film takes place; particularly once the big change happens relatively early on in the run-time. We get the build up we need and then off the plot goes along its course.

There’s plenty to enjoy within the finely animated worlds which the film presents. Covering up familiar themes through the stylings of the narrative it may not be the most deeply-rooted in the festive season but there’s certainly enough elements throughout to provide such feelings. Well worth putting in the time (currently it sits as the third longest animated film ever at 2 hours and 42 minutes) it takes to tell its detailed and occasionally reminiscent of Christmas classics story.

The Disappearance Of Haruhi Suzumiya can be watched in the following places:
Microsoft Store
To see if the film is available anywhere else, outside of physical releases, JustWatch lists most platforms in various countries.

With the likes of Rare Exports and Tokyo Godfathers becoming cult classics around this time of year, and after a handful have cropped up in the past, this year’s Alternative Christmas Film Advent Calendar focuses solely on foreign language/ non-English Christmas films. Some simply less heard of around the world, and in some cases their home country, while others aren’t deeply rooted in the season. And so, via this year’s Calendar, let’s go abroad for this year’s Christmas vacation.

Behind today’s calendar ‘door’ is one final drama before offering some lighter choices before Christmas. Once again switching back to the idea of family, and staying within the French language as instead of family separation we look at the idea of attempted reunion over the festive season in 2008’s A Christmas Tale.

Almost everyone within A Christmas Tale is identified by how they relate to Catherine Deneuve’s Junon. She’s the reason some of them attempt to put their grievances and grudges aside as many figures are called back home not just to celebrate a potentially final family Christmas, but to help in the search for someone willing to donate suitable bone marrow for a required transplant which could save her life.

Arguments are the least of the problems between the family, particularly the set of siblings – mostly in their 30s. As with previous films in this year’s calendar, there appears to be a common theme of family secrets and past lives – as is featured in a number of seasonal re-watches for many people. Again, what better time to look back on a life and family than the season of goodwill? Goodwill in particular being something which A Christmas Tale uses and plays with rather well as the potential death of the family matriarch rears its head into multiple situations – even those which are very individual to certain figures.

Mix in themes about what, or rather who, real family is and how we view such relationships – particularly interesting in the case of Mahieu Amalric’s somewhat prickly character Henri, often stirring the pot in a number of situations – and there’s a fine set of elements for moments of not-quite-forgiveness. It helps the film to not entirely be a lengthy downbeat set of events. What causes this may be a set of lighter dramas, and indeed the likes of distractions for the characters as they try to still celebrate Christmas and not bring any more of a dampener to the festivities – you can see things playing on Junon’s mind as she tries to enjoy a special play that her grandchildren have put together.

Morality and mortality begin to come to the fore as the characters calm down and spend time thinking about their own attitudes instead of outbursts about each others – although, of course, thoughts clearly continue to linger at the back of various minds. The film’s pacing and form become clearer as it deals with the various characters and the way they find themselves impacted, and brought back together, under the circumstances of their mother’s illness. Christmas doesn’t just feel like a background element, or a reason to have the family come together other than the aforementioned illness, it’s used throughout and made a point of. There almost seems to be something redemptive or attitude-changing (although certainly not in the same vein as the classic example of Scrooge) about Christmas Day itself and attending midnight mass. Beginning to fully embrace the spirit of the day just as it starts. A true turning point for the film and the events and relationships that it depicts. Using Christmas as a quiet turning point instead of just including it.

A Christmas Tale can be viewed in the following places:
Amazon
iTunes/ Apple TV
Or, alongside being available on various physical platforms, you can always check JustWatch to see if there’s any other online services stocking the film, particularly in parts of the world outside of the UK.

With the likes of Rare Exports and Tokyo Godfathers becoming cult classics around this time of year, and after a handful have cropped up in the past, this year’s Alternative Christmas Film Advent Calendar focuses solely on foreign language/ non-English Christmas films. Some simply less heard of around the world, and in some cases their home country, while others aren’t deeply rooted in the season. And so, via this year’s Calendar, let’s go abroad for this year’s Christmas vacation.

As we find ourselves firmly in the week of Christmas the Calendar continues with snowy landscapes amidst another offering of festive fun. Today we take a trip to Canada, keeping the foreign-language theme going by landing in the French-Canadian territory of Quebec for a coming-of-age tale confronting those oh so festive of themes, life and death.

Perhaps a fine summary of Mon Oncle Antoine comes in a sequence about halfway through the film as we see the English-speaking owner of an asbestos mine (Georges Alexander) slowly riding through the local town on a wooden cart led by a horse. Wrapped in warm clothes amongst the cold air and fading snow, he lamely throws flat stockings onto the ground for the local children. While the kids are excited at the prospect and eventually rush out to greet the packages the parents are clearly dismissive, appearing to frown upon the activity – even the face shows a lack of connection to the festive spirit; his pipe emitting more warmth than anything else in the scene.

This opposes the time and effort that has been put into the decorations of the local general store, covered in all sorts of different-size Christmas displays. Times have been tough within the area, with 15-year-old Benoit (Jacques Gagnon) arriving in town for the winter not long after the asbestos mining strikes which took place earlier in the film’s setting of 1949. The titular Antoine (Jean Duceppe) doubles up running the general store, alongside his wife Cécile (Olivette Thibault), with being an undertaker. Through a busy Christmas Eve Benoit must leave the fascinations of the shop – largely his interest in young employee/ colleague Carmen (Lyne Champagne) – to travel through the snow with his weakening uncle to collect a dead body.

It’s through this journey that the ideas about reflecting on life and death come most of the fore within Antoine’s ramblings and insistences upon his teenage nephew. The coming-of-age style switches to a new tone and path as Christmas almost becomes a time of regret and loss over anything else – not helped by the adult’s continuous drinking throughout the day.

While the store tries to push the spirit of the season to the occasional onlookers of the window display unveiling, it generally lacks in the surroundings and soon makes its way into the views and actions of the central figures. Benoit may spend the couple of days the film spans growing up and exploring various elements of the limited world he finds himself in but there’s plenty of contrast in the streets – both views occasionally playing out at the same time. Christmas is a time in this town, particularly in the state it finds itself in, where truths are revealed and attempts are made to accept them. Everyone’s looking for some form of change and development, particularly in regards to the strikes and actions of ‘the Big Boss’. It’s hinted that it may be the young people, still discovering the workings of the world, who at some point can cause that. All encapsulated within the push of the season from some parties, and the lack of reception to it from a great many others, creating the clash which forms the coming-of-age style.

Mon Oncle Antoine can be watched in the following places:
Filmzie
National Film Board of Canada website
YouTube
To see any other places where the film might be available, particularly if you’re in another country, it’s well worth having a look at JustWatch where most services are listed.

With the likes of Rare Exports and Tokyo Godfathers becoming cult classics around this time of year, and after a handful have cropped up in the past, this year’s Alternative Christmas Film Advent Calendar focuses solely on foreign language/ non-English Christmas films. Some simply less heard of around the world, and in some cases their home country, while others aren’t deeply rooted in the season. And so, via this year’s Calendar, let’s go abroad for this year’s Christmas vacation.

Today’s calendar ‘door’ jumps back to the theme of family gatherings around the festive season, although in this case, another dramatic viewpoint. Depicting the rising arguments and turmoil in a cramped cabin surrounded by equally growing levels of snow in the aptly titled Cabin Fever (Or Når nettene blir lange, translating to the equally appropriate When The Night’s Get Long).

One of the few films of the Dogme 95 movement, and the only Norwegian film to be classified as such, writer-director Mona J. Hoel’s use of handheld cameras and natural elements throw us right into the centre of the mix as tensions rise between the central extended family cramped into a rented cabin for Christmas. The naturalism heightens the intensity as various secrets and truths are revealed in the rising heat of Christmas Eve, and into the morning of the next day. All spurred by the alcoholism of father Gunnar (Svein Scharffenberg) who begins to dominate the night with his increasingly drunken ramblings and declarations.

His family are used to this behaviour, trying to distract from it – and hide any alcohol on the premises – as much as possible, particularly in the presence of non-Norwegian speaking Danish in-laws who may as well be complete strangers. It’s already a cocktail for confusion, chaos and misunderstandings, the kind which could normally play a part in a comedy, however here it’s played with deadly-serious drama. There may be some mild merriment to begin with as everyone settles in, but once the kids are put to bed everything begins to boil over.

Everyone simply wants a calm, friendly, family Christmas yet it’s clear that there’s distance within that particular family and there’s little that can stop it – not even the usual traditions, some of which come from new heads at the table, carol singers from the neighbouring cabins and a visit from Santa. Much of the night, and flow into the next day, plays out as if one large sequence. Avoiding the feeling it could be played out on a stage thanks to the naturalistic stylings of the aforementioned Dogme 95 movement you’re simply put at the table and made to feel the awkwardness and frustration that circulates faster and faster over time.

Leaking into the next day like a persistent hangover the air is thick with an unspoken lack of festivity, instead coming across in hesitancy and uncertain looks. That is until everything begins to come out once more in a cocktail of panic, relief, fading energy and disconnect – just to name a few of the various feelings flying around the enclosed space. Cabin Fever depicts the definition of a mirthless Christmas, utilising familiar elements, for viewers and the central characters who are forced to confront truths at this reluctant time of year, to create a naturalistic drama with occasional coldness in the depicted relationships to match the snow-covered surroundings.

Cabin Fever can be watched in the following places:
iTunes/ Apple TV
To see other services which might hold the film to by, rent or stream, particularly in other countries, JustWatch should list most available.

With the likes of Rare Exports and Tokyo Godfathers becoming cult classics around this time of year, and after a handful have cropped up in the past, this year’s Alternative Christmas Film Advent Calendar focuses solely on foreign language/ non-English Christmas films. Some simply less heard of around the world, and in some cases their home country, while others aren’t deeply rooted in the season. And so, via this year’s Calendar, let’s go abroad for this year’s Christmas vacation.

Christmas is often pointed out as a time when we think about those less fortunate, and with that come conversations and pieces about the class divide. It’s this theme which 2014 Colombian drama Gente de Bien (translating to Good People) runs with as struggling father and son Gabriel (Carlos Fernando Pérez) and Eric (Brayan Santamarià) find themselves taken in by a rich family in the build up to Christmas. However, the time of goodwill provides the pair with a strong sense of alienation over anything else.

The film opens with Eric’s mother saying goodbye to her son, insisting it’s only temporary, as for the moment she can’t afford to house the both of them while she’s looking for work. For the rest of the film we see Eric’s father trying to create a bond with his son, while they both find themselves out of their depth in the house of a wealthy family. They’ve been taken in over the Christmas period, whilst Gabriel completes carpentry work he’s been doing, by matriarch Maria (Alejandra Borrero).

Yet, despite being welcomed in the pair constantly find themselves pushed to the sidelines at almost every gathering. A key image used across many posters for the film is of three boys ready to jump into the pool in front of them with Eric some distance away, huddled up to himself, isolated and seemingly unsure as to what to do. There’s initial fascination with the phones and game consoles that the more upper-class kids have, but it soon transforms into hints of jealously via his isolation and feeling out-of-place, pushed away by Maria’s family, yet still allowed to stay in the walls of whichever residence/ building they happen to be in.

As Christmas nears and the decorations go up the lavish glows of lights which flood not just the household but the garden too opposes the washed-out greys of the cramped apartment the father and son otherwise stay in when not out working. Co-writer (alongside Virginie Legeay and Catherine Paillé) and director Franco Lolli establishes the ideas of class struggle, divide and contrast very early on; the rapidly approaching festive celebrations increase this creating a coldness under the warmth of the South American sun. Playing with seemingly universal themes frequently brought up around Christmas, even A Christmas Carol deal with such ideas to some extent, Gente de Bien isn’t a film to watch to feel joyous. It certainly digs in to the definition of ‘alternative’ within the calendar, but much like yesterday’s film uses the Christmas setting to push the themes and ideas that bit further.

Gente de Bien can be watched in the following places:
Amazon
iTunes/ Apple TV
To see where else it might be available to buy, rent or stream, particularly in your country, it’s well worth checking JustWatch.

With the likes of Rare Exports and Tokyo Godfathers becoming cult classics around this time of year, and after a handful have cropped up in the past, this year’s Alternative Christmas Film Advent Calendar focuses solely on foreign language/ non-English Christmas films. Some simply less heard of around the world, and in some cases their home country, while others aren’t deeply rooted in the season. And so, via this year’s Calendar, let’s go abroad for this year’s Christmas vacation.

We start this year’s Calendar with a look at the highly recognisable scenes of festive family gatherings. 1999’s Cosy Dens’ Czech title Pelíšky can be translated to mean the plural of a small animal den or burrow. It’s this feeling which the film gets across as it focuses on a pair of bickering families, and apartment neighbours, in the winter of 1967.

The political tensions of the time make their way into much of the conversation, and the comedy, which particularly lines the first half of the film which follows a Christmas in two busy apartments. One led by a proudly communist-supporting former army officer (Miroslav Donutil), who could happily spend his time praising the ‘unbreakable’ glassware that communism has brought, no matter how low-quality it may be. The other (Jiří Kodet), just upstairs, is a passionate anti-communist who has been imprisoned multiple times for his views against the regime. It’s become an annual tradition his insistence that “the Bolsheviks have a year left at most, maybe two”, much like the political arguments and insults thrown between the pair between windows and down stairwells. However, the film is more concerned with their children.

Michal (Michael Beran) has a crush on the girl upstairs, Jindřiška (Kristýna Nováková), the two are already very good friends and are very much aware of the feud between the families. But, Romeo and Juliet territory this is not. The film views the contrasts of the pairs family Christmases and the arguments that still ensue. Both are fed up of the politics that’s being thrown around the homes and it’s very much the words and actions of the parents which are turned into jokes – including a simple test to prove how long someone can hold their breath for and tears over whether dumplings have been cooked properly or not. The kids aren’t interested and are simply wanting to try and get on with their own lives.

It’s been said that if you’re Czech there’s something to laugh at in almost every scene through the historical contexts which lie within the film. For those viewing outside of the country, and perhaps unaware of the deeper points of the political backgrounds, there’s still plenty to laugh at in terms of the satire and familiar family interactions on display. Each one wonderfully observed and put together for a fine blend of satire and occasional cringe humour.

The Christmas setting and sequences echo into the second half of the film where the real tensions between the families, and lying within the country as it’s depicted at the time in the build-up to the Prague Spring, come more to the fore. While leading up to actual events in the country, Christmas appears to be a great time for the film to start building up its points and rising tensions amongst the images of families looking at very different views of a collective and individual future – perhaps not quite in the same way that we hear Slade singing about each year. There may be plenty to recognise and chuckle at throughout Cosy Dens, particularly in the first hour, and it’s largely thanks to the Christmas theme and setting which effectively echoes into the events of the film’s second half with a largely different response.

Cosy Dens can be watched in the following places:
iTunes/ Apple TV
Or, you might have, or be able to find, a physical copy somewhere. To see if the film is available to buy, rent or stream anywhere else, particularly in your country, it’s always worth checking JustWatch.