The World of Movies: What We Wanted
Written by Rachael Crawley
The World of Movies is a series that explores global cinema, drawing on films from many countries, industries and eras. This week, we follow the dynamics between two families from Austria.
What We Wanted.
May contain spoilers.
Content warning: This film contains discussions of infertility and a depiction of suicidal action.
How many of us have used a change of scene to reset our lives? After a crushing disappointment, or a long period of stagnation, some time away can change a person’s perspective – or at least give them time to breathe. What We Wanted (Ulrike Kofler, 2020) explores this concept over the course of several days in Sardinia.
Alice and Niklas (Lavinia Wilson and Elyas M’Barek) have taken this kind of trip, while trying to recover from unsuccessful fertility treatment. At an Italian vacation rental, they are placed next to a family with several children. Their initial distance turns into a reluctant holiday friendship. As the movie goes on, cracks naturally begin to appear, both within the families and between them.
This uneasy relationship forms the core of the film. For the most part, it works. M’Barek and Wilson easily convey the familiarity of a long-term couple. Wilson, who has the most to do, is a particular standout, as she can be bitingly funny and deeply melancholic in the course of a scene. The more free-spirited Romed and Christel, played by Lukas Spisser and Anna Unterberger, create a nice counterbalance, though they have far less screen time. Their differences feel realistic and play up well against each other. Conversely, it is understandable how they could connect despite this. I did feel the writing of the family’s children was a bit too “on the nose” at times. The script also plays into some metaphors that don’t always work. The film finds its most consistent success when it deals directly with its four main characters.
What We Wanted.
This is also greatly helped by its setting. One of the movie’s strongest points is how it creates that vacation feeling – the novelty of discovering a new place, the quiet and lazy days. (We also have plenty of footage of Sardinia, much of which is quite beautifully shot.) It is a slow-moving film, but this fits the mood. It also gives the film plenty of ability to focus on its people, which is crucial to its success. Much of the movie is quite mundane, but it adds up to an overall tone that resonates.
Like many promising movies, What We Wanted slides a bit in the third act – some of the characters’ decisions seem odd, and some plot points feel underdeveloped. It comes together well, however, in its ending, which retains the languid holiday mood that has marked the film throughout. Its lack of resolution is the right call, I think – tying up the characters’s dilemmas would have made the ending too neat.
Ultimately, the depiction of the holiday is what shines forth most from the film – it follows so clearly the novelty of a new place, the small arguments and moments of relaxation, and the letdown and acceptance that follows the end of a journey. While many films involve travel, few capture it this thoroughly. Though the movie isn’t uniformly strong, its performances and exploration of its characters make it interesting. For a quiet drama with real relatability, What We Wanted is a good place to start.
Rachael Crawley holds a Master's Degree in Film and Photography Preservation and Collections Management from Ryerson University, and has worked with film in Canada and in Europe. She adores language and cinema, and how these subjects interact with each other.