Most families will experience some moments in their time together that push them to change some aspects to their way of life, for better or worse. In ‘A New Kind of Wilderness’, the newest project from Norwegian filmmaker Silje Evensmo Jacobsen, we see how a sudden shocking event can force a family into adapting to new lifestyles, how it shapes the way they grow as people, how it can change everything.
In this case, it’s the documentation of the Payne family – consisting of photographer Maria Vatne and her half-English husband Nik along with their four children – who are able to keep to their way of life in the wild on their farm through the simple objective to cause as little harm to the planet as they can, seen through Jacobsen’s lens while they carefully pick flowers out from the ground.
The parents also decide on homeschooling the children in order to see them as much as possible, where they all take responsibility for the treatment and care of their farm animals.
It’s a sustainable practice to support the environment they love so dearly until a devastating moment forces them to step out of the cycle and embark on a new journey into the evolving modern world.
Intertwined with the storyline are Vatne’s old family videos of the kids which becomes a nice addition to the following circumstances they find themselves in and helps to pull on heartstrings when they encounter their own inner thoughts.
Wishing nothing but the best world for his children to grow up in and give them the best shot at success in their adult lives, Nik is faced with the tough task of being the decision maker on how they move forward in the wake of the shattering moment for all of them, all while having to remain strong to support his children in with all the emotional struggles he also faces. Unable to afford the farm anymore, he has to look at other options of where to go next.
At points this could start to be mistaken for a coming-of-age drama film with the events that follow, but Jacobsen’s filming throughout puts you in the same room as the grief-struck family as the moments of narration and quiet reflecting while each family member is alone is when the excellent documentation kicks in. Understanding the feelings they express is the key to making this form of filmmaking as destroying and personal as it should be.
You won’t know how far you’re grasped in on the Paynes’ situation until the credits roll, and 83 minutes is all it needs to take to keep you thinking about them for days afterwards.
The Edinburgh International Film Festival, at venues around the city, continues until August 21.
