Charlie and Hannah Go Out (2017)

Directed by: Bert Scholiers | 75 minutes | comedy | Actors: Evelien Bosmans, Daphne Wellens, Patrick Vervueren, Frances Lefebure, Steef de Bot, Sigrid ten Napel, Jeroen Van Dyck, Sam Bogaerts, Astrid Haerens, Anne-Marie Loop, Titus De Voogdt, Guido Op de Beeck, Yela de Koning, Eric De Kuyper, Liesbet Goedemé, Thomas Kums, Elyne Notebaert, Sofie Porro, Kristien Pottie, Lily Joan Roberts, Luca Tichelman

Film country Belgium has its extremes. On the one hand we find the drab realism of the brothers Dardenne and Joachim Lafosse, on the other hand the magic ball cinema of Jaco van Dormael. The latter is now facing competition from a compatriot who is making it even crazier: Bert Scholiers with his festive debut ‘Charlie and Hannah are going out’.

The story is quite simple: Charlie and Hanna, two beautiful young women, decide to go out for a night. To make it all a bit more pleasant they eat two sweets, of course no drugs but homeopathic remedies. Once in the heart of Antwerp, the sweets start to work. The ladies’ ways split, with one ending up in a bizarre brothel and the other in a black hole. In addition, our heroines are joined by some nice guys.

“Charlie and Hannah are going out” is a mildly schizophrenic case. In terms of content, the film resembles ‘Before Sunrise’ and ‘Medicine for Melancholy’. Boys and girls strolling through a city and having conversations about relationships, sex and being young. These conversations are highly anecdotal. Not theorized, but meaningful, often funny stories about the pleasures and burdens of love. Not very deep, but entertaining.

On the other hand, ‘Charlie and Hannah Go Out’ is an indescribable cinematic spectacle. While the conversations are still realistic, the sets and actions are not. That black hole is really a black hole, the brothel is a place where all kinds of literary figures come (such as the sisters from ‘Pride & Prejudice’). Then we have talking buildings, a polar bear as a means of transport and many more absurdities. Presented with a nonchalant self-evidence and a bravura that sometimes borders on overestimation.

This extravagant spectacle is cast in a timeless style. Shot in sleek black and white, with jazzy and classical music as accompaniment. Despite all the craziness, the undertone of the film is rather depressing. Hints to addiction or abortion are cut off or drunk away. But in the meantime you see two girls who got stuck at a young age.

Anyone who immediately delivers an unforgettable film with his debut has done well. We have lost our hearts to Charlie and Hannah and we are going to score a date with the Eiffel Tower on Tinder. Anyone who stays put until after the credits will understand why.