Nocturne (2019)

Directed by: Viktor van der Valk | 80 minutes | drama | Actors: Vincent van der Valk, Reinout Scholten van Aschat, Simone van Bennekom, Tom Dewispelaere, Bien de Moor, Ellen Parren, Bart Slegers, Jos Smit, Lien Wildemeersch

Total freedom in the realization of a film production. In the Dutch film landscape, that is usually not an option. Due to the controlled method of financing, filmmakers are to a large extent subject to the requirements of lenders and producers, the Netherlands Film Fund (NF) leading the way. The question arises whether this does not jeopardize the creative autonomy of the makers. Film is not only intended as a commercial cash cow, but also as an expression of art. A personal interpretation of a director or screenwriter. Moreover, an external leash can ensure that a talent does not develop further. Stagnation, which is disastrous for both the filmmaker and the industry, is the result. Fortunately, an exception is made from time to time in this limitation and makers are given the necessary space to realize their vision. ‘Nocturne’ is a good example of how that can turn out.

The low budget film, partly an own investment, partly subsidized by various film funds (including the NF), opens playfully with a colorful introduction. Adjectives that are applicable to film appear on the screen. It looks like a wish list from a commercial stakeholder. In the background is a voice-over that presents the cast and crew of the film, while at the same time emphasizing that they have done their job with few resources. Contradictions are immediately brought into focus in a light-hearted manner. The voice-over concludes with the announcement that only film as an art form can keep the sacred fire awake for the filmmaker. This struggle is unveiled by filming the mind in motion, again according to the voice in the background, seen from the interior.

That filmmaker, Victor van der Valk, therefore keeps it personal in ‘Nocturne’. At first glance, the film tells a simple and classic story about a boy and girl, looking for work and love. True events will probably underlie this, but Van der Valk strives for more. The elusiveness of art, for example. Or the ability to get moving again from an imposed standstill. The search for light in an almost all-encompassing visual darkness. The atmosphere in ‘Nocturne’ is melancholy, like in a film noir. The mostly whispering characters never seem to really exist. Everything shows that what the viewer sees is a manifestation of the director’s mental consciousness.

Because Van der Valk’s personal struggle is central, ‘Nocturne’ can be seen as a visual director’s vision of his own film. Like a Droste effect that brings together different realities. In that perspective, ‘Nocturne’ is also a film about film. It all has something abstract and postmodern, but because of the great enthusiasm that those involved show, it doesn’t feel that way anywhere. The film is also perhaps a bit too unambiguous in its symbolism, but that hardly hinders. This is partly because the viewer grows along with the delusions and dreams of main character Alex (played by brother Vincent van der Valk). Slowly his flame is lit again and lethargy turns into decisiveness. Control returns to the vacuum of the human mind. Fears and vulnerability have not been without benefit. Freedom beckons. Although ‘Nocturne’ can partly be seen as a settlement with financiers, producers and other external parties, it mainly shows that a little uncompromising film does no harm.