Grand Central

(Rebecca Zlowtoski/2013/France & Austria) 

Telling a story of infidelity in the midst of dangerous work in a nuclear power plant Grand Central wins out on style but falls short in terms of substance. The opening sequence shows Tahar Rahim as Gary arrive at the plant seeking short term contract work. The detail and unhurried observance of the process of induction and safety training brings some of Ken Loach’s films to mind and it is as much an exercise in social realism as a set up for what’s to come. The dangerousness of the work is reinforced in the mind of the viewer and for the rest of the movie much of the tension will be scored in the scenes of Gary and his work mates on the job. Outside of the plant the lives of the migrant workers, living in caravans on a site across the river from the plant, are in focus as they socialise on their time off. A liaison develops, quite suddenly and without any preamble, between Gary and Karole the fiancé of Toni, one of the other workers. As the tension of the work in the plant begins to parallel the tension between the characters due to the affair it seems as if things will come to a head and a twist or revelation or some physical aggression will occur. There are some excellent uses of a jagged avant garde score to reflect this build and bubble of tension throughout. Gary’s past is hinted at as being unsavoury. “You don’t know who I am” he says to his pal Tcherno as he holds a knife to his throat after a minor falling out. However the eventual snap of tautness in the plot is a letdown as the film reveals itself as a simple tale of illicit love. It doesn’t have enough impact for the levels of tension built up throughout. Also the characters of Karole and Gary, in terms of the affair, are paper thin. It’s hinted that Karole and Toni, who is sterile, could be using Gary to have a child but it’s such a brief and wispish plot suggestion that it passes by without effect. The brooding mood and tone throughout Grand Central is effecting and really well done but unfortunately the characters and story get lost in the shadow of that aesthetic as it dominates the film much as the imposing structure of the nuclear plant both visually and sonically dominates many of the scenes.

(2.5/5)