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Affliction (Paul Schrader, 1997).

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1998 was a good year for the American writer Russell Banks (Massachusetts, 1940). Two films- Affliction and The Sweet Hereafter - two novels based on his own, were released that year, and seen today, with hindsight, can be considered among the best that cinema has given us in the last decade of twentieth century.
. Affliction
us to the best Schrader, in another of his stories (written by myself on a novel that will fit like a glove) in which we meet with recurrent obsessions with all the moral density and debugging style that characterizes him. In it we find that search of a moral self-tormented, the fear of the inability to properly channel the feelings, squeezed by railroad mental structures and the persistence of a critical fault is only surpassed by the final act with fire redemptive catharsis ritualized way of purification after which nothing remains.
Wade Whitehouse (sounding name for the main character, an extraordinary Nick Nolte) is another in the gallery of characters tormented recreated on screen by the director of Mishima , a lonely man, a looser for themselves and their community that lives its existential ordeal as a pressure cooker ready to explode whenever. An individual unable to escape the family destination that remains clinging like a curse. Film
hard, dark, extremely pessimistic, in which the family and the environment play a castrating whose only possible solution is to flee, represented by Rolfe (Willem Dafoe), Wade's younger brother. Schrader
filming the drama with a set containment, leaving breathing necessary to planes, making the landscape a moral fable of his characters, filming the snowy white winter places with a sense of claustrophobia and confinement that is overwhelming, leading to formal elegance the drama, so fluid and natural, to its devastating outcome: the magnificent sequence of Wade sitting on his father's house while in the background behind the glass, the flames devour the substance of the vast blanket of snow, wooden shed where is the body of his father, is like a ritual before slaughter. Then there will be nothing.
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I can only recommend also another adaptation of Russell Banks, The Sweet Hereafter, directed by Atom Egoyan, an exciting and beautiful film about the absence and the pain it causes, in which the snowy landscape is also the center .
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