‘Class Enemy’, the feature debut of co-writer/director Rok Bicek, is a coldly calculated but highly thoughtful look at protest and life and death in the system, with a perfectly subdued performance by Igor Samobor.
Rating: 3.5/5 stars
The line between interpretation and misinterpretation seems driven inside the heart of Rok Bicek’s Class Enemy. How one perceives a given situation is constantly questioned, and that’s meant positively. It’s a deeply thoughtful meditation on the nature of life, class and power, and while it’s occasionally at odds with its own self as to what kind of feature it wants to be, there are enough stinging analyses throughout to more than justify a viewing.
When a beloved German teacher goes on maternity leave, she leaves in her absence the strict and didactic substitute Mr. Zupan (Igor Samobor) to fill her place. In just a short amount of time, his words have seemingly a connection to a student’s tragedy and soon the instructor is at odds with his class. When the rebellious students find their individual motives are not as clear-cut as once believed, the once black and white morals of these young classmates quickly turns a shade of grey.
At face value, Class Enemy would seem as though it’s a cutthroat satire on classism, and the first third of Bicek’s feature debut leads you to believe as much. Samobor plays his part to a T, perfectly capturing the distilled, traditional mannerisms and mindset of his instructor’s way. His ensconced emotions, needed in the moment, come with a vibrant control and often-ferocious restraint. The performer performs his character’s calculated put-downs with dry wit and stark observation, which leads to some dynamically dark comedy.
But as the thrust of the story comes into play, Bicek seems insecure as to what film he wishes to make. He leans more heavily on the side of stone-faced drama, but every now and then keeps the twinkle of situated humor alive. It’s a balance which doesn’t quite line-up but certainly keeps Class Enemy on its toes. The performers keep the movie pulsated until its commanding final moments, where the film once again finds its control. If Bicek’s film were to control his second act more appropriately, it’s hard to believe his film wouldn’t have touched greatness.
Class Enemy is at its finest when it’s in the classroom. In these enclosed walls does where the writing, from a screenplay by Bicek, Nejc Gazvoda and Janez Lapajne, truly crackle. These seem the moments where the inspiration is truly alive, and if this were a bottle movie or stage production, it’s highly possible the emotions would have been even more earned than they are already.
For whenever the students or staff steps away from the chalkboard, often melodrama and an unfocused narrative get in the way. They lack the delicious restraints and build up of these desk moments, but do have the power to make those moments in class more powerful, if just, at the very least, in the fulfillment of the movie’s promise once again. Because, once again, these scenes are when Class Enemy has a pulse, a drive and a need to accelerate.
There’s much to appreciate here, though, but a majority of these accolades come from when Bicek’s film wraps up and gives its thesis. The points, while spilled out completely, are highly delectable and provide a great deal of thought on the nature of youthful protest and rallying against the system. Maybe Class Enemy would have been better as a short film? So as to get all its points in 30 or so minutes time, without having to dabble in side-plots in half-explored supporting characters.
Even with its shortcomings, Class Enemy is a likably refined film, filled with thoughtful care, maturity and a cold-hearted appreciation for the equally cold, hard truth. It’s not quite as ruthless as it wishes to be, but Bicek’s film succeeds in stride and proves in life, often things don’t come down to the grade.
