“Stop rubbing your fake perfect Christmas in my face.”
Boasting a perfectly cast ensemble of diverse talent Paprika Steen’s That Time of Year expertly navigates the harsh terrain of holiday family get-togethers.
Taking place over the period of a single day, That Time of Year joyfully embodies the excitement, resentment, and altogether fear that is often associated with hosting family. Inundated with questions, requests, and the occasional threat, educator Katrine and her husband Mads work up the courage to welcome in a plethora of family members for the Christmas holiday. Preparation is going smoothly until Katrine gets a call from her estranged sister Patricia, who uncharacteristically invites herself over for the occasion.
However, Patricia’s presence isn’t to blame for the dysfunctionality of this family. Katrine’s wannabe priest sister, Barbara, holds an egotistical hierarchy over the rest of the family. Barbara’s husband isn’t too far behind her, while their painfully disobedient son is the epitome of a loose cannon, often distracting from the film as his mood swings are nearly impossible to ignore. Also, one cannot overlook Katrine’s pretentious mother, a woman who is struggling with the actions of her ex-husband.
Patricia’s unexpected arrival turns the dial on an already tense situation, allowing past wounds to suddenly reopen as everyone attempts to take a stab in the most unfortunate of public forums. While Katrine heroically grasps for a breath of fresh air, the rest of the family never misses a beat. Tone and delivery can convey a lot, and while the script doesn’t always let the audience in on the backstory of each statement, the distribution of each punch strikes a deliberate chord, offering up a small hint at just how much turmoil, frustration, and pain lies behind the mask.
After Katrine’s mother steals the show with a rather absurd health announcement, tensions overpower sanity. Albeit for a massive snowstorm, everyone would be heading out the door. Unfortunately, they are stuck within the confines of the home for the night, prompting everyone to call beds and sending our host into another frenzy as she works to accommodate.
But not everyone wants to stay. It is at this moment that the film detours from the usual genre fare, offering up an authentic look at what people do when they’ve hit their limit. Gone are the in-depth conversations and reconciliation; in life, people hold grudges and refuse to compromise. I won’t say that Katrine’s family fits perfectly into that mold, but I refuse to classify this group as one that plays by the rules of Hollywood - in short, that is what makes it work so well.
