NR | 1h 50m | Drama, History, War | Jan. 31, 2024
There’s an overwhelming glut of World War II movies featuring dastardly Nazis that often feel like cardboard cutouts. It’s become increasingly difficult to find truly original angles in films about people resisting or fighting against the Nazis. “Wil,” directed by Tim Mielants, is a grimly serious film that attempts to set itself apart from this overcrowded genre.
Based on the novel “Will” by Flemish author Jeroen Olyslaegers, the film explores the realities of working as an auxiliary police officer during Nazi-occupied Antwerp in 1942. The film poses difficult moral questions: What is worth risking for survival, and what should be avoided? Who would you trust and risk your life for, and who would you avoid?
A Conflicted Occupation
One rainy night at the police station, their superior, Jean (Jan Bijvoet), lays out a harsh truth to the fresh recruits: To survive, they must simply stand aside and not interfere with the Nazis’ rule, or risk facing deadly consequences. The Feldgendarmerie, or German occupational police, now oversee the entire city and have made it abundantly clear that resistance is futile.As Wil and Lode leave the station, they’re ordered to accompany a Feldgendarm to the home of a Jewish family. The situation takes a turn for the worse as the German officer attempts to extort the family, putting Wil and Lode’s lives in jeopardy.
Strengths and a Few Weaknesses
One of the strengths of this film is its brisk pacing, which allows it to seamlessly weave together the stories of Wil and Lode, as well as a Jewish family that Wil secretly aids. The narrative shifts fluidly between different time periods, ensuring that the viewer remains engaged without ever feeling lost.
Instead of relying on traditional flashbacks, the film cleverly uses dialogue to reveal crucial backstories, maintaining a rhythm that propels the story forward. This dialogue-driven exposition allows the seemingly separate narrative threads to come together smoothly, drawing the viewer deeper into the unfolding drama.
The cast, featuring notable Belgian actors like Aerts, Simoni, and Annelore Crollet, deliver performances that add to the film’s intense atmosphere. Aerts, in particular, captures the internal conflict of a man torn between the instinct for self-preservation and the need to make moral choices.
However, Crollet’s portrayal of Yvette Metdepenningen falls into the realm of the annoying “girl boss” trope that’s been heavily pushed by corporate media conglomerates in recent times. Her near-perfection, aggressive nature, and unwavering idealism stand in sharp contrast to Wil’s oddly passive masculinity.
Visually, the film is understated yet effective. Its cinematography, aided by darker hues that dominate the frame, reinforces the isolation and melancholy of wartime Belgium. Rather than relying on flashy technical flourishes, the film’s simple visual style serves to amplify the narrative’s impact.
“Wil” delves into the moral dilemmas of survival during wartime, posing challenging questions about the lengths to which people will go to protect their lives and loved ones. It rejects the notion of easy heroism, offering an alternative portrayal of a world in which every decision is fraught with danger and consequence.
While the film shares thematic similarities with other WWII classics, like ”The Pianist” and “Schindler’s List,” it somewhat distinguishes itself by focusing on an often-overlooked aspect of Nazi-occupied Europe. However, for all its thematic strengths, its portrayal of harsh violence and grim themes—hallmarks of the genre—might not offer anything particularly new and may alienate some viewers.
