THE MISSILE/ OHJUS

Finland, 2023, 110 minutes, Colour.

Oona Airola, Pyry Kahkonen, Hannu-Pekka Bjorkman.

Directed by Mila Tervo.

The film is based on actual events, 1984, a Soviet missile landing in Finland, the search for the missile and the potential dangers, the attitude of officials, the international media, speculation about a mission, nuclear dangers, especially for Europe.

The film was described as “absurdist”. On the one hand, there is the domestic story set in this remote part of Finland, a woman a victim of domestic abuse, her husband in prison, with her children, with her family and the preparation for a wedding. On the other, there is the international situation as regards the missile, serious investigations. It will depend on cultural nuance and senses of humour to appreciate how well this absurdist combination works.

The film becomes more serious when the young woman causes an accident to the window of the local newspaper office, offering her services in writing for some kind of compensation. The editor is very much concerned about small local stories. She begins but with the news of the missile, she draws on her abilities for research, reading and background, her skill in writing. She then began serious investigation, interviews, writing, dramatised in some detail.

And, then the military observers come in, the search, the focus on a young pilot who is forthright in his comments, encounters the young woman, helps her with research, has a relationship with her. There is seriousness in those coming to investigate but there is also some satire in an obstinate official who tries to sabotage all the opinions of an Estonian expert who is brought in to explain the dangers.

While audiences outside Finland might find this an interesting look at the particular culture, the film is very much for a local audience.

1. Screenplay based on an actual incident, the Soviet missile, landing in Finland, the potential dangers, the investigation, cover up?
2. The combination of the investigation with the story of the violence, her family, the wedding, the accident and her wanting to offer compensation by work, investigations? And the romance element?
3. For audiences in Finland, culture and sensibilities, audiences outside, appreciating not appreciating the Finish culture?
4. The focus on Niina,, domestic abuse, her husband, his art, in prison, his later getting out, reuniting, attacked by his sister-in-law, accepted by Niina, relationship with his children? Niina and the children in the forest, the trees, the wagon, getting loose, crashing into the window of the newspaper office? The reaction of the owner, anger? Her making her case, offering to work?
5. The newspaper, local, domestic articles, reports, the owner, the cost of the window, allowing Niina to work, her poems, the accident report, her background, reading, writing?
6. The domestic sequences, her sister, the wedding dress, family background, the old man and his memories of World War II (and is giving information to Niina, the pathos of his death and funeral)? The raucous ceremony, Niina asking the editor for some money? Her buying toys for the children?
7. The indications of the missile landing, television, the wedding party not taking much notice? The point being made about serious matters and the public carrying on as normal?
8. The arrival of the military, the personalities, the meetings, the discussions? The issue of the accident or deliberate? The arrival of the expert and her explanation about the contamination details? The haughty representative and haughtily trying to undermine her at every moment? The military, listening, cover-ups?
9. The film described as “absurdist”? The blend of local colour and ordinary life, the touches of the raucous aspects of the community, serious investigation by Niina, the official meetings, the speculation about the missile, nuclear head, headed for Hamburg?
10. The arrival of the international media, the interviews, the discussions? Finland’s attitude towards Russia, subservient?
11. Niina’s story, her continued investigations, interviews, research, conclusions,? Her writing the stories? The contrast with the owner, at the hotel, interested in the cooking, reaction to Niina?
12. Repola, pilot, his mission, with the of the military, at meetings, his speaking up, ousted? The encounter with Niina, her intruding into the men shower, the later discussions, the relationship? His information? Speaking up at the meeting, the official ridiculing him?
13. The outcomes, the news item about the missile, Finland and Soviet relationships, international crescent observations? Niina, the relationship with Reploa, her husband’s return, her future?