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| Herra Ylppö: Kronos Kairos (FI 2025). Kari Reini listens to the sounds of the cosmos on a mountain top in Fuengirola, Andalusia. |
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| Herra Ylppö and Kirka Sainio at Lapinsuu, Sodankylä, Midnight Sun Film Festival, 13 June 2025. Photo: JLa, Midnight Sun Film Festival. |
FI 2025. DIRECTOR: Herra Ylppö. SCREENPLAY: Mika Lätti, Herra Ylppö • CINEMATOGRAPHY: Herra Ylppö • EDITING: Herra Ylppö • PRODUCTION DESIGN: Teemu Kaskinen • COSTUMES: Herra Ylppö, Teemu Kaskinen, Toni Järvinen, Kari Reini • SOUND: Kirka Sainio • MUSIC: HRDMNN • CAST: Protoni Järvinen, Mira Luoti, Kari Reini, Mika Lätti, Tero Höglund, • PRODUCTION: Kovameno • PRODUCERS: Mika Lätti, Herra Ylppö, Toni Järvinen, Jari Sarasvuo, Mariska, Bo Malmberg • FORMAT: DCP • LANGUAGE: Finnish • SUBTITLES: English. 70 min
Sodankylän Elokuvajuhlat / The Midnight Sun Film Festival (MSFF) 2025
In the presence of Herra Ylppö, Mika Lätti and Kirka Sainio
Viewed at Lapinsuu, 13 June 2025
Lauri Timonen (MSFF 2025): "Ajattoman karu, asujaansa riepotteleva mustavalkoinen maisema luo puitteet eron aiheuttamalle kosmiselle tuskalle. Mira Luodin tulkitsema yrmeä moderni Dulcinea ilmoittaa heti kärkeen löytäneensä toisen miehen, ja hylätyksi tullut harhailija (Toni ”Protoni” Järvinen) vajoaa korvien soinnin ja mielen järkkymisen sumentamaan välitilaan. Seurakseen tai ”aseenkantajakseen” hän löytää äyriäisallergiasta kärsivän palkkamurhaajan, ja entisten virheiden korjaaminen liittyy olennaisesti uuden strippitangon rakentamiseen."
"Muusikko-runoilija-kuvataiteilija-kirjailija Herra Ylppö (s. 1973) on hionut taitojaan kymmenien musiikkivideoiden tekijänä, joten viipyilevän intensiivinen esikoiselokuva edustaa kokeneen ohjaajan vakaata käsialaa. Science fictionin sävyt yhdistyvät mustaan huumoriin, ja kivisillä kentillä haahuilevien protagonistien wellesiläis-gilliamilainen, utopistinen melankolia muistuttaa vieraalle planeetalle pudotetun Don Quijoten päämäärätöntä vaellusta lynchiläisessä yössä."
"Muodot ottavat roolia leijuvina palloina ja katkeilevina putkina, maskeina, naamioina, hihnoina, tahroina ja tehtaan tuotantolinjan monotonisena jyskeenä. Vastaukset saavuttavat enintään sanattoman hahmon, antonionilainen autiomaa ankaroittaa ihmissuhteiden kitkaa, ja väkivalta väijyy hapertuvissa rakenteissa."
"Käsillä on yksi festivaalisesongin omalaatuisimmista, mieleenpainuvimmista luomuksista: elämys, jonka Aki Kaurismäki nimesi heti tuoreeltaan ”surrealistiseksi mestariteokseksi”." (LT)
"A timeless, stark, black-and-white landscape, ruthless to its inhabitant, sets the stage for the cosmic pain of separation. Right at the start, Mira Luoti’s sullen modern Dulcinea announces that she has found another man, and the jilted wanderer (Toni ”Protoni” Järvinen) sinks into a blurry in-between zone that rings in the ears and bends the broken mind. He finds a shellfish-allergic contract killer as his companion/squire, and it soon becomes clear that righting past wrongs will essentially be about building a new stripper pole."
"Musician-poet-photographer-writer Herra Ylppö (b. 1973) honed his skills as the maker of dozens of music videos, and this lingeringly intense debut film represents the steady hand of the experienced director. Science fiction tones are combined with black humor, and the Wellesian/Gilliamian utopian melancholy of the protagonists wandering in rocky fields recalls the aimless wanderings of Don Quixote – dropped on an alien planet in a Lynchian night."
"The screen reflects a variety of shapes: floating balls, broken tubes, masks, straps, stains, and a factory production line with its monotonous thud. The answers to the questions posed by the film take on a vague unspoken form, while the Antonionian desert exacerbates the friction of human relationships and violence lurks in the fragile structures."
"This will be one of the most original and memorable films of the festival season: an experience that Aki Kaurismäki immediately described as a surrealist masterpiece." (LT)
AA:
Kronos = ordinary time
Kairos = extraordinary time
Cosmic visions fill the screen.
The soundscape emits messages from beyond.
Triangle drama after a painful separation.
Conducted in duels of many kinds and series of retributions.
"He that troubleth his own house shall inherit the wind."
A tablecloth is flapping on the windy mountain top.
Recorded in black and white in long takes and long shots.
The tracksuit is full of stains.
Octopuses abound. They are swallowed raw.
Calamari Union?
Theatre of the Absurd.
A large grave memorial on the mountain.
A man shadow boxing.
A woman pole dancing.
A solo handjob simulated with a big black baton.
A dancing pole cut in half with a grinder ("rälläkkä").
In Morse code: K-R-O-N-O-S - K-A-I-R-O-S.
Tinnitus rampant in the blackest night.
Fixing the bicycle.
Drinking Le Havre wine.
A satellite watches us from the sky.
Industrial art. To the shower with the raincoat on.
Convulsions of pain.
"Blood flows in streams like champagne".
Drool, vomit, slime.
All male nudity.
Listening to the sounds of the cosmos.
Burdocks.
...
Herra Ylppö (Frank Mikko Kalevi Mäntymäki, 16 March 1973 Harjavalta) is a Finnish musician (singer, lyricist, front figure in bands) rock, alternative rock), writer, illustrator and music video director. Kronos Kairos is his first feature film. He legalized the forename Frank inspired by the movie Calamari Union.
In the Q&A after the screening Herra Ylppö told us that the movie was eight years in the making. It is a tool in processing a painful divorce, followed by depression and tinnitus. The ears were screaming. Tinnitus never ends. But this tinnitus did.
The sound designer Kirka Sainio told that he had saved weird sounds that had never found a place in movies. In a silent screening of Kronos Kairos he knew that this is their home.
...
Last year we celebrated the centenary of surrealism. In Finnish feature films surrealism has been a rarity, but there are exceptions like Maria Ruotsala's Apeiron (FI 2013). Herra Ylppö's Kronos Kairos is a milestone in Finnish cinematic surrealism. There is a compelling oneiric drive. The sounds and visions are unique and disturbing.
Since psychedelia in the 1960s, music videos have been the main forum of surrealism* in moving images. Equally close Kronos Kairos comes to the Theatre of the Absurd. But art is fundamentally unclassifiable.
* Julien Temple in his morning discussion yesterday selected Luis Buñuel's El ángel exterminador as his desert island film.
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