Styx

Name: Styx
Genre: Drama
Released: February 27, 2019
Duration: 94 min
Rating: 78
Cast: Alexander Beyer, Anika Menger, Charlie Galea, Chris Spiteri, Dominik Böth

2019

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Generally favorable reviews based on 10 Critic Reviews

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USER SCORE

Generally favorable reviews based on 13 Ratings

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6.8

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6.8	User Score Generally favorable reviews based on 13 Ratings

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Styx (US Trailer 1)

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Movie Details & Credits

Film Movement | Release Date: February 27, 2019 | Not Rated

Starring: Alexander Beyer, Anika Menger, Charlie Galea, Chris Spiteri, Dominik Böth, Felicity Babao, Gedion Oduor Wekesa, Inga Birkenfeld, Kelvin Mutuku Ndinda, Mario Mangion, Susanne Wolff

Summary: ER doctor Rike (Susanne Wolff) embarks on a one-woman solo sailing trip to Ascension Island in the Atlantic Ocean. When Rike comes across a sinking ship of refugees, she is quickly torn out of her contented and idealized world and must make a momentous decision.

Director: Wolfgang Fischer

Genre(s): Drama

Rating: Not Rated

Runtime: 94 min

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Critic Reviews

Jessica Kiang

Jan 25, 2019

This is "All Is Lost” with a spinning moral compass and a topical dimension that proves even more gripping than its brilliantly achieved visceral action. Read full review

Michael O'Sullivan

Mar 14, 2019

For the first half of this spellbinding — and unexpectedly gut-wrenching — little film, there’s barely any dialogue at all. Read full review

IndieWire David Ehrlich

Feb 27, 2019

A blunt, breathless, and astoundingly unsentimental morality play that’s told with the intensity of a ticking-clock thriller, Wolfgang Fischer’s Styx is every bit as ominous as its title suggests, and far less fanciful. Read full review

Keith Watson

Feb 25, 2019

The film is a penetrating an indictment of the bureaucratic obstacles placed in front of refugees. Read full review

The Playlist Jonathan Christian

Feb 27, 2019

The primary factor permitting Styx to warrant any sort of recognition is inarguably Susanne Wolff’s dynamically subtle performance. Read full review

Ben Croll

Jan 25, 2019

Offering little in terms of exposition and even less when it comes to dialogue, Fischer’s sophomore effort develops character and, eventually, unsettling moral questions entirely through action, playing as a more consciously political companion piece to J.C. Chandor’s similarly taciturn All is Lost. Read full review

Robert Abele

Mar 14, 2019

Its dizzying strength is as a visceral journey, a detour from the privileged freedom represented by a horizon to the tragic limbo of displacement, an ocean that’s both a confinement and an abyss. Read full review

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User Reviews

Ananisapta

Dec 1, 2019

This review contains spoilers, click expand to view. This taut, gripping tragedy... verging on horror... is worth watching for so many reasons. I was first struck by Susanne Wolff's magnificent German doctor, embodying all the pride of her country and profession in an appealing package. But that's only the beginning.

The message of this fable is that some situations defy solution. It reflects recent German experience with the enormous influx of refugees. Despite their competence and caring, they wound up feeling overwhelmed, even that those they were trying to rescue had become their enemies. Ika Künzel and Wolfgang Fischer have elegantly encapsulated the horror gripping the West into a tightly-focused glimpse that is all the more impressive for its leanness of plot, character, and characterization.

Some of us are glibly partisan about solutions on the borders, but those who have crossed the Styx know better. This knowledge is in Dr Rike's eyes for all to see as the allegory draws to its sad, shattering close.

Don't miss it!… Expand

0 of 1 users found this helpful01

Bertaut1

May 13, 2019

A story about a choice between two untenable options

Written by Wolfgang Fischer and Ika Künzel, and directed by Fischer, Styx is a film about a simple question - a group of people will die unless you intervene; what do you do? And if the answer sounds obvious, what if the question isA story about a choice between two untenable options

Written by Wolfgang Fischer and Ika Künzel, and directed by Fischer, Styx is a film about a simple question - a group of people will die unless you intervene; what do you do? And if the answer sounds obvious, what if the question is contextualised by explaining they are African refugees trying to reach Europe illegally. Does this change anything? Should it change anything? These are the tough questions asked by Styx, a remarkably apolitical microcosm of white European indecision in regards to the current refugee crisis. It will probably frustrate those looking for something more dramatic or didactic, but for everyone else, this is an exceptionally well-mounted and brilliantly acted story about what can happen when the visor of indifference no longer shields our eyes from the truth.

Rike (Susanne Wolff) is an emergency doctor from Cologne sailing solo from Gibraltar to Ascension Island. When she encounters a damaged fishing trawler loaded with refugees, she alerts the coastguard, who promises to send help, but who warns her to stay away from the boat. Hours later, with no sign of rescue, she must make a stark choice; defy the coastguard's orders and intervene, or do nothing.

The second scene in the film shows a car crash in Cologne, which, within moments, is attended by a fleet of emergency responders, one of whom is Rike. However, the scene does more than introduce her character; here we have an almost immediate outpouring of aid for those in need, in contrast to what will happen on the ocean, where responsibility is shirked and rescue not guaranteed.

Thematically, the circumstances depicted in Styx seem tailor-made for a white saviour narrative - a privileged white European comes to the aid of a group of imperilled African refugees, deifying bureaucratic inaction, and teaching us all about the importance of compassion. Fischer, however, is not interested in such a story, and Rike is no more a hero than you or I. Indeed, she doesn't have much in the way of a character arc; once she spots the refugees, she does relatively little except watch in horror. Quite opposite to the clichéd white saviour narrative this could have become, the longer Rike does nothing, the more she comes to embody European indecision and irresponsibility, the "someone else will do something" attitude.

An important scene is when Rike contacts a nearby freighter for aid, but the radio operator tells her, "our employer has a strict policy [of non-intervention] in such cases. I can't risk my job". This introduces a further element into the narrative - economic considerations. As the car crash scene makes clear, in European cities, thousands of Euros and hundreds of people are immediately deployed to help the injured. Here on the ocean, however, when the lives of over one hundred are in danger, people bicker about economic bottom-lines. Of course, the film is named after the Styx, the river in Greek mythology that separated the human world and the Underworld, and which one may (legally) cross only if one can pay Charon, the ferryman, for passage (an obvious enough commentary on geopolitics).

Perhaps the most extraordinary thing about the film, however, is how quiet it is on the refugee crisis itself. Fischer is not concerned with finger-wagging pieties or didactic moralising, he's interested only in lifting the veil, letting us make up our own minds about moral questions. The crisis as a global situation is never even mentioned, nor do we ever learn where the trawler has come from or where it was going; such details are incidental. Kingsley (a young boy who swims over to Rike's yacht) is certainly a metonym for refugees in general, but he is also a terrified young boy to whom politics are irrelevant.

In terms of problems, there are a couple. To a certain extent, the disembodied voice of the coastguard is something of a token villain. The simple binary choice faced by Rike is also perhaps a little too binary. And the relationship between Rike (privileged white European) and Kingsley (suffering African refugee) is a touch over-schematised. Some will also criticise the decided lack of thrills. However, had this turned into a maritime action movie, it would have completely undermined everything it was trying to accomplish.

Styx is a film that asks difficult moral questions, without providing much in the way of answers, avoiding didacticism, and for the most part, remaining apolitical. It presents not a story about a white saviour, but a story about white indecision. With the yacht serving as a microcosm for white Europe's reaction to incoming refugees, and the attendant social, economic and political dilemmas, Fischer acknowledges that this crisis throws up exceptionally difficult questions. The answers to which are up to us as individuals and as a society.… Expand

1 of 3 users found this helpful12

Broyax

Jan 28, 2021

Une blonde de gauche va faire un grand tour en bateau, un joli voilier de 12m (mais comment elle peut se payer ça ? même en le louant…?! surtout avec son salaire de secouriste sur les accidents de la route comme on peut le voir trop longuement au début du film…!). En tout cas, elle navigueUne blonde de gauche va faire un grand tour en bateau, un joli voilier de 12m (mais comment elle peut se payer ça ? même en le louant…?! surtout avec son salaire de secouriste sur les accidents de la route comme on peut le voir trop longuement au début du film…!). En tout cas, elle navigue comme au Vendée Globe jusqu’à ce que tout-à-coup…

Elle tombe sur un autre bateau, plus gros qui déborde de migrants ! et alors là, au lieu de tracer la route parce que franchement, elle a beau être conne et de gauche ou plutôt d’extrême gauche) elle a compris qu’elle pourra pas embarquer les centaines de migrants vociférants et très agités (de loin, on dirait des zombis) sur son bateau de 12m !

Et donc, elle signale le bateau migratoire surpeuplé aux gardes-côtes, elle a l’impression d’avoir accompli une bonne action… mais ça ne lui suffit pas et elles reste là à attendre les secours…

La suite du film n’est que la… suite et les conséquences de la grosse propagande gauchiste bisounours progressiste sous un lourd agenda SJW (sauve le monde, heal the world, accueille toute la misère du monde etc,etc). Le film est réalisé comme un téléfilm à deux de tension qui n’a que son agenda à la bouche et se retrouve de fait sujet à des longueurs et une lenteur interminables.

L’ensemble, enfin, est en dehors de ses jérémiades et agitations de Caliméros gauchiasses au taquet, délibérément et pathétiquement minable. Bref, plus qu’à tirer la chasse !… Expand

0 of 0 users found this helpful00

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