Indy Film Fest: Henry

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A subtle exploration of ostracism and artistry, “Henry” has the feel of a Biblical parable: fallen angels, cherubic innocents and the temptation of envy.

Writer-director Philipp Fussenegger, in his first feature film, presents us the tale of two boys, both prisoners of a sort at an exclusive boarding school. It’s a world of brilliant marble hallways and high ideals, filled with fallible creatures who taunt and snigger.

Henry (Lukas T. Berglund) arrives well into the school year, and immediately becomes a target for other students. He’s blond, physically small, does not speak at all and takes their abuse with sullen resignation. It’s almost like he feels it’s his lot in life to be an object of abuse.

He’s also a prodigiously talented musician, playing both the pipe organ and piano with beauty and poise. He supplants Erik (Nino Bohlau), the resident organ player for the choir, earning his ire. Their opposition becomes increasingly obvious and, inevitably, violent.

Erik is Henry’s darkling twin — both beautiful, talented lads with music in their hearts. While Henry appreciates playing for its own sake, Erik revels in the status it brings him — the attention of the headmaster’s daughter (Stella Holzapfel) and the tolerance of the music teacher (Julia Hummer) to his continuous tardiness and surliness.

When she sees a brighter star in Henry — not to mention a more compliant one, it should be said — Erik is thrown out of choir and his status within the boys’ brutal hierarchy thrown into doubt.

“Henry” is a beautifully accomplished and polished film, just 52 minutes long but filled with a sense of depth and contemplation. The photography by Dino Osmanovic has a shadowy gorgeousness, and the organ music makes us feel the religious overtones of the story that reverberate deeply.

HENRY TRAILER from FUNFAIRFILM on Vimeo.