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Not all of these films are as dour as "The Match Factory Girl." Some of his characters are more resilient. I never get the idea he hates them; in fact, I think he loves them, and feels they deserve to be seen in his movies, because they are invisible to other directors. In making them, he seems to be consciously resisting all the patterns and expectations we have learned from other movies. He makes no conventional attempt to "entertain." That's why he's so entertaining. He wants only to hold our interest. He wants us to decide why he chooses such misfits, loners and outsiders, and to ask how they endure their lives. Even those who are not victims have a passive acceptance bordering on masochism. Life has dealt them a losing hand, and that's how it is.
Kaurismäki's camera work is meticulous. He composes without any eagerness to put elements in or leave elements out; his camera simply votes "present," and gazes with the same dispassionate eyes that Iris has. An image is there before us. We see it. There you have it. We can draw our own conclusions. He doesn't go in for reaction shots, or perhaps it would be more fair to say that every shot is a reaction shot. Asked at a film festival why he moves his camera so little, he explained: "That's a nuisance when you have a hangover."