russian – PopCult Reviews

Movie Review – Viy

Viy (1967)
Written by Aleksandr Ptushko, Konstantin Yershov, and Georgi Kropachyov
Directed by Konstantin Yershov & Georgi Kropachyov

There was a recent clip going around from an interview with George Lucas where he talked about the difference between the American film system he came up with in the Soviet analog. Lucas’ remarks expressed his frustration with the film industry as a whole is centered on making profits rather than allowing artists to make art. He explains that he is forced to only make a particular type of movie if he wants to continue having access to the resources needed to make them. Conversations with Soviet directors in the 1980s caused him to realize they had more creative freedom than in the United States. While making films critical of the Soviet government was forbidden, Lucas says he felt more penned in by Commercialism restraining him.

Patron Pick – Solaris (1972)

This is a special reward available to Patreon patrons who pledge at the $10 or $20 a month levels. Each month those patrons will pick a film for me to review. If they choose, they also get to include some of their thoughts about the movie. This Pick comes from Matt Harris.

Solaris (1972)
Written by Fridrikh Gorenstein & Andrei Tarkovsky
Directed by Andrei Tarkovsky

Science fiction is a label attributed to a pretty diverse genre of fiction. In recent years, the move to rebrand it as “speculative fiction” has been made but has not gotten much headway in mainstream culture. “Speculative” is a much better way to describe this genre’s full breadth. In Western cinema, the emphasis is often on technological innovation, which makes sense given the very industrial, consumptive capitalist mindset. Things will set us free; items we can purchase and/or upgrade are the path to salvation. Look at how, amid a global climate collapse, we are offered ludicrous technological solutions like dimming the sun artificially rather than simply developing systems that will help us consume fewer fossil fuels. Soviet filmmaker Andrei Tarkovsky also saw this in Western science fiction and sought to make cinema that captured the metaphysical and philosophical strains, asking big questions about existence and reality.

Movie Review – Stalker

Stalker (1979)
Written by Boris Strugatsky & Arkady Strugatsky
Directed by Andrei Tarkovsky

Today I begin a week-ish long series called Worlds on the Edge of Chaos. My thought behind this series of movies is to look at apocalyptic films that aren’t Mad Max-ian, deep in the primal collapse of mankind. These movies are intended to be more philosophical about collapse, with characters existing on the precipice between the world that was and falling into the oblivion of the end. These pictures will vary wildly in tone and characters, but they will all explore the themes that arise when we confront the end of civilization as we know it. Many of these movies present their collapse with a melancholy quiet proposing the old adage that the world will end with a whisper.

Movie Review – Leviathan

Leviathan (2014)
Written by Andrey Zvyagintsev & Oleg Negin
Directed by Andrey Zvyagintsev

In American cinema, there is a tradition of the plucky underdog who has all the odds stacked against him and still manages to come out on top. There is no such archetype in Russian films where the idea of a lone figure having the ability to overcome the bureaucratic power is laughable. Inspired by the bulldozer rampage of Marvin Heemeyer of Colorado, director Andrey Zvyagintsev reimagines that story through a Russian lens of powerlessness. Leviathan is such a searing pointed portrayal of modern Russia and its ugliness that Zvyagintsev, who had received government funds to help finance this film, caused the Ministry of Culture to rewrite their conditions on how a movie gets their support. Films must not “defile” the Russian culture, which is another way of saying they must support the party line and be propaganda.

Movie Review – Elena

Elena (2011)
Written by Oleg Negin & Andrey Zvyagintsev
Directed by Andrey Zvyagintsev

Elena has been married to Vladimir for two years, having met him when he was hospitalized, and she was his nurse. This isn’t the first marriage for the two, but it is a comfortable, content one that can see them into their twilight years. Elena lived on the lower economic fringes of Moscow, and so entering Vladimir’s posh upper-middle-class lifestyle has been a blessing. However, Elena has a grown son with a family living in a decaying tenement. Her grandson Sasha has reached the age where, if he is not enrolled in university, he’ll be faced with compulsory military service. Elena implores Vlad for money she can give to her family, but he sees the whole lot as shiftless layabouts. Elena worries further when Vlad’s estranged daughter Katya comes back into his life. A moment will happen when she takes drastic action, but can she live with what she does?

Movie Review – Loveless

Loveless (2017)
Written by Oleg Negin & Andrey Zvyagintsev
Directed by Andrey Zvyagintsev

loveless

Zhenya and Boris are in the final days of their acidic and hateful marriage. When they are forced to be around each other in their Moscow apartment, they fill the bitter silence with mouthfuls of venom spewed at each other. One thing that is agreed upon is that their twelve-year-old son Alyosha is going to be sent to a “boarding school” that will primarily act as an orphanage. Zhenya wants to move on with to her new life with an older, wealthy and established man while Boris has already gotten his twenty-something girlfriend pregnant. Alyosha is destined to be forgotten. One morning, Zhenya discovers that their son hasn’t been to school in two days and appears to have not been in the apartment during that time either. They realize he is missing and contact authorities. The subsequent search forces these two hate-filled people to spend hours together, but don’t expect a reconciliation.

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Movie Review – Come and See

Come and See (1985, dir. Elem Klimov)

come-and-see-child

As we get older, we’re told our views on life will change. That is a somewhat accurate assessment I’ve found. However, as I was told by older people I would become more conservative in my thinking as I aged, I discovered the opposite to be true, at least in the sense they implied. One thing I have become very conservative about is the act of war, conservative in the sense I abhor it. I find people who have a war hawkishness about them to be very liberal about the deployment of soldiers and the dropping of bombs. I am thankful that I have never had to personally experience war and have great sympathy for those who have taken lives and had lives taken from them. I cannot fathom the trauma a person carries with them in the wake of that experience. Come and See is possibly the best war film ever made in my opinion because it is directly about that trauma.

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Import Fridays – Lilya-4-Ever

Lilya-4-Ever (2002, dir. Lukas Moodysson)
Starring Oksana Akinshina, Artyom Bogucharsky, Pavel Ponomaryov

A young girl, face swollen with bruises, cut across her lip, runs through the overcast streets of an anonymous European city. The streets are littered with refuse; broken bottles, crumpled and empty chip bags. She stops on an overpass and stares down at the cars zooming by below. This is how director Lukas Moodysson introduces us to Lilya, an 16 year old Estonian girl trying to overcome a hopeless existence she was born into and unlikely to get out of. Moodysson is grabbing the audience by the scruff of the neck and forcing them to watch this very real tragedy unfolding before their eyes.

Lilya’s mother and stepfather are leaving Estonia, but promise they will send for her once they are settled there. As soon as they leave, Lilya’s aunt claims the girl must leave the flat she shared with her parents for a smaller, more affordable apartment. She ends up in a rundown tenement and befriends Volodya, a boy thrown out of his house by his parents. Lilya is tempted into prostitution as her money and hopes dwindle down. Eventually, she meets Andrei, a man who shows genuine interest in her and gives her hope of leaving this place where she has no chance to better herself.

The film feels completely honest in its characters and the universe it builds around them. Lilya feels painfully real and could be one of millions of teenagers in any country across the globe living in abject poverty. The film doesn’t leave anyone out as responsible for the situation either. The entire system in place to protect children like Lilya is a farce. Teachers ridicule her intelligence so its no surprise she has no interest in finishing school. Her parents abandon her and her only relative, her aunt, dumps her on her own with no money or food. Every adult she comes in contact with wants to use her for sex or abandon her. Its no surprise that she resorts to prostitution as a means to survive. What is interesting is how her mother and her aunt are also sympathetic in their own ways. The women in this culture are fighting to survive, they may have to hurt another in the process, but they have been conditioned to fight tooth and nail. Even Lilya ends up committing the same betrayal when she has an opportunity to leave Eastern Europe.

Lilya-4-Ever could just as easily be remade in the United States and feature the oft vilified Hispanic population. Immigrants are people looking for hope that their homeland couldn’t provide. They fall into crime many times because they are reaching out for anything to hold onto so they don’t sink further. What is most touching about the film are the dream sequences Lilya has in the days where life has gotten the worst. She dreams of having wings, righting the wrongs she made in her past, fixing her life so none of this has happened. That painful regret is what tears at you the most in the end, and breaks your heart to see a life of such potential destroyed.