Valentyn Vasyanovych’s award-winning drama casts deeply likable non-professionals – most with direct experience of the conflict with Russia
Ukrainian writer-director Valentyn Vasyanovych’s drama won the top prize in the Horizons strand at the Venice film festival in 2019: in the signature style of Slavic arthouse cinema, it mostly comprises a series of long-held, static widescreen tableaux. Each scene is about the same length, and within each long, ventilator-speed shot everything seems to carry the same weight: a man being berated by a supervisor at a steel mill and then jumping into the smelter in despair; another guy making a bathtub out of a rusted out car; a couple having sex in real time. The story is set in 2025, “a year after the end of the war” – in other words the one with Russia in eastern Ukraine that’s been rumbling away for years now. But instead of being numbingly dreary and depressing,...
Ukrainian writer-director Valentyn Vasyanovych’s drama won the top prize in the Horizons strand at the Venice film festival in 2019: in the signature style of Slavic arthouse cinema, it mostly comprises a series of long-held, static widescreen tableaux. Each scene is about the same length, and within each long, ventilator-speed shot everything seems to carry the same weight: a man being berated by a supervisor at a steel mill and then jumping into the smelter in despair; another guy making a bathtub out of a rusted out car; a couple having sex in real time. The story is set in 2025, “a year after the end of the war” – in other words the one with Russia in eastern Ukraine that’s been rumbling away for years now. But instead of being numbingly dreary and depressing,...
- 5/3/2021
- by Leslie Felperin
- The Guardian - Film News
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