Robert Eggers seems to be emerging as a director of painstaking miniatures. I love this. His attention to and evolution of the details found in early film are wonderful — I find myself thinking that Guy Maddin would admire this film immensely. I think some films should be miniatures, I think art should support the miniature, and I hope Eggers and his people get to make a lot more films like this.
WARREN ELLIS LTD Articles.
Via Experimental Cinema:
The first film in the style of “trash”, filmed in the USSR.
Throughout the film trilogy the main character goes through a series of temptations that destroy his soul and bring, eventually, to the madhouse. In a General sense, allegorically the film shows the tragic path of the Russian lumpen-intellectual, lost between past and present, not finding the strength to accept and comprehend it fell down on the unexpected change that occurred in our country twenty years ago. In a global sense – a tragic cycle of Russian history.
This is a film that’s getting some rewatches lately. There’s a write-up on Arts Of Slow Cinema:
The visual could indeed only be a photograph and you would still get a sense of the film. Like a photo album with sound. I read on Wikipedia that someone called the film an “ambient movie”. I never thought about calling films ambient. I always connect the term to sound, but now I see the point. It is, if I briefly consider the slow films I’m aware of, a fitting term for Slow Cinema as a whole.
In that it’s a highly photographic film of short films, it can be filed near 24 FRAMES. Don’t let the slowness fool you, though. The second piece is funny. The third piece is eerily heartbreaking. The fourth, banal and then weird. And so on.
The director, Benedek Fliegauf, also made the excellent DEALER.