Master shots, long takes, wide lens, black-and-white – absurd poetry of daily life. It seems to be a film formula that Russian directors have a patent on. You could make all sorts of critical remarks about it, but the genre yields many a gorgeous film. In Artel, we follow a group of small black silhouettes on a wide white landscape with a couple of log cabins. Beneath the snow and ice they are walking on, fish are swimming. In any case, the men spend a lot of time dealing with some fishing nets. If they did not use a chainsaw to make a hole in the ice, the film could just as well have been made 80 years ago. The documentary seems to say that life by the sea has always looked like this and it always will. Or is the final shot, when the ice breaks and the water flows, a reference to the old Soviet masters and an optimistic symbol of imminent change in a frozen social situation? –idfa.nl
Sergey Loznitsa was born September 5th, 1964 in the city of Baranovitchi, in Belarus. At that time Belarus was part of the Soviet Union. Later Sergey’s family moved to Kiev, Ukraine, where Sergey finished high school.
In 1981 Sergey applied and was admitted to Kiev Polytechnic Institute, with the major in applied mathematic and control systems. In 1987 he graduated with a degree in engineering and mathematics.
From 1987 through 1991 Sergey was employed as a scientist at the Institute of Cybernetics. He was involved in the development of expert systems, artificial intelligence, and decision-making processes.
In addition to his main job, Sergey worked as a translator from Japanese. During that time Sergey developed a strong interest in cinematography, and in 1991 he applied to Russian State Institute of Cinematography, in Moscow. After passing a very vigorous selection process, Sergey was admitted to the Institute. He studied in the studio of Nana Dzhordzhadze. read more