In an attempt to load drugs onto a ship for transport overseas, two men barely avoid being caught by the police but end up stranded on the coast, with no alternatives and no hope of getting away.
Šarūnas BARTAS (1964-) – Lithuanian film director, one of the most outstanding representatives of cinematographers. His contacts with cinema began in 1985 with the TV serial “Sixteen-years-olds” (dir. Raimondas Banionis), where Bartas played one of the main roles. He is a graduate of the Moscow Film School (VGIK). He made his directorial debut with his diploma film, the short documentary “Tofolaria” and mediocre-length film (which called spectators’ attention) “For the Remembrance of Last Day” (1989), where the real personages are “acting themselves” according to the principles of feature film. The author further “purified” the specific cinema language in the full-length film “Three Days” (1991), which was awarded the prize of oicumene committee at Berlin Film Festival (for the problems, the importance of the theme, the profundity) in 1992, and FIPRESCI Prize for the originality of the style, the significance of the theme, the beauty of pictures. This is a story (almost without plot… read more
With Bartas, I always come back to that word: "desolate." His camera lingers over these barren landscapes, the jagged rocks, the dunes and the ruined buildings, and places them in contrast with the ragged, bitter faces of his central characters. The physiognomy, as always, becoming a reflection of where they are, emotionally and physically; the hopelessness of a situation. These are characters in search of direction. As an experience the film is entirely crushing, but there is one moment of true overwhelming beauty, which will stay with me forever...
It is one thing to be open to the viewer, but Freedom is vague to an extreme level for a mood film where the atmosphere is the centre piece. It seems juvenile to complain that a film is just wide eyed people standing around like statues rather than actually be people with something driving them, but this is sadly the case, beautiful to look at but without any driving force for the viewer to care about.