Did I watch the same movie as most reviewers? I found it disappointingly underwhelming with storytelling and acting dramatically flat, unengaging and unconvincing. Everyone and everything looked too pretty and visual aesthetics seemed as if straight from Instagram. Tits however also pretty although completely unnecessary would be probably censored there.
I can't remember the last time I watched a film that is so remarkably human. The power of female friendship, of sisterhood, joy, trauma, suffering, debts to be repaid, sacrifices. It's all here. Never seen color deployed so effectively in a work, honestly props to the visuals team on this. A stunning and truly heartbreaking masterpiece
Quite liked the aesthetics, director, actors and crew have done a good job to portray the emotions. However, the melancholy that is seen in so much film today and here gets slightly overboard and doesn't really make sense, so little boring only in that sense. Still has much potential. Storyline good. Again Aesthetics, amazing, camera composition, color, actors & music, quite well synchronized. Definitely feminist.
Two incredibly strong performances, from Viktoria Miroshnichenko and Vasilisa Perelygina, ground this potential modern classic from director Kantemir Balagov, who co-wrote the screenplay with Aleksandr Terekhov. Compelling and affecting, this is well worth the 2+ hour investment of your time.
An absolutely engrossing depiction of a city psychologically destroyed by war. Every character is broken in two - "I am no longer a person" and their various attempts to rebuild and forge new connections is heartbreaking and disturbing and brilliantly conceived. Every scene is expertly conceived and performed and the photography with its deep greens and reds is enthralling. Maybe my surprise favourite of the year.
A close up tragic study of PTSD in bilious green and red hues reminiscent of Edward Hopper's 'Nighthawks' but given a lambent sheen of Instagram 'brilliance'. Ultimately only a delusion can provide purpose for lives that have been shattered by the horror of war and the lack of respite in peace. It may be a little too long but it is undeniably powerful and magnificently shot and performed.
I am speechless. The colours stunned me throughout, and the quite voices and noises filled my ears. The storyline keeps you in a constant state of shock and the dialogues are at points suffocating. I can’t quite verbalise it... this film does what Russian literature does to you: it makes anything outside its context pretty much irrelevant from start to finish.
An inexorable film that has profound depth to its cast & leaves you w/the bitter aftertaste of reality; Hitherto, the last decade has been scant of films that leave you sharp & heedful, sadly due to people choosing to give their minds to technology which has left too many creative brains in a state of inertia. Despite a personal wish that the denouement brought positive change, it crushingly kept w/most realities.
Filmed in the warm reds and greens of a candlelit Leningrad, Beanpole exposes the scarred bodies and broken minds of two young women surprised to have survived the war, and seeking healing by desperate means. Through extended close-ups, Balagov refuses to look away from the pain depicted but nor does he wallow in misery. Beanpole is at once poignant, realistic and beautiful. Russia has another major filmmaker.
A film that unfolds brilliantly. Masha and Ilya are struggling in a harsh world. The viewer knows so little about them, and little by little we learn about Ilya; and in the later scene with Masha’s boyfriend we learn so much about her fast. Amazing film. Whole scenes I remember, Ilya with her blowbacks, for example. The colours help a sense of optimism and hope in a film that is engaging, memorable, brilliant.
Every line of dialogue is calculated and deliberate in this intriguing film, yet it never seems ponderous or robotic. If anything it comes across as a theatre piece with the addition of lingering close-ups. And speaking of lingering close-ups, this is Vasilisa Perelygina's film. As Masha, she brilliantly captures an almost bi-polar intensity of mood swings. Iya herself is hard to like after the murder of the child.