Digital, Indie Lisboa # 5. Unlike Zvyagintsev, Loznitsa has an overview of Russian cinema and inserts it in his fictions as a composite process of dialogue of the past, also historical-political, with its contemporaneity. However, while he dominates the cinematic language, the primitive accumulation of messages with demonstrative distinct expositive performances is such that it draws breath from the film...
Sort of a companion piece to My Joy, this is another bleak (albeit with some more dark and dry sense of humor if one knows the context a bit) outing from Loznitsa. Like My Joy, the main character is not much of a personality, but a vessel through which the heart of darkness unravels. Don't know about the culmination though - would have worked better if it was more subtle, since the feeling of it is always there.
Not one of Loznitsa's experimental works if this is what you are looking for, though people sleeping in the train station is a reference to one of those experimental pieces, vis-a-vis THE TRAIN STATION. This Dostoevsky adaptation can be compared with Haneke's Kafka adaptation, THE CASTLE. After all, in literature Kafka and Dostoevsky are seen as brothers.
In addition to being extremely aesthetically odd (not sure the wide frame is used well nor can I claim that it is used poorly), A GENTLE CREATURE is chock-a-block w/ outlandish personages and a great many curious freakshow details sprinkled hither and thither. The sound of an engine struggling to start over the opening credits speaks to a broken-down, arrested society. Loznitsa would appear versed in his Bakhtin.
3e long métrage de fiction d'un réalisateur biélorusse qui a fait essentiellement ses armes dans le documentaire, cette œuvre souvent tératologique, suffocante et barbare, dénote l'inquiétante déliquescence d'un pays ubuesque et halluciné qui côtoie l'incohérence kafkaïenne avec des perturbants détours chez Fellini, en particulier dans la longue scène rêvée d'un banquet symptomatique et saugrenu. www.cinefiches.com