The social normality of horror. A man comes to kill another, and exchanges politenesses with his family. He can't kill his intended at the family house because of social niceties.
And so it goes. The intended is allowed to choose his own place of execution. The coward can only be a coward in secret. The judgement of society is the pain. The cattle trucks of people are just life.
Brilliant and beautiful.
Bleak and harrowing, although not without hopefulness and heart. Technical craft and beautiful performance meet to create one of the most impressive (and subtle) wartime films ever made. In particular, the mesmerizing and powerful single-take opening and closing shots are evidence of an impeccable direction and gift for storytelling. Quite simply, the film leaves you breathless and meditating on mankind.
Sem um pingo de psicologia, com um rigoroso plano sequencia, Sergei Loznista nos convida a uma encantadora viagem sensorial que nunca é a reflexão didática sobre a culpa, traição, remorso e coragem. Nesta floresta-mundo, reino de beleza pictórica, terra de ninguém, metáfora de uma humanidade em desordem, volta-se a essência de tudo e se constrói um grande filme onde a substância e forma são indivisíveis.
Loznitsa's film benefits directly from the director's experience in making (more or less experimental) documentaries. There are some similar, rather slowly filmed sequences here, inserted in a strong narration.
I always have a problem with those who believe a film should/could have been 'shorter". Really? How so? What would you have left on the editing floor? Shots too long? Based on what? Dialogue too slow? This is no screwball comedy filled with fast-paced snappy come-backs. The film is perfect as is - exquisite cinematography, well developed characters, a vision of the "quiet" side of war that is seldom told. Mesmerizing