A film about love, loneliness and the fear of those two. A film about watching, and being watched. A film about falling asleep and dreaming. But most of all a film about waking up into a world that never stops to betray you.
With deep compositions and great focus on framing, Omirbaev immersed us into the life of a mysterious character poised in the screen with poetic subservience. A look at adolescence as it would have been for Bresson, but of a newer kind. Its sparsity in aesthetics and unique method of characterization distinguishes it from many 90s films. One of the best films of the 90s for me.
I guess I must be the idiot than but Kairat fell way short, to me a film below the sum of it's parts, Cardiogram I loved and this film carried a lot of the same elements of course maybe if I hadn't seen Cardiogram first which constantly dazzled my expectations I might not have been so uncompelled.
This is my first film from Omirbaev (thankyou so much to Gulazhar!), and I was mesmerised by the tranquil beauty of the film, which indeed did evoke memories of the great Bresson, Bela Tarr, and Murnau in its dream-like narrative on trains and trams about the lost boy in the big city looking for love. I have been taken to another place in this world that I never knew anything about....wonderful cinema!
"man is an abyss. watching him causes dizziness". individuals and their experiences in transience in a society that was trying to maintain itself after independence. they study, visit the cinemas, try to love. everything is a struggle: against change - to hold on to something. scenes of trains that are stopped in yards, on the streets full of passengers, departing for places outside the borders of the city
Narration en partie elliptique que d'aucuns jugeront déroutante. En tout cas, la mise en scène s'avère vraiment surprenante et poétique et le réalisateur a su conférer à son film un rythme envoûtant, souvent fort singulier... www.cinefiches.com
Lo maquinal es lo primero que salta a la vista en esta película de Omirbaev. Su protagonista está siempre en medio de largos planos, caminos lineales donde los trenes o sonidos metálicos resuenan una y otra vez. Hay una especie de insomnio y ensoñación en el ambiente, y justamente su trama tropieza por eso. Lo real a veces confundido con el sueño. Omirbaev provoca también una multitud de elipsis. Provocadora.