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.
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!
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.
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.