Loznitsa's square peg was forced over and over into the round hole until revolution had been redefined as a dull formalist art, not a population's fierce mobile actions against the dominant guardians of inequality and criminal injustice at all. Celebrity documentarian meets political reality television, as the value of history decomposes into stagnant spectacle by means of its dispirited theory of capture.
Stunning account of a modern revolution unfolding. No false documentary drama or hype is built up as purely unadulterated images are shown absent of any false romanticism. Almost all the shots are stills with no clear functional purpose expect to show bare reality. A direct comment is even absent. Still the amazement of such a mass social mobilization is continually propounded and brought to mind.
Over a three month period, director Sergei Loznitsa and his crew documented the goings on in Kiev's Maidan square, as protests president Yanukovych went from peaceful rallies to battles between police and protestors.
Loznitsa's minutes long scenes shot with cameras that didn't move proves surprisingly intimate as you're able to observe and study each scene and the people in it.
This are the same CNN "no comment" images, so that's why this film is poor in new material. I really like Loznitsa's work, but he released this film kind of late and all that we see in this documentary was already at the news on TV, so that's why I think it wasn't that good.
A documentary film about the anti-government protest movement in Ukraine during 2013-14 that is made up almost entirely of fixed-frame long takes. The detachment this lends to the film in terms of political coercion is further enhanced by the lack of a narrator to guide the viewer through events, however this also runs up against the immediacy given to events the embedded camerawork superbly captures.
"Maidan" conserva esa estructura de Loznitza, sobre la estabilidad de la cámara mientras que el entorno construye una rutina, en este caso la de lucha de todo un pueblo. El cierre es el rendimiendo/oda hacia todo lo que se ha contemplado, la lucha de una causa. El ucraniano captura por ejemplo esa combinación de nostalgia y alegoría que se representa en los finales de "The Settlement" y "Portrait".