¿Por dónde empezar? Tan complicado como el cine de su autor, el lituano Bartas. Este título es el tercero de su filmografía y es un perfecto ejemplo de su muy peculiar estilo. La película es una sucesión de simbolismos relacionados con la historia de su país. Sobraban la mitad de sus ochenta minutos para plasmar esta idea, pero para ello deberían suprimirse la mayoría de sus característicos planos fijos sostenidos.
A post-soviet experience about the extremes of aggression, exhaustion of loneliness and love As the film unfolds as an associative collage of memory fragments, shards of experience & chance events amongst a number of the buildings inhabitants all connected by the metaphor of the corridor, a passage between yesterday and today containing many doors Narrative logic is eschewed in favor of poetry of loss and desire here
The Corridor is in some ways the poetic detritus, the denude - and I mean this in a very good way - of Tarr's later work. With less focus on metaphysical questions, Bartas' film is more consistently concrete in its images of humanity's aimlessness and sadness. Meaningful cinema.
Traces of unforgettable sufferings on their pale faces,in their empty dark eyes and in the echoes made by the corridor. I've seen it because of Golubeva but I found mens as charged demons with boredom and uncaress. The timing, especially at close-up is becoming the interior of something unseen, something which can be felt only by the damned poets. The characters choose the frenzy of maddness and pleasure.They fall.
A kid is repeatetdly pushed in a puddle. It fights to get out but there is no way.Then after the bullys are gone it crawls out of the water, shaking and sitting. It can't get up, it won't. The will is gone so is the power, and resignation has taken their place. But it is free. Free?