Post-Soviet angst and excess becomes surreal horror. So many things borrowed from so many other filmmakers: Tarkovsky, Bunuel, Lynch, Pasolini, Greenaway, (and many others) that at times they almost feel like gimmicks. Even the title is borrowed from Melies, the originator of gimmickry in cinema, as well as all the characters from that 70-second, 1898 film. But cinema is itself a gimmick, so it's OK with me.
One part Aki Kaurismaki, one part Bela Tarr, one part David Lynch, a pinch of Denis Levant with a miniature accordion, shake vigorously,and then finally top it with a garnish of Peter Greenaway. And voila!
WOW. Just WOW. A surrealist, black & white, existential, mid-life crisis gone mad. It's actually quite restrained in many ways, getting darker and darker towards the end. The film follows one man, a middle level manager and his outward projected existential crisis in a series of revolving doors. Truly original stuff, it even has a stage except from Uncle Vanya. Great sound design too. 4.5 stars
Enthrallingly surreal, avant garde meditation on the essence of goodness is a unique mind bender. With its haunting dream sequences and beautiful black and white cinematography, it feels like a cross between the work of David Lynch and Guy Maddin.
yes I liked this movie . But there are a lot of inspirations ... If this director had chosen only one language of director who influenced him mostly. This movie could be much better , much effective. for example onyl tarr. Yes there are lots of things which pushes audiences into thinking. But it is soup! A soup which has everything . I dont like eclectic artistic conception .There is nothing new ... just copy paste.
It was a moment of bliss when the gracious, beautiful black dog that accompanied Stalker 30 years ago once again accompanied Tõnu here. It's like running into an old friend and considering the onthological context in both films, it may hardly be a coincidence. What a nice present this Eesti film is.