I would say that this is an observation rather than a story, moody and dreamy. Beautiful, black&white cinematography, interesting angles and quite personal. This is definitely a unique experience, the only minor complain is the running time; there's not enough material, and it becomes repetitive; perhaps a 10-15 minute format would have been more effective.
Evokes a horrible stationary sense of oppression. You want someone to walk in and shout "wake up, it's time to go". I'm sure that's the whole point of course but I like my analogies served up a little fresher than this. Mercifully short, like an abandoned migraine.
child breaths a mother moves a symmetry of sleep old men snoring eyes open as if in death old woman thin grey hair hands move head back laboured breath teeth and nostrils head cradled in a hand sound of rain a creaking as if on a ship a blur of hats and perspective moving in and out of focus with each breath an old woman wakes rubs her face settles back into sleep 1 door 2 lit windows train whistle a cry
Against all judgement I kind of really liked this. I don't know how but it managed to create a rythm that made me follow along. I still fell away from it a few times, but I always came back. It was like a concentration test in a way. But I found the shots interesting and the faces interesting. So it did have something to keep me going.
There's something unusual about this train station; people don't come and go, and we don't see trains neither arrive nor depart. No change, no movement only stιllness, immobility. The only indication of movement does not come from the image, rather from the sound; a fly flies, rain falls. Lumieres' train signaled the dawn of the motion picture,Loznitsa's vision of trains celebrates the motionless picture. Intriguing!
Perhaps a movie Warhol would have made, were he a Russian humanist and not an alien. As a South African, seeing daily a world defined by homelessness, this registers as a carefully staged document of human suffering rendered in all its interminable banality. A cinematic purgatory for spectator and subject, seated and immobile in front of one another.