I wanted to like this so much more than I did... A good-looking film, exceptional long-shots; but I didn't walk away feeling ...anything. The sudden or extended shocks of violence comparable with Haneke, felt numb.. If this is a portrait of Ukrainian isolation, fine. But it's conception is conceptually overwrought, vacuously isolating the viewer. A truly unique experience, but I could kind of care less.
Non è nell'implacabilità di quanto ci viene mostrato (più o meno) in determinate scene, che Plemya genera il maggior disturbo, ma proprio nel soffocante e perdurabile silenzio vocale che lo avvolge per i suoi centotrenta minuti di durata: http://visionesospesa.blogspot.it/2015/01/plemya-tribe.html
Five stars for the aesthetics (long shots, use of color etc.) Three stars at most for the story and its shock values. I didn't see any subtitles in this movie, but I didn't see any subtleties in the use of violence either. Having said that, 4 stars might sound like 'overrating', but the truth is you don't get to watch something like this very often at the cinema (at least I haven't!).
The Tribe seems to actually exploit the deaf for a cheap festival sensation. Especially the cruelty and other shocking imagery is mostly a crutch, not an organic part of a convincing whole. Statements from the director regarding his intent to draw attention to film as a purely visual storytelling media miss the mark too, since the film itself consists of monotonous long shots.
Accommodating dialogues are compelled to forswear. Violence, endorsed as main narration key, articulates every step in an initiation that detonates a volitive eruption originated from a hollowed (and therefore), masochistic Self. Although the gained section it’s biased by prospective narrowness, it doesn’t pretend to build a call-to-awareness discourse, even with terse, static shots filled with ‘scabrous’ content.
El cine en su versión más incipiente se revela en esta película.La rutina en las inmediaciones de un internado para alumnos sordomudos,es la remembranza a ese cine antes de los rótulos con textos. En una película como La mansión embrujada, el español Segundo de Chomón no precisó de los intertítulos para indicar al espectador que sus personajes estaban a punto de ingresar a un mundo de pesadilla http://bit.ly/1sGOUjw