4,5. What a great filmmaker was Larisa Shepitko. Perfectly integrated in the geometric school of frame, proportionate to a concrete dimension of the human- continuing in her regard the immense heritage of classic Russian cinema-, she introduces the freedom of a new revolutionary posture, allowing a structure of free thinking (via a free form editing) on the failure of human vulnerability, a loss that by cinema it is.
Shepitko's films are absolutely opposed to any kind of Soviet optimism: the characters are lonely, sick, afraid, cracking up. The director is a great one for details, telling moments, weighty bits of conversation, and she has a simply gorgeous sense of rhythm. This film, less known than WINGS and THE ASCENT, is in the same league. Poetic and moving.