Soviet-made Cuban films don’t do half measures, they go all in. I am Cuba is no exception. The cinematography is more stylish than most films you’ll ever see and some of the shots are truly unforgettable. Add in Cuban history from the 1920s to the 1950s and you’ve got one truly epic film.
From: Cuba, North AmericaContinue reading “I am Cuba – A Soviet Made Masterpiece”
Watch: Trailer, Watch on Amazon
Next: Lucia, Battle of Algiers, Battleship Potemkin
If you’ve seen Zvyagintsev’s Leviathan you need to see Loveless. If you haven’t seen Leviathan, what are you waiting for? Loveless is another dark drama from Zvyagintsev of epic proportions. It’s comparable to one of Shakespeare’s dark plays updated for the digital age. Plus, it’s not just a reflection of Russian society, but a reflection of all our lives.
Loveless starts with snow. It makes the town it falls on seem more serene; the calm before the storm. It’s the end of school for the day and the camera follows 12 year old Alexey as he walks home on his own. He finds a strip of police ‘do not cross’ tape and waves drags it along with him through the snow before throwing it into a leafless tree. Unlike his parents, he’s just a regular kid.
The opening 5 minutes of the film are focused on Alexey, but then the film is hi-jacked by his parents. When Alexey returns home, we find his parents arguing (they’re getting divorced). From their argument, we follow them through a day of each of their lives at work and their affairs for the next 30 minutes of the film. Alexey’s parents are doubly selfish. They steal the film’s narrative from him and also indulge in their own self-interests whilst they have the limelight. They force Alexey out of the film.
You may also notice the abundance of empty spaces and silence in the movie. The director may linger on a shot after the character has left or remain fixed on a character for slightly longer than normal. Zvyagintsev left these visual and audible pauses for us to give us time to think. This allows us to become ‘co-authors’ as we have time to add in our own interpretations. You’ll see that whilst Loveless is a Russian film, the message is relevant to all of us – making it possible to interpret.
Loveless was one of the stand out films for me at the London Film Festival 2017. Just like Leviathan (which you should watch if you haven’t already) it’s storytelling is at the top level. On top of that, the visuals are a perfect compliment – they make the dark bits of the story darker, and offer us breaks to become co-authors.
Watch it when you can!
Dawn is timeless. What it lacks in depth and clarity it makes up for in style. You’ll probably lose track of what’s happening more than once because of the snappy cuts and quick camera movements. However, you won’t care because it’s mesmerising. The beautiful black and white cinematography and the epic myth of Pavlik Morozov will immerse you in the chaos of Soviet Latvia.
From: Latvia, EuropeContinue reading “Dawn – A Modern Soviet Epic from Latvia”
Watch: Trailer, Amazon Prime, Amazon Rent
Next: Battleship Potemkin, The Exterminating Angel, Soy Cuba
Agora is an epic. It’s The Imitation Game meets Gladiator – there’s celebration of an unknown heroine with plenty of Roman drama to keep you stuck in your seats. There is religion, violence, and philosophy. Plus for all you subtitle haters this ones for you, it’s all in English with great performances from Rachel Weisz and Oscar Isaac (before he was famous) to go with it!
Agora opens with the Earth and the stars. From the stars, we descend to earth to enter one of Hypatia’s lectures in 4th century Egypt. She is conducting a lecture on the centre solar system. One wily student suggests that the Earth is not the centre of the universe, to which one of the Christians takes offence, for how can the Earth, the kingdom of God, not be at the centre.
Whilst you might not find this description truly gripping, I promise these opening set the scene for some BIG confrontations!!
Without spoiling too much, Director Alejandro Amenabar exploit mass movement to emphasise the battle scenes. The large casts during the battle scenes show power in ways that 20 people could not. When this massive cast starts moving, there is even more dramatic effect. Seen from above (aerial shots), we see masses of people running from one end of the screen to the other. The mass movement of these large casts emphasises the violence and mercilessness of the perpetrators in a way that a smaller cast could not replicate.
The aerial shots also play another part in the film. A few times the aerial shots of the streets in Egypt zoom out to the country, and then zoom further away showing the earth among the stars. This sequence is also shown in reverse, zooming into Egypt from the Earth and stars, before zooming in to see the streets of Alexandria. As well as being visually impressive, these sequences point out the insignificance of the battles of humanity relative to the universe. All throughout, the Earth remains unchanged as do the stars surrounding us. This supports the directors bias for our astrologer/philosopher Hypatia whose life is dedicated towards our understanding of the universe. (or maybe I’m just seeing it through my own tinted glasses).
Anyway, I strongly recommend this film for those with any interest in the rise of religion or the Roman Empire in Egypt. You should also watch this film to see a woman celebrated for her academic research. Over 1,500 years later, we still haven’t reached true equality.
“You don’t question what you believe… I must”
The Great Warrior Skanderbeg Film Difficulty Ranking: 3
Ever wanted to see an epic film from Albania? 
Here’s your chance. In the spirit of the epic Soviet films from Sergei Eisenstein, The Great Warrior Skanderbeg does not disappoint. Yes, there are heavily stereotyped characters and a lot of nationalism, but there is also epic battles and even arm wrestling. If you’re up for watching something epic with an epic action movie character (think Conan the Barbarian) this one is for you. You can even watch it here on YouTube!
‘The Greatest Warrior of Albania’ flashes across the screen as some doors open to reveal an incredible view of a mountain valley. This film is about the myth of Skanderbeg, a myth which has constructed Skanderbeg as a national hero of Albania. As a result there is a lot of nationalist ‘propaganda’ which is not surprising considering that this is a co-production between the Soviet Union and Albania from the 1950s.
So how is it nationalist? It’s nationalist because Skanderbeg is depicted as a figure who united all the rival groups living under the Turks and Venetians as ‘Albanians.’ It’s nationalist because Albanian culture is shown throughout; there’s an Albanian wedding, Albanian Christianity, and Albanian costume.
What’s more is that the early story structure is almost identical to the story of Moses. Both Skanderbeg and Moses are princes of their future rivals, Skanderbeg serves the Turks while Moses serves Egypt. Secondly, they both receive a ‘call to action’ which leads Skanderbeg to betray the Turks and Moses to betray Egypt in favour of their people. They both become national leaders and demand liberty from the powers they formerly served. Skanderbeg becomes a leader of Albania, whilst Moses led the Israelites. Of course they both end up in epic climactic battles!
The Great Warrior Skanderbeg won prizes at Cannes after it’s release in the 1950s. Despite the unapologetic nationalism, it is an epic film. It has some epic battles with huge casts which are reminiscent of the master of epic film, Sergei Eisenstein (see Alexander Nevsky or Battleship Potemkin). You’ll also learn a fair bit about Albanian history and it’s relationships with the Italian Kingdoms, the Turks, and Serbians. Just ignore the overly stereotyped characters!
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