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The actors give remarkably thoughtful performances, balanced with the characters' specific senses of humour. In a star-making appearance, young Sarlak shows a surprising alertness to the things going on around him, continually throwing the entire movie into noisy pandemonium while putting even the scariest things into blistering context. Madjooni counters this with a bone-dry wit and sardonic running commentary, while Panahiha adds a concerned maternal instinct underneath her sarcasm. By comparison, Simiar's character is the most serious in the film, but then what he's facing is genuinely frightening.

Panahi ably navigates the shifts in mood along the road, so the story takes in some very silly interludes as effortlessly as others that are darkly chilling. Amin Jafari's superb camerawork shifts skilfully between raucous close-up and static long shots. Dialog is peppered with references to movies from Batman to 2001: A Space Odyssey, and the characters spend a lot of time cracking each other up. But what lingers in the end are the more profound ideas that swirl through each scene, binding these family members together even as fierce individuals.

themes, language

12.Oct.21 lff

With his hacking cough and feverish perception, Petrov is a sympathetic figure, played sharply by Serzin in a variety of situations. His soulfulness cuts through the surface, notably in a sequence with his friend Igor (Kolokolnikov). And his scenes with Khamatova have a sharp snap to them. She gives Petrova a nice layer of mystery, and hints at ongoing issues when she mentions her husband's imaginary friends. In home movies, a range of warm nostalgia is pointedly revealed, contrasting and merging with the present.

Serebrennikov loads this film with rather a lot of enormous topics, wryly probing the nature of Russian culture. This includes knowing jabs at caveman masculinity and comments about the battle between traditional and internet-theory remedies. There are also running gags from the holiday Snow Maiden to low-hanging light fixtures. The constantly shifting imagery is energetic, bold and full of life. It's also a bit exhausting at this extended length, sometimes feeling repetitive or circuitous. But it provides a lot to think about.

themes, language, violence, sexuality

11.Oct.21

Wandel's camera sticks very close to Vanderbeque all the way through the film, capturing nuances in her expression that reveal her thought processes. It's an astonishingly transparent performance that continually takes us aback with its earthy honesty, warm humour and deep affection. And the side roles are equally natural. Her interaction with both Duret and Leklou is shaded by her deepening uncertainty, while quiet openness with a sensitive teacher (played by filmmaker Wandel) provides a hint of security.

This is a remarkable exploration of attitudes that are usually only portrayed in movies about teenagers. But issues of peer pressure and fear of authority are already present with these much-younger kids who simply aren't equipped to interpret or respond to them. The film forces us to search for holes in the system, and it becomes clear that this school doesn't have enough teachers paying attention to children, especially on the playground. That Nora sees so much that they miss feels a bit like artistic licence, but it also makes an urgent point.

themes, language, violence

23.Sep.21 lff