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Performances are remarkably subtle, keeping the enormous emotions bottled inside. Carricajo is terrific at the centre as a methodical, intelligent woman whose suppressed feelings are causing her to unravel. Her face is a bundle of conflicting emotions, which we interpret differently from the other characters, especially Martinez's warm, understandably stunned Nebe. And because Cecilia refuses to share her pain, others treat her with almost banal normality, which skilfully tightens the screws.

Marquez maintains a hushed tone throughout each sequence, leaving the plot in the background while shifting focus to what remains unspoken between the characters. And the camera rarely leaves Cecilia's face, even when she's interacting with others. All of this makes watching the film rather demanding, especially as many scenes move in achingly slow silence. While a rollercoaster scene is a little on-the-nose, more random touches add churning undercurrents that are devastating. And bigger ideas give the terror an unexpected weight.

themes, language, violence

4.Apr.21

Vysotskaya delivers a storming performance as a woman full of attitudes and opinions, putting party over everything until it touches her personally. Her emotional moments are staggering. But her stubborn devotion to the Stalinist ideal is slowly eroded by this series of events, which spark her father to matter-of-factly recount nightmarish "unofficial" stories from his past. Indeed, Erlish is a standout in the ensemble, as are Komarov, Gusev (as a helpful KGB agent) and Kostyaev (as the panicky factory boss).

Both elaborately staged crowd sequences and small dramatic moments are riveting, superbly shot and played for maximum impact, maintaining intensity with an accompanying wry sense of irony. The officials' main concern is that news of this incident doesn't get out, classifying the events as a state secret, arresting anyone who was there, even repaving the town square to get rid of the blood, then staging a huge party. The massacre wasn't confirmed or investigated until after the Soviet Union's collapse in 1991.

themes, language, violence

7.Apr.21

Performances match the film's heightened tone, adding unsettling details that complicate the characters. The terrific Servillo gives Bruno a wonderfully raspy charm. A man with nothing to lose, his unflappability is deeply engaging, and gives the film its heart. By contrast, Hoffman offers a dry, intriguing turn as he and a deliberately uneven Belle reveal the plot's secrets. They also get the only moments of naturalistic humour. Most of the side roles offer nutty twists that are often atmospherically exaggerated with makeup, costumes and shadowy sets.

Ambitiously, Carrisi throws in some creepy Lynchian touches, reflecting Bruno's distinctive perceptions. Indeed, much of the movie makes little clear sense, including relationships between some characters. But each scene is mesmerising, taking us into a wide range of fascinating settings, from the lurid red home of Bruno's prostitute friend (Shulha) to a gothic church full of sinister clues. And while the plot keeps our minds spinning, it's Bruno's simple desire to forget about his mortality that makes the movie memorable.

themes, language, violence

13.Apr.21