Borisov palpably employs stark shadows and overbearing spaciality to suffocate the viewer in an effective Dostoevsky adaptation. From the beginning, we’re clued into the monologue of our “hero’s” mind, hearing firsthand his wretched self-misguided narcissism. Different settings, like the aerial wide shot of the cobblestone pavement or the massively empty interior of the pawnbroker’s home, emphasize the suffocating emptiness, the frightful space where your fears inescapably devour you.
Borisov palpably employs stark shadows and overbearing spaciality to suffocate the viewer in an effective Dostoevsky adaptation. From the beginning, we’re clued into the monologue of our “hero’s” mind, hearing firsthand his wretched self-misguided narcissism. Different settings, like the aerial wide shot of the cobblestone pavement or the massively empty interior of the pawnbroker’s home, emphasize the suffocating emptiness, the frightful space where your fears inescapably devour you.
