Captures flashes of special intimacy. The sentimenent is crystallized by the surprisingly optimistic ending. I was most enthralled when we indulged the boys’ fantasies, sometimes reminding me of Ivan’s Childhood. My favourite was when Profiry was pushing over the walls of the crumbling building as he screams against his oppressors.
A decent chunk of the film felt dedicated to Profiry’s escape attempts, sometimes feeling excessive or meandering. The psychological nuance of these youths was interesting but ultimately felt underexplored. I think this was in part due to split time with the adults. Their presence resulted in a similarly interesting, but hampered look at the balance of wayward youths and those charged with their care.
A nice flick. I liked it a bit better than the previous film, but that level of constant enrapture I experienced in the first three movies was still missing. I feel like Ilyenko has pulled back on his unique brand of cinema in favour of more straightforward sentiment.
Also! Another window shot. I’m happy to confirm a window shot with faces visible as close-ups or observers is present in at least five of the last six movies. I’ll have to go back and see if it showed up in Spring.
Captures flashes of special intimacy. The sentimenent is crystallized by the surprisingly optimistic ending. I was most enthralled when we indulged the boys’ fantasies, sometimes reminding me of Ivan’s Childhood. My favourite was when Profiry was pushing over the walls of the crumbling building as he screams against his oppressors.
A decent chunk of the film felt dedicated to Profiry’s escape attempts, sometimes feeling excessive or meandering. The psychological nuance of these youths was interesting but ultimately felt underexplored. I think this was in part due to split time with the adults. Their presence resulted in a similarly interesting, but hampered look at the balance of wayward youths and those charged with their care.
A nice flick. I liked it a bit better than the previous film, but that level of constant enrapture I experienced in the first three movies was still missing. I feel like Ilyenko has pulled back on his unique brand of cinema in favour of more straightforward sentiment.
Also! Another window shot. I’m happy to confirm a window shot with faces visible as close-ups or observers is present in at least five of the last six movies. I’ll have to go back and see if it showed up in Spring.
