RUSSIA: The dreamlike beauty of Ksenia Okhapkina's concise film connects the subtle mechanisms of control in a former Gulag town.
Nick Holdsworth
Nick Holdsworth
Our regular critic.
Published date: July 7, 2019

The world premiere of Ksenia Okhapkina’s film shot during a harsh winter in the remote town of Apatity, 185km south of Russia’s northern seaport, Murmansk, was screened at the 54th edition of the Karlovy Vary International Film Festival at the height of Europe’s blistering July heat wave.

The contrast between the azure skies and stifling heat outside and the grey-toned bleak wintry scenes in the screening room could not have been more acute. One could only yearn for a little of Apatity’s freezing air to cool the blood.

This is a strangely hypnotic film, light on dialogue and heavy on beautifully shot and colour-graded scenes that are painterly in their composition.

Hacked out of wilderness
Okhapkina allows the harsh contours of a town hacked out of the wilderness in Stalinist times to speak for themselves – and the activities of the townfolk likewise.

Brief introductory statements sketch out the sparse history of the place: the Gulag towns that were built to house prisoners during the deepest, darkest Soviet times and how, when the camps closed, the people stayed behind.

the social nexus remains remarkably Soviet in its outlook.

There is not much colour in the winter landscape here and the monotonous grey tones of dirty snow and rock-laden freight trains that bisect the freezing landscape is reflected in the constrained lives the director chooses to put under her lens.

Young girls …


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