🔴 Watch Beanpole Premieres In The Uk On 3 October 2019 At The Bfi London Film Festival 4k Streaming
Date: 2020-02-28 01:47:53
Viewed: 214 times - 5 day, 4 hour, 22 minute, 19 second ago
Born in 1991, the Russian director Kantemir Balagov returns to the Cannes Film Festival with his second work, Beanpole, selected within the Un Certain Regard section. The title can be translated as "spilungona", the adjective with which the protagonist is often appealed, Iya, whose passionate tale of love and hope, unfolds within a traumatic context such as that which follows the end of second World War. With such a poetic film, Balagov once again proves his talent, showing that he deserves the attention that is now given to him.
The film opens in Leningrad in 1945. The war has devastated the city, demolishing its buildings and leaving its citizens in a particularly fragile physical and mental state. With the end of oppression and hostilities, life seems to resume its normal course. This is where the story of Iya (Viktoria Miroshnichenko) and Masha (Vasilisa Perelygina) takes place, all of whom try, each in their own way, to rebuild their life in the ruins.
Before visually dazzling with one of the many beautiful compositions of which the film is rich, the director captures the attention by making a gasping sound on a black screen, which manages to present us at the same time the protagonist character and, metaphorically, also the situation of exhaustion of a people worn out by war. As the narrative progresses, we tend to forget the historical context, seen as something to be left behind as quickly as possible, to focus on a more intimate dimension, which is the one put into play by the two beautiful and talented protagonists.
Balagov thus tells of characters in desperate search for life and hope, a need that until then seemed to have been extinguished by the horrors suffered and seen and that can easily turn into obsession. It is a research that inevitably clashes with the apparent inability to be able to open up to new emotions. The unusual height of the protagonist is not a coincidence in this regard. Through this choice the director underlines the will to face the story through the eyes of a "different", not seen as such by others as by herself. This physical condition leads the protagonist to assume an attitude that puts her on the edge, making her soon become dominated by what surrounds her. His is a difficult condition, it is quite natural to get to empathize for her.
Also thanks to a wonderful Viktoria Miroshnichenko, an actress of great grace who manages to communicate her emotional instability with a few gestures of the body or face. His Iya is a far too good character, looking for a true feeling in a world that instead doesn't seem to have any more. Balagov treats her and her story with great respect, signing a screenplay that escapes from any cliché and instead strikes for the poetic implication of many of the events. All this is accompanied by a direction that does not try to strike with virtuosity or the like, but finds in the choice of a limited staging, such as the emotionality of the protagonist, the possibility of a greater emotional impact.
With Beanpole, Balagov gives the Festival a small great jewel, endowed with sincere feelings, which pervade the entire work of an enchanting atmosphere, capable of stealing the spectator's eyes and heart. Through the desires and hopes of the two close-knit protagonists, the director portrays a whole humanity, wounded, reduced to its knees, but still capable of cradling a dream of rebirth at any cost.
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