This film (best translated as "Me Too") was Balabanov's farewell to the world - he knew he hadn't long to live, and as such it has deeply spiritual and introspective elements to it (the director himself makes an effective cameo).
The subject bears some similarity to Tarkovsky's Stalker (the idea of people entering a walled off zone in search for a one stop solution to their life problems), including its focus on spiritual questions, but keeping the dialog more natural and accessible as opposed to delving deep into philosophical discussions as in Stalker. Like Tarkovsky it also features long takes - though Balabanov maintains his traditional Scorecese like preference for popular music leading the soundtrack, a more upbeat rhythm to the shots, and affinity for montage.
The film features mostly non-professional actors, all of whom are directed to perfection. The story is easy to follow, the characters have color and authenticity. I would have preferred a little more economy with some sequences, it seems Balabanov slowed his pace a bit compared to his earlier films, but being that this is a film of spiritual contemplation that is not a bad direction to err in. At the same time, Balabanov keeps his sense of humor and that makes the story more fun to absorb. This is definitely a fitting end to a career of a lively director who's body of work is not as known in the west as it should be, and a great invitation to contemplate, in a non-pretentious manner, the question of what 'happiness' is.
The subject bears some similarity to Tarkovsky's Stalker (the idea of people entering a walled off zone in search for a one stop solution to their life problems), including its focus on spiritual questions, but keeping the dialog more natural and accessible as opposed to delving deep into philosophical discussions as in Stalker. Like Tarkovsky it also features long takes - though Balabanov maintains his traditional Scorecese like preference for popular music leading the soundtrack, a more upbeat rhythm to the shots, and affinity for montage.
The film features mostly non-professional actors, all of whom are directed to perfection. The story is easy to follow, the characters have color and authenticity. I would have preferred a little more economy with some sequences, it seems Balabanov slowed his pace a bit compared to his earlier films, but being that this is a film of spiritual contemplation that is not a bad direction to err in. At the same time, Balabanov keeps his sense of humor and that makes the story more fun to absorb. This is definitely a fitting end to a career of a lively director who's body of work is not as known in the west as it should be, and a great invitation to contemplate, in a non-pretentious manner, the question of what 'happiness' is.