Hungary’s most recent contribution to the implacable flow of war films pouring out of Eastern Europe is a far cry from the Russian tank operas and spectacular disaster films like Battle of Leningrad. Denes Nagy’s sensitive first feature Natural Light (Termeszetes feny), bowing in Berlin competition, is the opposite of these: a slow starter high on atmosphere but low on action, whose horrific main event takes place discreetly off-screen.
The story salutes Elem Klimov’s 1985 anti-war masterpiece Come and See (reissued in the U.S. last year in a 2K restoration) and its stark, unflinching gaze at the Nazi invasion of Byelorussian villages. Nagy’s ...
The story salutes Elem Klimov’s 1985 anti-war masterpiece Come and See (reissued in the U.S. last year in a 2K restoration) and its stark, unflinching gaze at the Nazi invasion of Byelorussian villages. Nagy’s ...
Hungary’s most recent contribution to the implacable flow of war films pouring out of Eastern Europe is a far cry from the Russian tank operas and spectacular disaster films like Battle of Leningrad. Denes Nagy’s sensitive first feature Natural Light (Termeszetes feny), bowing in Berlin competition, is the opposite of these: a slow starter high on atmosphere but low on action, whose horrific main event takes place discreetly off-screen.
The story salutes Elem Klimov’s 1985 anti-war masterpiece Come and See (reissued in the U.S. last year in a 2K restoration) and its stark, unflinching gaze at the Nazi invasion of Byelorussian villages. Nagy’s ...
The story salutes Elem Klimov’s 1985 anti-war masterpiece Come and See (reissued in the U.S. last year in a 2K restoration) and its stark, unflinching gaze at the Nazi invasion of Byelorussian villages. Nagy’s ...
While Kantemir Balagov’s “Beanpole” and Larisa Sadilova’s “Once in Trubchevsk,” both screening in Un Certain Regard, fly the flag for Russian arthouse filmmaking at the Cannes Film Festival this year, the Russian pics in the market reflect the wide diversity of genres being produced in the country.
The 27-year-old Balagov took a Fipresci prize in the same section at Cannes in 2017 for his feature debut “Closeness,” a ’90s-set story of a small-town kidnapping. With the film, Balagov, a protégé of Alexander Sokurov, established a reputation for thoughtful, atmospheric studies of complex characters facing dire struggles.
His second feature, produced by Alexander Rodnyansky, the man behind Andrey Zvyagintsev’s Oscar-nominated films “Leviathan” and “Loveless,” is the tale of two female soldiers looking for hope and meaning in the aftermath of the WWII siege of Leningrad.
The film, being sold by Wild Bunch, offers a more nuanced look at war...
The 27-year-old Balagov took a Fipresci prize in the same section at Cannes in 2017 for his feature debut “Closeness,” a ’90s-set story of a small-town kidnapping. With the film, Balagov, a protégé of Alexander Sokurov, established a reputation for thoughtful, atmospheric studies of complex characters facing dire struggles.
His second feature, produced by Alexander Rodnyansky, the man behind Andrey Zvyagintsev’s Oscar-nominated films “Leviathan” and “Loveless,” is the tale of two female soldiers looking for hope and meaning in the aftermath of the WWII siege of Leningrad.
The film, being sold by Wild Bunch, offers a more nuanced look at war...
- 14/5/2019
- de Will Tizard
- Variety Film + TV
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