“Plot”: In Widerstandsmomente, Schmeiser brings together various women and how they resist(ed) – starting in the World War II and stretching all the way to today. She puts various forms of resistance next to each other, examining the possibilities for everyone to resist in their own way.
I thought the topic of Widerstandsmomente was very interesting and I’m all here for resistance, but the film didn’t really come together for me, unfortunately.
Plot: Caroline (Raven Whitley) heads out to the lake with Andy (Ty Olwin) to make it out. But things go from romantic to bad pretty quick and Andy leaves Caroline behind, driving off with her glasses still in the car. Caroline never makes it home that night, leaving her single mother Lisa (Marika Engelhardt) to slowly unravel as she frantically starts the search for Caroline. The girls in her school, some of whom she used to be friends with, are deeply affected by her disappearance, too. As is Andy who can’t bring himself to admit to his relationship with Caroline and the way they parted that night. The longer Caroline stays missing, the worse things get for all of them.
Knives and Skin was one of the best discoveries for me at this year’s Viennale. A surreal musical that manages to be funny at the same time as being emotionally devastating, it completely stole my heart.
Plot: Naïma (Mina Farid) is 16 and nearing the end of her school, so decisions need to be made about the next steps in her life. She wants to spend the summer holidays thinking about that, when her cousin Sofia (Zahia Dehar) shows up in Cannes to stay with the family over the summer. Sofia is obviously doing well in Paris, being able to afford expensive stuff or rather, not having trouble accepting them as gifts from men. Naïma is intrigued by her beautiful and successful cousin. When Sofia catches the attention of Andres (Nuno Lopes) who is in Cannes with his yacht and his trusted employee-slash-friend Philippe (Benoît Magimel), Sofia introduces Naïma to a whole new world.
Une fille facile is a beautifully shot, very smart look at power dynamics shaped by gender, class and race. It’s sharp and critical, but never judgmental of the two young women who are trying to find their way. I loved it.
“Plot”: Street dogs are roaming the streets of Moscow, always looking for a bite to eat somewhere. Laika, the first dog who went to space, in fact, one of the first living beings from earth to go, period, was also a street dog. For her to be able to go, experiments had to be carried out, on more dogs. The documentary takes a look at the relationship between Moscow and its dogs.
Space Dogs is a documentary in two interlocking parts, both of which felt very different to me, I have to say. Though I found both very interesting and well done, the part about the street dogs in Moscow today is the one that resonated more with me. In any case, the film is excellent, but also not always easy to take.
“Plot”: Apatity, a town in the Murmansk region of Russia, used to be a gulag. After the system change and the dismantling of the gulag, many of the people who were forced there at first, opted to stay and continue their lives in town. The documentary looks at the life in town as it approaches the Heroes of the Fatherland celebration.
Immortal is a very calm documentary that offers no real dialogue, no explanations as it investigates the town, mostly at night. It allows for many insights, but I’m afraid that it was a little too slow and way too pessimistic for me – I struggled.
Plot: In the middle of nowhere in the Ukraine, there’s a village that is occupied by the Nazis who have instated an iron rule on the mostly female, old or very young population. The men, and some women, too, are off fighting – either in the war as soldiers, or as partisans in the area. Olena (Natalya Uzhviy) was one of the partisans, but she decided to return to the village to have her baby. But once there, the Nazis lean hard on her to reveal the whereabouts of the other partisans.
Raduga is a propaganda film meant to inspire resistance which is an interesting double goal for the film to handle. But Raduga definitely knows what it’s doing.
Plot: Iya (Viktoria Miroshnichenko), called Dylda – Beanpole – by everyone, is a nurse at the tail end of the second World War that left Leningrad pretty much devastated. When she isn’t working, she takes care of her little boy Pashka (Timofey Glazkov). Things aren’t easy for the two of them and made harder by the fact that Iya has episodes – stupors – a remnant of the work she did at the front. But they make do, at least for a while, especially with the help of the doctor Iya works with, Nikolay (Andrey Bykov). When Iya’s best friend Masha (Vasilisa Perelygina) who was a soldier returns, things have changed though and both have to figure out what to do now.
Dylda is a strong film that echoed with me long after it was over. It tackles some very tough topics with sensitivity, but not by pulling its punches. I’m not so sure about how it handles disability – there was a bit much going on here. But other than that, I was really impressed.