Sunday, March 29, 2009

Post Glasnost Interiors


When looking back on my film journals, I noticed that what often interested me most about a film was the interior setting. I found that so much meaning and symbolism can be packed into four walls. The spaces in each of the films were strikingly different, as the films themselves also were. Each interior - whether a country home, old apartment, the Hermitage or a shack in Kazakhstan - told a story about the characters and about Russia as a whole. This led me to thinking about the notion of nationality and how it is manifested materially and spatially. I also began thinking about the relationship between Russians and Canadians as it seems like my fellow Canadians feel some sort of affinity for the Russians outside the academic world. In order to explore these questions, I decided to make a photo essay documenting the interior spaces of two of my friends, both connected in different ways to Russia. My first subject is Whitney Wiebe, a History and Russian Studies undergrad at the University of Victoria. The other subject is her boyfriend, Vitaly Kazakov, who is originally from Russia and has been living in Canada for several years. Vitaly is finishing his undergraduate degree in Business and Russian Studies at the University of Victoria as well. The interiors of their homes express who they are through their aesthetic and material choices. They also show their connection to Russia through similar items - photographs, books, icons, etc. It it was interesting to me to see how these connections are displayed and how we "brand" ourselves through our homes. {Please click here and then click on the "slideshow" option to view the photo essay}. Thanks for taking the time to read this blog, hope you have enjoyed it!

Tuesday, March 24, 2009

The Return, In Pictures





{Images from the official website and Wikipedia}.

The Return


The Return is far and away my favorite of the ten films I've watched. I loved how the story and the cinematography appeared simple yet contained so much meaning. Among the films many layers of symbolism I noticed several art historical references. While the comparison of the introductory shot of the father to Andrea Mantegna’s Lamentation over the Dead Christ {1490} has been commented upon several times, I was struck by how the use of light and the gray palette was reminiscent of Johannes Vermeer's portraits, such as Milkmaid {1658 - 1660}. Other references include the use of an old illustrated bible where the one photograph of their father is kept and a dinner reminiscent of the Last Supper, with the father at the center of the table sharing food and wine with the family. Photography is also used as a leit motif throughout the film starting with the picture of the father, continuing as the eldest son Andrei documents their trip and the slide show of these images at the end of the film. This demonstrates that Andrei's nostalgia forces him to become a passive observer of the situation instead of analyzing, and ultimately, rejecting their father as his younger brother Ivan does. It also serves as a reminder that, like the film, photographs are constructed narratives that can present false realities.

+ KinoKultura review
+ Decent Films review
+ Official website

New Uses for Containers...

An interesting Russian project that re imagines old garbage containers as living spaces which recycles as well as revitalizes urban environments. It's good to see some positive news about Russia sometimes.





{Via swissmiss, original Russian website here}

The Recruiter, In Pictures





{All images via flickr}

The Recruiter


The minimalist approach to The Recruiter film was refreshing, especially after viewing the Hollywood-esque Tycoon. i really liked the long scenes of suburban Kazakhstan, with its ramshackle housing and industrial wastelands. Some of my favorite scenes took place near these shelters: where Mustafa tries on Sakura's sunglasses and smokes a cigarette while Sakura is sleeping beneath a large tiger wall hanging and when Mustafa and Zinka are dancing under the outdoor roof of rags. The Mustafa's emulation of Sakura is obvious in the aforementioned scene yet it was the tiger wall hanging that I found intriguing. I found the following description of tiger symbolism here: the symbol of a tiger and a mirror together refers to the medieval belief that after capturing a tiger cub, one could escape by from its pursuing mother by throwing down a mirror in her path. She would believe the reflection to be her cub and try to rescue it, thus giving the hunter time to escape." This is interesting as the scene is filmed through a mirror, with Mustafa admiring his reflection as well as keeping an eye on the sleeping Sakura. This suggests that as Mustafa is beginning to slip deeper into a more dangerous world, his mother and his girlfriend/mother figure are unable to help him because they are absorbed in themselves.

+ Review on KinoKultura
+ BBC News Kazakhstan profile
+ Miss Kazakhstan on Borat

A Side Note on Technology...

{Via swissmiss}