Parola di Dio

like many Russian contemporary films, it seems be portrait of near reality from East. in fact, it is a puzzle of questions. about school and about teenager crisis, about the use of religion and the answer of Church, about friendship and fear and teachers, about situation of a student as personal struggle for a woman looking defining his life direction. it could be perceived as attack against Chistianity, as satire or as precise reflection of the state of school. but, more important, it has two virtues - the performances - especially the performance of the lead actor and the status of support for reflection about near every day reality. because it gives nothing new. well known facts, the crisis of a teenager, empty head teachers, a revolutionary Biology teacher, her boy friend, a young student looking for love. each as part of a lucid and admirable interrogation. so, an admirable work.

Venya is a teenager with attitude, he is cared for by a single mother who works three jobs to keep body and soul together. Then one day she gets a call from his school saying he is refusing to take part in mixed swimming lessons. She imagines all the reasons why a teenage boy may not want to do such an activity but never thought that it would be against his political convictions. However, he insists that he is religiously motivated and his stance finds traction in the school principle.

As he realises that religion is power so he sets out to control those around him by becoming a sort of walking, talking Bible. The passages he quotes are very subjective and selective but when delivered with absolute conviction seem to carry more weight and their implicit truth appears loaded with spiritual and moral currency. His Nemesis in this is a forward thinking science and biology teacher but he knows he has God on his side.

Now this is taken from the play by Marius von Mayenburg who is German and the original Russian title was '(M)uchenik' which is a play on Russian words in that muchenik is 'martyr' and 'uchenik' is student – and as such is a brilliant title, but would not work in English – hence 'The Student'. The issues of religious control and the like are hot and controversial topics with parallels to way more than Christianity and as such the film has had its critics.

The acting, directing and cinematography are all excellent and the plot is both compelling and urgent for a film that runs just shy of two hours it really does not waste any time – in Russian with good sub titles this is a film that will divide opinion and I think that is no bad thing – so recommended to those who like to have to think about their cinema.

"The Student" – "(M)uchenik" directed by Kirill Serebrennikov is an attempt to reconsider religious fanaticism in the modern world. The picture is based on the play "Martyr" by German author Marius von Mayenburg and it was adapted to the reality of modern Russia.

In a way the problems touched upon in the film are universal and not connected to one particular religion. An interesting aspect of the film is the constant quoting of the Bible which shows that any religion can become an instrument of aggression. The picture is a sharp and humorous satire. The teachers in the film are very well depicted, they whose heads are full of self contradictory ideas combining Stalinism, Putinism, Communism, Liberalism and religion. The school administration cannot confront a religious fanatic because they themselves do not have any ideas or principles.

When the biology teacher tries to confront Veniamin, she also looks into the Bible, which she interprets in a vulgar and primitive way. The relations between Veniamin and Grigori are interesting; he becomes very close to Veniamin but we see later that Grigori is gay which is the real reason why he becomes his disciple.

The film is shot in a minimalistic way in this low-budget production, but the actors play well and the dialogues are very funny. The ideas of the picture are important, the film has an open end just as our society has an uncertain future with growing extremism and radicalism.

Yet another bleak, cynical Russian take on the modern world and its moral conditions (Leviathan, etc). Here, Russian director Kirill Serebrennikov and German playwright Marius Von Mayenburg re-tread the age old argument that pits Christianity against the modern worlds view on human morality. Made in a somewhat trendy, dismal style, with too many shaky hand held shots and some overbearing music - these movie makers, as with so many others over the decades, seem to think they have reached an informed conclusion so, able to convince us all of their superior intellectual standpoint. They have both chosen to overlook the fact that vast numbers who went before them, have concluded that it's an unwinnable topic that leaves more questions than answers – in fact, many who set out to fight against and disprove the wisdom of Christ's word, converted over to it.

They use many of the Bibles strongest passages to substantiate their subservient arguments but the language presented on both sides of their viewpoint tends to suggest that perhaps: The Wisdom of Man is Less than the Foolishness of God. Their protagonist is portrayed as a psychotic who quotes almost verbatim Bible scriptures but, he is ultimately shown to be as crippled as the cripple he tries to heal, then harms. This character offers no real basis to mount a genuine argument. As another reviewer has already stated: Laughable.

Set in a current (surprisingly undisciplined) Russian school, many of the usual hooks are put-out to appeal to our basic instincts: Sexual freedoms (with lashings of nudity and sexual situations) ~ Anti Semitism (with the biology-sex-ed teacher being both anti-Christian and Jewish, in fact - her character simply allows for situations of associated Christian based hatred, to be easily introduced within the ideals of the modern world) ~ Next, there's the headmistress and the teacher of religious studies - both shown to be perhaps out of touch (as one might expect). These movie makers have perfectly armed themselves with so many manipulative character devises to support their biased point of view. It's too easy to mount an argument by designing characters to serve an already formed view.

If the topic leans your way it could appeal - otherwise, stay away.

Nowadays Russian cinema is more political than ever. And its political word is not shy, it frankly declares war against either bureaucratic or societal corruption (or both), as we can see in Leviathan, Durak, and this film. But the most dangerous enemy in this war, is the scope of the enemy. If you define the whole corrupt society as something to destroy, who will be your allies in this war? No one, for sure. You're as lonely as Don Quixote in his delusions.

Actually, the idea of "the Holy Bible in a human's body" as a character is striking, strengthened by the undeniable references. The viewers are forced to observe how religious fundamentalism can threaten the society, especially when the people around cannot see the big picture, cannot imagine what will come next and feed the beast naively as if donating to the church.

But as I mentioned above, despite the power of its criticism this movie too is unfortunately flawed with the problem of being incapable of providing solution, like similar others. The film rightfully asks: "This religious fundamentalism is poisoning us! What is the antidote to it?" But the answer is perfectly oxymoronical: "We need idealist individuals, but hopeless at the same time due to their loneliness..."

So, according to me it's clear that these "pessimist-idealist" characters represent the directors themselves. They can foresee what's coming, they want to do something, but when they look around they realize that they don't have anyone to cooperate with. So, disappointed with this loneliness, they get critical of the society much more than the problems the society is experiencing. So, contradictorily, what we as the viewers have in the end is not a motivation for action, but a reflection of the pessimism of the director dictating us to sit and smile cynically at the inevitable self-destruction of the society.