Khrustalyov, Meu Carro!

It's easy to slot away Khrustalyov, mashinu! as either a great and beautiful whatchamacallit, or a hopeless hodgepodge. Actually, it is about something: the Stalinist terror, and the accumulated guilty consciences of the Russians - even many of his victims - after living for a generation under his thumb.

General Klensky (Yuri Tsurilo, in a stunning performance) is a "good" Russian - a doctor who has achieved a position of power and respect under Stalin while, he thinks, maintaining his honor and humanity. That delicate balancing act comes undone when he finds out that he's on the hit list during the "doctors' plot," Stalin's final purge. German's film captures the growing absurdity of trying to rationalize life under a beast like Stalin: His principal characters' lives (and brains) have become as cluttered and confused with attempts to make sense of their own conduct in the face of tyranny as the crazy, stuffed-to-the-gills, attic-like warrens of rooms they live in.

Russia at the end of Stalin is a squalid sprawl of these absurdist dwellings, with only the sinister black cars of the party apparats representing any kind of order, and that the most brutal kind. The violence creeps into everyone's lives, as we watch German's characters slap and spit at and sometimes sexually assault each other. Sometimes it's deadly, sometimes in jest, but always a kind of emanation of the violence visited on them from the terrible man who pulls all the strings.

Millions of people lived under a system something like this in the 20th Century, and German's film is great because it captures so much of the absurdity and brutality they experienced. It shows you how they lived through it, and also how the subterfuges that helped them to do so could often turn around and bite them back - making their survival tactics ultimately useless against the terror. Life under Stalin was a desperate balancing act, represented here by the game of balancing a drink on one's head that one of the minor characters and then, at the end, Klensky himself engage in.

With Khrustalyov, mashinu! it's hard to know where to hand the most praise: The art direction is staggering. All the performances are perfect. The direction is supple and endlessly perceptive. The B&W cinematography is gorgeous. There are signs of the influence of Orson Welles' films circa the 1960s, and especially of Welles' The Trial, with its characters moving through the cluttered warrens of rooms in the Gare St. Lazare. The way German choses to view his characters also reminds me of Bela Tarr's work. But German is a master and Khrustalyov, mashinu! is an astonishing artistic vision of a terrible time in human history.

Today marks twenty-three years since Aleksei German's head scratcher premiered at the Cannes Film Festival, where it was met with an overwhelmingly negative reception and provoked a mass walkout from the critics. This was German's penultimate film and i returned to the film today after 3 years. Personally, I still consider this as his finest, even many years after its creation. Some scenes just keep repeating in my memory, especially the last shot of the film.

I know the majority will lean towards his early films and the other half will go with his swan song Hard to be a God (2013). Much has been said about the latter, and it deserves all the praises.

This film an odyssey through Stalin's regime which isn't a surprise as it's a well-known fact. In 'Khrustalyov, My Car', Alexei German partly combines historical facts, draws memories, or more aptly labelled nightmares of growing up and imbues them in the screenplay. Briefly to the plot, it is set in Moscow during the final days of Stalin's regime. A series of arrest occurs targeting Jewish doctors who were accused of conspiracy to assassinate the Soviet elite. A military surgeon, General Yuri Georgievich Klensky (Yuri Tsurilo), finds himself a target of the conspiracy and escapes to avoid Gulag sentence or execution. The essential escape story is made into a complex and ambitious mosaic, interweaving surrealism, dark humour, perverse behaviour. The complexity of the drama deepens and, together with the Klensky, as he is immersed in the cold hell of uncertainty, an increasingly absurd and dangerous situations. My favourite is where all the doctors are attempting to make the dying Stalin's stomach to fart. There even more, lots of absurd sequences that is showcased during the entirety of this fever dream which some might feel as a totally confused mess.

There's no point in telling the plot and it would be an an exercise in futility if I attempt it. It must be seen as German takes us through the dehumanization of life under Stalin's regime. Its black and white tone depict a world of monstrous inhumanity and devastating cruelty blended with surrealisms and metaphors. A true visionary German knew what his universe was, this film is an example. His ability to stage great settings and he effortlessly manages to set the right accents between apocalypse and drama. This is certainly one of the craziest works ever and the production for filming are no less insane than the film itself. It took Aleksei German almost ten years to create this surreal trip.

In the past, I have seen few comments comparing screenshots from this movie and Béla Tarr's masterpiece Werckmeister Harmonies (2000). Yes, maybe few shots looks like it is lifted straight out of Tarr's universe. But I would like to mention that German's work predates Tarr and it is not an offense or a crime to appreciate the comparison.

I want to mention about the acting, it is at the center of the film and every character are phenomenal in their respective roles, i personally loved plays Klensky (Yuri Tsurilo), the shiny bald-headed neurosurgeon. I always draw comparison to Iron Sheikh class, one of my favourite wrestlers of all time. Yuri Tsurilo is impressive in this role; he is in a grey zone. He oscillates between different emotions, sometimes boisterous, and larger than life. Also, the ending is one of the most striking I have ever seen, the shot is so fresh and will remain etched in my memory as Yuri balances a glass of wine on his head and smokes a cigarette. I've seen cinephiles going gaga over Mads Milkeslene dance in the ending of Another Round (2020), they have already labelled it as the best closing ever. I would suggest the same crowd to witness the last shot in this one, an ending that commemorates the bridge between the humiliation, loss and victory. I recommend this film to the cinephiles who love the works of David Lynch, Piotr Szulkin, Yuri Ilyenko, Grzegorz Królikiewicz, Tengiz Abuladze, FJ Ossang, Herbert Achternbusch, Konstantin Lopushansky and Rogério Sganzerla.

an absolute masterpiece that becomes quite an experience for the audience.

from the first sight, it might be interesting for those who were born in soviet regime only, since the story itself is about the darkest period of soviet regime - Stalin's era - but if you look closer you will discover a Kafka-like parable of a man trying to survive in a doomed circle of fatal circumstances.

dark, atmospheric, accurate in every single character and detail, this film requires your involvement to be understood and appreciated -

and once this happens, you will achieve a cinematic treasure, one of a kind.

10/10

Absolutely astonishing visuals that draw one in and totally captivate for the considerable length of this film, despite the narrative being very difficult to grasp and follow properly. We are in the grip of Alexsei German's vision and find ourselves staring in disbelief at the wondrous and surreal visuals. Astonishingly crowded interiors are contrasted with snowy streets with slow moving cars and trams. Set in late 1953 as Stalin dies this impressionistic vision is totally original, amusing and horrible by turns. There is much face slapping and crazy antics reminiscent of a Marx Brothers film but also dark horrors and hinted at atrocities. A dark and involving piece that is convincing if not always particularly comprehensible. Unique.

Aleksey German invites you on a journey through the madness of Stalinist Moscow. Not only is the story a journey with unexpected turns, also the cinematography evokes this sense of adventure; long shots, the camera following the footsteps of the protagonist, people wandering through the line of sight. With its incredible detailedness, a true living world emerges. A delight to watch with its rich visual languge, albeit intensive to stay focussed for 2h27m.

German chose a similar style for his equally masterful Hard to be a God (2013), which enters the realm of sci-fi and historical pictures, or Gaspar Noe's virtuoso Enter the Void (2009).

With its critical approach to the Stalinist period, German realised this film exactly at the right moment (1998): in the Soviet age, the film would have been censored, and in the Putin age Stalin was placed back on his pedestal, banning the hilarious British comedy Death of Stalin (2017), a film which through a different strategy aims to similarly show the remarkable climate of the last days of Stalin. What these two films have in common is the wish to reconstruct the absurdity and arbitrariness which governed human lives at that point, served with a dose of irony and black humour.