Para Sempre Lilya

In the former Soviet Union, 16-year old Lilya (Oksana Akinshina) lives with her mother and new boyfriend, and is excitedly awaiting a relocation to the United States. It turns out her mother doesn't want her there, and takes off with the promise of Lilya following later, leaving Lilya alone in her apartment. Her aunt then throws her out, giving her the run-down flat of a recently deceased old man, and Lilya finds herself without any money, and only the young Volodya (Artyom Bogucharskiy) as a friend. Desperate, she discovers how easy it is to make money from whoring herself out, and then meets the handsome Andrei (Pavel Ponomaryov), who invites her to live with him in Sweden. Despite Volodya's warnings, she decides to take his offer, but it soon becomes apparent that there is more to his Andrei's promises.

Based on a true story of a young girl who was trafficked to Sweden only to find herself imprisoned and forced to have sex for money, director Lukas Moodysson's film is set mostly in a very grim reality. Similar both to the social realism of Ken Loach, and the relentless and uncomfortable degrading of it's lead female character that is so prominent in Lars von Trier's films, Moodysson film is certainly brutal. As Lilya (played with a tragic naivety by Akinshina) is being abused in Sweden, we are treated to a POV montage of the various perverts and abusers, sweating and breathing into the camera. We live through the whole thing through the eyes of Lilya, a character of almost operatic tragedy, who suffers for the sins of others in a country ravaged by poverty, glue-sniffing and boredom.

But Moodysson wisely doesn't keep everything grim. In the final third, as Lilya suffers the most, the film often turns dream-like and fairy- tale. He introduces angels and dream sequences, as Lilya finds herself drifting through existence in an almost coma-like state, with her dreams and fantasies her only relief. These scenes (and there are only a few) are not flashy or whimsical, but are subtle and simplistic, in a similar way that Wim Wenders portrayed his angels in Wings of Desire (1987). It's a powerful tool that makes Lilya's plight all the more profound. The film plays out almost like a cruel fairy-tale, only set very much in the real world. Lilya 4-Ever is a hard film to sit through, but is rich in humanity, even though most of its characters are certainly devoid of it.

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When "Lilya 4-ever" premiered in Sweden 15 years ago, it shattered many hearts and gave fire to a debate on human trafficking that would last for years. I finally watched Moodysson's amazing film and it broke my heart too.

Twitter: @7thArtShortRevs (Mårten Larsson).

Lilja 4-ever is an excellently-crafted film created by and for Swedes to help stimulate public debate and redress the issue of the vulnerability of immigrant children. It's a cruel, enlightening, compelling watch for anyone in the West, but it's most definitely not a movie for escapism, it's not an After School Special, and it's a world away from the endless contemporary assault/insult of bald neocon propaganda on Anglo-American screens.

Unless you're very, very dead inside, Lilja 4-ever will horrify you, move you to tears, and leave you speechless...at least in its immediate aftermath. And if you are dead inside, the implicit subject is inexorable capitalist alienation and trauma, so why not catch a representation of your own inner life on film? Maybe you can work it into a drinking game.

Based on actual, turn-of-the-21st-century suicides of escaped post-Soviet child prostitutes in the suburbs of Sweden, Lilja 4-ever is a well-done drama, featuring terrific acting--especially by Oksana Akinshina and Artyom Bogucharsky. It presents moody and stark cinematography, fine script-writing, and solid direction. Lilja 4-ever is not a documentary, but its subject is relentlessly grim and real: the tragic personal results of the continued, desperate corrosion of Eastern European society and its tacit, rapaciously opportunistic exploitation in the isolated, commuter highway-bound suburbs of the West. For its success in making these links visible and cinematic, Lilja 4-ever is outstanding.

I saw Lilja 4-ever when it was released in Stockholm in 2002. You can't watch this particular movie waiting for some good one-liners to repeat to the guys around the water cooler. You may not be able to identify with Lilja. You don't need to feel like she could be your girlfriend. For this movie to work, and to grasp who Lilja is, you need to be able to feel human compassion, sympathy and empathy, and to recognize and appreciate the drama in our socio-economic connections.

I wasn't surprised by how perfect this film is from the first second to the last, since it's directed by Lukas Moodysson. Different than Tillsammans and Fuckin Åmål in style, but still absolutely fascinating. I could find only one minor flaw, which is Lilya's make-up after the fall. But everything else was wonderful. I hadn't heard of Oksana Akinshina before, but I have a strong feeling I will in the near future. She's really good. I was also amazed by the acting of the little boy.

The frames come so strong that you start to empathize with Lilya after some point. By the end of the film, I was feeling like she was my sister and I wanted to knock those procurers' heads off. I've heard the plot is based on a true story of a Lithuanian girl. I think it's not based on one single true story, it's rather a blend of several true stories. There are many Lilyas, Natalias, Annas out there who are suffering a similar fate. It's so very sad to see how those innocent girls grow into prostitutes just because they're born in some particular country.

Anyone with a heart will be touched and anyone with a taste on movies will be stunned by this movie. I'll buy the DVD as soon as it's available. It's a must have for any collection. One of the rare films I would watch more than once. Total 10.

The movie is extremely sad & hard to watch, cause of its unbelievably realistic picture of poverty, humiliation & depression in which the vast majority of people in the former USSR republics live, including here in Russia. The minority of those who have still managed to keep being human beings in this mess is surrounded & slowly devastated by demoralised animals, created by the decades of communist reign. The realism of the picture is overwhelming & scary. It is so unexpected that a Swedish director have managed to see all the sadness, corruption, violence & immorality of post-USSR space much more clearly than any Russian director ever will. Probably, it is because most people here in Russia see the hell which is going on around them as a normal thing. That's why we need movies such as this - to face the truth, we are so trying to escape in everyday life. Plus, the film exposes the problem of human traffic in such true-to-life manner, it is painful. Worth watching for former USSR citizens, in order to wake-up & realize how degenerate they're becoming. Worth watching for foreigners in order to understand how the 99% of people in Russia & other post-soviet countries live, outside the glamorous & fake facades of Moscow city.