Made to be contemplated, as every work of art is intended to be.
75 years ago, in the early hours of June 14, 1941, more than 40,000 people were deported from Estonia, Latvia and Lithuania. That was the beginning of mass banishments to Siberia and other remote regions of the USSR promoted by the Soviet authorities. Under secret orders of Stalin, this operation was aimed to remove dissidents of the socialist regime from their home countries to quell any opposition, and promote ethnic cleansing of the region. Among these thousands of deportees was Erna Tamm (Laura Peterson) and his family (daughter and husband). The movie Risttuules (original title) or In the Crosswind (in English) was inspired by the letters of Erna written from Siberia to her husband, Heldur (Tarmo Song), from whom she was separated by the Soviets.
In his first movie, the estonian director Martti Helde was bold in its proposal: to make an art film, in black and white, through the technique of tableaux vivants, to photographically recreate the memories described in the letters. As opposed to the traditional cinematographic narrative, the tableaux vivant makes use of static shot, in which the characters stand still as the camera slowly travels through the environment. The observed time is frozen, allowing us to focus the subtle details of each scene as well as the expressions of the actors and their body language. Everything leads us to believe that we are facing a common photographic representation, which is only denied by the wind moving some objects, such as clothing, branches and leaves or sheets of paper. The voice-over of Laura Peterson complements the recreation of those memories describing events and the feelings of the protagonist.
Erna Tamm led a normal and happy life with her family until the war came into their lives. To portray this radical and abrupt change the time started to elapse in another dimension, being marked by the composition of tableaux vivants images. And it remained so until the end of this tragic and distressing period in the life of the protagonist, when the war came to an end. Throughout this journey we take notes of the Soviet cruelties, with the deportees being transferred in inhumane conditions inside animal wagons, suffering humiliations, being subjected to forced labor, hunger, cold, aside from the lost of relatives, friends and above all, their freedom. The soundtrack and ambient sounds help to characterize the mourning atmosphere and the melancholy of the film: almost all hope was lost.
The human tragedy experienced by the inhabitants of the Baltic countries resulted in more than 590,000 victims of the holocaust during the Soviet occupation. With the break up of the USSR, Russia, its successor, aside from maintaining a rhetoric that denies the crimes committed, even glorifies the Soviet past, its leaders, symbols and actions.
Aesthetically impeccable, made to be contemplated, as every work of art is intended to be, and with a slow pace, In the Crosswind is definitely not a film for the general public. The way it is narrated flee from the ordinary way and might not please everyone, causing strangeness and monotony in some viewers. Far beyond the story that is intended to be told, the film provides an unique sensory experience that is at the same time sad but beautiful.
Originally posted in: https://vikingbyheart.blogspot.com.br
In his first movie, the estonian director Martti Helde was bold in its proposal: to make an art film, in black and white, through the technique of tableaux vivants, to photographically recreate the memories described in the letters. As opposed to the traditional cinematographic narrative, the tableaux vivant makes use of static shot, in which the characters stand still as the camera slowly travels through the environment. The observed time is frozen, allowing us to focus the subtle details of each scene as well as the expressions of the actors and their body language. Everything leads us to believe that we are facing a common photographic representation, which is only denied by the wind moving some objects, such as clothing, branches and leaves or sheets of paper. The voice-over of Laura Peterson complements the recreation of those memories describing events and the feelings of the protagonist.
Erna Tamm led a normal and happy life with her family until the war came into their lives. To portray this radical and abrupt change the time started to elapse in another dimension, being marked by the composition of tableaux vivants images. And it remained so until the end of this tragic and distressing period in the life of the protagonist, when the war came to an end. Throughout this journey we take notes of the Soviet cruelties, with the deportees being transferred in inhumane conditions inside animal wagons, suffering humiliations, being subjected to forced labor, hunger, cold, aside from the lost of relatives, friends and above all, their freedom. The soundtrack and ambient sounds help to characterize the mourning atmosphere and the melancholy of the film: almost all hope was lost.
The human tragedy experienced by the inhabitants of the Baltic countries resulted in more than 590,000 victims of the holocaust during the Soviet occupation. With the break up of the USSR, Russia, its successor, aside from maintaining a rhetoric that denies the crimes committed, even glorifies the Soviet past, its leaders, symbols and actions.
Aesthetically impeccable, made to be contemplated, as every work of art is intended to be, and with a slow pace, In the Crosswind is definitely not a film for the general public. The way it is narrated flee from the ordinary way and might not please everyone, causing strangeness and monotony in some viewers. Far beyond the story that is intended to be told, the film provides an unique sensory experience that is at the same time sad but beautiful.
Originally posted in: https://vikingbyheart.blogspot.com.br
- Vikingbyheart
- Jul 7, 2016