Absurdistan

German director/writer,Veit Helmer's films are an acquired taste (much like Canada's Guy Maddin). His style of directing seems to lean toward the mainly visual (there is little to no dialog in his films),and in metaphorical terms,has a tendency to (at times)resemble some of the films of Czech film makers,Jiri Menzil,etc. In this gentle fable,'Absurdistan',the story takes place in the fictional village of Absurdistan,somewhere in a part of Russia that seems to have been forgotten by time (it's not supposed to be listed on any map),but still exists,none the less. Aya & Temelko are two young people who have been in love with one another since childhood. Aya's fortune telling grandmother predicts that the two should get together when two star signs merge. Sound simple enough? There is a problem in the village with the water supply (and the lazy,good for nothing men,who are content with just hanging out in the local teahouse all day while their women do all the work,including the work projects that the men start,but never seem to finish). When things get downright dire,what with the nearly total lack of water,the women stage a sex strike ultimatum on the men. It's up to Temelko to try & fix the water problem, so he can be with his beloved Aya forever. Veit Helmer directs & co-writes the screenplay (with the assistance of Zaza Buadze,Gordan Mihic & Ahmet Golbol). The cinematography by George Beridze makes nice use of what appears to be a arid,near desert environment. The cast is made up of mainly Russian actors who do their job well. If you enjoyed Helmer's film, 'Tuvalu' from a few years back, this will be another feather in your conical cap. Spoken (what little on screen dialog,outside of the narrative structure)in Russian with English subtitles. No MPAA rating,but contains flashes of nudity & sexual content.

This is a delightful film, and left me with a smile on my face that lasted quite some time. Like all good comedy, it must not be taken too seriously, though it deals with some very serious issues indeed. Even if the film was made in Azerbaijan, the story is certainly not 'about' a Muslim country as such, of whatever style. One of the couples does have a large picture of a mosque above the marital bed, but some scenes are in what appears to be a Christian church, albeit devoid of overt symbols, and, in one, some of the women cross themselves with holy water. But these references to religion are incidental: the film is not to be interpreted in realistic terms. It is allegorical and is simply about people, no matter where they live. A jaunty score nicely reinforces the comedic mood.

The Title says it all: ABSURDISTAN.

An International/Russian film that has its ups and downs, so to speak! And the emphasis here is really on "INTERNATIONAL"! German Director/Co-Writer: Veit Helmer; Azerbaijani Co-Writer: Zaza Buadze; Female Lead: Kristyna Malerova-No INFO on her nationality, but surname appears to be Czech; German Male Lead: Max Mauff; The rest of the cast hails from at least a dozen different European and Westeren Asian countries! This explains why so few cast members were given dialog...Most of them either don't speak Russian, or speak it with a very discernible accent!

ABSURDISTAN is a very visual experience. IMDb talks about how the 40 year old Helmer loved silent films in his university film studies. Perhaps this is why the word "Slapstick" is bantered about a lot referring to this film. Slapstick is very over-the-top. Absurdistan's style is much too "Tableauesque" (Coining term via poetic license!) to be labeled slapstick. But whatever you want to call it: It works... Most of the time!

FANTASY is another term people seem insistent upon using to explain segments of the film. I'd say there are a few mildly surreal/absurd moments, but nothing beyond that. ABSURDISTAN really doesn't remind me of any other film, except perhaps 1960's Never on Sunday. There is one brief moment of nudity. AYA, the female lead, can't sleep owing to the heat, and climbs up on the roof, removing her pajamas. Temelko spots her and chases her around for a moment, but that's about it. There is a little simulated sex done with clothes-on, but aimed much more at comedy than at any type of arousal.

Oddly, I perceive ABSURDISTAN as a perfect extended family get-together flick, provided everyone is over 14 or 15! It's very easy to imagine a large Eastern-European family getting together and having an exceptionally enjoyable time watching this! If anybody tries my suggestion, let me know how it works out, please!.... ENJOY/DISFRUTELA!

Any comments, questions or observations, in English or Español, are most welcome!

Actually, because the movie was shot in Azerbaijan, I was intrigued. I came across a different movie, it wasn't what I expected. It had a different theme. Not bad.

I'll start by attempting to summarize the difference between "American comedy" and "East European comedy" in broad terms. Trust me, this is going somewhere...

American comedy focuses on characters. Gags rely on the personalities of the people involved, facial expressions, closeups, voice tones, and what we, the audience, are led to feel about these characters. For example, when Christopher Walken says "It needs more cowbell" that's all she wrote. A million intricate nuances of Walken's personality and delivery are what make that joke fly.

East European comedies (I'm thinking mainly of films by Kusturica, Paradjanov, and early Forman which remind me of "Absurdistan") seem to rely on situations and surroundings rather than close characterizations. Shots are filmed from a distance so that we take in more of the scenery and atmosphere, and we rarely get lingering closeups the way we do in American comedies. For example, in Forman's hilarious "The Fireman's Ball", one of the funniest scenes is the chaotic madness at the beauty competition where the camera stays far from the action and we don't really see any faces. We just take in the absurdness of the whole scene.

===OK FINALLY... THE REVIEW OF ABSURDISTAN=== "Absurdistan" falls squarely in the "East European comedy" category. The characters are deliberately 2-dimensional, as if the director is telling us that the story is what's important, not the actors. Like a Paradjanov film, it's a fairytale that doesn't want to be upstaged by human interference. Thus, no time is wasted on personal backstories, dramatic emotions, or charisma. None of the characters even have names except the main two. There aren't many pauses for reflection, and there's only one real monologue scene showing us the girl Aya's inner self.

Normally I would have no problem with this presentation. Like I said, Forman's "The Fireman's Ball" is one of the funniest films I've seen, even though I couldn't name a single character or describe their personalities. But in "Absurdistan" it presents a noticeable void in that this is a love story. For a love story to have maximum effect, the director must invest some time creating an emotional connection between the lead character(s) and the audience. Here instead, most of the characters are caricatures of vices, making them thoroughly unlikeable. Even the two lead characters commit certain acts that may make you dislike them.

So if you decide to see this movie, don't expect a very personal story. This Ain't no Hugh Grant flick. Instead, take "Absurdistan" at a distance as the movie is probably intended to be watched. This movie is a metaphor, a fable, a fairytale, and we aren't supposed to get caught up waiting for some personal emotional payoff.

If you've seen Viet Helmer's prior film "Tuvalu" it has much of the same approach. Except Tuvalu is not a love story, so the disconnection between characters & audience works. Here in "Absurdistan" it presents a conflict which may or may not fly, depending on how you like your love stories.

A final note, which may or may not mean anything to you, is that there are a few disturbing scenes with animals. A mule getting pulled & prodded, a chained dog getting soaked, a horse being tied up in a nasty looking horse-shoeing device, and a dead chicken that looked pretty real. Since this film was made in Azerbaijan outside the American Humane & RSPCA's jurisdiction, there certainly wasn't any "No animals were harmed" disclaimer at the end. If anyone knows how those scenes were monitored please post something about it.