Posledniy Ronin

By Vincent Hooper.

Maksim Shishkin's The Last Ronin offers a gripping and thought-provoking take on the post-apocalyptic genre, drawing deeply from Russian cultural traditions to craft a unique narrative. Set in a world devastated by climate change and nuclear war, the film follows Ronin (Yuri Kolokolnikov), a lone wanderer consumed by the desire for vengeance after the brutal murder of his father. Yet, beneath the action-driven surface, The Last Ronin unfolds a more existential journey, echoing the profound philosophical explorations typical of Russian literature and cinema.

Plot and Cultural Resonance: At the heart of The Last Ronin is the journey of Ronin and Maria, a teenage girl seeking protection as she embarks on a quest to return to her birthplace. Their bond, forged in the crucible of survival, is the film's emotional core. However, the relationship goes beyond mere survival: it reflects a deeper engagement with themes of morality, redemption, and personal sacrifice-ideas that are woven into the fabric of Russian cultural storytelling. Ronin's stoic exterior and his quest for vengeance mirror the archetypal figures found in Russian literature and cinema, such as the tortured anti-hero, who must come to terms with his inner turmoil while navigating a collapsing world. This sense of internal conflict, especially in the face of personal loss, is deeply embedded in Russian cultural and literary traditions, from Dostoevsky's existentialist heroes to the tortured figures of Soviet cinema.

The bleak, post-apocalyptic setting itself reflects a profound cultural resonance. Russian cinema, known for its use of harsh, desolate landscapes to explore the human condition, is mirrored in Shishkin's world-building. The film's environment-scorched landscapes, dilapidated cities, and the collapse of civilization-is a powerful backdrop for Ronin and Maria's journey, echoing the grim realities explored in Russian works by filmmakers like Andrei Tarkovsky and literary figures like Fyodor Dostoevsky. The aesthetic feels rooted in Russian cinematic traditions, where environments often reflect the internal struggles of the characters. The wide, desolate shots of barren landscapes evoke a sense of isolation and hopelessness, while the intimate, claustrophobic close-ups during moments of reflection intensify the emotional weight of the characters' internal battles.

One of the most striking elements of The Last Ronin's world-building is the prominence of AK-47 cartridges as the primary currency in a collapsed civilization. This choice is not just a functional plot device but also a powerful cultural and historical symbol. The AK-47, designed by Soviet engineer Mikhail Kalashnikov, is an enduring emblem of both Russian military history and global conflict. Its ubiquity in war-torn regions and revolutionary movements has made it a symbol of both resistance and destruction. By making ammunition a form of currency, the film underscores the idea that violence and survival are inseparably linked in this dystopian future-an echo of real-world struggles where power often lies in the ability to wield force. This detail also reinforces the film's Russian influences, reflecting a historical relationship with militarization and resource scarcity, themes that have permeated Russian literature, politics, and cinema for decades. In this sense, The Last Ronin not only builds a compelling post-apocalyptic economy but also offers a subtle commentary on the commodification of war and the enduring legacy of one of Russia's most infamous exports.

Themes and Cinematic Influences: Much like the works of Russian masters, The Last Ronin explores not just survival, but the philosophical consequences of survival in a fractured world. Ronin's journey is as much about internal conflict as it is about external violence. This meditation on human resilience in the face of destruction recalls Russian cultural themes of moral ambiguity, fate, and existential doubt. The relationship between Ronin and Maria speaks to Russian ideas of redemption and the belief that human connection can be salvaged even in the most desperate circumstances. While the film includes moments of ultraviolence and dark humor, it also delves into the complex emotional landscape of its characters-a hallmark of Russian cinema, where even the darkest actions are often driven by deep philosophical questioning.

Shishkin's deliberate pacing and emphasis on introspection also nod to Russian cinematic influences. The slower, more contemplative rhythm of the film offers space for the characters' internal struggles to unfold, much like the works of Russian directors who prioritize atmosphere and mood over fast-paced action. This unique pacing makes the action sequences feel meaningful, not just spectacles, as they represent emotional catharsis for the characters. The dark humor embedded in these moments serves to both lighten the oppressive tone and underscore the absurdity of survival in a post-apocalyptic world, reflecting Russian literary traditions that often use humor as a means of coping with tragedy.

Maria and Ronin's journey in The Last Ronin is not just a quest for survival but a desperate attempt to escape the grip of their respective clans, both of which have defined and constrained their lives. Ronin, driven by vengeance, seeks to sever ties with the violent past that shaped him, refusing to be just another pawn in a world ruled by feudalistic warlords. Maria, on the other hand, offers a counterpoint to his hardened resolve-she, too, is running, not just from the physical dangers of the wasteland but from the expectations and burdens placed upon her by her potential 'royal' lineage. Their alliance is forged not just out of necessity but out of a shared desire for self-determination, a rejection of the tribalism that has consumed their world. This theme of breaking free from oppressive structures echoes the struggles found in Russian literature and history, where individuals often grapple with the weight of fate, duty, and the crushing inevitability of inherited conflict. Their journey is not just about reaching a destination, it is about carving out an identity beyond the blood-soaked legacies they were born into.

Performance and Reception: Diana Enakaeva's portrayal of Maria adds another layer to the film's exploration of Russian cultural themes. As a "bad ass" character, she counters Ronin's stoic and vengeful exterior, representing both strength and vulnerability. Their evolving relationship mirrors the depth and complexity found in Russian literature, where human connection is often forged in adversity. Enakaeva's performance elevates the film beyond its action-driven plot, providing emotional weight to the story.

The Last Ronin premiered at the Red Sea Film Festival and has already gained international attention, a testament to its universal appeal. Its success is partly due to Shishkin's ability to blend influences from samurai westerns, road movies, and Japanese manga with the intellectual depth and philosophical richness found in Russian cultural traditions. The film's approach to character development, action, and visual storytelling offers a refreshing take on the genre, while its philosophical undertones invite audiences to ponder deeper questions about morality, survival, and the human spirit.

Final Verdict: The Last Ronin is a unique cinematic experience that stands apart from typical post-apocalyptic fare. Through its Russian cultural influences, Shishkin crafts a film that is as much a meditation on the human condition as it is an action-packed journey. The philosophical depth, introspective pacing, and emotional complexity of the characters make it a must-watch for anyone seeking more than the typical dystopian storyline. The film's blend of dark humor, ultraviolence, and existential themes promises a captivating exploration of survival, morality, and human resilience. By seamlessly integrating Russian literary and cinematic traditions with global cinematic influences, The Last Ronin emerges as a film that transcends its genre and offers something both familiar and refreshingly new.

Out standing literally. I dont understand why they did this: its not a movie, its a large 110 min music video. Colour and fight sometimes is good and stylish. But 90% of a movie useless.

So i have to admit this is a director debut.

But maybe they had to do things a bit simplier and easier.

Pretty important part is a music, which is absolutly destractive, passive and unapropriate.

Actors are good, especially the main character. Girl can't play a character at all.

Bad guys are pretty comic and not earnestly.

Maybe for russian industry its a good attempt but for the world its crazy to release this.

This is a very meh movie, dialogues are bad and actors don't know how to deliver such weak lines. It felt like the writers had no idea what they were doing. The CGI looks basic.

I almost slept at the middle of movie, rare action scenes were not on level this director could. The so-called "twist" was predictable from the start. Only Daniil Vorobyev did his job, but still it's to long to become annoying. I kept hoping it would get better, cause I love the director style, but it just got worse. By the end, I regretted wasting my time.

I think editing could save a movie, if you cut this movie to one hour or something. Have more razor-blade approach.

But it has its moments, hope the director could make something more thoughtful with more strong producer.

The movie is terrible. The scenario is meaningless. It was physically painful for me to watch it. Only Yura, who played Ronin, Daniel, who played the king, and Tikhon, who played the hunter, were a sight for sore eyes.

The movie is too long. The music is of the same type and inappropriate. I declare the rules of the world, but they are immediately violated. And what the story is about is unknown. There is no chemistry between Ronin and Maria. The authors could not repeat what was in the game the last of us. The whole film consists of borrowings from famous movies like mad max, the road, the book of Eli etc.