Iztochni piesi

This is the most honest Bulgarian movie made in the last 20 years. Bravo Itso, Kamen and the rest of the team! It is a movie that resonates on the same wave as the contemporary BG people. It shows the heart...and the really important things in life - hope, love, tolerance, dialogue, the continuity between the generations and freedom - the choice to live your life as you want and to be its real master... Well, it is difficult for me to come up with 10 lines for this movie (as the guidelines indicate) since this is a movie that needs to be seen coz it is a movie to be felt...because it is simple and that's why it is a work of genius!!! It's absolutely worth seeing!

What I particularly liked (and I know friends of mine who did as well) in this movie is that it is not a movie about a person, or a story, but mostly an aesthetic vision of a city... which happens to be my city. The storyline is almost missing: apart from the sad coincidence that one brother took part in the beating of another, there is not much of a narrative thread and the entire movie is just a sequence of impressions of present-day Sofia, including the people living in it. Hristo Hristov became the focus of the film because he represented a particular type of Sofianites (actually he was born in Burgas but that does not make him less of a Sofianite since this is the city where he painted): artists who have received serious formation, have developed their own style, have reached the level of creators of unquestionably valuable works, and yet have found no chance to live on their art and be successful. Hristo was not the first, and will not be the last of generations of creative persons who had to find various exits from the difficult situation the last twenty years placed us all in. He chose drugs and in the real life passed away even before the movie was finished. But his sad story is one of hope, too, since the real-life Hristo, even posthumously, proved that recognition can come (and we are now expecting the long-postponed exhibition of his art), while the movie-character Hristo showed to his younger brother that there is alternative to violence and hatred, and that there is enough beauty around us to save us from despair.

Staged in current day Sofia this film portrays the effects of an all too known and all too frightening blind hatred toward anyone that is different. Two brothers, one an artistic drug addict on the mend, the other a racist. Once divided now brought back together by a single event that forever changes the lives of all.

Dark and dreary, scary and painful. Films that tangle with racism in the way this film does always are like that. It settles like a huge weight on the stomach and doesn't lighten for many long moments. It never gets too heavy though - it's just right.

The acting work is fitting, the characters displayed are real. And this makes it all the more scary. It's all too easy to feel a form of compassion for all of them, which adds a lot to the film.

8 out of 10 life altering choices

This is probably the best Bulgarian film in a decade. There are a couple of things that must be said about it. 1. “Eastern Plays” is first and foremost a humane story. I cannot underestimate the importance of that fact given the long-standing tradition of Bulgarian movies (and European cinematography in general) to intimidate their characters and to dissect them with horrifying bluntness. 2. More than that, the film is a really, really good contemporary narrative. The story is told in a subtle, calm and compassionate manner. 3. This film is a rare display of the importance of each and every human existence. The idea is presented without the help of complex existential constructions or intellectual roundabouts.

The long, twilight struggle of existence in a violent, directionless world is the premise of 'Eastern Plays', a Bulgarian film that comments as much about that country's society as it does about society in general. The story is told from the perspective of two brothers, Christo and Georgi, one in his thirties and recovering from drug addiction, the other young and impressionable, yet both staring into the abyss with only impenetrable darkness staring back. By turns, they fight and fall into meltdown as the chaotic world around them offers little meaning to guide them toward happiness and purpose. The premise of Kalev's tale is certainly sound, however in practice, I found the delivery fairly disjointed and listless. It is peppered with touching and thought-provoking studies of human frailty, but ultimately does not really pull together as an entertaining whole.

One of the principal difficulties I had with 'Eastern Plays' is its lethargic beginning, and a fairly rudderless one as well. A raft of characters is introduced; all pursuing their own paths to destruction, but there is no real clue as to either whom the story will principally focus upon, or what that story really is. Possibilities include a young man's descent into gang violence, nationalism and politically-supported anti-immigration riots, family breakdown, and the generation gap. Then there is Christo, an unpleasant, self-loathing, chain-smoking artist, staring oblivion in the eye and desperate to pull himself away from it yet lost as to how. Ultimately, it becomes clear that 'Eastern Plays' is his story, and as he battles his inner demons, the many layers of his character come to the fore and a more sensitive, highly-pensive character is revealed.

One could certainly argue that there is no reason why a film couldn't contain all the above elements with multiple character arcs lightly intertwined with each other and the sum of the parts being a comment on some aspect of the human condition. The Bolivian film 'Sexual Dependency', to name but one, manages this sort of approach fairly well. However, whereas 'Sexual Dependency' triumphs because all the parts slot into place within the greater commentary, 'Eastern Plays', attempting to do the same, fails because the result is hazy and the various sequences somehow more drawn out and dull in the process. In hindsight, it seems far clearer that Kalev's approach to the first half of the film was to fill the canvas with the wider problems of society so that the viewer will see Christo's pain as a microcosm of that shared by the nation as a whole. Seemingly germane, there is however too much of this, thereby causing narrative incoherence: is the film about him or is it about Bulgaria? It is in the second half, when Christo's story becomes the dominant narrative, that things begin to pick up. Love interests and family become soundboards for attempts to make sense of everything, and these prove to be the more interesting sections of the film. It is the character interactions themselves rather than merely the occasional philosophical debate that shows humanity finding understanding and balance that are especially touching, although those brief philosophical debates do sum up the themes quite nicely.

There is much to recommend on the acting front. Ovanes Torosian as gang member-wannabe Georgi does a very good job of portraying the confused adolescent whose inner turmoil is more evident in his eyes and quietude than his dialogue. Highly memorable also is the lovely Saadet Aksoy, a young and intelligent woman able to bridge the gaps between worlds despite fear and who is able to put voice to the social discord. The scenes between her and Christov are among the most engaging of all in Eastern Plays, save for some other touching moments where Christo puts voice to his fear and aspirations, and a scene near the end where he encounters an old man filled with the tranquility of understanding that Christo so desperately yearns for. The late Christo Christov is eminently believable as his namesake: bored of social expectation, longing for something more, and frustrated when it fails to materialize. It's a great shame that 'Eastern Plays' is both Christov's debut and finale to the acting world, and an even greater shame that the film's narrative disarray can't fully match up to his performance.

The character of Bulgaria itself, as depicted, is cold, lifeless and bleak. It is violently insecure as it struggles to define its own national identity, its citizens borne of both the Soviet nation it once was and the unsure republic it is today. The elderly cling to the orderly past, the young embrace the chaotic present, yet neither are happy. A line from Georgi, however, implies that the changes are for the better, implying that the Bulgaria of today is perhaps simply experiencing the birth pains of a new nation, though a generation will be lost to the uncertainty of transition as a result.

All of which brings us full circle: there are plenty of great and interesting themes explored in 'Eastern Plays', with the actors more than able to realise them within their believable and fragile characters. The lack of a tighter, more focused narrative, which dulls the pacing and fogs up the intent of the piece, is the biggest culprit. That Kalev is passionate about the subjects presented is very much in evidence, as is the fact that when it comes down to really exploring them through his characters, he is quite skilled at doing so. Here though, he tries to say too much at once, enshrouding the result in fog as a result. When he masters clarity and restraint, however, there is much to suggest his work will be something memorable indeed.