Silent Souls

Every now and then a director has a script and a set of performers who work with a single ambition. To do the very best possible. This film is perfection. There are times when the symbolism is a inch a way from breaking into reality but it never does, The sense of place and the the feelings evoked by a man who must take his dearly beloved wife, who has just died, to the place where they spent their honeymoon to place her on a funeral pile is relentlessly aching. There is a genuine purity about the feelings, some of which are extremely sexually explicit. In one flashback, we see the husband massaging his wife's leg while she plays with herself. The husband has a friend who shares the miles to the spot where the wife will burn, next to a vast river. Has he also loved this woman? Tanya. Did others? Flashbacks are seen in real time with no attempt to break the mood with tenses. It is one of the most poetic films ever made and ten stars are not enough.

Clocking in at a very economical 78 minutes Aleksey Fedorchenko's "Silent Souls" is a remarkable and remarkably beautiful Russian film dealing with both grief and identity but in a manner that is both uplifting and almost surrealistically comic. It is the kind of film that Abbas Kiarostami might make or, in a much broader fashion, the Coens. The plot is both simple and minimalist. A man's wife has died and he wishes to take her body to be buried in the spot where they had spent their honeymoon, and in the custom of their race, but he does not want to involve the authorities so he enlists the help of a colleague, Aist, the film's narrator and its central character and it becomes a road movie unlike any other. Almost nothing happens and yet there is a great feeling that in the midst of death life goes on and that people continue to struggle for happiness at all costs. It's a melancholy subject but it isn't treated in a melancholy way. Little is actually said; these are indeed silent souls and what little story there is unfolds in almost totally visual terms and the cinematography of Mikhail Krichman is superb. An outstanding film that certainly doesn't deserve to get away.

Silent Souls. A fitting adapted English title to this film. In short, Aist and Miron serve as the guides to a desolate portrait into the life of the Merya people of Russia. The journey is centered on the grieving of a husband for his wife, and on the the associated death rites. As such, the film gives viewers a passenger's perspective into the customs and thoughts of a people whose rituals have been disappearing. All in all, Silent Souls is informative and simple, dragging viewers slowly into a surprising and symbolic conclusion. It is a film best observed through the gaze of an anthropologist or ethnographer, and taken in with the intention to learn and absorb a culture that to most will be new and foreign. In sum, one ought not to expect Hollywoodian diversions.

I saw this film 8 hours ago on a big screen and I'm still spelled.

The camera work was very precise and poetic just as the structure of the story line and acting. This movie is very slow, yet very intense. Every scene generates so much thought in the viewer and leaves room for imagination, so that after the first few scenes my mind was swinging in the shamanic rhythm of the movie. I actually saw some older people lightly dandling themselves in that rhythm.

It's much more than just a story of a nation that is disappearing. It is a story of all the human culture and the mortality of it. The mortality of our beloved paradigms. Yet this film looked at life from the brighter side. Everything disappears, but so what? Nothing lasts, but nothing is lost.

Started as typical Iranian movie, then forget to gain the momentum and after express straying finished as typical Scandinavian movie. It seems like an attempt to create the film about instinct tribe in the instinct or spoofed film-making tradition. But I think I can explain it's festival popularity. Since those talks about sex are still considered as ambiguous and vulgar, "Sex in the city" have no perspective as festival movie, but when you have filmed the tribe that have such age-old tradition, and this tradition is also packed into sacramental funeral ritual, you get an highest level indulgence and also you can redistribute this indulgence between all those highbrowed festival critics. I want that the story would be continued and the Russian "central region" get such get deep developed mythology. More better then hobbit village in the NZ.