Over the course of more than two decades Ukrainian filmmaker Sergei Loznitsa has quietly established himself amongst the great political filmmakers of the 21st century. More recently his work has provided an increasingly vital perspective on the Soviet Union and its eventual demise, as well as contemporary Russia and its annexation of Crimea–a situation the director does not hesitate to call a war.
Across a rapidly expanding oeuvre (18 features and counting), Loznitsa has shown an adeptness in both fiction and documentary filmmaking but he is perhaps best known for operating in the grey area between–often re-editing and adding new audio to found material. With his latest, State Funeral, the director was given free reign on a vast archive of largely unseen footage that had originally been shot to make Sergei Gerasimov’s The Great Farewell, a propaganda documentary on the funeral of Joseph Stalin that never saw the light of day.
Across a rapidly expanding oeuvre (18 features and counting), Loznitsa has shown an adeptness in both fiction and documentary filmmaking but he is perhaps best known for operating in the grey area between–often re-editing and adding new audio to found material. With his latest, State Funeral, the director was given free reign on a vast archive of largely unseen footage that had originally been shot to make Sergei Gerasimov’s The Great Farewell, a propaganda documentary on the funeral of Joseph Stalin that never saw the light of day.
- 1/23/2020
- by Rory O'Connor
- The Film Stage
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