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Very bleak and somewhat compelling - a film I admired more than I liked
Bertaut27 December 2019
Written by Kantemir Balagov and Aleksandr Terekhov and directed by Balagov, Dylda is inspired by (although not based on) The Unwomanly Face of War by Svetlana Alexievich, an oral history of the experiences of Russian women who fought during World War II. We've seen countless stories (many of them superb) about men who have fought in war, only to find themselves unable to reintegrate into society upon the cessation of combat, but Dylda is the story of two such women. And whilst one has to admire the emotional and ideological sincerity of the filmmakers, and the craft on display (it looks amazing, with the production design some of the best you'll ever see), for me, Dylda was a somewhat disappointing experience, adding up to something quite a bit less than the sum of its (often exceptional) individual parts.

Leningrad, 1945. In the days immediately after the defeat of Nazi Germany, the city is attempting to recover from the longest and most destructive siege in human history. As the film begins, we're introduced to Iya (an astonishing debut by Viktoria Miroshnichenko), a former soldier invalided out of active duty several years prior. Shy, socially awkward, with pale features, white hair, and standing well over six-foot-tall, Iya suffers from a severe case of concussion-induced PTSD that manifests itself as random episodes of total paralysis. A nurse in a hospital for wounded soldiers, Iya lives in a small one-room apartment with her son, Pashka (Timofey Glazkov), until a horrific accident changes everything for her. Meanwhile, Masha (Vasilisa Perelygina, in the film's second exceptional debut performance), who served with Iya, returns to Leningrad unexpectedly. Suffering from her own PTSD, which causes her to be cruel and selfish, Masha is horrified to learn of the accident and begins to push Iya along a path of rectification that could destroy both of them.

Aesthetically, you'd be hard pushed to find fault with Dylda, with Sergey Ivanov's production design especially laudable. The film is mainly confined to the hospital where Iya works, her apartment, and the nearby streets, with each location telling its own story - the hospital is grim and underfinanced, the apartment is modest but homely, and the streets are cold and alienating, the aftereffects of the Siege still very much apparent. Despite everything looking completely authentic, the exteriors weren't shot on location, but were sets built for the film, making it all the more impressive. If you were enamoured with Dante Ferretti's work for Gangs of New York (2002), you'll definitely appreciate Ivanov's work here. Olga Smirnova's costume design is also exceptional, working in tandem with the production design to create an over-all tone of sombreness.

This tone is helped immeasurably by the use of colour - or rather the avoidance of colour. The film's palette is extremely drab, dominated by grey, dirty yellows, some white, and, especially, a sickly green. There are virtually no blues, purples, or reds for much of the film. Indeed, the most colourful moment is literally the very last image, with Balagov bringing together the oft-seen green and the recently introduced red in a thematically fascinating manner.

Balagov and cinematographer Kseniya Sereda often shoot in long takes, affording the audience nowhere to hide from the suffering on screen. One notable example of this is a scene depicting one of the most harrowing and disturbing deaths I've ever seen - a scene which goes on and on and on without a single edit, driving home the abject horror of what we're witnessing. Another example, although not quite as disturbing, is a sex scene (if you can call it that) shot from above, and again in a very long take. Balagov's intention with shots like this is obvious enough - horror and pain shouldn't be sugar-coated but presented in all their unpleasantness.

Thematically, the film is about broken people trying to put themselves back together, much as the city around them is trying to do the same. The fact that the siege was lifted and the Germans defeated means relatively little in the day-to-day lives of those for whom the experience of combat has eaten away a part of their soul. The Leningrad of the film is a place where many of the norms of society have eroded, where any sense of Utilitarianism has become secondary to the mechanics of survival. A good illustration of the condition of the city is found when Iya brings Pasha to the hospital to amuse the soldiers by making animal sounds. However, when one soldier asks him to bark like a dog, he doesn't seem to understand, and another soldier points out, "where would he have seen a dog? They've all been eaten." Very rare is it that we see such an unrelentingly bleak depiction of the utter ruination of war, and the filmmakers must be commended for having the courage of their convictions.

For all its laudable aesthetic elements and thematic complexity, however, I was disappointed with Dylda. I have no problem with bleak stories; in fact, generally speaking, I'm drawn more to bleakness and pessimism regarding the human condition, not just in cinema, but so too in fiction, theatre, poetry, and painting. However, I found the film too long, with it feeling padded in places, especially in the sense that Balagov tends to let scenes run a few beats longer than they need to. The aforementioned death scene is very long, but it works because of the length, affording the audience no respite. Other scenes, however, simply run long without much in the way of thematic justification. On occasion, Balagov can also be far too didactic, overstating emotions and literalising internal conflicts. At the same time, some of the most important plot points come across as contrived. Additional, the film is both front and end-loaded, with the best scenes and most interesting themes coming in the first and last acts. Unfortunately, much of what's in between is unfocused and flabby.

Dylda won Best Director and Best Film in the Un certain regard section at Cannes and it was Russia's entry for Best International Film for the 2020 Academy Awards, and is expected to make the final five nominees. So, I freely admit I'm swimming against the tide in saying I didn't really like it. I can certainly celebrate its craft, its thematic sophistication (that Balagov is only 28 seems almost impossible given the thematic maturity), its acting, and the way it isn't even remotely interested in conforming to prescriptions adopted by more mainstream films. And ultimately, although I didn't especially like Dylda, and was somewhat disappointed by it, I certainly admired the hell out of.
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Riven by Poverty & Despair...
Xstal21 April 2020
... and seared by the cold - this magnificently performed and beautifully filmed piece of cinema reveals the challenges faced by two young women in post war Leningrad. Damaged and psychologically disturbed by their experiences, shell shocked from the battles, real and imagined, battles they would never have aspired to fight some years earlier, while surrounded and enveloped by uncertainty, indignity, poverty and despair.
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bladepowell6 October 2019
Warning: Spoilers
'Beanpole' showcases a hauntingly realistic depiction of 1945 Leningrad, Russia, in the immediate months after the Second World War. The story centres around two female characters, Iya and Masha, each attempting to find their own idea of meaning and hope in this seemingly hopeless landscape. It is an extremely slow experience that takes its time with the viewer to create an unforgettable feeling that becomes burned into the viewers' minds.

The film opens with a shot of Iya having one of her PTSD caused freezing moments, and promptly establishes the tone and spirit of the film to come. In each of these 'freezing moments', the sound design is especially remarkable and it is felt as though we're being frozen alongside her. It quite literally took your breath away, and in some cases I had to actually remind myself to breath because of these stunning sequences. One of my favourite scenes in which this occurs, is where Iya's adoptive toddler son (named Pashka) and herself are play-fighting on the floor, and while Iya is on on top of Pashka, she freezes up, this time for a few minutes. It's a mesmerisingly gruesome yet beautiful long shot where all that's being shown is Iya's frozen-in-time back and Pashka's tiny hands clawing for freedom as he suffocates to death beneath Iya's weight. "Less is more" and in this scene (and the film as a whole) this is a key ideology of the director. The situation as a whole doesn't need to be shown such as showing the little boy's face, as all the audience needs to see is his hands grasping for air accentuated by the whimpers he lets out as he slowly suffocates. It gives the viewer more of an ambiguous, powerful emotion. This is just one of MANY amazing scenes that were simply so mesmerising it's hard to describe.

From the opening moments of the film until much after the credits have rolled, it's as if the movie places the viewer into an inescapable chokehold, where it demands all of your attention and nothing less. The use of sound design, cinematography and the flawlessly 'human' acting from every character creates an atmosphere like no other.

The colour palette is something that I took note of as well. The film boasts an uplifting yet also depressing spectrum of primary colours in its presentation. The colours red, green and yellow were used extremely frequently (along with other 'cheerful' sort of colours) but to me the colours themselves seemed almost 'drained' and had lost their soul. The colours were all pastel and even though the actual colour was a happy one, the tone of the colour certainly wasn't. I believe the colours represented what "could have been" had the situation that the city is currently in not occurred. The joyful colours show such a contrast to what's being shown on screen, and the 'drained' feel to them with the pastel is a bleak reminder of their situation. It's as though all the happiness has been taken away from the environment and characters, which adds to the overall feel of the movie, and assists in creating a unique atmosphere.

Although many critics have quoted that the film is much too slow with little action for their taste, in my opinion this adds to the hopeless ambience being presented. It feels as though you, the audience, are alongside the characters and feel their struggle for each moment that it's happening, which is something I must applaud the film-makers for.

This is certainly not a film for everyone, being much too slow for a mainstream audience's taste, but for those who can take some time to feel the atmosphere of the setting being shown to them, this is a true masterpiece of cinema and will stick with you for many days after you've watched it.

I give 'Beanpole' a 10/10 and it is certainly one of the very best films 2019 has to offer.
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A beautiful mess
FrenchEddieFelson8 August 2019
Leningrad, 1945. In the aftermath of World War II, within the remaining ruins, two young women, Iya and Masha, try to give a purpose to their meaningless lives. They met at the front during this endless war but they stayed in touch, probably because they felt alone and were desperately disillusioned. They now live in the present, without any perspective for their future that they do not even try to consider. The complete disarray!

Dylda (2019) is darkly sad, with an extremely but deliberately slow pace. If you are depressed before you even consider this movie, you should probably envisage another viewing. Otherwise, this film is breathtakingly beautiful and is excellently filmed. Moreover, the gorgeous actresses Viktoria Miroshnichenko (Iya) and nm10695947 (Lyubov Petrovna) shine despite a voluntarily sober play.

As a synthesis: 7/8 of 10
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Complete book of Cinema
vivek-227031 November 2019
This movie is a perfect example of what a movie should like be. From its direction, camera movement, lighting, production design, script, sound design everything was excellent. You could spot a minor distraction I whole movie. The first minute of the movie was enough to grab the interest till the last scene.

Direction, the storyline and storytelling both is so subtle that you will flow in this whole movie. It's would be a smooth drive that will stick you to the story like a glue. The character transformation and development both are mesmerising.

Production Design, what can be said about it. It is done in extraordinary way. It's not an easy job to take a periodic movie to this level. Each corner each frame and each location everything is done with brilliance. The use of different materials, colours, elements, object everything adds upto its beauty.

Cinematography, the use of camera and production design of this movie both are in perfect harmony. It's is a pleasure to watch one scene transforms into another with same brilliant composition. The use of hand held camera movement to show feelings on a character, the proper use of pan and tilt. This is masterpiece in term of good cinematography. It's a visual dictionary and Bible for filmmakers.

Music, the best part of the movie is the music you don't hear it you just feel it. The idea behind sound design of this movie is one hell of concepts. The use of signatory music sequence is remarkable in this movie.

It's is the next masterpiece of cinema, one should watch this movie to learn how a excellent movie is crafted.
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An intense examination of damaged people
howard.schumann8 December 2019
Warning: Spoilers
During World War II, the German blockade of Leningrad cut off the city from the outside world for three years, an act that took the lives of over one million people. While the world has largely focused on the causes and details of the siege, little attention has been paid to how survivors coped with their trauma, suffering which the Russian leadership did their best to hide. Winner of the FIPRESCI Prize and the award for Best Director in the "Un Certain Regard" category at Cannes, 27-year-old Russian director Kantemir Balagov's ("Closeness") Beanpole (Dylda) focuses on the relationship between two young women who have returned to Leningrad (today St. Petersburg) from the front in the immediate aftermath of the war.

Brilliantly performed by Viktoria Miroshnichenko as Iya Sergueeva, a nurse nicknamed "beanpole" because of her height and slender frame, and Vasilisa Perelygina as Iya's mercurial friend Masha, it is an intense examination of damaged people desperately trying to find some peace and connection during a time when the world no longer values it. Russia's official submission for Best International Feature Film at the 2020 Academy Awards, the film was inspired by Nobel Prize winning author Svetlana Alexievich's "The Unwomanly Face of War," a devastating chronicle of women's experience during the war. Beanpole opens in a hospital for wounded soldiers after the war, many whose bodies are so desperately shattered that they long for death. Stepan (Konstantin Balakirev, "Angels of Revolution"), one of the most badly injured, is paralyzed below his neck and pleads to the nurses for death, but it is not possible under the law.

Iya has a supportive relationship with her superior Dr. Nikolay Ivanovich (Andrey Bykov) and works with him to secretly euthanize patients who will not recover from their wounds. Suffering from post-concussion syndrome, now known as post-traumatic stress disorder (PTSD), Iya is subject to sudden seizures, spasms in which she cannot talk or move and is unable ask for help. Her condition tragically manifests itself in an extended sequence that is most difficult to watch. The atmosphere of decay is underscored in a scene in which the patients at the hospital play a game with Masha's young son Pashka (Timofey Glazkov). When they ask him to bark like a dog, he only stares at them without expression. "How would he know what a dog is like," one man says. "They've all been eaten."

The focus of the film is on the relationship between Iya and Masha, one that is based both on mutual need and sexual attraction but also contains an element of exploitation. As photographed by cinematographer Kseniya Sereda, the film is shot in faded pastel colors of red, green, and ochre rather than in black and white which the material might suggest. As Balagov explains, "The green that we use is also about being alive, but the ochre symbolizes the wound. And red is also the color of rust and blood." When Masha returns from the front where she remained to seek revenge for the death of Pashka's father, she is intent on having another child which she believes will heal all of her internal wounds from the war.

Sadly, the number of abortions she had during her time at the front prevents her from having any more children and she demands that Iya bear her a child with a surrogate. Masha's exploitation of her friend strikes a jarring note and the look on Iya's face when she is forced to do something against her will threatens to destroy her relationship with the only person she can turn to. Using men to fill a void in her life, Masha develops a relationship with Sasha (Igor Shirokov), the son of upper-class Communist bureaucrats. Assured that he loves her, they plan to marry until a visit to his parents in their mansion outside of the city prompts Masha to confess a disturbing truth about her life. In one of the film's most striking moments, Sasha's mother Lyubov Petrovna (Ksenia Kutepova) clashes with Masha, telling her what she sees as the truth about Sasha's intentions.

Beanpole is an intense, impeccably acted examination of repressed emotions and spiritual emptiness in a world in which normalcy is an outdated concept. In an astonishing scene, Masha asks a neighbor, a seamstress, (Olga Dragunova, "Closeness") if she can twirl in a green dress the seamstress is fitting. As Masha spins faster and faster, however, the delight she experiences turns into an outpouring of grief. While Beanpole is bleak, it is made with such consummate skill that it is not depressing. With its humanism and compassion and its willingness to tackle issues such as feminism, bisexuality, and abortion, Balagov challenge to Russia's conservative social outlook and patriarchal society gives the film a surprising political edge. It also makes clear that Balagov is one of the best young directors in film today.
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The Soul Seeks to Survive
barnesboffey-7221725 September 2019
This movie is an intense and thoughtful exploration of relationships between survivors of war. The desire to find meaning and love and connection drive people to do beautiful and desperate things, and in the end to find either peace or conflict within depending on what they can accept and create within their minds. Beautifully acted.
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Simply Stunning
jan41111 October 2019
Truly something i will seek out and watch again. There are scenes where the audience holds its breath and begins to breathe again when the characters move beyond the constraint. The actions and reactions are so informed by the preceding involvement of women in wartime. None of the relationships can be restarted without having been shifted by violence and uncertainty. But the players are trying to reframe the conventions of life outside conflict. The range of emotions that flow across their faces is astounding. Brilliant performances against a palette of red and green where each scene is a painting.
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Outstanding movie
searchanddestroy-17 August 2019
That's a Russian film about post Great Patriotic War which takes place in Leningrad, in a war veteran hospital. Two female nurses, two friends, who both fought during the war, try desperately to find a meaning to their life. To emerge from their pain, grief, disillusionment, by having a child of their own. A daily struggle to survive. That's a gripping, powerful feature, but sso gloomy and certainly not for main audiences. Unfortunately.
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Far from easy viewing but great cinema nevertheless
MOscarbradley5 November 2019
Russia in the days immeadiately following the end of World War II. Two young women, scarred from the horrors they have encountered, do what they can to survive in what, fundamentally, is a living hell. "Beanpole" is every bit as depressing as that short synopsis might suggest. It's also only the second feature from the young Russian director Kantemir Balagov, (he's not yet thirty), who might yet turn out to be the greatest Russian filmmaker since Tarkovsky and like Tarkovsky he certainly doesn't believe in compromising.

This is a grim but deeply humanist picture, deeply engaged with its devastated characters. Shot in rigorous close-up with an astonishing use of colour and magnificently played by Vikoria Miroshnichenko and Vasilisa Perelyygina as the two women in question this is great cinema and a welcome relief from so much of the highly commercial crap that Hollywood turns out these days though being Russian and 'art-house' this will never get the audience it deserves. Nevertthelss, Russia thought enough of it to put it forward as their entry for this years Foreign (now 'International') Film Oscar. It would certainly be a very worthy winner.
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A stunning but heavy and slow piece of art
eliinite30 July 2019
Warning: Spoilers
It's surprising that the director of this movie, Balagov, has only 27 years! And has already won FIPRESCI prize at Cannes 2 years ago with Closeness, and Un Certain regard this year! This movie is a very indie movie in the sense that it is slow, almost without music and centered on character's faces and half-faces. The main theme here is taken from the book of Nobel prize winner Svetlana Alexievich "The Unwomanly face of war" (1987), showing some shocking facts about the women who were soldiers (or just living in the very fighting zones) at the war. How strong they may seem but how weak and desperate may be inside! And how scarring the war is for (wannabe) mothers. Can a woman, experienced a heavy fighting as in Leningrad during WWII, be a femminile being? It seemed to me that these two women had to fight equally strong now, autumn 1945, just first months after the war, as in the war itself. The movie has been criticized for the scene where Iya accidentally kills her friend' s son. But I think the movie is not about morals, it's aboout the "unwomanly face of war".
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Utter waste of time
nikhilthemacho23 May 2020
I would rather watch a dead fly for 2 hours than this movie. At least the dead fly will decompose!

People call this art? This nonsense of a movie with no plot, no storyline, no acting skills, and no cinematographic sensibilities is being passed around as a gem, but reality is altogether different.
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great expose of brutal Soviet bureaucracy
Henry_Seggerman28 November 2020
Very much in the tradition of Andrzej Wajda, it shows how the dysfunctional Soviet system crushed the soul. The deeply depressing backdrop is captured perfectly.
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Great time piece
Val_N_Tin18 September 2020
Warning: Spoilers
Aside from a couple of plot twists I thought it didn't need, the film does a great job showing the despair, the absurd of life in post-war USSR. Amazing acting and some unforgettable imagery as well.
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Slow but good
zenicaninjomu19 August 2019
This is very atmospheric movie, story about regular people and their after war life. Watched this movie at Sarajevo film festival, and I was satisfied. Must see.
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This film is NOT for most viewers and you should think twice about it before you watch.
MartinHafer3 November 2019
Warning: Spoilers
I saw "Beanpole" at the Philadelphia Film Festival...or at least I saw MOST of this film. I say most because after a while, I simply left the theater....the awfulness of the story was simply overwhelming and film festivals usually feature too many such films....films artsy folks love but which the average person would hate.

What was so tough to watch in the movie? Well, you get to see a woman suffering from PTSD accidentally suffocate a small child, vomiting, euthanasia and a rape in which a man and woman are forced to have sex by a third person. The bottom line is that I was feeling very depressed and decided I needed a did my daughter who left the film even earlier than I did.

For the artsy folks....and no one else.
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Amateur Effort
discocassettefreakout17 June 2020
I think the filmmaker confuses emotional manipulation with artistic merit. This film should have been 40 minutes shorter and spends so long lingering on people's faces without meaningful dialogue or interesting image composition that you could be forgiven you aren't watching some melodramatic soap opera stuck playing at half speed. Just because a film is provocative doesn't mean it's good. I'm fine with slow cinema, heavy subject matter and minimal dialogue, but so often these days these things are used as mask for confused and shallow directors hedging their bets and hoping that their film will be perceived as something deep and meaningful without doing any of the heavy lifting themselves. Usually films like this at least look good, but the cinematography to me was quite average and the saturated grade is tacky and cheap. I'm giving this three stars because I think so many people who give this a one star review could be perceived and dismissed as people who were shocked and horrified and "just weren't cut out for this type of film". The filmmaker was 28 when he directed this film. If you're under 30, you don't get to direct multiple feature films in Russia without being born into privilege and this film to me comes across as a little rich kid trying desperately to be gritty and bleak.
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Misses the mark
gbill-748777 September 2020
Warning: Spoilers
A film I thought I was going to like, but confess I struggled. It wasn't so much that it's relentlessly bleak; I looked forward to the exploration of picking up the pieces and attempting to heal almost insurmountable trauma in post-war Leningrad. One of the best scenes for me is when the child can't identify a dog imitation while playing a game with a bunch of wounded soldiers, and then one of them realizes he's probably never seen a dog since they've all been eaten. In this very subtle way we get a hint as to the horror of the war in the Soviet Union. Aspects like the lead character's PTSD causing her to accidentally smother a child to death, and then for her friend (the real mom) to want to go out to a bar and look for men upon hearing the news, seemed less successful to me. The story or maybe the way it was presented didn't feel true to 1945, it seemed overly voyeuristic, and the pace was often unbearably slow. At times there are beautiful images, e.g. the walk up to the large estate in the snow towards the end, and the two main characters have great presence with the depth of their expressions, but it wasn't enough for me. I think it needed a stronger script and to be pared down to a shorter runtime.
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Deeply felt drama about love and reclamation.
jdesando15 March 2020
You could expect a 1945 Leningrad setting to be joyful after the Russian victory over Nazis, but writer/director Kantemir has caught the downside in Beanpole. It's a deeply moving, complicated story about two former soldiers who tackle the melancholy and desperation of victors with no spoils---just ruined buildings and crushed hopes.

This melancholy drama centers on two women: Iva (Viktoria Miroshnicenk) and Masha (Vasilisa Perelygina), who attempt to bring meaning to their lives after the devastation. Mostly it's about Masha's attempt to have a life within her, mainly a baby. Her first baby died at the hands of Iva, who now owes Masha a baby.

Through a series of lengthy scenes and shots (sometimes they are too long), the audience is drawn into the emotional needs of the protagonists set against the needs of the other Leningrad citizens to gain happiness and hope after a ravaging war. The scenes between Iva and Masha are lovingly and deeply felt as Masha navigates getting a replacement baby and Iva resists the machinations to do so.

Given the wide scope of WWII, Beanpole is a small-scale drama, whose intensity comes from the characters rather than the setting. Love is the operative word, married to hope to make a satisfying character study in a drawn-out drama of human longing, regardless of the time period.
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There's not much to say
Erictoolander9 July 2020
I'm a history buff, WWII in particular, I love St Petersburg and I'm used to foreign language films, so I was really looking forward to this one. Unfortunately the film lacks direction. The characters are dull and over acted. It doesn't feel genuine but it's not fun either. The plot is slow and doesn't make sense. The director is relying too much on the camera, hoping to bring meaning to a weak script by simply showing the character's emotions. But without a good script, it becomes difficult to understand them.
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Common women in uncommon situations
groucho-nc15 October 2019
Dylda a.k.a. "Beanpole" is heavy, intense, bleak and yet a surprisingly hopeful film from Kantemir Balagov. It chronicles the life of Iya a.k.a. Dylda because of her uncommon height and gangly posture and how she navigates the tricky terrain of surviving in post-war Leningrad. The aftereffects of war seem more devastating than when war was ongoing. A semblance of normalcy actually was the most painful realization of empty lives and meaningless selves. The story at times reminded me of films such as Beyond the Hills, Disobedience and An Elephant Sitting Still. The will to survive in an unforgiving environment had to be ferociously performed, yet there are societal dimensions that keep people from their own version of happiness. The two first-time actresses truly fleshed out their characters' hunger for connection. Is there a way out of this affective blockage post-war Leningrad imposed on common women? The one thing I noticed too is that characters are neither drawn as evil or good, just people whose morality and human nature tip where circumstances point towards.
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Slow and confusing
Gordon-116 September 2020
I didn't understand the plot. I didn't even know if there was attraction between the two leading women. The pace is slow, and there big emotional bomb is not worth the 2 hour wait.
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***** Ingmar
GManfred4 March 2020
I tried hard to like this picture but it's a hard movie to like; it doesn't give you a good reason to. I appreciated the production design, the same flawless period touches as in 1917 that give an authentic feel (even though I was never in Leningrad after WWII). Also a good effort by the cast to put the show across, but I found the screenplay lacks some clarity and some punch - basically, the story is not as interesting as I had hoped.

I am not a fan of Ingmar Bergman's and there were some similarities to his style that I found annoying, chiefly the pregnant pauses in conversations; One would say something, then you wait 8-10 seconds for the answer. And then there is the leaden pacing, also found in "Beanpole". In short I was disappointed by a film I feel is overrated but gets an A for effort.

***** 5/10 stars. Website no longer prints my star rating.
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Deserves 10 points
hallobye-057259 December 2019
One of the best movies that i watched in theater in 2019. Not an easy-to-watch movie and very depressive but awesome.
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You should not waste your time with this.
djherotone_68152025 October 2019
I struggled to the end but to be honest I think that anyone could direct something better than this absolute nothing.. no dialog, no music, nothing. everything is just a waste of time, slow, boring, dramatic but in a bad way, it was made a drama only because it cannot be something else, so my advice DONT WATCH IT!.
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