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Bullet Collector follows the traumas of a wide-eyed 14-year-old boy. Recalling the world of Antoine Doinel in François Truffaut's The 400 Blows, this unsettling, visually brilliant drama ... See full summary »

Director:

Aleksandr Vartanov
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Cast

Cast overview, first billed only:
Ruslan Nazarenko Ruslan Nazarenko ... On
Aleksandr Userdin Aleksandr Userdin ... Otets
Yuliya Aug ... Mat
Pyotr Ivanov Pyotr Ivanov ... Malchik
Aleksey Rozin ... Otchim
Ivan Basov Ivan Basov ... Ochkarik
Aleksey Yagodkin Aleksey Yagodkin ... Tolstyy
Alisa Khazanova ... Zhenshchina s sumkami
Pyotr Fyodorov ... Syoma
Sergey Shnurov ... Muzhik v parke
Nikolay Matyunin Nikolay Matyunin ... Mars
Evgeniy Olshanskiy Evgeniy Olshanskiy ... Andrey
Alina Olshanskaya Alina Olshanskaya ... Komendantsha
Olesya Kulinich Olesya Kulinich ... Rukovoditel kruzhka
Ruslan Malikov Ruslan Malikov ... Marat
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Storyline

Bullet Collector follows the traumas of a wide-eyed 14-year-old boy. Recalling the world of Antoine Doinel in François Truffaut's The 400 Blows, this unsettling, visually brilliant drama updates that classic by giving it a nightmarishly Russian spin. Written by Anonymous

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Genres:

Drama

Certificate:

Not Rated
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Details

Country:

Russia

Language:

Russian

Release Date:

19 February 2013 (USA) See more »

Also Known As:

Bullet Collector See more »

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Box Office

Budget:

$85,000 (estimated)
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Company Credits

Production Co:

Chapulla Bay See more »
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Technical Specs

Runtime:

Aspect Ratio:

1.78 : 1 / (high definition)
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User Reviews

 
very tough, very stylish Russian youth drama
11 April 2012 | by j-woodSee all my reviews

Director Alexander Vartanov (Elena) sees the stray beauty in repugnant situations and manages to bring off a rare prison drama in the process. His young hero with a mop of blonde curls and a hurt, vacant look wouldn't be out of place in a Gus Vant Sant film. Through a series of events he is catapulted from his abusive home life into a juvenile prison cum Russian labour camp. The regime here is so brutal it makes One Day in the Life of Ivan Denisovich seem like a Sunday picnic. The only way to survive this is to be even more brutal than the guards and fellow young crims; a path our put-upon hero soon excels at. There are moments when Vartanov lets his obvious love for realising kinetic violence overtake sense and logic, but there is also some fine film making and acting on display. He has an eye for poetic detail amongst the ravages of camp life and he takes risks to put these details in. The artful use of black and white also puts it in a direct line from Russian cinema of the 1970's. For example, the combination of insane brutality and wide eyed youthful incomprehension is reminiscent of Tarkovsky classics such as Ivan's Childhood.


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