"Above the Lake" is a deliberate stylization for films filmed at the beginning of the 20th century, with their characteristic flair of mysticism, mystery, understatement, and duality. The bifurcation here is manifested both at the visual, the most elementary level - for example, intraframe montage of scenes with "The Beautiful Lady" or the double of the main character - the lyrical poet-contemplator.
From the very beginning, the tone is set - a dedication to Blok ("In memory of Alexander Blok"). And in the future, the viewer understands that all the work is a kind of homage, which, taking on the appearance of an elegant stylization, remains executed at a filigree level throughout the film. Therefore, it seems to us, the question of a clear distinction between these two concepts is not so fundamental, since the goal set by the director is achieved and it turns out to be clearly stated to the viewer.
The motive of eroticism - female nudity - sexual desire - is one of the key ones, not only for the sketch of "Above the Lake", but in general for Frolov's work.
The "reflected" reality for Blok - and also for Frolov - is a blurring of boundaries. The theme of duality, there is no border between sleep and reality, the camera is old, there is no clear image, no focus, it seems to slide over the events shown, as it would have been filmed in the 10s of the 20th century, when cinema as an art was just getting on its feet.
In "Above the Lake" we see "outskirts" Petersburg - then not Petersburg at all. At present, it is a district of St. Petersburg, but at the beginning of the 20th century it is a separate world, where people came to be drugged with wine and forget themselves in the arms of easily accessible women. In general, the motive of St. Petersburg as a dark city with a large amount of evil power can be consistently traced in the director's work, this motive evolves along with the creative method.
K. Ilyina
