Woe from um The story of the search for love, mixed with survival in the province, raises the theme of ordinary people and their way of life, away from industrial cities, by contrast demonstrating that while progress and prosperity are everywhere, the “nineties” still reign around, and the cruel realities of life of small towns and villages plunge into a gloomy atmosphere where the rays of hope for love and the desire to live still do not fade.
But first of all, we are clearly shown that there is simply no life in these cities. As such, life is long gone, leaving behind only the struggle for existence, where everyone survives as best he can. Someone got used to the daily monotony, someone is still waiting for something bright in his life, and someone, having a tit in his hands, does not understand his real happiness, continuing to look for a crane in the sky.
The main character, devoted to his work and work, exists at the expense of rational truths. Trying to understand this world with reason, and not with feelings, begins a real grief from the mind. Instead of a beautiful restaurant, a sane mind will tell you to live within your means, and now a scene later will be eaten by some Cheburek, and all the dialogues will be a set of separate phrases demonstrating a strong statement of the positions of the character, but at the same time taking somewhere in the distance of primitive rationalization of circumstances.
And the problem here will not be the love drama of the main character, but only the technical complexity of perception. Shooting about the real life of the people of the province, the director does not set the task to shoot a realistic film. It is impossible to believe any dialogue, with all the sharp and honed phrases, because people do not communicate this way, a collection of short monologues without special connections can not be called communication between people, and it remains either to disown the realities of what is happening, or simply to perceive the text directly, and not how this communication is played out by the actors.
Thus, an attempt to introduce some thoughts will cover the very story that takes place in the film, leaving only strong phrases and not too clearly spelled out images, where the blonde visitor will slightly resemble V.V.P. on the outside, and in fact more like the Craig type of Bond, and the line of the neighbor after the first question on literature will be so banal predictable that the story will lose all intrigue and interest. A set of dynamic scenes, here omit the details of the storylines, and darkening provincial life will add a couple of creepy episodes with blood and a severed head, allegorically against the background of words about cocktails and Thailand, showing a provincial restaurant and striptease, without special goals to convey the essence, but only for the sake of supplying those very comparisons, allegories and modest metaphors. And the characters will lack not only sincerity and truthfulness in communication, but also clearer characters, brightness of images and plot attention.
And in the end, we will come to the theater of one actor, where Natalia Negoda, who returned to the screens after a rather scandalous film “Little Faith”, will show the ability to present a strong character, with survival instincts in a difficult for life mining village, but the spark of sensuality was crushed by a breath-hold in this very province and attempts to look at the world from the point of view of reason and rationalism.
And it is not for nothing that the name of the film is mentioned here in the scene about breathing, showing a metaphor for modern life, where in large cities the “breath-out” is in full swing, personifying a full-fledged human life, and in the province only breath-holding and this very “drum, drum”.
6 IZ 10
Original