Poetry of nothing. Ke-dy (КЕ-ДЫ) 2016.

That was a usual evening of Thursday when we missed the last lecture and directed to the main hall. By the front door there were two big red boots and crowds of people around.

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After the introduction speech it had been clear that the picture was a small folly for its director.
The audience was very enthusiastic about the shown film and clapped during the beginning. But then the situation changed. Lots tried to figure out some sense out of the scenes and dialogues. Afterwards watching the clock had begun.
We could observe the various types of metaphors about spiritual life, routine’s hardship, happiness of naivety, female beauty and political situation (not so transparent but readable). Metaphors were confirmed by the hype titles with ridiculous names. Sometimes those appeared to often to say it’s some division of the composition. Moreover, the film was black and white with some coloured details and the burst of brightness at the end (either that has meaning or not is not clear).

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The plot is simple. The young boy is a selectee and forced to go to the army the next day. He goes to buy a new pair of boots and by the way he meets a girl. They both are lost in the strange chaotic and accidental world. She went to the town from the country side where her ill son was left. Their little company goes there to get a boy to the boarding school. After that we watch the quotation of the old Soviet film and it’s connection with the current one by the scene of parting because of the military service. It’s the bold announce of some present war. Then we see the young boy at the tank, actually he is vomiting. The text at the iPhone says us that the girl has got son back home and we see that warm scene. As it was said the plot is simple.

In spite of the simplicity of the plot, it’s hard to emerge some meaning out of the shown frames. Some scenes were too long and should be cut.
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But during the farther talk with the director it became distinct that the clarity wasn’t the target and the film basically was made casually on the set. They diverted from the script too much and had too much attachments such as some dialogues, songs about butterfly, black and white visual concept, titles, film quotations. And those all made the watching process hard.

As for me, I understood that I don’t accept such concept of casual filming for the spirit of something (“poetry of nothing” – by the director’s words) and I comprehend its small quantity of audience. But there were some unspoken ideas which had better to show closer.

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