Beanpole Movie Storyline. 1945, Leningrad. World War II has devastated the city, demolishing its buildings and leaving its citizens in tatters, physically and mentally. Although the siege – one of the worst in history – is finally over, life and death continue their battle in the wreckage that remains. Two young women, Iya and Masha, search for meaning and hope in the struggle to rebuild their lives amongst the ruins.
Beanpole (Russian: Дылда) is a 2019 Russian historical drama film directed by Kantemir Balagov. It premiered in the Un Certain Regard section of the 2019 Cannes Film Festival. At Cannes, Balagov won the Un Certain Regard Best Director Award and the FIPRESCI Prize for Best Film in the Un Certain Regard section. It was selected as the Russian entry for the Best International Feature Film at the 92nd Academy Awards.
Film Review for Beanpole
In fact, to think about the world of 1945 is to take the challenges in every sense. The war is over, but does each war end mean that all problems are over? And how will the infiltrations go away? Surely the dead are gone, what will happen to the rest? How will the stories of those who are crippled, those who come from behind as psychological traumas, survive?
In the Second World War literature, the problems of Germany and the Jewish world after the Nazi persecution are often justified. However, one of the neglected aspects is the problems that the people of the country, who fought against Germany, suffered after. 1917 The reconstruction of the state with the Bolshevik power was not easy for Russian society.
The problems inherited from the oligarch Romanov family with their long-term power, their first experiences of socialism, were not simple matters at all. Especially in the post-Lenin Soviet of 1924, Stalin’s rule and the construction of the revolution in one country brought with it many new approaches.
This always came before the society as a painful process. The fact that the Russian-German alliance of 1939 returned to the pact of non-aggression in accordance with the conditions of the period created a surprise in modern society, however, after the clash of the fascist / communist fronts, the entry of other forces and the necessity of the withdrawal to stop. As a result, trauma was inevitable for a society that lost almost 15 percent of the Soviet population in war. The former capital of Leningrad (St.Petersburg) was one of the most painful places.
Directed by Kantemir Balagov, Dylda (Long Girl) takes this city, Leningrad, to its center and sets up a story about the reconstruction of society after the war in two individuals. Even though there are two main heroes, the film does not appear as an individual themed film independent of external influences when it focuses its lens on them. The devastating effect of the post-war with them is clearly seen with the whole environment.
As the city imposes a new set of rules on the individual after the destruction, the two heroes, tall or lanky Iya (Viktoria Miroshnichenko) and Masha (Vasilisa Perelygina), reflect the expectations, hopes and aspirations of two different lives in a sequence. Iya or a soldier, who is known as a violet by the name of the pole, as a battery officer in the defense of Leningrad, with the end of the war now comes as a nurse. In the sequences here, post-war horror is reflected to us with all its inner depth and the director’s choice of color.
Masha, her other friend in the battery, throws herself into the city as a result of the war. And from this moment on, the city-centered story, like the American soldiers who suffered from Korean syndrome, is an atypical society, in an otherwise atypical society, with the soldiers and community structure that tries to survive the postwar psychology, including the physical manifestations, and the characters who form a somewhat unusual, anomalous friendship. individual story. Iya always appears as a dull facial expression in accordance with the psychology in which he is present.
Viktoria Miroshnichenko’s convincing acting plays a role in all the pros. His unbalanced relationship with Masha, his taking refuge in his authority, also opens up space for multiple readings of the film. Director Balagov considers the heroic and urban psychology with his approach to the film in accordance with the psychological elements, with long shootings, less diologist, and short space. Born in 1989 and impressed by the style of Aleksandr Sokurov, director Balagov made his mark with the 2016 production “Sofichika leri and 201 Tesnota-Proximity” in 2017.
However, the Russian director’s most influential film is undoubtedly Dylda. The film returned at this year’s Cannes film festival with the Yönetmen Best Director ”and“ FİPRESCİ ”awards at a certain point of view and achieved full marks from the jury. Describing post-traumatic states after the war with individual representation, adaptation of characters, euthanasia and reborn child as a symbol of the construction of a new society, ironic, suitable for reading a lot of successful, deep but challenging structure, as well as the length of the film, as well as the language and narrative Surely it is one of the films that are not easy to watch, but it is not likely to remain indifferent, of course, considering that there is less Russian film in hand in our country.
Beanpole (2020)
Directed by: Kantemir Balagov
Starring: Viktoria Miroshnichenko, Vasilisa Perelygina, Konstantin Balakirev, Andrey Bykov, Olga Dragunova, Timofey Glazkov, Igor Shirokov
Screenplay by: Kantemir Balagov, Aleksandr Terekhov
Production Design by: Sergey Ivanov
Cinematography by: Kseniya Sereda
Film Editing by: Igor Litoninskiy
Costume Design by: Olga Smirnova
Music by: Evgueni Galperine
MPAA Rating: None.
Distributed by: Kino Lorber
Release Date: December 29, 2019
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