The Postman’s White Nights (Belye nochi pochtalona Akekseya Tryapitsyna, Russia 2014)

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A feature by Andrei Konchalovsky is in the Official Selection at the Leeds International Film Festival. Konchalovsky is a writer and director who has also acted in films. His credits include work for television and number of documentaries; scripting for Andrei Tarkovsky’s Andrei Rublev (Andrey Rublyov, 1966) and acting in Ivan’s Childhood (Ivanovo detstvo, 1962). This is a rather different film from those of Tarkovsky, but visually there are parallels.

The film is set round a Kenozero Lake, in the near arctic lands in the north of Russia. The setting is summer, so there is sunshine, warmth and much greenery. The lake is rich in fish and plant life: and one aspect of the plot is fishery regulation about what is or is not allowed. Lyoka (Akekseya Tryapitsyna) is the postman and he provides a link between a small lakeside community, the local hamlet and a nearby town. His routines are mundane but sometimes disrupted by slightly more dramatic events. There is also a visit at one point to an early space rocket station: which also provides a wry detail late in the film.

The cast are almost all local non-professional people. The one exception appears to be an unobtainable romantic interest, Irina (Irina Ermolova). The contributes greatly to the sense of naturalism that pervades the film and is one of it pleasures. There is a real sense of an authentic setting and community of sorts.

The director and co-scriptwriter is quoted in the Festival Catalogue:

“In the last years I’ve started thinking that modern cinema is trying to spare the audience from having to engage in contemplation. Over the last few years I’ve been plagued by the uncertainty of whether I truly understand the essence of cinema. This film is my attempt at discovering  new possibilities offered by moving images accompanied by sound. An attempt to see the world surrounding us through the eyes of a ‘newborn’. An attempt to unhurriedly study life.”

There are certainly times in the film  of unhurried contemplation. And the sound, and the music from Verdi’s Requiem, emphasises this. But there is also more to film, including quirky sequences such as a series of scenes where Lyoka wakes to find a beautifully groomed grey cat contemplating him. And there is a quiet but unsettling passage as Lyoka takes Irina’s son out on a boat trip. But there is also a sense of the protagonist exploring his situation and memories. The film opens as Lyoka contemplates a whole series of photographs of people, some of whom we will recognise in the course of the film.

The production, including the cinematography, serves the project well. This is a slow but delightful film. It is in colour and standard widescreen with English subtitles. At present the Leeds Festival screening is the only listed one for the UK, but hopefully it will get some sort of release here.

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