My Joy (2010)
Georgy is driving a load of freight into Russia when, after an unpleasant encounter with the police at a border crossing, he finds himself giving a lift to a strange old man with disturbing stories about his younger days in the Army. After next picking up a young woman who works as a prostitute and is wary of the territory, Georgy finds himself lost, and despite asking some homeless men for help, he’s less sure than he was before of how to make his way back where he belongs. As brutal images of violence and alienation cross the screen, Georgy’s odyssey becomes darker and more desperate until it reaches an unexpected conclusion.
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Redundant and unnecessary.
best movie i've ever seen.
While it is a pity that the story wasn't told with more visual finesse, this is trivial compared to our real-world problems. It takes a good movie to put that into perspective.
By the time the dramatic fireworks start popping off, each one feels earned.
No Sergei Loznitsa...it was my joy. In his first fictional feature Loznitsa captures in a Kafka-esque adventure the joys (few they may be) and ills of post-Communist society. It is scathing, funny, horrifying, insightful and everything in between. The writing is impeccable and never dips off or drags for a moment. I watched this film when it was first released and there was no doubt I would watch any and everything Loznitsa would make.
I don't think it's a 'social commentary' or a 'statement of the human condition' - it's a mess of a movie made by a potentially very skilled director who seems to get bored with the (admittedly rather boring) storyline and tarts it up in the last 40 minutes with a whole lot of disjointed events which we are left to piece together ourselves, however we may. Perhaps he couldn't think of a sufficiently clever ending and (just the same way as Picasso got bored with doing half-decent paintings) decided to let the New York Art House Set name it to be a work of intellectual brilliance (just in case it actually was). Worth watching for the Ukrainian scenery and faces and for masterful camera-work - but only once unless you want to learn the style.
First of all, I want to say that the film simply blew me away. This film, Sergei Loznitsa's first feature is not only the best film (and discovery) of the year, but one of the biggest and most important works in cinema of this century.Before, Loznitsa was a documentary film maker and this effect can be seen in his fiction film. It is not only true and violent, but also very unconventional, different (truly ascetic, and here can be seen influence of Loznitsa's mentor, Robert Bresson), Loznitsa's use of long take is truly remarkable, in Russian cinema, long take has been used very ofter, beginning from Tarkovsky, then Shepitko, Sokurov, Zvyagintsv... but Loznitsa's use is different and unique, he absolutely refuses style (there is no disgusting exploitation of manner, that spoils Zvyagintsev's overrated, stupid and pointless "Vozvrascheniye"), he doesn't have style as a director, the film itself creates its style and language (and trust me, it's much difficult and much remarkable).And Loznitsa does very bold thing: he destroys notion of deep shot. Yes, Kiarostami shot films with digital camera (as Loznitsa does), but his shot is extremely static and Loznitsa makes very long travelings with hand held camera, what's truly new thing and it also creates a feeling of claustrophobia, of closed circle, of No Exit and it's really conceptual use of primitive cinematic method.It's extremely difficult film, but it's not art house and it's not the proud film, so called "not for everyone". It IS for everyone, but on the other hand, it should be watched very carefully: consider that you'll be shocked and maybe even depressed but I have one very useful advise: if you decide to watch this TRUE masterpiece, be patient and watch it till the end.It's really worth it.
Certainly one of the best films of the year, MY JOY depicts the journey of a truck driver through contemporary Russia. The journey is full of detours, some of which take in scenes from the past, from 60 years or so ago, in the time of World War Two. In beautiful, lyrical mise-en-scene, the director shows scenes of brutality, rudeness, corruption and violence; this is a poetical portrayal of ugliness... Whether it is intended as a depiction of the brutality of conditions in contemporary Russia, or whether it is intended more as a general portrait of the human condition is not entirely clear to me, but, whatever it is, this is strong, haunting film-making, skillfully depicting a disjointed world of violence and degradation.