Petrov Flu | Review – IONCINEMA.com

Petrov Flu |  Review – IONCINEMA.com

Delirium Tremens: Serebrennikov Maddens with Post-Soviet Magic Realism

Kirill Serebrennikov Petrov's Flu ReviewHistorically, Russian cinema (and literature) has always tended to break. Challenging narratives, endless characters, and opulent production designs are often part of the course, meant to get you through a visceral experience for the first time, so you can go back and start deciphering the formidable mechanics in each sequel. Such is the case of the ninth appeal of Kirill Serebrennikov, petrov flu, based on a cult novel by Alexey Salnikov (and of which the director has directed a theatrical production). Maddening but not absurd, it’s an aggressive shock of an immersive experience. While not so much sensory overload as a jaundiced portrayal of Yekaterinburg in post-Soviet Russia, it’s silly and weird, confusing and obtuse, but for every aberrant accessory, Serebrennikov goes back to his set of perspectives as we chase the tail of a viral outbreak. literal and hypothetical.

Yekaterinburg is in the grip of a flu pandemic, the spread of which is aided by Petrov (Semyon Serzin), who boards a bus coughing and hacking before being retrieved by his friend Igor (Yuri Kolokolnikov), a member of the FSB (Federal Security Service) . A night of drinking doesn’t help his condition, but he unwittingly spreads the infection to his ex-wife Petrova (Chulpan Khamatova) and their son (Vladislov Semiletkov). As the hallucinations intensify, fantasies, memories and the past converge on the Petrov family.

Another rich component of Russian cinema is science fiction, a genre that conveniently allowed metaphorical possibilities to escape censorship. Tarkovsky and Alexey German invented some of the most brilliant and challenging masterpieces in this regard. Serebrennikov, who revisited 1980s Russia with his latest film, Letoexplores darker feelings this time around.

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Playing as the comic version of Kira Muratova The Asthenic Syndrome (1989), the putrid pallor of the constantly hacked Petrov creates a considerable trigger effect in today’s global pandemic environment. He fell into a mise-en-scene, which sometimes floats or veers directly into something else, petrov flu it certainly requires paying attention. Even though the rewards are sometimes far apart, a handful of sequels often come close to the sublime. Aided by animations similar to those used in Leto, the only levity arrives at the possibility of worlds beyond with a recurring theme of UFOs. The narrative dances so fast your head spins, but specific statements abound in a post-Soviet country still burdened by the definitions of the past.

The magical realism afforded Petrova (an appropriately studious Chulpan Khamatova) is introduced with a bang when she takes a long-form poetry critic to violent tasks and then preemptively attacks an alleged serial killer of women. Eventually, when we realize that all the Petrovs are experiencing hallucinations in the throes of delirium caused by their fevers, much of the stylization snaps meaning into place like jagged puzzle pieces (though sometimes these flourishes outweigh their welcome). Like a virus, however, the outlook spreads, and at times, into specific periods of Petrov’s childhood.

At its zenith, petrov flu houses three stories at a Christmas party, where Igor and Marina (Yuliya Peresild), the reluctant Snow Maiden, initially become connected. Another underlying metaphor here is how our past is also connective tissue, a la a virus against which the body builds immunity. As a leader, returning Leto alumnus Semyon Serzin is a poker-faced cipher, but Serebrennikov pushes the envelope when Serzin shares a kiss with Russian pop star Ivan Dorn as his writer friend Sergey (although Sergey’s departure from the film is the most sentimental).

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Also on hand is Yuriy Borisov (the winning lead of Compartment No. 6 from director Juho Kuosmanen) as Sasha, Marina’s doomed love interest. A healthy dose of masculine full frontal adorns these drastic stylistic changes by DP Vladislav Opelyants (Leto), between nauseating, bright and vintage accents, it all makes for a dizzying stew of a movie. But maybe it’s the final frames of petrov flu that really provides your power… for what doesn’t kill you, after all, makes you stronger.

Revised July 12 at Cannes Film Festival 2021 – Main Competition. 145 minutes

★★★/☆☆☆☆☆

Source : www.ioncinema.com

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