Marlen KhutsievI discovered the name Marlen Khutsiev two summers ago at the Locarno Film Festival, where Russian critic and programmer Boris Nelepo introduced an increasingly awestruck audience to the small but overwhelming filmography of this Russian filmmaker. Thankfully for American audiences, the Museum of Modern Art has picked up and continued this essential retrospective, which starts October 5 in New York, expanding it in the process, and so here I will gather my thoughts upon encountering this truly stunning work for the first time.My experience began incongruously with Khutsiev’s last completed feature, 1992's Infinitas, an unexpected choice considering that the film's 206 minute wanderings of a middle-aged man through his life and memories was even to this uninformed viewer clearly autobiographical. After next viewing Khutsiev's 1965 masterpiece variably known as Fortress Il'ichi, Ilych's Gate and I Am Twenty, it was clear that Infinitas is also a continuation or sequel to that semi-autobiographical film,...
- 10/4/2016
- MUBI
The gods wish to scare me, I think, for clearly in anticipation of this evening when our flat in this small Swiss town gains not one, not two but three new roommates, my entire day turned out to be dedicated to the terrors, doubts, and sadnesses of living in confined homes.After Michael Cimino, the other Leopard of Honor the festival was bestowing this year is to another maverick of his nation, Italian master Marco Bellocchio. Bellocchio's latest film will premiere later this month in Venice, but Locarno has something just as good if not better: three 35mm prints from the director's last decade of work, plus a new restoration of 1965's I pugni ni tasca. The homage to the director has only just begun here, and is being led by 2003's Good Morning, Night, a rich, sequestered look at the political terror of Italy's Red Brigade in the 1970s...
- 8/12/2015
- by Daniel Kasman
- MUBI
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