OUTSKIRTS D: Pyotr Lutsik
The hype for Outskirts, an oddity from Russia, makes comparisons the film can't live up to: Godard's Weekend and Costa-Gavras's Z. In spartan black-and-white, it follows a group of farmers who've lost their land to "enterprisers" as they seek those who sold it out from under them. An allegory, Outskirts draws so heavily on the visual history of Russian cinema for its images that it's hard not to take it as a kind of sly satirical comedy - only I'm not sure who, aside from Guy Maddin, would get the jokes.
How else do you interpret a movie that in essence advocates violent revolution - this in a country that had such success with violent revolution during the last century - and ends with doughty farmers harrowing their collective fields and looking nobly off into the future in shots that could have come straight from a Mosfilm production, circa 1953?
For very peculiar sensibilities. (Bloor, July 25-July 31)