Beanpole (Dylda): Disturbing scenes of postwar Soviet life
《瘦人》：戰后蘇維埃滿目瘡痍的日子
By Clara Weiss
17 July 2019
The second film by 27-year-old Russian dirtor Kantemir Balagov, Beanpole (Dylda), gained praise at the recent Cannes Film Festival where it won the FIPRESCI (International Federation of Film Critics) prize.
作者：韋斯·克拉拉 2019年7月17號
近日，由27歲的俄羅斯導演坎特米爾·巴拉戈夫指導的第二部影片《瘦人》在戛納電影節贏得一致好評
When I lit a cigarette outside Film Forum in a post-Beanpole daze, I felt like I just lost half of my life source. I have never experienced a film that translates immediate bodily sensations in such a visceral and disquieting way. Muffled ringing sounds, nose-bleeding attacks, frantic dancing turns into mania—the film's masterful use of involuntary physical condition traces the unimaginable pain of post-war trauma into a tangible form.
The sophomore feature of emergent Russian filmmaker Kantemir Balagov (born 1991), BEANPOLE’s spatiotemporal juncture is set in Leningrad immediately after WWII. Its title refers to the sobriquet of Iya (Miroshnichenko), a pale, blonde, rangy nurse working in a veteran hospital.
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《Beanpole/豆桿兒/瘦人》- 生活如未干的油漆
這是本屆電影節我最喜歡的一部電影，算是一個驚喜。
看的俄國電影不多，包括前蘇聯的那些。因為是俄國片，所以看起來挺熟悉。
電影發生在1945二戰結束前的列寧格勒，豆桿兒(瘦長，夸張的說，蹲下來都比別人站著高半頭)Lya在后方醫院當護士，同時悉心照看自己姐妹兒Masha的兒子Pashka, 因為Masha為了戰場中犧牲的丈夫復仇自己也從軍上火線。可是豆桿兒有一個病，就是間歇性失去意識
高個兒——笨拙，不協調，時而還會災難性地卡頓
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