Blackie and his bestie, the thinner-mustached Marko are communists in 1941. The nearby zoo is bombed, panicking Marko’s brother, the stuttering zookeeper Ivan, and nazis overtake the town. Enter Natalija, Blackie’s girl, an actress also beloved by Marko and Nazi Franz. Marko hides Blackie and his fellow revolutionaries in a basement and when the war ends he decides not to tell them, so he keeps Natalija above ground and the undergrounders keep manufacturing weapons for him to sell. When a monkey blows a hole in the wall during Blackie’s son’s wedding they escape, come across the set of the film reenacting Blackie’s war heroism, and he starts killing German actors. Thirty years later as Yugoslavia is violently dissolving, Ivan finds his lost monkey then everybody dies tragically.

Young Ivan and flock:

Marko and Nat preparing to take drastic measures:

Inserting Blackie into documentary footage from the era was well-done. I think the internet is saying the movie is pro-genocide, but I don’t follow why. Even if so, this is counterbalanced by the movie’s major macaw presence. Won the top prize at Cannes versus Dead Man, City of Lost Children, Shanghai Triad, Hou, Oliveira, Terence Davies, and a pissed-off Theodoros Angelopoulos. Blackie appeared with a couple of James Bonds and played Santa Claus in the nutty-looking anthology Goodbye 20th Century. Marko was in Ozon’s Criminal Lovers, and Franz was in Ozon’s Frantz. Natalija came to Hollywood and ended up hundredth-billed in Maid in Manhattan, playing a maid, that’s embarrassing.

Old Blackie:

Old Ivan finds Old Marko:

A grand opening shot, pulling back from a mountain view to reveal the drone music as diegetic, walking with a marching band from overlooking ruins to a street that dead-ends into a canyon. The drummer steps forward and says he used to live here, and his entire neighborhood is now in the pit.

We’re in a Serbian mining company – typical-Ben follow-cam through their workplace and into the crowded high-speed de-elevator to an underground mining city. Long takes of long drills into rock walls intercut with b/w miner screen tests, and interviews about their hopes and dreams (answer: not much of either).

Admittedly a really good transition between the halves, joined by a graphic and the sound of a metal detector, a different kind of drone for a different kind of mining. From 20 guys working in the dark underground, we move to Suriname and 3 guys working on the surface in daylight. Wavery handheld late-night conversations with the men and their women, worries about killings at another site, more hopes and dreams, more screen tests. At least it ends with a song (no dance party).

Presumably the champions of this whole endurance test were Mai 68 Proletariat Cinema people who love anything involving miners. This doesn’t apply to the Cinema Scope Gang, who champion things for inscrutable reasons… Phil Coldiron’s analysis of Russell’s exploded ethnography is convincing, when I can follow it:

Like Frampton, Russell has elaborated a conception of film that approaches a particular limit or model: thought itself, with its infinite capacity for expansion. And like Frampton, this project has necessitated a sustained engagement with both the material of film and with that grand technology whose shadow film continues to toil in, namely language.

Russell captures the rhythms by which the plan of capital is expressed and enforced. In working on the level of the workers’ experience, he mirrors the image that the factory is always already producing of itself and offers it for reflection.

The filmmaker likes light and shadow, and inserting grainy digital stills between scenes. I only would’ve made it 20 minutes in I was watching fest screeners, but then I would’ve missed the scuba photography.

A lot of pissing and sleeping in this movie! Breaking into derelict apartments? Building a useful neighborhood from the remnants of the abandoned city. The hushed, hypnotized narrator shows up irregularly, telling us stuff related to the sleepy, casual goings-on. Sometimes we see the filmmaking equipment. Sounds carry on from previous scenes. Some philosophical content made me chuckle, the movie not worth taking seriously.

On Letterboxd: In the City in the Rain by The 6ths feat. Lou Barlow