Dmitri Frolov / Russia / 52 minutes
Synopsis
"Tragic comedy of the absurd, based on the works of Daniil Kharms (1905-1942). [...] A world of illusions, hints and associations, reflecting the stream of consciousness of the creator living in an era of silence."
Previously selected for a short-film in our first edition, Dmitri Frolov is back and gives us with “Clownery” one of our favourites of this Edition n°2.
This atypical medium-length film juxtaposes several little stories around one recurring character (played by Dmitri Shibanov), sporadically padded with more contemplative interludes. The whole thing’s poetry is striking. The humour/drama/absurd mix— sometimes with madness— wonderfully works and prevents any boredom, since the tone is continuously surprising. For instance the first minutes are superbly eccentric and waggish, almost Švankmajer-ish (the animation, editing’s experiments, the musical mood, zany characters); but that won’t hinder a few tragic scenes (the lovers taken away) or real moments of pure beauty (the waves/silhouettes transparent shots), on always perfectly-picked musics and a judicious sound.
It is also impressively coherent in terms of acting. Within his beautiful cast, worth noting that Frolov himself sometimes shows up, and we appreciate his honest involvement, as physical as emotional. You’ll have to admit it: his sense for staging is dazzling throughout these 52 minutes.
As for the technical execution, it’s almost a feast. Excellent editing, clever photography with a few well-chosen breaks of colour, always interesting compositions. By the way, we were impressed to think that this film was apparently shot in the 21st century (2005) ... Actually, this is the year of its release, but it was made in 1989. The 1930s' reenactment remains good anyway, credible and sensory. Only the next-to-last part goes a bit out of its intention, injecting some kind of modernity via sets with street graffiti and a turbulent handheld camera.
We found “Clownery”’s general structure perilous at first. Indeed, its conclusion seems a little weak or abrupt. Let’s be clear: we do understand this is the end; the response to the (very good) film’s opening does work. But it’s hard to perceive what brings it. Perhaps a few more words, in order to better contextualise or close the farcical fight scene just before, would have helped. With the next viewings, as the “anthology” logic was now acknowledged, we became less dubious. However, lots of links will remain missing for an audience who doesn’t know the reference author.
Conclusion
It’s generous and fascinating, like some Russian literature. Who wouldn’t want to discover Kharms’ texts after that?
O.N-P.
« Клоунада » joins official selection for the Little Croco Festival’s second edition, nominated in the Mid-Length Film category.
Trailer:
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