Style comes through more strongly than substance in "Manga," the first feature film from director Pyotr Khazizov. "Manga" tells the story of three characters in contemporary Moscow, but this loose narrative is less important than the film's striking visuals, as well the music, which does much to reinforce atmosphere.
The title alludes to the traditional comics of Japan, a reference that continues within the film itself, in sequences inspired by Japanese anime. At best, the result is an intriguing combination of diverse elements that, at only 70 minutes, doesn't run out of steam -- especially for its target audience of youthful viewers -- and features a new, rather European style for Russian cinema. Less sympathetic viewers may see elements of indulgence along with a lack of narrative direction, though the final released version is tighter than the preliminary edits shown at some early screenings.
Three characters, all played by screen newcomers, randomly cross paths in the film's story. "Manga" opens with the teenager Kiwi (Yaroslav Zhalnin) cruising the streets of Moscow. Kiwi's attention is caught by a billboard featuring the model Alisa (Vasilisa Petina, herself a model for some years now). They eventually meet, in an unusual encounter that contributes to the final denouement.
But so does another unusual encounter: Alisa's unexpected meeting with the older, more respectable and obviously prosperous Alik (played by Khazizov himself, who, besides directing the film, co-authored its script with art director and costume designer Anastasia Kryuchkova). When Alisa collapses into his car late one night in a distinctly bad state, Alik looks after her. He later follows up on her with an interest that combines understated erotic desire with a less-definable curiosity.
Some early anime-style sequences hint that there may be different ways to interpret the overall story. The opening scenes might make viewers wonder, in retrospect, whether Alik is effectively creating everything on his computer screen for personal motives. In contrast, the closing scene half-suggests that it has all been Alisa's dream. To his credit, Khazizov leaves it open for interpretation -- although less-attentive viewers who approach the film with literal expectations may come away disappointed. To lighten the result somewhat, there are moments of acute comedy along the way.
"Manga" is certainly striking in the visual sense -- which is no surprise, given that Khazizov is the founder and head of Cinemateka, one of Russia's top special-effects and post-production houses. Cinemateka has been behind sumptuous computer-generated visuals for films such as, most recently, Dzhanik Faiziyev's blockbuster "Turkish Gambit." Khazizov's background in television advertising is also apparent, not least because he's joined by a fellow player from that scene, cinematographer Andrei Makarov (who is also a co-producer).
In the past, Makarov's skills behind the camera have sometimes brought him more acclaim than the feature directors he's worked with. That isn't the case here, however, with intriguing visual elements that match the wider style of the film -- from some emphatically high and low camera angles to a distinctive visual approach that works especially well in the numerous nighttime street scenes.
The daytime environments are stylized too, with lighting elements that remove them from almost any sort of real-life context. Music is another strong element, with contributions from Dubchairman, Second Hand Band, Mo'jah'head, OMFO and others. Another sometime Cinemateka collaborator, the French film director and composer Zig, also played a role in the final sound design.
Makarov's collaboration with Cinemateka editor Ivan Lebedev features a wide range of styles indeed. These include a few rapidly cut sequences, such as one in which Kiwi -- who can vanish from situations at will -- drives through a road tunnel against oncoming traffic. This scene shows what are perhaps the most obvious special effects, somewhat reminiscent of last year's "Night Watch." In contrast, later club scenes drop into slow-motion, while yet another stylistic element comes from slow-moving visuals that dwell on forms and colors, as Makarov's camera creates a distinctly fluid atmosphere.
The result may sometimes look schizophrenic, but it matches the overall style of the film. The reaction from viewers may be similarly schizophrenic. Some foreign festival attention will probably come through, but international distribution likely won't. Success with youth audiences at home will depend on creating the right vibe, something that Khazizov has plenty of experience with. But even with the teenage crowd, "Manga" may still face an uphill task.
"Manga" is playing in Russian at theaters citywide.
The title alludes to the traditional comics of Japan, a reference that continues within the film itself, in sequences inspired by Japanese anime. At best, the result is an intriguing combination of diverse elements that, at only 70 minutes, doesn't run out of steam -- especially for its target audience of youthful viewers -- and features a new, rather European style for Russian cinema. Less sympathetic viewers may see elements of indulgence along with a lack of narrative direction, though the final released version is tighter than the preliminary edits shown at some early screenings.
Three characters, all played by screen newcomers, randomly cross paths in the film's story. "Manga" opens with the teenager Kiwi (Yaroslav Zhalnin) cruising the streets of Moscow. Kiwi's attention is caught by a billboard featuring the model Alisa (Vasilisa Petina, herself a model for some years now). They eventually meet, in an unusual encounter that contributes to the final denouement.
But so does another unusual encounter: Alisa's unexpected meeting with the older, more respectable and obviously prosperous Alik (played by Khazizov himself, who, besides directing the film, co-authored its script with art director and costume designer Anastasia Kryuchkova). When Alisa collapses into his car late one night in a distinctly bad state, Alik looks after her. He later follows up on her with an interest that combines understated erotic desire with a less-definable curiosity.
Some early anime-style sequences hint that there may be different ways to interpret the overall story. The opening scenes might make viewers wonder, in retrospect, whether Alik is effectively creating everything on his computer screen for personal motives. In contrast, the closing scene half-suggests that it has all been Alisa's dream. To his credit, Khazizov leaves it open for interpretation -- although less-attentive viewers who approach the film with literal expectations may come away disappointed. To lighten the result somewhat, there are moments of acute comedy along the way.
"Manga" is certainly striking in the visual sense -- which is no surprise, given that Khazizov is the founder and head of Cinemateka, one of Russia's top special-effects and post-production houses. Cinemateka has been behind sumptuous computer-generated visuals for films such as, most recently, Dzhanik Faiziyev's blockbuster "Turkish Gambit." Khazizov's background in television advertising is also apparent, not least because he's joined by a fellow player from that scene, cinematographer Andrei Makarov (who is also a co-producer).
In the past, Makarov's skills behind the camera have sometimes brought him more acclaim than the feature directors he's worked with. That isn't the case here, however, with intriguing visual elements that match the wider style of the film -- from some emphatically high and low camera angles to a distinctive visual approach that works especially well in the numerous nighttime street scenes.
The daytime environments are stylized too, with lighting elements that remove them from almost any sort of real-life context. Music is another strong element, with contributions from Dubchairman, Second Hand Band, Mo'jah'head, OMFO and others. Another sometime Cinemateka collaborator, the French film director and composer Zig, also played a role in the final sound design.
Makarov's collaboration with Cinemateka editor Ivan Lebedev features a wide range of styles indeed. These include a few rapidly cut sequences, such as one in which Kiwi -- who can vanish from situations at will -- drives through a road tunnel against oncoming traffic. This scene shows what are perhaps the most obvious special effects, somewhat reminiscent of last year's "Night Watch." In contrast, later club scenes drop into slow-motion, while yet another stylistic element comes from slow-moving visuals that dwell on forms and colors, as Makarov's camera creates a distinctly fluid atmosphere.
The result may sometimes look schizophrenic, but it matches the overall style of the film. The reaction from viewers may be similarly schizophrenic. Some foreign festival attention will probably come through, but international distribution likely won't. Success with youth audiences at home will depend on creating the right vibe, something that Khazizov has plenty of experience with. But even with the teenage crowd, "Manga" may still face an uphill task.
"Manga" is playing in Russian at theaters citywide.