From lyrical to epic genres, from the deep social conflicts to the joy of liberty, this program expresses the character of the Ukrainian people, who continue to resist Russian imperialism in the ongoing war.
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The poetic lyricism of Oleksandr Dovzhenko’s Earth makes it one of the great works of cinema, using the emotional power of the image to express the director’s love for his homeland.
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Mikhail Kaufman, who had just served as cameraman on his brother Dziga Vertov’s The Man with a Movie Camera, debuted as director with this elegiac, impressionist observation of seasons changing in old Kyiv. With Dmytro Dalskyi’s symphony of Kharkiv, Sketches of the Soviet City.
Two star-crossed lovers run from an arranged marriage and the police in this delicately naturalistic work. Based on a story by Mykhailo Kotsiubynskyi (Shadows of Forgotten Ancestors).
“Poem of the Sea, which tells of the construction of an artificial sea, necessitating the flooding of a village, is remarkable for its confidence, grandeur and glowing beauty” (Ronald Bergan, Camera Lucida).
A Ukrainian singer recalls her greatest love in this early work by the director of Shadows of Forgotten Ancestors, inspired by Ukrainian naive art, folk songs, and the American musical. “Complex and fascinating . . . [with] tropes that turn a social-realist musical into a hallucinatory fantasy” (Judy Bloch).
Digital Restoration
Pagan rituals, demonology, folklore, and legend come to life in Sergei Parajanov’s hypnotic update of a Romeo and Juliet tale. “Astonishing . . . one of the supreme works of Soviet cinema” (Jonathan Rosenbaum).
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A Ukrainian peasant transforms from conscripted soldier in the Caucasus to revolutionary leader in this daring critique of Russian chauvinism and imperialism.
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The memories of a lonely old man blend with the specific landscapes of the Dnipro River in this “wonder in every sense of the word” (Russell Merritt), by the cinematographer of Shadows of Forgotten Ancestors. Banned for twenty-two years, it was finally released during Perestroika in 1987.
Free Admission
Cosponsored by the Institute of Slavic, East European, and Eurasian Studies; the Armenian Studies Program; and the Department of Slavic Languages and Literatures, UC Berkeley
We will welcome six visiting scholars to join the UC Berkeley campus community to share their ideas and research, adding nuance and depth to the existing perspectives of Ukrainian Soviet cinema, moving beyond simplistic colonial dichotomies and outdated canons.
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A thief’s actions cause fissures in a small Ukrainian village in this elemental tale of punishment and forgiveness, adapted by poet/activist Ivan Drach from the writings of Vasyl Stefanyk. “The sense that these characters are enacting some kind of preordained ritual gives the film an otherworldly feel” (Film at Lincoln Center).
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Oleksandr Dovzhenko’s poetic account of the events leading up to a bloody battle contains some of the most memorable images in Soviet cinema.