Two strangers meet on a fateful train journey from Moscow to the Arctic Circle in Juho Kuossmann’s romantic drama.
wooWith an undercurrent of uncharacteristic triumphant sentimentality for a Wikipedia page, the entry for the shimmering Eurodance jam “Journey, Journey” by Desireless, declared that the song “overcame the language barrier on the music charts and became a huge international success.” became.” The song plays three times in compartment number 6, including the over-ending credits; In truth, cheese crosses all boundaries. Set mostly over the course of a multi-day journey on a cramped train from Moscow to Murmansk, the film follows the story of two strangers, a Finnish woman and a Russian man, who are thrown together, and despite their differences…
Finnish director Juho Kuosmann has graduated to competition at Cannes after his 2016 Un Certain Regard winner The Happiest Day in the Life of Olli Maki, and begins where the earlier film’s soft-hearted end ends. was left out. It represents a step forward for the director in terms of his world-building and staging of comedy.
Laura (Sidi Harla) is a student in Moscow who was studying Russian (which she speaks quite well) but now probably wants to become an archaeologist like her social-butterfly girlfriend Irina. The two plan a winter trip to Murmansk, north of the Arctic Circle, to see the newly discovered Knojero petroglyphs, but Irina can’t come, so Laura rides alone – leaving the Borish Russian with the other berths in the sleeper compartment. , Lozoha (Yuri Borisov), who is going north to find work in a mine, but in the meantime he has a few days to drink clear wine.
The 2021 class has already been a great Cannes competition for female actors, and Sedi Harla gives a winning, intelligent performance as a man naturally too smart to feel small and helpless in a strange land. But Yuri Borisov pops from the very first moment you see him: his hunched-shoulder posture; His sudden, excited movements and the boxer’s duck-and-wave walk; In an animalistic manner he sheds tears at the food, impatiently and eagerly. His character in writing is well calibrated, with subtext of his outlandish exterior, first subtext and then deep insecurities beneath the text, but it is already in his physicality.
After Ollie Maki, with its early-60s city and country clothing and venues, this is another out-of-the-park smash for Kuosmann’s costume and production design teams. The textures of late ’90s Russia, the dying Yeltsin years, are so vivid—the scratchy nylon winter parks and leftover fashions—and the train itself is a marvel, from the titular compartment 6 to the berth of their threadbare curtains. Dining in the dining car with Van Tak and antique laminate-wood panels.
At the beginning of the film, Irina quotes Marilyn Monroe: “Only some of us will ever touch parts of others.” For a film about fleeting connections and misunderstood first impressions, it’s largely made-up and telegraphed, but it’s also a fitting table-setter for a film that—through both characters—is a foreign language or context. explores the problems of self-expression, the way your limited knowledge or comfort or social capital in a given environment shrinks the hole that connects you to someone or something.
A film called Compartment No. 6 should probably end faster than this film, once its characters get off the train, but before it’s ready to become a TIFF Audience Award runner-up, the film stars a woman. Provides some insight into traveling alone. and relations between Finland and Russia after the collapse of the Soviet Union.
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