Sin

Visually superlative, narratively inert.

With Dear Comrades! and this, Konchalovskiy in his eighties is suddenly the best working director, at least in the classical European mode of Pasolini, Forman, his mentor Tarkovsky, etc. He even carries a gigantic block of marble over a mountain, if you know what I mean. The solidly composed frames are full of uncensored life - squalor, chickens, breastfeeding, visions. Maybe Michelangelo's holy purpose comes up short in light of all the business negotiations, but I accept that it's a struggle.