The opening gate that enters us into two “prosecutors” from Sergey Luznita is a kind of massive metal gate and the gun that does not happen at all. It is the Soviet Union in 1937, and so on, where the title quickly tells us, “Stalin’s horror.” It is not a spoiler to say that at a later time, this gate that cannot be detonated for the second time will open, before closing the end of the curtain that falls into a historical tragedy, to redistribute the famous Marx headquarters, repeat itself everywhere now, this time as a strange farce.
The massive solid door is the entrance to prison, a bleak environment that was rescued through the graphic quality of the cinema in Oleg Moto, closed, and cinematic photography of the Academy, not to mention the wonderful classic result of Vivar Christian Verbec. While the two-sided guards in the yard are barking-a great part of the production design of Jurij Grigorovič and Aldis Meinrts, where the dilapidated wooden background such as Tic-To-To-To -T -Te looks at each square.
Teams of mixing prisoners who suffer from malnutrition are set to carry out some of the works involved in support on a corrupt and visual country. One of these tasks, which burns a large inception of non -open petitions from the party’s believers to “Dear Comrade Stalin”, falls on an old man imprisoned with some slim excuse, which was pushed into a room equipped with a small stove and gives one match. The saturated plate, which is the ghost of the man, and the cold light column in which he sits – the shot can be a classic plate of methusilla or Moses, and the framing of this non -ugly and ugly act is an ideal sample of the satirical tone that Luznitza maintains through pumped exercise against content.
Although he was warned of the destruction of each one message, the old man transmits one of them: a scrap of the card with some of the words covered with him in his shirt. Something about this note pushed even this lamentation creature into a risky gesture of mercy. Perhaps it is because it is written in blood. And as much as it is unlikely that this small act of resistance occurs, the series of invisible invisible events, then through which observation occurs in reality to the local public prosecutor, Kornyev (played by Be-Breakout Aleksandr Kuznetsov, gives a very successful performance despite his few words). Through his boxing boxing file, its direct and impressive, Kornyev is new, young, intelligent, initially and not fully prepared for the lack of the system that he believes in enthusiastically in these qualities.
Corneev visits prison and on irritating factors and delaying the prison authorities’ tactics (a lot of “prosecutors” consists of Corniev waiting, sitting on a series of difficult chairs), insists on seeing Stepniak (Alexander Filipinko), who wrote observation. Stepniak, which Kornyev admits as a professional thinker who spoke at the Jubilee Faculty of Law on the topic “The Great Bolsheviks”, tells the story of abuse and injustice at the hands of local NKVD (Secret Police) and Kornyev determines the case along the way to Moscow. There, in the upper part of the endless stairs in a huge municipal building, and its distant, bureaucratic, empty bureaucratic (Anatoli Billy), occupies a huge office and takes short meetings, not exceeding strictly with the timetable.
Based on a book written by Georgi Dimidov, which was written in 1969, but was published in only 2009, the story does not move forward with any specific feeling of suspense – although he plays in 2025, there may be moments when one records the familiar shock, as is when one of the characters is replaced by culture that “experts are replaced by Charlas’s ignorance.” Otherwise, there are little surprises in the store for how things are running for our explorer, when historical time means we all know much more than Kornyev, and when the most amazing moment comes in the brand’s mockery in Loznitsa.
But this is not the type of movie that depends on sudden detection or unjustified transformations. In fact, the slow prediction of insults and disappointment in Corniev is largely the point. The magic of the film lies in its fabric, which is destroyed in its details, from the speed that is removed from the body that fell from the prison square as if there was never the way we picked up the Corniev jumpingly when it hit the bell.
Loznitsa’s legacy is an important reliable and greatly influential, but its last imaginary features – a “nice creature” for the year 2017, which is a somewhat unprecedented exercise in social surrealism, and “Donbass” 2018, was received less powerful. In “two prosecutors”, they may be out of the source text, Loznitsa plays more brighter than it in any of these titles, and the result is much stronger than that, as if he had faced some self -challenge to know how efficiently can provoke strict official aesthetic. It gives the experience of watching “two professionals” for almost tanks, such as reading a classic normal cover by Camus, Kafka or Orwell, where the pages are monitored with age, but ideas are still painfully new.