It's film critic vs. film critic on ThePaintedBird, a black-and-white drama set in Eastern Europe during WWII. In his review, GuyLodge says it's 'inarguably effective and immersive, its hard, unyielding gaze backed up by the muscularity of its craft'
,” a child’s-eye Holocaust drama of such unrelenting brutality as to make even the vaguest gestures of humanity — a held hand, a shared crust of bread — feel in context like miracles of grace.
Unspooling in competition at Venice, “The Painted Bird” will require a tailwind of festival acclaim and awards to encourage distributors to invest in its implacable, stomach-testing bleakness, though a star-speckled international ensemble boosts its global arthouse prospects.
The only novelistic device here, in fact, is a series of nine chapter headings dividing the film’s episodic, gruelingly linear structure. They are titled after the various adults into whose alleged care our pre-teen protagonist, identified only as the Boy, falls over the course of his arduous cross-country trek.
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