The new movie “Compartment No. 6” is “heavy-handed, tendentious, and regressive—and it should come as no surprise that it’s on the 15-film shortlist for the Best International Feature Oscar,” tnyfrontrow writes.
Sometimes you can tell from the first shot. In “Compartment No. 6,” the camera follows a young woman at a party as she leaves a bathroom and enters a living room full of gathered friends. That walking, back-of-the-head shot is one of the soggiest conventions of the steadicam era, a facile way of conveying characters’ own fields of vision while anchoring the action on them. The familiarity of this trope suggests both limited imagination and an unwillingness to commit to a clear-cut point of view.
But guess what? In the course of the journey, Ljoha, who has a fierce crewcut and a big scar on his forehead, proves himself to be considerate, even helpful. When she faces trouble from another aggressor, he protects her; he does his best to befriend her. They talk a bit: he’s heading to Murmansk to work as a miner, hoping to save money to start a business of his own; she claims to be an archeology student , she claims to have a boyfriend, and says little more. Whenever F.F.
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