NYFF 2020: Malmkrog
NYFF 2020Malmkrog is set in the early 1900s and is an adaptation of one of the latest works by Russian philosopher Vladimir Solovyov. Cristi Puiu’s latest feature represents a shift in genre for the Romanian director as he approaches the period drama; though the movie still has the same themes of Puiu’s previous works, such as the emphasised social and political commentary or the introspective analysis of its characters and their personal connections.
The film follows a group of aristocrats and bourgeois as they gather in an enormous villa to discuss different topics about morality, religion and war. Divided in six chapters, each named after a specific character, and lasting over three hours, Malmkrog is a challenging watch for the audience, since the dense and philosophical topics get a bit repetitive as the movie goes on and the staged nature of the feature may become an annoyance after the intriguing first chapter.
This specific section shows the arrival of the guests at the villa and a palpable tension can be felt as the characters start discussing about the morality of war and peace. This tension is endured by Puiu’s impeccable direction, as the camera is never quite sure who will talk next and where those characters will be, an aspect that worked extremely well in his own Sieranevada.
The climax of the first chapter arrives when Isabella, a countess, reads a letter she has received from an old friend which recounts his “most beautiful and purest memory” – the day he slaughtered a whole battalion in about fifteen minutes. A very heated conversation ensues as the topic shifts its focus on a more religious perspective and the discussion begins to take an “unpleasant air”. Puiu’s social dynamics in Malmkrog are at its most subtle when there’s tension between the characters of different social classes, but it’s not fully explored until a specific sequence later on that also suggests the non linear structure of the film – similar to how the novel follows the author’s stream of consciousness.
There’s a fall in tension as Puiu’s direction becomes more stationary in the last three chapters and strongly embraces the stagey nature of this work. The direction, at the same time, might be the biggest flaw of the film, as its characters are limited and work as props for the strict vision imposed by the filmmaker – unlike Sieranevada or The Death of Mr. Lazarescu, where the emotions came from their performers.
Altogether, Malmkrog constitutes a fascinating yet austere experience, one that won’t engage the audience’s attention for its emotions but rather its philosophical content and Puiu’s almost immaculate mise en scène.