As a history enthusiast who has spent countless hours immersed in the complexities of the past, I found “La Palisiada” to be a captivating and thought-provoking cinematic experience. The film masterfully weaves together the intricacies of a murder mystery with the broader themes of Ukraine’s transition from Soviet rule, creating a narrative that is as muddy and muddled as history itself.
In a skillfully told manner, history can often appear messy and confusing, lacking clean narratives or tidy conclusions. “La Palisiada”, set in 1996, mirrors this truth by portraying a noir-like investigation into a murder that serves as a pivotal point in Ukrainian history. However, as the main characters delve deeper into their pursuit of the culprit, they find themselves navigating a journey that is equally murky and disconcerting, reflecting the complex and chaotic systems from which post-Soviet Ukraine was only beginning to free itself, a few years after gaining independence.
The movie “La Palisiada” begins with a murder, but it’s not the one connected to Sotnychenko’s film. Instead, the sudden gunshot before the title card establishes the setting for a journey into the past. This isn’t just a story about violence; it delves into the causes of that violence and its long-term effects. That’s why Sotnychenko invites viewers to go back to 1996, where we observe a police investigation into the colonel’s murder. It was the year Ukraine joined the European Convention on Human Rights, abolishing capital punishment – a detail that gains significance as “La Palisiada’s” central story unfolds.
The inquiry is spearheaded by forensic psychiatrist Oleksandr (Andrii Zhurba) and his detective companion Ilhar (Novruz Pashayev), who are having trouble distinguishing truth from falsehood, and are finding it challenging to navigate a red-tape-ridden system that’s eager to pin the blame on someone – regardless of the evidence or testimonies. As time goes by, the investigation seems less about seeking answers and more like a formality with no real understanding or resolution in sight.
In the moment when a second gunshot rings out, it becomes apparent that Sotnychenko is depicting what might be the final breath of a nation struggling to hold onto its former identity, as its sanctioned violence echoes the ghostly remnants of the U.S.S.R. Is this the essence of Ukraine, or an image it strives to erase from its past? Does 1996 mark a turning point or simply a fold in the timeline? Can a nation truly break free from its history without being doomed to relive it and let its impact resonate through time? These questions, though abstract, serve as the foundation for the gruesome task that Oleksandr and Ilhar must unravel.
Instead of relying on dialogue or conventional narrative, this film’s storytelling method is primarily visual. This can be seen in extended, silent sequences where characters eat and drink while a song plays from a record player, or in captivating scenes that mimic the style of ’90s home videos due to handheld cinematography. The investigation unfolds through various recorded testimonies, staged re-enactments on tape, and even a brief video clip showing potential suspects lying prone with their hands behind their heads, addressing a camera that serves as a moving mugshot device.
The footage is frequently incorporated into the movie, at times appearing indistinguishable from the handheld camera work elsewhere – even in the opening scene, where Cinematographer Volodymyr Usyk’s technique gives the impression of covertly capturing events, thereby foreshadowing both the film’s underlying sense of paranoia and its eerier undertones. As you come to understand how these videos shape a reality that is more subservient to power than truth, their homespun aesthetic takes on less of a nostalgic feel and becomes more about urgent recall instead.
As a cinephile, I can’t help but be captivated by the enigmatic nature of “La Palisiada.” The more I delve into its intricate plot, particularly the central mystery of the murder, the more elusive it seems. Sotnychenko masterfully weaves an elliptical narrative that feels like a dream, leaving me questioning the solidity of what I’m witnessing on screen. Yet, within this foggy landscape, there lies a profound tale about the crafting of history and the echoes of the past that resonate through generations.
The movie unveils itself through its title, combining the concepts of “lapalissade” (an overtly obvious cliché) and “policiada” (a police tale). Despite testing your patience with its cryptic twists, “La Palisiada” compensates for it by captivating your focused, unsettled gaze – primarily because it can be interpreted as a form of haunting story, exploring how the echoes of past violence linger in the now.
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2024-11-25 16:16