As a film critic who spent my formative years under the communist regime in Bulgaria, I found “Triumph” to be a poignant and humorous reflection of the chaotic transition period that followed the fall of communism in my homeland. The directors’ ability to weave real events into an absurd and satirical narrative is truly remarkable, making for a unique viewing experience that is both original and outlandish.
Although Bulgaria’s Communist Party gave up its political monopoly in 1989 and transitioned to a parliamentary democracy, it surprisingly won the country’s first free elections the following year. The chaos that ensued due to the unfamiliar freedoms is depicted in “Triumph,” a unique political satire by Bulgarian directors Kristina Grozeva and Petar Valchanov. This film showcases the clash between traditional power structures and absurd new-age ideas, leading to an unproductive standoff. While the humor can be hit or miss, it primarily relies on the deadpan comic style of Maria Bakalova, who revisits her homeland after starring in “Women Do Cry” in 2021.
Based on true events, albeit not suggesting calmness in its intense, dramatic style, ‘Triumph’ is the final installment of Grozeva and Valchanov’s self-declared “newspaper clippings trilogy.” Each film is developed from a sensational headline in Bulgaria’s media history. Previous films include ‘The Lesson’ (2014) and ‘Glory’ (2016), with the latter being Bulgaria’s submission for the Oscars, as is ‘Triumph’ this year. This peculiar story about a failing military mission seeking extraterrestrial contact seems to have been plucked from the pages of The National Enquirer or a Balkan counterpart, featuring an eccentric narrative style that sets it apart from its more subdued predecessors.
1990, in the western part of Bulgaria, an army unit is engaged in a fruitless endeavor, digging and filling pits at the drop of a hat under the guidance of General Zlatev (Ivan Savov) and Colonel Platnikov (Julian Vergov). Their mission, cloaked in secrecy, aims to unearth a supposed alien artifact buried in this stretch of khaki-colored countryside. A psychic medium, Nyagolova (Margita Gosheva), with her frizzy hair and mysterious powers, is also present. She speaks of reaching the seventh zone and controlling deactimation hazards, but more straightforwardly suggests that discovering the artifact and tapping into alien wisdom will usher in a new era for Bulgaria.
In this intricate puzzle, Slava (Bakalova), the seemingly innocent and emotionally vulnerable daughter of Platnikov, is believed by Nyagovola to possess remarkable psychic abilities, though his faith in this might be questionable. As the mission becomes increasingly convoluted, it’s becoming increasingly challenging to discern who may be deceiving whom. Slava’s careless speech and her attraction towards a young soldier are eroding whatever remnants of integrity there were initially. Representing a population subjected to confusing political beliefs, Bakalova delivers a captivating performance that contrasts the harsh, barking farce of her elders. Her face reflects a deep pool of bewilderment and curiosity, eventually turning into suspicion.
The film “Triumph,” penned by Grozeva and Valchanov along with Decho Taralezhkov, draws heavily from an unexpected source of truth in Bulgaria’s Defense Ministry history – the two-year psychic-guided excavation project known as the Tsarichina Hole, which was eventually abandoned due to financial constraints. The script initially generates a lot of humor and absurdity, but later loses some steam, and the tone shifts towards darkness and nihilism. Despite being only 97 minutes long, the movie seems somewhat lengthy, with its second half repeating satirical elements that have already been effectively delivered.
In a cinematic sense, this atmospheric endeavor increasingly feels suffocating, mirroring Krum Rodriguez’s camera work that descends deeper into the gloomy excavation, engulfed by hues of beige and gray. Yorgos Lanthimos’ frequent editor, Yorgos Mavropsaridis, maintains a restless and anxious tempo, seeming more focused on disrupting rather than revealing the storyline. Consequently, viewers might find themselves just as disoriented in this purposeless endeavor as the crew eventually becomes.
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2024-11-14 19:18