On This Land

The superstitious life of an 18th-century Russian village is upended when a young man constructs mechanical wings in a desperate bid to escape forever. A captivating, visually arresting period piece that resonates far beyond its historical setting.

In late 18th-century Russia, village life is shaped by a fusion of rural superstitions, pagan beliefs and traces of Orthodox Christianity. Twin girls are violently separated when one is believed to be possessed, accused of draining the vitality of her sister. Meanwhile, a young man, branded a freak and outcast, obsessively constructs mechanical wings in a desperate attempt to fly like Icarus. Overseeing this turbulent world are Europeanised feudal lords who maintain brutal, cynical control over the peasants, exacerbating class tensions.

In her first feature, Renata Dzhalo crafts an intense and enigmatic world that, while seemingly rooted in the past, resonates uncannily with modern times. The villagers’ sectarian nature is fueled by unrestrained phobias and fear of the other, while the supposed enlightenment of their refined landlords masks a more insidious form of barbarism. Freedom, in this world, manifests only through acts of pure madness, often with fatal consequences.

On This Land bridges different cinematic traditions. Its stunning yet understated black-and-white cinematography evokes the works of Eastern European masters like Andrei Tarkovsky and Béla Tarr, while its minimalist, panoramic storytelling lends the film a sense of historical authenticity akin to contemporary interpretations of the past. Both classic and modern, it transcends a simple portrayal of an era, offering an ambient, visceral experience of cinema at its purest.

– Evgeny Gusyatinskiy

Trailer

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