The BFI London Film Festival has just ended, and it was quite a fruitful season.  Films have ranged in tone, plot and impact from family-friendly Abominable to the intoxicating thriller Monos. However, one film in particular stood out at the event as leaving its audience in a state of shock.

Beanpole is a post-WWII Russian film set in Leningrad. The film follows the character of Iya, portrayed by Viktoria Miroshnichenko, who is also known as ‘Beanpole’ for her towering and slender frame, giving her an otherworldly appearance. We see her attempts to adjust to life after the war despite the periodical paralytic blackouts that plague her. The general arc of the film explores her relationship with Masha (portrayed by Vasilisa Perelygina), a fellow ex-soldier and ‘friend’.

Beanpole does multiple things differently to regular war films

Like its central character Iya, I was left glassy eyed and stock-still whilst trying not to break underneath the crushing weight of the film’s anguish, desperation and visceral emotion. Generally, World War II films are unable to truly capture my attention, but that is usually due to the sheer saturation of romanticised and heroic depictions of such a tragic event. However, Beanpole does multiple things differently: for example, it focuses on the women who not only fought in the war but are trying to recover from the effects of it, and, whilst the backdrop is a post-war Russia, the theme of war it is instead interwoven with many other themes, which is done beautifully. It was the most refreshing takes on war we have seen in a while by showcasing the ugliest side-effects in a non-hyper-masculine, non-violent, slow-paced environment.

Many criticisms of Beanpole circulating online revolve around the fact that its plot moves at a glacial pace. There does seem to be an ever-present glass-dome surrounding the characters that they are aware of: it causes them to speak softly so as not to disturb its fragility, and the central characters move just as leisurely, as though any quick movements will interrupt the film’s steady flow. Naturally the combination of slow movements, slow plot and soft voices could cause its audience to tune out, which I did find myself doing at certain points. But overall this decision by 27-year-old director Kantemir Balagov drives home the initial theme of miserabilism. The lives of every character is surrounded by a degree of mundanity as they try to adjust to a non-war setting after years of death and battle, which is mirrored in the movie’s pacing. Although this style is an acquired taste, if you are impartial to slow-going, arthouse films, Beanpole may be able to hold your attention unconditionally.

Colour seems to be found in moments of fleeting happiness

That isn’t to say that I wasn’t invested in the film. Although my attention wavered at occasional points, I would find myself suddenly recaptured and thrust back into the plot. The beautiful cinematography is eye-catching with its vivacious reds and greens contrasting with the bleak hospital setting. Colour seems to be found in moments of fleeting happiness, like the beautiful green dress made by ‘the dressmaker’ which causes Masha to spin around in the garment in hysterical happiness before subsequently breaking down into tears. The vivid green paint splashed across the walls where Masha and her lover Sasha redecorate the former’s apartment, or the ruby red jumper little Pashka wears when playing games with ex-soldiers in the hospital. Though these moments may initially seem bland with a subtle overarching theme of solemnity, they are moments in which the characters are desperately trying to find solace in their new lives and this is paralleled through the use of colour.

The phenomenal acting by everyone is also enough to seize and hold your attention in its grip. Masha’s sardonic and self-serving character is exemplified through the permanent little smirk on Perelygina’s face, even in moments when it is at odds with the situation, even when it is distasteful. It is unclear whether this is a defence mechanism, a result of going through atrocity after atrocity, or just reflective of her poisonous character. Iya’s paralytic attacks are also haunting and imprinted into the audiences minds. Miroschnichenko’s beautiful and ethereal figure occasionally becomes so still her alabaster skin could quite literally pass for a statue – the only thing that gives her away is little grunts and clicks, sounds not too dissimilar to a strangulation victim. Like asphyxiation, it leaves the audience feeling breathless and in awe of such raw performances. Frequently, it is necessary to remind ourselves to breathe. Even little Pashka, portrayed by Timofey Glazkov, despite his short-lived arc and young age, delivers one of the most flawless and incredible performances by a child in quite a while.

It is refreshing to see a toxic relationship portrayed in such a setting

The toxic relationship between Masha and Iya is also characterised perfectly through mere glances at each other. They can seemingly communicate through a look in the eyes, a slight quirk of the lips. Both actresses perfectly navigate the idea of grief and loss whilst also being women in a rollercoaster of a relationship. It is refreshing to see a toxic relationship portrayed in such a setting, because the audience can understand their intense need for each other: they have been bound by a tragedy, and, despite their immense differences, they can only ever find solace in each other.

Verdict:

Overall, Beanpole is an incredible film filled with an incredible cast of characters who have all been touched by the war in some way. Each performance is spectacular with each theme embodied perfectly. The only thing that holds it back is that, although the idea of dealing with death is explored beautifully, the theme of death itself within the film is seemingly glossed over and underdeveloped.

8/10

Beanpole is now streaming on MUBI.