«The Light» - Movie Review by Kinoafisha

Together with Dmitry, a man in his 40s, we find ourselves in the office of Tatiana Sergeevna, a social services employee. She is currently in the middle of a work meeting, bustling with tasks, so she rushes Dmitry and doesn't have a chance to calmly tell him about their services. Meanwhile, Dmitry, who is searching for a social worker for a close relative, persistently questions her about everything, fearing insensitivity towards the elderly. He dislikes how Tatiana speaks in soulless terminology and takes his time to think, ultimately deciding to reject her services. Offended by this situation, Tatiana spends the evening with her caring husband in front of the TV, preparing for her upcoming 60th birthday with the help of her son Mitka, who does everything in his power to assist her. On the threshold of her jubilee, Tatiana will have to confront a past trauma that will take us back to the Soviet years - a time when she had not yet chosen this profession and had not become the person her life ultimately made her.

The film "Light," featuring authentic heroines, was directed by Anton Kolomeets, who has previously excelled in creating female characters. He already demonstrated this in the short film "Four Women," the feature drama "Your Tutor," and, of course, in the script of the series "Chiki," where Kolomeets served as a co-author. The director and his team presented their new movie at the "Vyborg" film festival, where it was received quite favorably. In addition to the enthusiastic reaction of the audience and the raving comments during the post-premiere discussion, the film received several festival awards. "Light" received the main prize in the competition for narrative cinema, triumphed in the "Vyborg Score" program, where both regular viewers and industry professionals voted, and also won the award for the best ensemble cast. Thus, the film illuminated the Vyborg cinema with its brilliance and, most likely, has all the chances to gather audiences in front of both big and small screens.

This film skillfully, albeit somewhat insistently, plays with the concept of light and consists of two parallel storylines that intertwine. This technique is used to showcase the transformation of the self-centered Tanya of the past into the generous Tanya of today. One part of the story takes place in the 70s, when the girls' friendship is tested by love and jealousy. These young women dream of admission, meet boys who sing by the campfire, dance at discos, and face the harsh realities of adult life, far from their fantasies. For instance, the young Tanya often falls into fits of hysteria, lamenting her own insignificance (a few trims with the editing scissors wouldn't have hurt to reduce the repetition). The future graduates, Tanya and Marina, occasionally engage in philosophical monologues, which you wouldn't necessarily expect from girls who have just splashed around in the river and joked about simple things.

The film's plot disappoints due to the unrecognizability of the young and grown-up Tanyas. The characters portrayed by Elena Yakovleva and Darya Konyzheva in the two timelines are completely different. Surprisingly, Konyzheva even outshines her more experienced colleague. Although Yakovleva's portrayal of Tanya is one of her best recent cinematic performances. Young Tanya is intriguing and far from foolish, inclined towards self-reflection. She has a knack for humor, loves to dress up, dances, and attracts people like a magnet; she's definitely got that spark. She's selfish and often envious of her friend. The Tanya who proceeds into her 60s, on the other hand, is completely different. She's a plain woman, extremely conservative, uninteresting, but virtuous. She's not open to new experiences, pays no attention to her appearance or her favorite activities. Adult Tanya hardly contemplates herself or her life; instead, she only cares for her family and devotes all her energy to her dependents. She's just an ordinary woman, having lost all her charisma. It's difficult to believe in such drastic changes, even though the character endured a trauma that divided her life into "before" and "after."

Overall, this film authentically depicts a time that the director himself did not experience, being born in the 80s. The 70s feel genuine thanks to the director's extensive conversations with parents of that era. The past is not only accurately captured by cinematographer Ekaterina Smolina's camera, but also recreated down to the smallest details in speech, music, clothing, and dance. The honest and straightforward storyline is remarkably poetic and vividly depicted. However, the present appears less vibrant, which is understandable considering the less colorful life following the traumatic experiences of youth. Nevertheless, contemporary times bring recognizable disputes in many families over television and the internet, which sometimes escalate into scandals. The dialogues with parents, accustomed to stable jobs, are also relatable; they fail to understand their children's constant desire to change careers and quit if it doesn't bring them joy.

The film "Svet" (Light), much like a family photo album, delicately collects memories of the past, fragments of the present with its political discussions, and hope for the future. It evokes a strong desire to immediately call parents, children, friends, and loved ones. The movie reminds us of life, which can be abruptly cut short, of close connections that break apart at times due to foolish reasons. Overall, the film is filled with what can be described in simple terms as "realistic." It is a cinema that emits its own light and speaks to the viewer in a relatable, straightforward language, occasionally transforming into the airy singing of gentle girls' voices. On one hand, it is a young adult story about teenage friendship that falls apart when one of the girls falls in love for the first time, while the other cannot accept that they have grown up. On the other hand, it is a family film about the generation gap, bringing together fathers who believe in television and children who acknowledge only the internet. As a result of this symbiosis, it simply becomes the perfect film to reconcile both sides.