Axundov's cinematography is amazing in the open shots, it snakes, zooms in-out and at the same time balances shadows and contours almost in sepia. We can simultaneously enjoy the shepherds carrying hay and the women mowing and loading grain into sacks, with their scarves on the same open canvas, as in a painting by Hyeronimus Bosch. As for the plot, probably only in India, in Jerusalem or in ancient Persia could we find a social hostility as deep as that of this story, where the horrors and desperations of the Second World War are added to the cultural and anachronistic hermeticism of the plac…
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