Like Fellini’s Amarcord, whose title it recalls, I Remember You is a semi-autobiographical meditation on the past. Kim, a veterinarian, leaves Samarkand at the request of his seriously ill mother and heads on a voyage across Russia in search of the grave of his father who died during the war. Reflecting Ali Khamraev’s own personal history – his Ukrainian mother and Tajik father, his father’s death during World War II, his own subsequent voyage with his brother to find the grave – this poetic journey into the subconscious memory is rendered in images of extraordinary intensity and beauty and one of Khamraev’s true masterpieces.
Ali Khamraev’s sleek, stylish film, a modernist political melodrama that earned prizes abroad but official disapproval at home, interconnects the stories of three women struggling with traditional social constraints in post-World War II Uzbekistan. One is an illiterate but very determined young woman committed to building a house even though local custom does not permit it without the approval of her absent husband. Another is a school teacher seeking to bring progressive ideas to a village long subjugated by strict old-fashioned practices. The last is an elderly woman who was kidnapped by a poor peasant in her youth and forced into marriage. A dreamy and impressionistic remembrance set in a hardscrabble world, Khamraev’s Triptych is an underseen achievement in international art house cinema.
Eclipse is a selection of lost, forgotten, or overshadowed classics in simple affordable editions. Each series is a brief cinematheque retrospective for the adventurous home viewer.
An artist of rock-solid humanism and amazing expressive power, Ali Khamraev is a giant who sits astride the history of Uzbek cinema. A graduate of Moscow’s Gerasimov Institute of Cinematography in 1961, he went on to make more than thirty documentaries and twenty feature films – criss-crossing between romantic comedies, Western adventures, political dramas, TV mini-series, and art cinema. Through them all, Khamraev engages in the unveiling of traditional Muslim Uzbekistan and expresses a faith in the modernizing influence of Soviet values and technology. A wizard with landscapes and an instinctual expert of social dynamics, Ali Khamraev is truly an underappreciated master of world cinema.
White, White Storks (Belye, belye aisty)
Influenced by Mikhail Kalatozov’s black-and-white classic The Cranes Are Flying, the Italian Neorealist movement, and the interpersonal dramas of Yasujiro Ozu, Ali Khamraev traces the impossible romance of a married woman and an unconventional outsider in a small, traditional Uzbek village called “White Storks.”
The Seventh Bullet (Sedmaya pulya)
Set during the Central Asian revolts of the 1920s, a Red Army commander allows himself to be captured by a Basmachi warlord to reunite with his imprisoned battalion and lead them to victory in this Western-inspired adventure in the Soviet frontier.
The Bodyguard (Telokhranitel)
A grizzled mountain trapper and a conscientious revolutionary are tasked by a Red Army unit with the difficult task of transporting a captured sultan, along with his daughter and his loyal servant, through a harsh mountain landscape to a neighbouring province while pursued by a ruthless Bashmachi warrior.
This modernist political melodrama set in a small northern town in 1946 follows three women struggling with the social constraints of post-World War II Uzbekistan: an illiterate girl who wants to build a house on her own, a school teacher aiming to bring progressive ideas to the villagers, and an old woman kidnapped in her youth by a poor peasant and forced into marriage.
I Remember You (Ya tebya pomnyu)
In this semi-autobiographical meditation on the past, an adult son’s journey from Samarkand across Russia to find the grave of his father becomes a poetic voyage into his subconscious memory and an exploration of intersecting Uzbek and Russian traditions.
With notes by Kent Jones
It’s another great month of announcements from the Criterion Collection and I’m very excited for Jim Jarmusch’s Dead Man (1995), a film that I greatly enjoy even if I can’t ever seem to stay awake through it. This trailer is wonderful, showcasing Neil Young’s superb score, the film’s impressive cast, and my absolute favourite moment – Billy Bob Thornton’s complaints about his hair. Criterion’s edition looks great and even includes the amazing Iggy Pop reading William Blake’s poems.
Rein Raamat’s Hell (1983) adapts the engravings of Estonian graphic artist Eduard Wiiralt into a surreal, grotesque, and heavily sexual animated short. Wiiralt’s three source works, “The Preacher,” “Cabaret,” and “Hell,” date back to the early 1930s and portray a cacophony of bacchanalia, hysteria, and violence in the final years of Estonian independence amid the unrest of the Great Depression and European instability. Raamat’s Hell (Põrgu) was created in the comparably uncertain time of Soviet dismantling and collapse. The short is unsettling in its physical fluidity, like an Eastern European, art film prediction of the climax to Brian Yuzna’s Society (1989).
BEWARE OF THE DOG THAT THINKS
The inner thoughts of a brooding canine named Baxter reveal the animal’s unhappy search for an ideal master. Dissatisfaction with his elderly and afraid owners lead to the dog plotting their demise and it is not long before the ingenious Baxter finds the perfect guardian – a lonely, introverted boy with a macabre interest in Hitler’s personal life and a strategy to turn the pet into a thoroughbred killing machine.
Both chillingly satirical and bitingly terrifying, Baxter is an under-appreciated art-horror masterpiece that resembles American Psycho starring a sociopathic dog and set in a French suburb.
SPECIAL EDITION CONTENTS
- Brand-new 2K restoration from the original camera negative, produced by Arrow Films exclusively for this release
- High Definition Blu-ray (1080p) presentation
- Original French mono audio (uncompressed LPCM)
- New English subtitles
- Optional English subtitles for the deaf and hard of hearing
- Brand-new appreciation by John Waters
- New interview with director Jérôme Boivin
- New interviews with actors Evelyne Didi, Catherine Ferran, and Sabrina Leurquin
- Theatrical trailer
- FIRST PRESSING ONLY: Booklet featuring writing on the film by Bruce Cherry