Sergei loznitsa, Ukrainian filmmaker of Belarusian origin, has very specific foci of interest that reflects various ways in the Three axes that govern your filmography: documentaries from file images (your most portentous and admirable works), fictions that descend to the greatest moral hells of the human being (My Joy, in the fog) y Observational Documentaries of neutral appearance But with the very twisted fang.
To this last group belongs Victory Day (2018), where Loznitsa shows the images he captured with his camera during the Victory Day celebration in Berlin the previous year, in 2017. along the same line as the previous Austerlitz (2016), where it portrayed tourists who visit the concentration camps of Sachsenhause and Dachau, the filmmaker is diluted in the observation of what happens in the surroundings of the Soviet war monument located in the Berlin Park of Treptow.
There, turned into one of the biggest berlin icons (and RDA, before the fall of the wall), numerous visitors come every May 8 to celebrate Victory Day From the Soviet Red Army on Nazi Germany, songs are sung, political discussions on the political climate of current Germany (and current Russia) are maintained, as well as Many militaristic badges also look, Tourists take selfies and street vendors take the opportunity to do business.
80 years after that historic May 8, 1945 that marked the end of World War II on the European stage, And with the continent in another terrible armed conflict After the Russian invasion of Ukraine (theme that Loznitssa has also addressed very closely), the conclusions that can be taken out of Victory Day They are greatly relevant. Just like Austerlitz, The movie shows how the horrors of the past end up banalizing until they become ornament, A background accessory in Intagram selfies.
Where to see ‘Victory Day’, by Sergei Loznitssa
Victory Day, Like a good handful of films by Sergei Loznitsa, It is available in Filmin.
Loznitsa premiered Victory Day the same year as two other key titles of his work: The Trial, with images of the rigged process that was submitted in Moscow in the 30s to a group of economists and engineers accused of planning a coup; and Donbass, An aberrant fresco of this border of Ukraine with Russia.
Both can also be seen in Filmin, as well as other non -fiction works of the prolific Ukrainian filmmaker: Maidan (2014), The last empire (2015), State Funeral (2019), Chapter yar. Pertext (2021), Mr. Landsbergis (2021) o About the natural history of destruction (2022).
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