‘Mariupolis 2’, a posthumous chronicle of an eternal war


The Cannes Film Festival presents photographs of Lithuanian filmmaker Mantas Kvedaravicius, who was assassinated by Russian forces in a siege of the port city.

Imagine de 'Marioupolis 2', Mantas Kvedaravicius, Lithuanian citizen.
Imagine de ‘Marioupolis 2’, Mantas Kvedaravicius, Lithuanian citizen.
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“It was heaven in hell, the delicate wings of the butterfly were coming, the smell of death was in its gross dimension. It was the beating of life. This reflection appears in the shooting notebook mariopolis 2from the Lithuanian director mantas cavedaravicius, His film at the Cannes Film Festival yesterday became much more than a simple film. Or, better, in everything that a movie aspires to do. The last image is a portrait of the director and below it are two dates (6/23/1976 and 3/30/2022), date of birth and date of death.

What was seen at Cannes on Thursday is a compilation of stories and lives that the director recorded in the besieged port city before being arrested by the Russian military and executed in early April. his fiancée, Hannah BilobrovaWho was with him when all this happened, managed to save the recorded film.

What you see is nothing more than a protest against life in the most absurd and cruel conditions. Hounded and surrounded, the characters of Kvedravicius roam the screen like shadows of themselves. The bombs don’t stop falling and even the dogs get used to the dull sound of death. At one point, eaten by a strange and dreary tension, one man comments to another why it is that the more honest the president of his country, the worse things happen to him. After a while, the rescue of a simple battery very close to the Odyssey becomes an adventure. And in the meantime, you eat, pray, sleep and watch as the days break with dread. And for a sun that suddenly seems like a miracle.

In 2014, Mantus Cavedravius ​​was already there. the result was mariopolis, a complete documentary that has now become the first part of an eternal tragedy. The film shows a girl playing with her father, dancers rehearsing, a couple catching fish, actors arguing over a scene. The war progressed, but life did not stop beating.

The posthumous film is in line with the filmmaker’s previous work to the core, a deeply humanistic work and light years away from exhibitionism or Reporting deception was deemed an illegal risk game. A man remembers that he was thinking of renovating his kitchen. He does it on the ruins that are everything now. The same proud citizen of Europe’s second cleanest city counts the pigeons he has released out of about 300, and he barely understands anything. Not too far away, one wonders about the inspiration of some soldiers who die to protect the privileges of the oligarchs. The whole film moves like a wound and rises like a throb of life, a monument to life.

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