By Jake Howell jake.howell@utoronto.ca

Cannes Review: The Student

student

On Day 3, sidebar program Un Certain Regard has again proven more interesting and daring than the Competition. It’s a list of films that already includes a fundamental powerhouse: The Student (Uchenik), by Russia’s Kirill Serebrennikov, an adaptation of Marius von Mayenburg’s darkly satiric German play “Martyr.”

Taking Christianity and cynically spinning the cross sideways—figuratively, and once, even literally—The Student is an energetic, impeccably choreographed film that follows Venya, a troubled youth whose chip on his shoulder is a communion wafer. After an overnight conversion to get out of swimming lessons, Venya (Petr Skvortsov) doubles-down on his new identity and assumes the role of high school proselyte, wielding the words of Mark and Luke to disrupt class and disrespect his teacher Elena (Victoria Isakova), an atheist having a hard time convincing her devout principal she’s the rational one.

Emphasizing fire over forgiveness, Venya’s party trick—other than brooding—is memorizing lines and lines of Biblical brimstone, citing them perfectly when sins present themselves. Those absent from Sunday School may be surprised to learn just how misanthropically they can be interpreted, and to assure us Venya’s bitter judgments are real, Serebrennikov cites with on-screen text where these quotes appear. Is prayer useless, or is it everything? Is violence condemned, or is it condoned? It’s unsure who the real sinner is once the first stone is cast.

These questions, combined with Elena’s passionate refutations as she academically researches the Bible herself, point to Christianity’s inconsistencies while simultaneously disparaging them. “I’m not making this up,” Elena says at one point. “It’s all written right there.” The Student’s theme of religious futility is explored at both ends of the belief spectrum, promoting the 47-year-old writer-director’s story to greatness.

Despite a two-hour running time, the watchable, engaging leads and masterful blocking keep the drama absorbing. Staying loyal to its inception as a stage production, Serebrennikov schools us with a lesson in momentum: transitions between scenes move seamlessly and theatrically, oftentimes without cutting. His patient direction captures minutes of dialogue in a single take; clever edits allow an empty classroom to become a full one as the camera pans away.

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“Ten years ago at Telluride, I said on a panel that theatrical distribution was dying. It seemed obvious to me. I was surprised how many in the audience violently objected: ‘People will always want to go to the movies!’ That’s true, but it’s also true that theatrical cinema as we once knew it has died. Theatrical cinema is now Event Cinema, just as theatrical plays and musical performances are Events. No one just goes to a movie. It’s a planned occasion. Four types of Event Cinema remain.
1. Spectacle (IMAX-style blockbusters)
2. Family (cartoon like features)
3. Horror (teen-driven), and
4. Film Club (formerly arthouse but now anything serious).

There are isolated pockets like black cinema, romcom, girl’s-night-out, seniors, teen gross-outs, but it’s primarily those four. Everything else is TV. Now I have to go back to episode five of ‘Looming Tower.'”
~ Paul Schrader

“Because of my relative candor on Twitter regarding why I quit my day job, my DMs have overflowed with similar stories from colleagues around the globe. These peeks behind the curtains of film festivals, venues, distributors and funding bodies weren’t pretty. Certain dismal patterns recurred (and resonated): Boards who don’t engage with or even understand their organization’s artistic mission and are insensitive to the diverse neighborhood in which their organization’s venue is located; incompetent founders and/or presidents who create only obstacles, never solutions; unduly empowered, Trumpian bean counters who chip away at the taste and experiences that make organizations’ cultural offerings special; expensive PR teams that don’t bring to the table a bare-minimum familiarity with the rich subcultural art form they’re half-heartedly peddling as “product”; nonprofit arts organizations for whom art now ranks as a distant-second goal behind profit.”
~ Eric Allen Hatch