Tuesday, 29 March 2011
Aleksandr Rogozhkin: Cuckoo - Кукушка (2002)
Russia 2002. 104 min. Color. In Russian, Finnish, and Sami with English subtitles.
Written and directed by Aleksandr Rogozhkin.
Director of Photography Andrei Zhegalov.
Editor Iuliia Rumiantseva.
Production Designer Vladimir Svetozarov.
Music Dmitrii Pavlov.
With Ville Haapasalo, Anni-Kristina Juuso, Viktor Bychkov
Prizes and Festivals
* June 2002 - XXIV Moscow International Film Festival - presented as a part of the competition program.
* July 2002 - X Festival of the Festivals in Saint Petersburg - Grand Prize "Golden Griffin" - best film.
* August 2002 - X Film Festival "Window to Europe" in Vyborg - presented as a part of the competition program.
* October 2002 - International film festival "Europa Cinema" in Viarego, Italy - presented as a part of the competition program.
* December 2002 — 3 awards "Golden Aries" of the National Guild of the Movie Critics and the Movie Press.
* February 2003 - 4 awards "Golden Eagle".
* March 2003 - 4 awards "Nika".
* 2003 - International Film Festival in Troy, Portugal.
* 2003 — International File Festival in San Francisco — Viewers' Choice Prize.
* 2003 — XI Russian Film Festival in Onfler, France.
* June 2004 - Russian Federation National Award in the Art and Literature Area was awarded to the crew of the film.
© STV Film company, 2002.
A nail is hammered into stone while men in Wehrmacht uniforms are meticulously preparing the proper vantage point for a sniper's position. With this opening sequence of images, Aleksandr Rogozhkin's film The Cuckoo begins in medias res, but soon adds a profound existential dimension to the seemingly routine sequence of World War II military activity. A Finnish soldier has been condemned by his unit and is forced to don an SS uniform. Now he must assist in his own enchainment. Imprisoned on a boulder "like Prometheus," as he will later explain, his life is reduced to serve one final purpose: he is to become a "cuckoo," Soviet army slang for a condemned and thus involuntary sniper. This introduction deftly establishes an overarching theme. It hints at the larger, abstract question of how humans could possibly liberate themselves from the brutal constraints of circumstances, especially in war, while it simultaneously renders this idea in its essential concreteness—an image of one man, shackled to a rock...
Writes Daniel H. Wild©2004 in KinoKultura