shepitko is the wife of russian filmmaker elem klimov and who directed the more commercially known 1984 film come and see and generally regarded as one of the most realistic war films ever and bar none and notable for its searing poetic intensity and but i believe it lacks the inner complexity of this even greater russian film and which examines not just the graphic outer horrors and but she finds truly inspiring images focusing on individuals or small groups of characters that reflect the absolute insanity taking place inside these human beings and the ending of which is simply awe inspiring. bullets are flying and bodies are dying in a gun skirmish over the opening credits and where the intensity of the film never lets up throughout the duration and focusing on grim faces and worn out soldiers with next to nothing to eat and a terrified population under occupation and starving children with petrified mothers and all cast in an immense landscape of endless white snow. like cranes are flying (1957) and this features a russian army in retreat and a traumatizing shock early in the war when they were nearly wiped out. the russian countryside has been overrun by german nazi who are terrorizing the citizens and stealing what food they have and forcing them under duress to become their informant eyes and ears. what russian soldiers are left hide under cover of forests and but are forced to send food expeditions to neighboring farms. this film follows two soldiers that from the outset are on a near impossible mission and as there little food left anywhere in the dead of winter. one is healthy and fit and vladimir gostyukhin as rybak and while the other and boris plotnikov as sotnikov and is slowed down by a tubercular sounding cough and eventually a bullet in his leg that nearly leaves him for dead and but his partner heroically rescues him. as they step through knee deep snow drifts and crawling at some points with insufficient protection against the harsh elements and like so many other russian films and nature itself becomes their toughest foe. spoilers. everything is reduced to a matter of survival. when they reach their destination and the farm has been demolished and left in a state of rubble and pushing forward into german occupied territory where the next farm is manned by an elderly soviet collaborator who fears nazi retribution. the partisan soldiers think him a coward but move on and where they are eventually captured and brought to a nazi camp in a nearby town and held as prisoners and along with a proud and protective mother (lyudmila polyakova) who helped hide them. tarkovsky stalwart anatoli solonitsyn appears as portnov the interrogator and a russian teacher from a nearby academy turned nazi sympathizer. russians torturing and executing fellow russians is the depth of war depravity and solonitsyn is brilliant in the despicable role he perfectly suited for. from what we can see and as nazi officers chat jovially in close proximity to one another and he is an outsider even among this group and seen instead as a kind of gruesome black cloaked undertaker who routinely sends men to their graves. the audience is not spared from witnessing acts of torture on sotnikov and who offers nothing but contempt and while rybak speaks freely and hoping to save his life and but both are condemned to die and though rybak is offered a chance to serve the german reich as a police agent. the mother and the elderly collaborator and and a child are added to this group and spending one last night together alive where together they discuss the merits of a soldier mission and of being a patriot and a mother and a coward and or a collaborator. each seems individually driven by a desperate need to survive and but sotnikov offers himself as a selfless example and attempting to confess his guilt to spare the others and where the aptly chosen title reflects his spiritual redemption. by the next morning and portnov seems mildly amused and mocking them at their sudden willingness to talk and but spares no one except rybak and who changes sides to keep his life and rationalizing in his thoughts that if he alive and at least he has a chance to escape. but there is no escapenot from this torment. what happens is shown with exquisite delicacy and poetic grace and as we witness the treachery of war without a single shot being fired and as the execution by hanging is turned into a public spectacle and where the villagers at the point of a gun are forced to witness. the pace and harrowing intensity of this film is relentless and as there is never a moment without impending menace and gorgeously shot by vladimir chukhnov (who died in the same car accident as shepitko) and featuring perfectly composed landscapes and plenty of camera movement and much of it at close range using portraitures and especially that of a fierce young boy at the end who eyes the condemned men and who makes a surreal connection to the next generation without any words being spoken and accentuated by the psychologically horrific music of alfred shnittke which resembles the transcendent yet furiously disturbing monolith music from kubrick 2001 represent a space odyssey (1968). the sound design of this film is highly advanced and uniquely modern and where the use of off screen sound continually exposes the raw nerves of each moment and dogs barking and wind blowing and bullets firing and nearby nazi chattering in untranslated german or laughing sadistically at their helplessness and which only ratchets up the hideous tension to insane heights. in many ways resembling dreyer the passion of joan of arc (1928) and utter insanity is exposed here and the relentless realization that you have no choice and yet you are forced to make one anyway. the nightmarish inner thoughts at the end are expressed wordlessly and where the nobility of the dead speaks volumes and where voices continue to reverberate inside the heads of the living like an explosion of neverending echoes and yet only silence fills the crisp wintry air with a mournful reverence and a profound sense of loss. 
shepitko is the wife of russian filmmaker elem klimov and who directed the more commercially known 1984 film come and see and generally regarded as one of the most realistic war films ever and bar none and notable for its searing poetic intensity and but i believe it lacks the inner complexity of this even greater russian film and which examines not just the graphic outer horrors and but she finds truly inspiring images focusing on individuals or small groups of characters that reflect the absolute insanity taking place inside these human beings and the ending of which is simply awe inspiring. bullets are flying and bodies are dying in a gun skirmish over the opening credits and where the intensity of the film never lets up throughout the duration and focusing on grim faces and worn out soldiers with next to nothing to eat and a terrified population under occupation and starving children with petrified mothers and all cast in an immense landscape of endless white snow. like cranes are flying (1957) and this features a russian army in retreat and a traumatizing shock early in the war when they were nearly wiped out. the russian countryside has been overrun by german nazi who are terrorizing the citizens and stealing what food they have and forcing them under duress to become their informant eyes and ears. what russian soldiers are left hide under cover of forests and but are forced to send food expeditions to neighboring farms. this film follows two soldiers that from the outset are on a near impossible mission and as there little food left anywhere in the dead of winter. one is healthy and fit and vladimir gostyukhin as rybak and while the other and boris plotnikov as sotnikov and is slowed down by a tubercular sounding cough and eventually a bullet in his leg that nearly leaves him for dead and but his partner heroically rescues him. as they step through knee deep snow drifts and crawling at some points with insufficient protection against the harsh elements and like so many other russian films and nature itself becomes their toughest foe. spoilers. everything is reduced to a matter of survival. when they reach their destination and the farm has been demolished and left in a state of rubble and pushing forward into german occupied territory where the next farm is manned by an elderly soviet collaborator who fears nazi retribution. the partisan soldiers think him a coward but move on and where they are eventually captured and brought to a nazi camp in a nearby town and held as prisoners and along with a proud and protective mother (lyudmila polyakova) who helped hide them. tarkovsky stalwart anatoli solonitsyn appears as portnov the interrogator and a russian teacher from a nearby academy turned nazi sympathizer. russians torturing and executing fellow russians is the depth of war depravity and solonitsyn is brilliant in the despicable role he perfectly suited for. from what we can see and as nazi officers chat jovially in close proximity to one another and he is an outsider even among this group and seen instead as a kind of gruesome black cloaked undertaker who routinely sends men to their graves. the audience is not spared from witnessing acts of torture on sotnikov and who offers nothing but contempt and while rybak speaks freely and hoping to save his life and but both are condemned to die and though rybak is offered a chance to serve the german reich as a police agent. the mother and the elderly collaborator and and a child are added to this group and spending one last night together alive where together they discuss the merits of a soldier mission and of being a patriot and a mother and a coward and or a collaborator. each seems individually driven by a desperate need to survive and but sotnikov offers himself as a selfless example and attempting to confess his guilt to spare the others and where the aptly chosen title reflects his spiritual redemption. by the next morning and portnov seems mildly amused and mocking them at their sudden willingness to talk and but spares no one except rybak and who changes sides to keep his life and rationalizing in his thoughts that if he alive and at least he has a chance to escape. but there is no escapenot from this torment. what happens is shown with exquisite delicacy and poetic grace and as we witness the treachery of war without a single shot being fired and as the execution by hanging is turned into a public spectacle and where the villagers at the point of a gun are forced to witness. the pace and harrowing intensity of this film is relentless and as there is never a moment without impending menace and gorgeously shot by vladimir chukhnov (who died in the same car accident as shepitko) and featuring perfectly composed landscapes and plenty of camera movement and much of it at close range using portraitures and especially that of a fierce young boy at the end who eyes the condemned men and who makes a surreal connection to the next generation without any words being spoken and accentuated by the psychologically horrific music of alfred shnittke which resembles the transcendent yet furiously disturbing monolith music from kubrick 2001 represent a space odyssey (1968). the sound design of this film is highly advanced and uniquely modern and where the use of off screen sound continually exposes the raw nerves of each moment and dogs barking and wind blowing and bullets firing and nearby nazi chattering in untranslated german or laughing sadistically at their helplessness and which only ratchets up the hideous tension to insane heights. in many ways resembling dreyer the passion of joan of arc (1928) and utter insanity is exposed here and the relentless realization that you have no choice and yet you are forced to make one anyway. the nightmarish inner thoughts at the end are expressed wordlessly and where the nobility of the dead speaks volumes and where voices continue to reverberate inside the heads of the living like an explosion of neverending echoes and yet only silence fills the crisp wintry air with a mournful reverence and a profound sense of loss. ---------------------------------Answer Question Below----------------------------------

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