When Valentyn Vasyanovych shot The Tribe (2014) by Myroslav Slaboshpytskyi, he was a cinematographer and emerging director. Shortly after, he developed an impressive oeuvre of his own beginning with Black Level (2017), a dialogue-free film about a wedding photographer in a midlife crisis. Similarly to The Tribe, Vasyanovych was exploring a novel cinematic language within a new wartime reality, establishing a formal strategy consisting of a strictly static camera and deep focus, extended mise-en-scène and minimal editing through which his films can be recognized. Two subsequent fiction features brought him international acclaim, whose frighteningly prescient narratives helped him attain the […]
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