Literal surreality, apparently:
Woman at War
How one woman can fight the war effort. Modern warfare is rogue guerrilla tactics vs. drones in a military-industrial-police-surveillance state. How does her desire to be a mother relate to, conflict with, and reinforce her commitment to battle the forces ruining our collective futures before it’s too late (the last shot lucidly suggests it might be too late already)? Is she at war with herself, a conflict foisted on her by the world making her maternalistic desire to take care of the planet and another living being contradictory? Or perhaps ensuring future generations of life is giving birth/being a mother; improving unfortunate conditions you may not have personally created by building a house that improves the situation — which is what she tries to do in regards to our climate crisis — is a form of adoption. And yet, she needs to be two people — literally — with some help from her friends to be a global mother AND a personal one. To emphasize the concept of how we must all face the music in the coming climate reckoning, the movie boasts what will be undoubtedly among my favorite scores of the year; added points for the surrealistic appearances of the nomadic band onscreen to play their accompanying music “live.”
A non-English language animated documentary! The animated reenactments of the talking-head storytelling seem to be a reflection of the orator’s impression of how his childhood self — already prone to colorful flights of fancy, here expressed literally in drawn colors — experienced the surreality of post-World War II Soviet society. If live-action cinematography is a picture of the world, then animation is more of a subjective representation, thus serving as a better fit to depict memory, which itself is a similar representation of reality — more a painting than a mirror-image of it. The present-day interview is a direct record (albeit an edited one) — thus, it’s live-action.