L'Été

This damned hot summer can’t be over soon enough. But in the case of Kirill Serebrennikov’s Summer, I’d be happy for it to last longer. This is despite the fact that it basically consists of a story-less series of musical performances by obscure Russian bands and partially animated musical sequences (which, conversely, feature hits by famous Western musicians). The burgeoning love triangle has a certain dramatic weight, but due to how loose the relationships between the characters are, it cannot have very painful consequences. Nor does the apparatus of the state put any serious pressure on the artists. The bohemian rockers encounter officers only once and deal with censorship easily and with humour. Despite that, we are constantly aware of the danger faced by the free environment that the protagonists have created around themselves in a country that is not free and the tone of the narrative gradually changes from the initial summer contentment to a melancholic premonition of an impending downfall. The final scene, which sums up this fleetingness of life with the aid of two blunt titles, is unbelievably powerful and timeless. ___ Summer is a film in which, as in Russia (or, for that matter, Czechoslovakia) almost nothing happens in the early 1980s. Just repeat the official government actions and speeches, always captured here somewhere in the background on a television screen, with which the regime shapes its (self-)image and maintains the status quo. Rock music, whose lyrics are about free love, alcohol and rebellion against the system, naturally disturbs this order. While musically it mainly involves (progressive and indie) rock or New Wave, the film is a somewhat punkish affair in terms of narrative, which adheres to most of the principles according to which drama should be structured. The rhythm is set by the songs rather than by plot twists. When the film loses its breath, one of the characters, who communicates with other inhabitants of this fictional world as well as with the viewers (to whom he continually announces that what we have just seen never actually happened), helps it get a second wind. However, it is seductively easy to get carried away by the narrative thanks to the film’s tremendous spontaneous energy, catchy songs, numerous outstanding and probably labour-intensive audio-visual ideas (the film’s highlights include the covers of cult records “coming to life”) and, of no less importance, the black-and-white camera work, which shifts from character to character in long shots with a superb intra-shot montage and, together with the songs linking the individual scenes, contributes to the impression of a smooth flow of events. ___ I realise that the film borders on being too dramaturgically lax, that it does not have to so thoroughly take on the cyclical repetition of certain situations that were typical of socialism, that the characters do not undergo any fundamental development and that the end could occur at virtually any given moment (it would have made perfect sense to me if the credits ran after the film appears on the screen and immersion in the sea). I therefore understand that Summer can be an arduous experience for viewers who do not see it from the first few minutes. For me, who had goosebumps even during the opening song (and then several more times after that), it was a totally liberating experience and one of the most accurate cinematic depictions of everything that I associate with summer. I would like to experience a summer like this every year. 90% (07/08/2018) (moins) (plus)