DOUBLE FEATURE
The monotony of endlessly repeated hand movements and routine tasks in a post-Soviet factory that has remained miraculously unchanged since the 19th century: Loznitsa’s playing field for a study somewhere inbetween aesthetics and sociology. The two conceptual sections of the film bear the headings “Steel” and “Clay”; both immerse us in the rhythm of serialized production. The industrial age is far from over – least of all on the long wall outside the factory on which are emblazoned names and portraits of the “Best of the Best”.
DOUBLE FEATURE
The monotony of endlessly repeated hand movements and routine tasks in a post-Soviet factory that has remained miraculously unchanged since the 19th century: Loznitsa’s playing field for a study somewhere inbetween aesthetics and sociology. The two conceptual sections of the film bear the headings “Steel” and “Clay”; both immerse us in the rhythm of serialized production. The industrial age is far from over – least of all on the long wall outside the factory on which are emblazoned names and portraits of the “Best of the Best”.