Laurynas Bareisa’s astute quasi-detective story examines a murder of a loved one and the process of grief in Pilgrims, presented at the 78th Biennale di Venezia.
The 78th Venice International Film Festival, organised by La Biennale di Venezia and directed by Alberto Barbera, opened on September 1st with Pedro Almodóvar’s Madres Paralelas. Like every year, the festival is take place at Venice Lido, and will be live until September 11th, 2021. As part of this year’s program, we have delved into the Orizzonti Competition, where we have spotted Pilgrims by Laurynas Bareisa.
Laurynas Bareisa’s debut feature film, Pilgrims, was one of the more quiet and precise films of the Orizzonti section that subtly rewards viewers as the two central characters examine the mystery of an unsatisfying murder conclusion. Four years after the death of Paulius’ younger brother, Matas, he and Indre both travel to the town of the crime to get their answer of why the murder occurred. Throughout the story, it begins as both Paulius and Matas retrace the moments before Matas’ death in a self-police procedural detective story to reach closure, if any. Bareisa’s filmmaking is very precise from the beginning until the very end. His minimal camera movement, conscious use of surroundings for staging, and unfolding of answers show more so than tell.
The film begins with Paulius and Indre meeting and traveling from afar to find out for themselves, what really happened to Paulius’ brother. It is learned, that he was killed and that the murderer is in locked up. The two go through many detective-like investigations from what we assume is learned from the case such as visiting the murderer’s family house through trickery and arriving at a restaurant to find a waitress who was a witness. Through their investigation, answers come to be and learn of the complicity of the people involved with the murder. It’s straightforwardness and care help the film to be its own and not the standard conventional police drama.
As for the characters, they too start to reveal themselves. Paulius, of course, has a bond with his younger brother and won’t accept the reasoning from the case years ago, so decides to endure on this investigation with Indre. Indre, who was the last person who was suppose to contact Matas, joins Paulius, was more of the timid, yet inquisitive type. It’s uncanny how the two’s investigation actually makes them look like a police duo solving a crime, that the police couldn’t solve or purposely left ambiguous describing an adequate police system. The characters are treated fairly with knowledge that both is known by them and shows to the viewers without overexplaining, but showing their intent where I credit Bareisa’s great script. The simplicity and unraveling of details are the strongest point for Pilgrims, as the film begins smoothly transitions to many themes involving grief, trauma, and complicity.
Reaching towards the end, I found it to be completely effective, which I believe won’t be satisfying to most viewers and supports Bareisa’s point of the story. He has a beginning and an end that completely aligns with the characters’ goals and the theme of grief and acceptance. It is also important to note, that this is the only Lithuanian film of the whole festival and great to see more inclusion of countries that aren’t as highly regarded in the film industry. There could be some metaphorical themes to the country that I am not aware of, but as the story is tightly structured, Laurynas Bareisa’s Pilgrims is a strong film that shows the journey of two fragmented souls coming to terms of a loved one’s death.
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