Alexander Zeldovich’s thrilling odyssey into liberation is commanded by a transfiguring performance by Tinatin Dalakishvili, in Medea, presented at the 74th Locarno Film Festival.
The 74th Locarno Film Festival is in full swing, taking part as a hybrid event. As part of the 2021 selection of the Concorso Internazionale section, we discovered Alexander Zeldovich’s Medea (Russia, 139 min, 2021).
Medea, a young woman from the Ural Mountains on the outskirts of Moscow, receives an abrupt notice from her solemn life that her longtime lover, Alexei, whom she mothers their two children is divorcing his wife and wants to be with her. It begins with her trek to a confessional to atone for her sins that she recently committed. Medea, a fierce, but vulnerable, displays her naivety when confronted with the many encounters, in particular with men. A young village woman, who’s discovering the world and herself is suddenly thrown into the cruel real world, where depends on where you stand, can lead into insanity or satisfaction. The sin in question, reveals that her love for Alexei, is bigger than all, and will do anything to protect them.
As the two begin to live with each other, Alexei, who seems to have only work on his mind, begins to realize how Madea really is on a daily basis. Madea shows jealousy, neediness, and love, as her past-life was missing these emotions. Medea, although coming to find herself, unleashes a series of spontaneous sex-capades, in revolt against her husband to fulfill her much needed climax to the point of fainting. When Alexei deems her not mentally capable of raising their children and her sudden outbursts, he sends her away (with money) to different arrangements ranging from classes, a private room abroad, and therapy. On her own, her interactions with several men fills in the knowledge of life that she has never known, building character as a complex woman. It’s not surprising that this world is ruled by men, but these experiences result in Medea finding answers to questions of happiness, sacrifice, religion, and becoming truly free.
In closing out Medea, the ending is not ambiguous about the parallels of the Greek Mythology. An adaptation set in 2010, this film is heavily carried by a dynamic performance of Medea, played by Tinatin Dalakishvili. As she is nearly in every scene, and clearly stands tightly on the thin line of nuance approaches, her role is a culmination of both the heroine and the villain. In one scene, being playful and loving towards Alexei or others, can flip the switch and be as mental and insane due to either resentment or lack of confidence. Her idiosyncratic tendency has to be one of the best parts of Dalakishvili’s performance. The viewer never knows how she will act, but her chameleon like figure always keeps you anticipating what she will do next. One thing is for certain, the moral gray lines of her actions, does not institute of what is right or wrong, but what is warm and cold.
Zeldovich’s direction really moves this into a unique film. His mise-en-scene is skillfully crafted with gorgeous shots of landscapes, small towns, and cities. The linear structure builds Medea into a full woman, allowing cause and effect to take charge, which is precisely done. To say this film is nuanced, is an understatement as there are meticulous details that contribute to Medea’s actions, but ultimately, the journey to independence thrills Medea to an end that only she can understand.
