MISPLACED I■
JOHNCAMERON-MITCHELL,VIVECALINDFORS,ELZBIETA I / SUBWAYFILMS I f
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LouisYansen’ssemi-autobiographicalfirstfeatureisaquiet,reflectivework,fullofwarm,human I [ leavePolandontheeveoftheSolidarityuprising,takingwithheramusicallytalentedson. 1 ] Determinedthatheshouldhavealifeinthefreeworld,thetwojoinhermother(thealways ■ ; wonderfulVivecaLindfors)inWashington,D.C.Whatfollowsisastoryoftheimmigrant 1 < senseofadventure,motherandsonconfrontaforeignculture,gaininganewunderstandingof I j themselvesandthecountrytheyhaveadoptedastheirown.ThankstoYansen’sassured, I < thoughtfuldirectionandtheperformancesofauniformlyfinecast,audiencescanshareintheir I ,
FOUNTAIN I; VLADIMIRVARDUNAS I A PRINT I ( SOURCErGOSKINO 1 ]
Anappealingcomedy,FOUNTAINcentersaroundacrumblingapartmentbuilding,plaguedby I < cloggeddrains,splitbyanalarmingcrackinthewall,inimminentdangerofcollapse. Ittakes I c littleimaginationtoseethisstructureasasymboloftheSovietstateitself. Theresidentsstruggle I j \ (
tofly. AnoldmanfromKazakhstancomestolivewithhisdaughterandson-in-lawandisputin I r chargeofthewatersupply,theironlyabundance(thereisashortageofeverythingelse). I j Appalledattheirwastefulways,heshutsoffthewater,andchaosbreaksout. I ^
anequallyunforgettablevariationonthistheme. FREEDOMISPARADISEprovidesariveting 1 . journeythroughtheundersideofSovietworkingclassandinstitutionallife,asseenthroughthe 1 , eyesofanuntamed13-yearolddrifter. Escapingthehopelessboardingschoollifehehasbeen I j consignedto,youngSashasetsoutacrossthesprawlingSovietlandscapetofindthefatherhehas I j
