The Ascent

Film/Video

Images courtesy of International Film Circuit

The Ascent

Larisa Shepitko, 1976

Film History 101

As our film heritage becomes more and more digitized, it is harder and harder for audiences to see important films in the manner in which they were originally meant to be presented: in a theater, on film, with an audience. Film History 101 is our modest attempt to keep this tradition alive. Once a month, we'll present a selection that transcends "classic" status to that of "essential"—films that are widely recognized as among the greatest the art of moving pictures has to offer.

Classics

Many classic films are just as powerful today as when they were first released. We add such films from many genres to our schedule throughout the season. Many are shown on the occasion of their rereleases, in fresh, new or restored prints.

Tue, Nov 29, 2011 7 PM

The New York Times calls this last film by Larisa Shepitko, a talented and intriguing Soviet filmmaker of the 1960s and 1970s, “extraordinary…rich in moral complexities and spiritual underpinnings, filmed with a blend of brutal realism and a lyricism that at crucial moments passes into pure abstraction.”

Set during WWII, The Ascent follows two Soviet partisans as they search for food and supplies while grappling with the bleak winter in German-occupied Belarus, treacherous collaborators, pursuing Nazi soldiers, and the balance between friendship and patriotism. The film won the Golden Bear (top prize) at the Berlin International Film Festival in 1977. (111 mins., 35mm)

Shepitko (1938–1979), who was originally from the Ukraine, was a student of famed Ukrainian director Alexander Dovzhenko (Earth) at the Soviet government cinematography school in Moscow. She was a few years behind Andrei Tarkovsky (Andrei Rublev, Solaris) as a student there, and like him, she sought to forge new filmmaking approaches that departed from both the revolutionary montage of Sergei Eisenstein other filmmakers of the USSR’s early years and the Soviet Realism favored under Stalin. Shepitko, like Dovzhenko, was able to infuse convincing realism with evocative poetry and subjectivity. She was tragically killed in a car accident on the way to the set for her next film after this one, at a moment when she seemed on the brink of international fame.

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