The visual master Kossakovsky skillfully weaves together art and activism in his sea epic—both cryptic and magnificent—shot in black and white.
A woman walks along the gently eroded cliffs by the coast. In her hand she carries a sack, and in a repetitive ritual she begins to empty it of its contents. Trillions of glimmering objects once again meet the salty waves of the sea. What is actually taking place in Viktor Kossakovsky’s third film in the “empathy trilogy,” preceded by Architekton (2024) and the universally acclaimed Gunda (2020), becomes clear only in the final frame. But before that, he takes us on an atmospheric journey, where image and music are in perfect harmony, and where his minimalist expression creates maximalist impressions.
Annie Karlsson
