There’s a lot to juggle here, but Bebjak familiarizes the audience with the large cast very quickly and then starts to intertwine and connect their stories in ways that are fascinating.
For the most part, the narrative moves along with the stately pace and irrefutable logic of unavoidable tragedy, but especially in the closing reels, the sheer quantity of characters starts to dilute the work’s focus.
The message is clear: He has his own rules, and he’ll break any rule to enforce them.
Krajnak is not so much the protagonist of Lucia has been secretly dating the handsome local youngster Ivor (Oleksandr Piskunov), and one of the film’s early standout sequences involves the wiry young man.
The characters inhabit an eat-or-be-eaten world, and for the actors in such a large cast, there is a similar risk of fading into the background unless they claw their way into the audience’s consciousness in their few big scenes.
“I met this girl named Ciara who was the most beautiful woman in the world, the most kind person, the most engaging person, everything that I could ever want,” he explained.
“She was on tour and I was looking at her in the mirror, and she was sitting there. Because I know y’all have seen her on the screen now. Pray for me, keep my mind clear, keep my heart clear.” Wilson went on to talk about the plan he felt God had for them as a couple.
Mastalir and Vasaryova, who both come from the theater, are masters at this, and their shared scenes are among the most striking.
Krajnak is much more of a doer than a talker, but cinematographer Martin Ziaran wisely showcases his expressive face in the film’s quieter moments, which often speak louder than words.