Last modified on Mon 3 May 2021 07.01 EDT
Ukrainian writer-director Valentyn Vasyanovychâs drama won the top prize in the Horizons strand at the Venice film festival in 2019: in the signature style of Slavic arthouse cinema, it mostly comprises a series of long-held, static widescreen tableaux. Each scene is about the same length, and within each long, ventilator-speed shot everything seems to carry the same weight: a man being berated by a supervisor at a steel mill and then jumping into the smelter in despair; another guy making a bathtub out of a rusted out car; a couple having sex in real time. The story is set in 2025, âa year after the end of the warâ â in other words the one with Russia in eastern Ukraine thatâs been rumbling away for years now. But instead of being numbingly dreary and depressing, given the economically depressed, horrifically polluted and landmine-strewn region, Atlantis is strangely upbeat, oddly hopeful even.