Arsenal

Arsenal seems to be a direct challenge to idea that films are intended to be digested in one sitting. Apparently even Sergei Eisenstein had a tough time making sense of the narrative of some of Dovzhenko's work. Arsenal's narrative only emerges if you concentrate on what you've seeing - comprehending and reassembling the puzzle of the images and movements that Dovzhenko has arranged to create causal and symbolic associations. Dovzhenko's camera is like the eye of God, taking in a half dozen settings, all of them connected though disparate in space and time. Dovzhenko also is perfectly comfortable inserting the fantastic (a talking horse or a faith in communism that deflects bullets) into his retelling of a historical event. I watched the film several times before the plot was clear to me.

I'd recommend this film to anyone who wants to see a whole different approach to story telling. There are many great images and some of the acting is very good (the way Semyon Svashenko glances with disgust at one of the Ukrainian nationalists and slowly reaches out to touch his ribbon, feeling it's lightness, is an example), but there is no easy way of getting past Dovzhenko's style. You have to want to figure out this film. Dovzhenko's narrative technique is as unique as Robert Altman or Tsai Ming-Liang.