Part of Restoration Roundup
Widely considered the most important film in the history of Ukranian cinema, Sergei Parajanov’s SHADOWS OF OUR FORGOTTEN ANCESTORS is a masterwork that boldly combines folkloric pageantry, fairy tale mysticism and frenetic, hallucinatory cinematography. Adapted from Mykhailo Kotsiubynsky’s novel, SHADOWS tells the story of Ivan (Ivan Mykolaichuk), a young Hutsul peasant who witnesses his father’s murder by the local miser. Years later, Ivan falls in love with the miser’s daughter Marichka (Larisa Kadochnikova), but her shocking death leaves him wallowing in grief — until he meets Palahna (Tatyana Bestayeva), a beautiful woman who seems to restore his faith in life and hope for the future. When the ghost of Marichka begins to haunt Ivan, however, Palahna is driven into the arms of the local sorcerer (Spartak Bagashvili), with tragic results. SHADOWS is steeped in the earthy atmosphere of the Carpathian mountains — filmed by Parajanov and cinematographer Yuri Ilyenko with an eye for constantly innovative camera movements and vivid color, and suffused by Hutsul culture in the form of composer Myroslav Skoryk’s collage-like score, which brings together Ukrainian folk melodies with modernist, experimental orchestration. It is one of cinema’s singular productions, capturing the spiritual majesty of the past by creatively forging the medium’s future.
Restored in 4K by The Film Foundation’s World Cinema Project and Cineteca di Bologna at L’Immagine Ritrovata laboratory in collaboration with the Oleksandr Dovzhenko National Centre and in association with the Dovzhenko Film Studio. Special thanks to Daniel Bird and Łukasz Ceranka. Funding provided by the Hobson/Lucas Family Foundation.
“Adapted from a novel by Ukrainian writer M. Kotsyubinsky, Sergei Paradjanov’s extraordinary merging of myth, history, poetry, ethnography, dance, and ritual remains one of the supreme works of the Soviet sound cinema.” —Jonathan Rosenbaum, Chicago Reader “Parajanov has a genuine gift. He has the kind of heedless energy you glimpse in some of the early work of Martin Scorsese, pounding camerawork so filled with itself it can hardly contain the story.” —Roger Ebert, Chicago Sun-Times “A masterpiece of magical realism, in which actual events are interspersed with dreamlike passages that place the real world in a state of constant flux. A fantastic tapestry of tracking shots, whip pans, handheld camerawork, hallucinatory images, a few Godardian intertitles and stark visuals amid an explosion of highly saturated colour (favouring reds and yellows), the film transports the viewer into a deeply romantic yet brutal world where life is uncertain, and death can happen in a matter of an instant.” —Wheeler Winston Dixon, Senses of Cinema
