Like Sergei Loznitsa's recent film Donbass, Vorozhbit appears to take on the responsibility of telling the rest of the world how Russia's occupation of the Crimean peninsula has harmed it. A single-story arc is insufficient. Like Loznitsa's film, Bad Roads depicts a broad spectrum of odd incidents that make us wonder what is real. This film, more than others that are pure adaptations of plays, wears its staginess on its sleeve. It never ceases to remind you how personal and fascinating it can be to see two performers communicate in real-time with no "cuts."
In addition, the events it depicts are not common. The anonymous roles in the play are played by regional theater players from all throughout Ukraine, adding authenticity to the production. Even so, the characters' complexities are apparent.
There are no bookends or titles in this film to help us maintain track of where we are in the narrative. The military talks to a guy (Igor Koltovskyy) claiming to be a teacher at a DRP roadblock, creating a tense atmosphere. Two teenagers (Anna Zhurakovskaya and Ekaterina Zhdanovich), are the only non-professionals in the cast. They wait in a run-down town square for their soldier boyfriends.
In a long, very disturbing scene, a militant (Yuri Kulinich) holds a journalist (Maryna Klimova) hostage and then beats her severely. Last but not least, a young woman (Zoya Baranovskaya) apologizes to an older couple for running over their chicken in a story that is only slightly less serious.
The majority of the film was shot in the area itself, in what Vorozhbit refers to as a "quasi-documentary approach." The camera chooses a suitable viewpoint, focuses on the actors, and observes. This kind of filming brings the audience into the spectrum, letting us experience what is happening in 'real-time,' making us participants in what is going on, albeit in a spectator category. It is not as immersive as viewing live theater film, but it is also not as fluid as Ingmar Bergman's work, which remains the best example of theater-inspired film.
The mood and ending of Bad Roads are a little problematic. All four parts focus on the concerns unique to the area and the people who live there, such as the false promise of a new public revolution, poverty, supply issues, gangsterism, and corrupt government officials themselves. However, the dark mood and, at times, aggressive behavior makes seeing the big picture impossible. It doesn't make it easier for the audience to completely immerse themselves into the movie, making us feel detached from the whole thing.
Which subject can this film's content be more favorable for?
Bad Roads depicts how difficult it is for families to endure war. Because the film is based on a true story filled with fear and uncertainty, it is a good choice for history majors and those pursuing conflict resolution courses.
What film collection would this film be suitable for?
Bad Roads can be classified as a Drama film collection. It is all shot in a war-like setting and a dangerous area where fear is always on the horizon.