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Posted on 29 August Few, if any, have created as chillingly eloquent a journal as the young Russian photographer Olga Kravets. In , having moved to Bosnia to join her boyfriend, Ms. Kravets set out to create a photographic representation of Mr.

Kravets was born in Moscow and began working as a journalist in She studied in a photography school run by the newspaper Izvestia and became a freelance photographer in Kravets told Lens in an e-mail Thursday. I had the feeling that this issue would be somehow resolved. Even without capturing Mladic, sooner or later he would have been announced dead. We traveled miles and miles with my fixer Milorad, who knew the places that nobody else did, due to his connections.

But deep inside, I knew that was not the right thought. I could not imagine, though, that Mladic would be caught a month after I finished the project. He was. And now the portfolio on which Ms.

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Kravets worked with no certain return has suddenly become as timely as it is compelling. But, the film is really about absence.


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The title suggests completeness, but it is rather the lacking that the film addresses. It draws a line from the past to the present, which exactly conveys the feeling of absence. This is, apparently, all takes. However, it is not their cases that the film explores or unravels.

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In fact, we are afforded very limited information about the cases, charges, or court sessions, although the film does catch some information through observed conversations of family members, and presents a few public responses in the press. Contact with foreign authorities and political opposition activities and involvement form some of the reasons for the arrests, though the false charges seem more often to involve drugs.

The film focuses on the effects of the sentences and the detainment, on the consequences rather than the causes. And these consequences are the absences. The filmmakers intertwine observations of the incomplete families with letters read by Karik Krause which address the distance between authors, in this case his parents, and their kids. Kravets is a documentary photographer, something the careful visual language she and cameraman Nikita Pavlov developed testifies to. Families are mostly filmed in their homes where the absence of loved ones is visible, either explicitly or implicitly.

A sense of confinement is accentuated through the images. Texts displaying additional information as well as public responses are projected on top of images, creating a layered visual style. In the case of Ruslan Kutayev, we move outside and witness how he is taken away, with his young son and family waving goodbye.

The women do not seem to take it too seriously.

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Either the whole situation is utterly incredible, or there is simply nothing to understand because there is nothing. Although the film explicitly condemns the legal practices involved, it is not about blame. Returning to Russia in , after a number of years abroad, Kravets found politically motivated arrests in full swing following civic protests.

Things have not improved much since then. Woehr et Jon Fox.

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