I'm not someone who understands broad labels when it comes to "movements" in any medium of art; terms like Impressionism, Romanticism, or Expressionism mean nothing to me, only the works to which such labels may be applied. I couldn't tell you what "New Wave" genuinely means - but then again, even the most unstudied layperson can surely recognize the similarities in style between the films of "French New Wave" auteurs like Agnès Varda, Francois Truffaut, or especially Jean-Luc Godard, and the approach adopted here by "Kazakh New Wave" filmmaker Rashid Nugmanov. A complete narrative is imparted, yet very obliquely as we're treated to instances of shots, scenes, or dialogue that seem attached to the storytelling only barely and in a sidelong fashion (if indeed at all), and which sometimes carry a disjointed or stilted sensibility about them that would seem amateurish if not for how obviously it's all very deliberate. To these add instances of jump cuts; cuts to other footage, and samples of audio, that are very distinctly unrelated to the immediate proceedings (and which may or may not be woven back in); sparing use of narration or intertitles; and even lighting or (Lettrist) manipulation of the film stock echoing what we saw coming out of France some years before. 'The needle' bears a discrete story, yes, but it's clear that the particular manner in which that story is told was very important to Nugmanov. Of course this doesn't inherently speak to the quality of this 1988 picture, but one's engagement with it will probably be impacted by how one views its cinematic kin; in fairness, I don't think the artistic flourishes are as heavy or overbearing here as we've seen elsewhere. When all is said and done I do actually like this, rather a lot, but I'd be lying if I said I entirely knew what to make of it.
I'll say this: whatever one thinks of the "New Wave" veneer (for my part, while "hostile" is too potent a word, I can't say I specifically think much of it), it's not so central to the feature as to significantly detract from the value this otherwise represents. Taken in and of itself, the story is earnestly compelling, and actually relatively simple as protagonist Moro reconnects with an old girlfriend and finds that she's in need of help. The details of that story enrich the experience, and the scene writing is likewise quite strong; the characters are sympathetic and at least indirectly relatable, and while perhaps not fully fleshed out are given sufficient identity and personality to make us care about them. Meanwhile, in all those ways that matter most the movie is pretty sharp in its construction - indicative of limited resources, perhaps, but admirably well done within those constraints. Nugmanov demonstrates a terrifically keen eye at points for outstanding shot composition, and for generally orchestrating shots and scenes. Aspects like the filming locations, set design, cinematography, and costume design, and even those few stunts and effects that are employed, are at once a minor treat for the eyes, modest, and charming, and lend a small sense of verisimilitude to the proceedings. Combine such facets with Nugmanov's direction and the result is more engaging than how it first comes off. Moreover, while I disagree that all the choices made here were good ones, I'll at least allow that the work behind them is appreciable. The cast is swell, if not majorly remarkable, and I certainly enjoy the songs of Kino that greet us on the soundtrack.
I think the main factor diminishing my favor here is that the stylistic flair is more unnecessary than it is useful or meaningful, and often at least distracting if not also off-putting. Some of the choices made here evoke bewilderment at the emptiness more than anything else; as far as I'm concerned some whole scenes could or should have been trimmed, substantially revised, or even omitted outright without losing anything. Even setting that aside, I don't believe 'The needle' is anything so special as to altogether demand viewership in any capacity - it's enjoyable, but not crucial. Then again, mileage will certainly vary from one viewer to the next, and no doubt others emphatically like it or dislike it more than I do. I guess I'm of the mind that if one is a supreme devotee of all things "New Wave," or digging deep into cinema of the former Soviet Union, this this is probably a higher priority; for wide audiences, maybe you're best served by simply setting it aside for a lazy day when you want something good to watch but not necessarily something that wholly spellbinds and requires heavy engagement. There are elements of this that at best add nothing to it and at worst detract from the viewing experience, but nonetheless it's suitably capable that it's much more worthwhile than not. Don't go out of your way for it, and bear in mind the film-making approach that's taken here, but 'The needle' is a decent way to spend some time if you do have the chance to watch.
I'll say this: whatever one thinks of the "New Wave" veneer (for my part, while "hostile" is too potent a word, I can't say I specifically think much of it), it's not so central to the feature as to significantly detract from the value this otherwise represents. Taken in and of itself, the story is earnestly compelling, and actually relatively simple as protagonist Moro reconnects with an old girlfriend and finds that she's in need of help. The details of that story enrich the experience, and the scene writing is likewise quite strong; the characters are sympathetic and at least indirectly relatable, and while perhaps not fully fleshed out are given sufficient identity and personality to make us care about them. Meanwhile, in all those ways that matter most the movie is pretty sharp in its construction - indicative of limited resources, perhaps, but admirably well done within those constraints. Nugmanov demonstrates a terrifically keen eye at points for outstanding shot composition, and for generally orchestrating shots and scenes. Aspects like the filming locations, set design, cinematography, and costume design, and even those few stunts and effects that are employed, are at once a minor treat for the eyes, modest, and charming, and lend a small sense of verisimilitude to the proceedings. Combine such facets with Nugmanov's direction and the result is more engaging than how it first comes off. Moreover, while I disagree that all the choices made here were good ones, I'll at least allow that the work behind them is appreciable. The cast is swell, if not majorly remarkable, and I certainly enjoy the songs of Kino that greet us on the soundtrack.
I think the main factor diminishing my favor here is that the stylistic flair is more unnecessary than it is useful or meaningful, and often at least distracting if not also off-putting. Some of the choices made here evoke bewilderment at the emptiness more than anything else; as far as I'm concerned some whole scenes could or should have been trimmed, substantially revised, or even omitted outright without losing anything. Even setting that aside, I don't believe 'The needle' is anything so special as to altogether demand viewership in any capacity - it's enjoyable, but not crucial. Then again, mileage will certainly vary from one viewer to the next, and no doubt others emphatically like it or dislike it more than I do. I guess I'm of the mind that if one is a supreme devotee of all things "New Wave," or digging deep into cinema of the former Soviet Union, this this is probably a higher priority; for wide audiences, maybe you're best served by simply setting it aside for a lazy day when you want something good to watch but not necessarily something that wholly spellbinds and requires heavy engagement. There are elements of this that at best add nothing to it and at worst detract from the viewing experience, but nonetheless it's suitably capable that it's much more worthwhile than not. Don't go out of your way for it, and bear in mind the film-making approach that's taken here, but 'The needle' is a decent way to spend some time if you do have the chance to watch.