When you meet someone, many superstitions are involuntarily activated, leading to the formation of a certain image. There are many factors: who informs this person, where he comes from, what he works for or what his tastes are. It is difficult to escape from them. Sometimes we do what each of us expects. A Performance Unconsciously to conform to the etiquette imposed on us. Yuho Kuosmanen’s film has a humanistic character that always tries to dispel superstitions and look at them in front of people without prejudice.
The Finnish director fell in love with his beloved boxer The happiest day of Ollie Mack’s life And was confirmed at the last Cannes Film Festival with his latest film, Coupe N6An adaptation of Rosa Lixom’s novel, in which she won the Grand Jury Prize. A film that works like a love story, though there is no romantic relationship. No kisses. Only two strangers who meet on a train trip to Russia after the end of the Soviet Union. She, a Finnish woman, progressive, lesbian and modern. He, a rude, Russian, traditional and always drunk worker. Both behave as they are dictated by the bosses who define them, and both break the superstitions in the department that gives the film its name.
Many see Coupe N6 The wick of romance, but the director does not believe it to be true, though he sees it as “a love story in the sense that both manage to finally feel loved.” “This idea of love is more related to the idea of self-liberation, to the idea that a person has of what it should be like. It’s a love story in which there is no future love. They do not want to. Live together. “Show yourself as you are, because you have no one in front of you, no one to impress you, and that happens when you free yourself from a romantic idea. How should a man or a woman behave,” says Kuosmanen.
In this journey, they see themselves as they really are, far removed from first impressions. “When you see a person, you usually try to guess what he is like, and in this way we immediately narrow down the possibility of his existence as a person. If we already know that this man is Russian and the working class, this definition narrows down. The possibility of his existence as a human being.Human.These roles are built on our superstitions.When we see a Russian, masculine, working class person, we are immediately reminded of the idea that he is not the person in front of us. There can be no union, no meeting, as long as we consider ourselves as members of a particular nationality or working class. “What ‘s nice about traveling on this long train is that it’ s time to see beyond these roles,” the director explains of his film.
Coupe N6 Comes to Ukraine in the middle of the war caused by the Russian invasion: “Obviously, I am very sorry for this Russian terror that is happening in Ukraine. As for our film, I think now it has more intense content and more difficult. “About, this war has blurred and I think this idea is very important because otherwise we will just hate it. We are nowhere. I think this humanitarian idea is stronger now than it was before.”
This confirms the humanistic vision of his films, a feature that Juho Kuosmanen considers to be inherent in cinema. “This is its essence, the ability to see a person. Cinema is a means of thinking and empathizing with human behavior, seeing another, seeing with their own eyes. In this sense, the essence of cinema is for me. Humanistic and much more than any other art form.”
In Rosa Lixom’s book, she discovered “Atmosphere, Melancholy, and Meeting Others.” As well as “simplicity”, which he likes and thinks helps films to be “in-depth”. There is a fundamental change in history. While the action of the book takes place in the 80s, in the power of the Soviet Union, the action of the film takes place in the 90s, a decision that is related to the reasons for the production. “It has been easier to find locations since the 1990s, but in the Soviet Union everything was different,” Kuosmanen admits. But also because the book “talks about the USSR as a state of mind” and its script was more focused on the relationship between the two characters: “If I had not talked about it, I would have felt that the installation did it in the 90s. “If you make a film in the Soviet Union, you have a very specific idea of what it should be like, but if we make it in Russia, we can focus on people more easily, because if it was in the 80s, everything that happened would have an impact on that context.”
Source: El Diario
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