From Sergei Paradjanov (The Color of Pomegranate, The Legend of Suram Fortress): more of the same, only less. There is the customary treasure chest of clothes and artifacts from another time and place. (Period: Once upon a Time. Setting: Fairy Land.) And a moment, early on, when a photographed still-life is transformed -- presto-change-o -- into a sculptural bas-relief of it encourages the Paradjanov fan to sit back and make himself comfortable. But one of the givens of Paradjanov's visuals, stiff, centered, concentrated, richly textured, firmly nailed to the screen, is their limited usefulness for the needs of ordinary narrative. And in Ashik Kerib the straightforward and easily followable narrative line actually robs his images of some of their mystery, and along with it some of their holding power. Worse: the minor attempts to loosen up his style, with more movement on screen or with halting and unsteady zoom shots, succeed only in creating an effect of ricketiness. (1988) — Duncan Shepherd
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