Ivan Olbracht

“The Carpathians are medieval!” one character bellows, and this tale of the tree-chopper Petro, his faithless wife Marijka, and various scheming businessmen and foremen does little to disprove the assertion. Interestingly filmed with a nonprofessional cast recruited from the region, Faithless Marijka may have a neorealist conceit, but its direction is utterly futuristic, filled with the lightning-fast montage techniques and low-angle camera of the Soviet avant-garde (along with its invigorating agitprop).

“The Carpathians are medieval!” one character bellows, and this tale of the tree-chopper Petro, his faithless wife Marijka, and various scheming businessmen and foremen does little to disprove the assertion. Interestingly filmed with a nonprofessional cast recruited from the region, Faithless Marijka may have a neorealist conceit, but its direction is utterly futuristic, filled with the lightning-fast montage techniques and low-angle camera of the Soviet avant-garde (along with its invigorating agitprop).