Grey Bees (2024)

Tea and Honey, warm your hands!

“I just can’t leave; here is my home.” It’s only Sergiich and Pashka remain in a small Donbass village. The story takes place in January 2022, the film’s script adapts Andrey Kurkov’s 2018 novel, revealing that little has changed in the enduring “grey zone” between Russia and Ukraine.

Their perspectives diverge, with windows facing opposite directions—one east, the other west. Representing distinct Slavic male archetypes, Sergiich is a stoic, silent figure, seeking solace within, resisting the harsh realities of war. In contrast, Pashka, an extrovert drunk, embraces adaptation, finding joy even in adversity, embodying the dance through difficult situations. Despite their differing views on war, inevitable circumstances weave peculiar connections, reminiscent of the playful, sibling-like conflicts in the Icelandic movie “Hrútar” (Rams, 2015).

While there are countless war films and over a hundred on the Russia-Ukraine conflict, Moiseiev’s film stands out by focusing on the war’s psychological and emotional impact rather than its explicit images. The lens captures the unnoticeable details of the daily life in that little village, yet under the echoes of the bomb. Iron and fork; we’re all ears what to come next, but standing on the point of our 2 characters’ eyes… The director skillfully avoids fixating on the war itself, centering instead on its two inhabitants, a lone soldier, and the restless images of deserted homes and the ghost city of Donbass —all enveloped in an eerie white snow, such an uncanny white cover…

Sergiich has wounds of the past; a former family – wife and a daughter who are living in safe places, having at least a better life. But they have not given up on him, keep sending letters and leaving phone calls; yet without an answer by Sergiich. Scratched walls, old objects, pale interior color and frames, their presence filling up the space; yet, he’s using a very limited area at home, often in frames – and her daughter’s room remains untouched and locked until the very last scene of the film, leaving a very narrow area to Sergiich to live in… The inevitable is knocking on the door; Sergiich spots the corpse of a soldier lying in a field. Rumors were already there the big war is maybe hours away; now the noise of the bombs is much closer. There’s no room for them to continue trying to live in this small warzone. Film’s pace mirrors life in Donbass perfectly, just counting days, with no rush at all, with or without bombs, until the inevitable end. And when the clock ticks, Sacha will be himself – leaving Sergiich with a bomb in his hand, cementing his unwavering commitment to home.

The bullet-riddled gate, adorned with the Ukrainian flag’s colors, symbolizes the film’s closing image, encapsulating the prevailing status. “Grey Bees,” premiered at IFFR, emerges as a silent yet powerful presence, making it a must-watch in 2024. In a world where war narratives often overshadow human experiences, this film artfully centers on the latter, making it a standout addition to the cinematic landscape.

Watched it at IFFR

Nil Birinci