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DIRECTED BY: Nikita Argunov
FEATURING: Rinal Mukhametov, Lyubov Aksyonova,
PLOT: Viktor awakens in his apartment to find the walls decaying in reverse and a strange cavalcade of architectural wonders dotting the skyline at improbable angles; then, he finds himself on the run from giant monsters.
COMMENTS: The title gives away the gimmick, and I knew it did—but I didn’t care. Even before we see our protagonist try and fail to obtain his bearings when he awakens in his apartment, we’re smacked with a beautiful show of some top-notch, wonderfully creative CGI buildings making up a future city whose center is graced with what looks like a modern reimagining of the Monument to the Third International. St. Basil‘s architectural motifs round out the metropolis. What is Coma? It’s a Dark City/Inception knock-off, sure, but a vodka-drenched one. And it’s all the more entertaining for it.
Viktor (Rinal Mukhametov), we eventually learn, was in a car crash while fleeing out-of-focus assailants. In Coma-land, Viktor immediately has to flee all-too-menacingly in-focus monsters: tall, thin-limbed beasts made of an ever-flowing inky substance catch sight of him as he exits his apartment. Just in the nick of time, a grizzled gang of survivors spots him and hoofs him out of trouble. There’s Phantom, the cynical soldier; there’s Fly, the female healer. Back at the survivor’s camp—reached via a multiplanar, but very stationary, bus wreck—there’s Yal, the older leader guy and… many more. Why did Yal send out his crack squad to get this ungainly beardo? We learn through exposition, montage, and a Moment of Trial.
The dismissiveness you may have detected here is meant as no more than gentle ribbing. Coma does a number of things incredibly well, not the least of which was keep my rapt attention throughout. Disregarding the (fairly) serviceable story and the (not too terribly) cardboard characters, we are left with a ceaselessly interesting vista of interconnected, odd-angled planes: different memories, we are told, of different inhabitants of Coma-land. They’re connected by wisps of ground; or not, as Viktor learns when he has to run straight down a pier to jump up into a piazza looming above. Firefights in this realm give “death from above” new meaning. And when our hero—an architect—learns how to use his special gift, things get even cooler.
The explanation provided for all this fantasy undermines the narrative while building its intellectual merits. I shan’t reveal the reveal, but suffice it to say, (movie) science has an explanation for all the goings-on, and it seems we may be bearing witness to one man’s pursuit of immortality. This being a Russian film, I cannot help veering into some sociopolitical observation. Viktor, in his waking life, seems to have been an idiot savant, an architect ahead of his time who was led to believe he could go on to create great, new things. As Yal makes very clear: in modern day Russia, change is only possible in your dreams.
WHAT THE CRITICS SAY: