World War III meets Orpheus and Eurydice, infused with music and Michel Gondry-like, imaginative visuals. Boasting a raw, unpolished edge, the result is a twisted coming-of-age story that shifts between comedy and drama-thriller, transporting the audience through multiple worlds – all within just 78 minutes. The Berlinale Forum entry The Swan Song of Fedor Ozerov [+lire aussi :
interview : Yuri Semashko
fiche film] by Yuri Semashko is a testament to how a low-budget film, when guided by a confident vision, can be transformed into a compelling work with the potential to reach a broader audience.

Fedor Ozerov (Viachaslau Kmit) is a 25-year-old musician who has written an album but has never truly performed live. As the year draws to a close and the world teeters on the brink of collapse owing to rising political tensions, he sets out to form a band. His search for bandmates pulls him into a whirlwind of eccentric characters and unexpected challenges, all while obsessively pursuing his lost daisy sweater – the object he believes holds the key to his creative inspiration.

While his sister Nina (Violetta Rahachova) is deeply engaged in political activism, Fedor remains lazily absorbed in his artistic ambitions, much to her disapproval. This contrast in their perspectives fuels thought-provoking discussions between the siblings and firmly establishes Nina as the film’s key supporting character. Their dynamic also raises deeper questions about the role of art – often perceived as a self-indulgent escape from the pressing realities of the world. Is creating art any less significant than protesting? These are the kinds of doubts that linger with the audience long after the siblings have shared the screen.

Semashko – who not only wrote and edited the picture, but also contributed to its production design – has crafted a humorous yet thought-provoking work that explores weighty themes such as politics, death and Greek mythology. On paper, The Swan Song of Fedor Ozerov might seem overly ambitious or even pretentious, but in its execution, it maintains a light-hearted tone that makes it engaging on all fronts. Simplicity is at its core, and despite its frequent descents into a feverish, surreal world, the story never feels forced or implausible – a paradox in itself.

In fact, towards the end, the film draws inspiration from the Greek myth of Orpheus. Though widely reinterpreted countless times, it benefits from a fresh, ironic yet melancholic approach here – one that manages to both surprise and move the audience.

Finally, the Belarusian director’s film is an intriguing melting pot of influences capable of pleasing different audiences. The movie isn’t exempt from technical flaws, but these contribute to adding a peculiar “rustiness” to its look. Therefore, The Swan Song of Fedor Ozerov is definitely a title to keep on the radar when it comes to radical – yet intelligible and highly imaginative – arthouse cinema, as it will be able to convince very different audiences with its innovative approach and memorable scenes. 

The Swan Song of Fedor Ozerov was produced by Vilnius-based Artbox, and co-produced by Shoot’n’Post (Germany), the Belarusian Filmmakers Network and Singo (Lithuania).