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Alive (2006) 

Zhivoy (original title) 
 
http://www.imdb.com/title/tt0880504/

Alive (Russian: Zhivoy) is a 2006 Russian film directed by Aleksandr Veledinsky.

  Olga Arntgolts  ...  Nurse Olga  
  Aleksey Chadov  ...  The priest  
  Andrey Chadov  ...  Kir  
  Maksim Lagashkin  ...  Nikich  
  Aleksandr Robak  ...  Slavik  
  Viktoriya Smirnova  ...  Tatyana  
  Ekaterina Volkova  ...  Slavik's wife  
  Vladimir Yepifantsev  ...  Igor  


As a young soldier Kir, returns to normal life after being injured in Chechnya, he is visited by the ghosts of two fallen comrades who console him over his emotional and physical trauma.

Shorthand descriptions of Alexander Veledinsky’s new production misleadingly label it a war film; its genre is as ambiguous and elusive as the sequence of events it covers. The war in Chechnya only sets in motion a narrative that sways between a road movie and a brooding meditation on death, interspersed with enough banalities and otherworldly interventions to baffle and enlighten the viewer. 

Kir (Andrei Chadov), a youthful veteran of the Chechen campaign, is neither a hero nor an opportunist mercenary. Drawn to the mission by the need to earn money for his wedding, he is fortunate to return alive, his leg amputated below the knee. Kir’s two fellow soldiers Nikich (Maxim Lagashkin) and Igor (Vladimir Epifantsev) who save his life, perish during a retreat, but their spirits come back to haunt and accompany Kir as he makes his way through a society that is aloof and seemingly uninterested in the war. 

There is no blame to be assigned: moral dilemmas are sidestepped or suspended. Kir allows himself one moment of vengeful pride, slaughtering a corrupt military officer in a fit of fury, but the scene remains an incongruous episode, leaving little behind besides additional pangs of guilt. 

The walking dead, adorned in full battle gear, make their appearance after Kir is himself hit by a car, his subsequent death or non-death spawning more hallucinatory episodes. The rest of the movie only compounds the viewer’s metaphysical confusion. As the film progresses, its narrative vortex draws in a mix of additional characters, charting Kir’s tortuous path at the expense of coherent storytelling. 

But the director captures well the jagged moral landscape of a wartime society, evading righteous and heroic platitudes in favor of an introspective and appropriately self-centered chronicle of one man’s experience, the scale on which all wars should ultimately be measured.