How uncommon is the acting of Seidi Haarla (Finnish actress) e Yuriy Borisov, who at less than 30 is the most sought after and highly rated actor in Russia (and seeing the film it is not difficult to understand why, you rarely see such an obvious talent). They both have to go deep into the secret of acting: give an intention to your character and also make it clear that it is soiled by its opposite. The two of them are the boy and the girl sharing a compartment on this trip to Russia. She is an archeology student, she broke up with someone not well, she is a bit shaken; he is a much more rude and decidedly ignorant man, a contemporary miner full of alcohol. Both have no desire to open up, but for different reasons and in different ways the events of the train bring them closer for reasons that the brain will never understand but the heart knows well.
Our language does not have a word for the relationship they have. It is certainly not a love story, as it is not a sex story or one of those dreamy fairy tales, but a tale that seems to be told by a friend is so realistic and difficult to explain in words (but easy to understand when you look at it. the reluctance that becomes confidence). He wants to jump on her, she sucks, but both of us in the to act these thrusts also betray the opposite, a need for feeling on the one hand and a certain fascination for a basically sweet soul on the other. Nowhere but on that train, alone and for their own sake, these two people could hang out and talk to each other without despising each other. Juho Kuosmanen he tells it by paying maniacal attention to close-ups and faces, looking for those shades of colors that recall the 90s and contaminate the images with a little patina of memory and thanks to a script, taken from the novel of the same name by Pink Like, of exceptional measure and sensational humor. Compartment n. 6 in fact, he also has the delicacy of knowing how to laugh at himself and at others, to use the ordinary humor of the things in life to make this plot more realistic than usual.
A guy with a guitar will arrive on the train who might attract her attention, there will be long breaks for stops, even a detour to a small town, there is a palpable amount of snow and cold but also a lot of alcohol and an ending in a place out of everything, as if it were another planet, in which to close the story. It is an experience from Interrail rather than from Erasmus, a film fully European that touches the deepest chords and basically says that there are never simple feelings and that even the most insignificant and fleeting of contacts, one that probably will not remain imprinted for long in the lives of the two involved, can be a fantastic demonstration of the need of human beings to recognize themselves in others. But not the need that the characters have, how much the need we viewers have when we look at people so far from us and see our intimacy in them.