Jessica Kiang Our striking introduction to Kaloyan (Ognyan Pavlov) in Pavel G. Vesnakov’s potent and profound “Windless” is as an out-of-focus blur, smoking a cigarette in the foreground.
Beyond him, trucks trundle down a highway, and bare trees throw their branches to the sky, while birds wheel and scatter against gray clouds.
It is the first of many eerily considered compositions, hemmed in by an audaciously claustrophobic 1:1 aspect ratio, to tell almost the film’s entire story in miniature.
Kaloyan is a man at odds with his surroundings — the Bulgarian village where he grew up and to which he has returned after a long, self-directed exile.
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