CW: Discussions of genocide, sexual assault, violence, and other disturbing topics is ahead.
In American movies, audiences are typically taught to look up when explosions occur on screen, appreciating the height and spread of the resulting fireball or shrapnel. However, Elem Klimov’s harrowing masterpiece “Come and See” has forever changed my perspective on explosions. Unlike the grandiose spectacle portrayed in many western films, explosions in this movie are presented from ground level, showing the devastation they cause to the land and its inhabitants. Instead of towering spectacles, they leave behind craters where once there was life, emphasizing their destructive impact when you look down at them.
In “Come and See,” director Elem Klimov unleashes a harsh portrayal of the grim realities experienced by the people of Belarus during Nazi occupation in the 1940s, as depicted through his unique vision shared with co-screenwriter Ales Adamovich. This intense, scorching work is distinguished by its perspective, being told from the eyes of a young boy named Flyora (played by Aleksei Kravchenko). Unlike many films that portray genocide, particularly those originating in America, this story isn’t about outsiders discovering these atrocities. Instead, it immerses audiences directly into the horrors as they unfold from the perspective of someone living within the tragedy itself.
These stories, such as Schindler’s List, The Killing Fields, and The Zookeeper’s Wife, are narrated from the perspectives of bystanders or privileged individuals, guiding us to uncover the most shocking atrocities humanity has endured. In contrast, Come and See immerses viewers in the raw, immediate experience of such horrors on-screen. The camera is placed among the crowds being forced into sheds for slaughter, creating an unsettling intimacy between the audience and the brutality. This emotional intensity is further emphasized by characters gazing directly into the camera, breaking down the barrier between viewer and victim. Klimov and cinematographer Aleksei Rodionov refuse to let us watch Flyora’s unimaginable suffering from a safe distance. Instead, we share the same space with him. His mother begs us not to abandon him, while Flyora’s haunted eyes pierce our souls directly.
In this story, we first see Flyora rummaging through corpses on the beach for a gun. The playful banter between him and his teenage friend momentarily brings to mind innocent childhood days. However, this peace is short-lived. Before the title “Come and See” even appears, we hear the deafening roar of a Nazi plane overhead. This movie’s outstanding sound design makes the plane sound like a demon escaping from Hell. Its growling engine causes your ears to tense up, and every noise it makes is so discordant. Similar to the ominous drumming of Israeli helicopters in “Bye Bye Tiberias,” these terrifying roars on the “Come and See” soundtrack indicate the ever-present threat of an apocalyptic doom.
In my opinion, when faced with such unbearable suffering, one doesn’t truly live – one merely endures from day to day. This is a harsh truth that director Klimov masterfully portrays in his film. After their initial encounter with the bombs, our protagonists Flyora and Glasha (played brilliantly by Olga Mironova) seem to lose their grip on sanity as they traverse through haunting woodlands. Their playful antics – running in the rain, bursting into fits of laughter – are eerily contrasted against a backdrop of ominous music and the watchful eye of a crane. This surreal scene, filled with madness, is a jarring reminder of the insanity that pervades a world where such atrocities can occur. It’s as if the director is using these dreamlike visuals to express the inexpressible, providing us a glimpse into the fractured minds of Flyora and Glasha.
I had the privilege of witnessing the breathtaking imagery of “Come and See” unfold on the big screen, all thanks to the Texas Theatre’s Bleak Week programming. The 1.37:1 aspect ratio lends itself to some truly remarkable blocking, especially in scenes where multiple layers of activity are crammed into a single, claustrophobic frame. This visual style is underpinned by an unflinching dedication to portray genocidal atrocities with raw authenticity. It’s a powerful, exhausting spectacle to behold, yet its artistic impact is undeniable.
Numerous movies portraying genocide, like Angelina Jolie’s film “In the Land of Blood and Honey,” are characterized by intense brutality. In contrast, “Come and See” stands out with its striking visual approaches, such as omitting many on-screen deaths. The movie displays the grisly aftermath of landmine explosions, showing burned bodies and severed limbs. However, it chooses to keep off-screen families who perish in farm fires and the actual slaughter of Flyora’s neighbors. Briefly, Klimov reveals (through a wide shot) the aftermath of Flyora’s neighbors being massacred, but we do not witness the atrocity unfold in real-time. Rapes by Nazis are also kept off-screen, although their victim’s agonizing cries can be heard throughout the film. This cinematic approach serves as a stark reminder of the Nazi invasion of Belarus and the brutal treatment inflicted upon its people, often overlooked in history.
As a movie enthusiast, I’d rephrase it like this: “In ‘Come and See’, it’s not just about the gruesome sight of bullets piercing through human skulls. Instead, it delves into the heart-wrenching cries of pain that will forever echo in Flyora’s mind. It’s a portrayal of the anguished cries of innocence that were callously disregarded, even savored by those with power. This film is a poignant tale of ordinary civilians caught in the chaos of war, who can’t truly experience moments of joy due to the incessant gunfire from unseen enemies. By its end, ‘Come and See’ also tells a chilling story about how even the most innocent among us can be transformed into ruthless monsters under the influence of war. Remember, Adolf Hitler was once an innocent baby. The capacity for evil, normalization of genocide, and transformation wrought by violence can come from any corner. The film’s narrative and visual choices create a haunting portrayal of the misery onscreen in ‘Come and See’, focusing on its psychological impact.
In this film, we witness intense scenes such as Flyora and Glasha almost drowning while struggling through a swamp – these harrowing images are skillfully portrayed with strategic camera angles and an unsettling score that intensifies the tension. Despite their survival, these sequences suggest a Hell all their own. The movie “Come and See” underscores the horrifying reality of innocent lives being taken by despicable Nazis. It delves deeper into the psychological distress of living in a world where such genocide exists. Flyora witnesses unimaginable suffering, but his anguish doesn’t end with death; instead, it continues to torment him relentlessly. This chilling truth casts a dark shadow over every scene.
The distressing ambiance of films about genocide and militarized atrocities frequently lacks one crucial aspect – the sensational display of dehumanization and slaughter. The Nazis, for instance, didn’t just follow orders to burn down villages and kill civilians impersonally. They laughed and reveled in the agony of their victims, shaking their heads and clinking glasses, much like how some white Americans once celebrated while lynching Black men on the streets. Similarly, world leaders might exchange trivial gifts over altered pagers that caused civilian casualties. Recently, it’s been reported that reality TV stars may have been involved in ICE raids to capture footage for shows that dehumanize immigrants. In all these cases, human suffering often serves as entertainment for the upper class.
As a movie enthusiast, I’d say that in “Come and See,” Klimov masterfully exposes the unsettling truth of our past by meticulously crafting an environment that is as distressing as it is authentic. He refuses to shy away from the dark souls behind historical atrocities, using prolonged shots and a narrow cinematic perspective to intensify the horror. The work of costume designer Eleonora Semyonova and production designer Viktor Petrov adds to this intensity, making scenes feel like a tangible, lived-in reality from another era. Their achievements, much like those in “The VVitch” and “A Hidden Life,” immerse viewers in a world that feels painfully real, with the decrepit dwellings inhabited by characters like Flyora standing out as particularly compelling examples of their craft.
The movie “Come and See” is like a terrifying nightmare. Similar to films such as “Lost Highway,” it vividly captures the feeling of helplessness and continuous torment that one might experience during the darkest hours of the night. Interestingly, this artistic representation allows the film to portray real-life wartime experiences with striking accuracy. The intense suffering and pain depicted in these historical atrocities can’t be conveyed through conventional cinematic language. Instead, they demand a fearless, unrelenting, and harrowing style of filmmaking. And that’s exactly what Director Elem Klimov achieved with his final masterpiece. It seems hell has come to Earth in this movie. The title now takes on a whole new meaning: “Come” into this world of horror.
I watched the movie “Come and See” during the Bleak Week programming at the Texas Theatre. It was exceptionally impressive when viewed on the big screen.
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2025-06-14 20:15