Ikonostasut . Ikonostasis
In the age of the Bulgarian National Revival an icon painter is invited to do frescoes and to decorate the icon stand in a newly built Orthodox church in a small Bulgarian town. He is accommodated in the house of a respected family. He inspires love feelings in the daughter – Katerina. When the youn...
| Other Authors: | , |
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| Institution: | Open Society Archives at Central European University |
| Language: | Bulgarian |
| Published: |
SIF
1968
Bulgaria |
| Subjects: | |
| Online Access: | http://hdl.handle.net/10891/osa:dadccaeb-3acd-4b7a-a1ce-8fb79796a6f8 |
| Summary: | In the age of the Bulgarian National Revival an icon painter is invited to do frescoes and to decorate the icon stand in a newly built Orthodox church in a small Bulgarian town. He is accommodated in the house of a respected family. He inspires love feelings in the daughter – Katerina. When the young woman gets pregnant, her mother forces her to make an abortion that claims her life. Regardless of his despair, the master completes the ikonostasis: a masterpiece, which the locals perceive as a heresy. And he leaves once again without any destination. In this free adaptation of 'The Iron Candlestick', the first part of Dimitar Talev's celebrated trilogy, Todor Dinov and Hristo Hristov resort to a highly expressive visual style. They recreate moments of the National Revival period in Macedonia (end of 19th century), a time of the awakening of the national consciousness of the Bulgarian people. Raphe Klinche, a confirmed Christian and wood-carver, is seen against the backdrop of a series of rites and rituals (childbirth, wedding, death) and major social events (replacing the Greek language with the Bulgarian in church services). The conflict between individualism and traditional bonds receives a further articulation in Hristov's next film "Last Summer." The film is a debut of the two directors in the cinema, both coming from successful careers in cinema (Hrisotv) and animation (Dinov). They both have experience in painting which brings about the visual expressiveness of the film. |
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| Published: | 1968 |