One of the weirdest and funny movies to come to streaming services recently is Why Don’t You Just Die. The Russian black comedy-drama is the feature film debut of Russian writer-director, Kirill Sokolov, who had previously made 4 short films. The film also stars several Russian stars, including Aleksandr Kuznetsov, Vitaliy Khaev, Evgeniya Kregzhde, Mikhail Gorevoy and Elena Shevchenko.
The film at first follows a young man, Matvey (Kuznetsov), who arrives at an apartment with only a hammer, and has a physical fight with an older man, Andrey (Khaev). It is soon revealed that Matvey is actually the boyfriend of Andrey’s daughter, Olya (Kregzhde), and Olya sent Matvey to kill Andrey because apparently, Andrey abused Olya when she was a child. Meanwhile, Andrey, who is a police detective, is having issues with his partner and best friend, Yevgenich (Gorevoy), who wants revenge on Andrey. This leads to a dramatic conclusion which leads to Matvey, Olya and Yevgenich going to the same apartment, all to get revenge on Andrey.
This film is a really exhilarating and funny black comedy, that will make laugh and squirm with equal measure. The film, being a first feature for a director, sometimes feels like an eager kid attempting to show his chops as a director, but saying that, it is still quite entertaining. It is also a film where you can plainly see it’s influences bouncing off the screen, from Edgar Wright, Sam Raimi, Wes Anderson and shades of early Tarantino.
The film is especially influenced by Wright and Raimi in it’s use of camerawork. The camera often uses a swooping and always moving technique that feels very influenced by both Wright and Raimi. There are many parts of the film, in which the camera oddly emphasises certain things, like a turn of the doorknob and someone looking through a peephole, that feels like a quintessential Edgar Wright move.
The film also feels very influenced by Wes Anderson by how Sokolov often frames a shot very squarely and symmetrically. There is also something to be said for the bright use of colours in the movie. The film has uses a lot of bright reds, greens, blues and pinks that feels so vibrant, and just adds to the blackly funny, strange feeling of the movie.
The film also has some wonderful asides, and funny sub plots that make the film very unique. This includes how after Matvey comes back from the dead after being called dead from suffocation, we see how in his youth, he did the exact same thing. Also, when Matvey is attempting to be released from handcuffs, we see, in an almost exercise video-type voice-over, how to and how not to get out of the handcuffs. These unique and strange asides feel almost sitcom-like in their format, and this makes the film very auteur-ist and original.
Other than the style, the film’s plot feels very Tarantino. The film has a very Reservoir Dogs (1992) like format, in which we see the film mainly takes place in one location (Andrey’s apartment), and the film explores the events which got all the characters to this certain location. Also, the film has a fragmented narrative, where it is split into 3 parts, and we see each many from the perspective of each main character (Matvey, Mikhail, and then, Olya).
This is possibly one of the weakest elements of the film, as this non-linear narrative feels slightly unnecessary. When the film goes to a new part of the film, it slightly takes the momentum and pace away from the film. I think, it would of just worked a lot better if they had abandoned this narrative, and just stuck to the blood, guts and gore.
The film can sometimes be really quite bizarre, and just plain surreal in some places. The film is great at dealing with death sequences, in particular, there is a scene where one character has a gruesome, bloody death, then gets up, gives a big speech, and then falls to the floor, dead. Also, our lead character (Matvey) gets beaten, abused and hit all the way through the movie (and effectively dies twice), and this is just excepted at normal. The way in which the film deals with all it’s blood and gore is quite surreal, and ultimately, quite slapstick-y, and this has been plainly influenced by Raimi.
The film is also, performed really well. Everyone’s plays their stereotype very efficiently – Kuznetsov as the put-upon boyfriend; Khaev as the brutish and macho father, and Kregzhde as the young and unsure daughter. Kuznetsov is particularly impressive, as he is a mainly reactive figure, and all he mainly does is react to those around him. Another special mention goes to Shevchenko, who plays Andrey’s put-upon wife (and Olya’s mother).
With all of these influences, the film could possibly read as a rip-off, but, what’s weird about the film is that it ends up feeling oddly original, because of the cheer amount of contrasting influences. The film is so weird, strange and auteurist, and definitely deserves a look. I’m sure you will find it entertaining.