A loner played by Willem Dafoe looks back over his life and struggles to make sense of it in Abel Ferrara’s existential journey. Read the review of 'Siberia':
SiberiaAbel Ferrara. Not only does the screenplay, which Ferrara wrote with Christ Zois, seem like a highly personal exploration of the director’s own psyche, but it is peppered with dreamlike/drug-like encounters with pregnant women, naked dwarves, shamans and magicians who pop out of nowhere, are questioned and disappear a few minutes later.
It's interesting up to a point, and Ferrara fans who take the trouble to research the film’s origins will get the most out of it, perhaps along with open-minded younger viewers. Unprepared audiences are likely to remain puzzled or angry at being excluded from Clint’s dreamlike world.
Clint’s first fantasy begins with the arrival of two Russian women by dogsled. One is old and doddering, the other young and beautiful. While the elderly lady drinks rum, the young one opens her coat to reveal nothing underneath except her swollen breasts and a huge belly soon to give birth – and offers herself to her host with a smile.
Not that anything in this quicksilver film is easy to get a handle on, apart from an exciting trip Clint makes on his own dogsled pulled by five delightful huskies. Reappearing in scene after scene, the blue-eyed dogs provide a grounding reality for several more fantasies. When Clint holes up in a cave and a naked woman dwarf appears in a wheelchair, the animals’ wide-eyed stare of perplexity closely mirrors the viewer’s and gets a laugh of recognition.
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