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Around the third hour or so of “The Painted Bird,” a grueling, pristinely photographed abstract of wartime horrors, the camera accidentally alights on a small, adored act of beastly decency. A soldier, built-in in a timberline overlooking a adjacent village, agilely passes a allotment of aliment to his companion, a adolescent boy whose awful adventure we accept been following. This affable break doesn’t aftermost continued — the soldier has a burglarize and, soon, an adverse ambition in his architect — but it still has the merciful feel of a respite, a admonition of kinder impulses that existed continued ago, afore the apple descended into abominable barbarism.

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That atrociousness is the accountable of this long, absolute soul-lashing of a blur from the Czech writer-director Václav Marhoul, who acclimatized it from the atypical of the aforementioned appellation by the Polish-born columnist Jerzy Kosinski. The book, about a 6-year-old boy who bears mute, abashed attestant to every anatomy of beastly angry during Apple War II, drew boundless all-embracing acclamation on its advertisement in 1965. It additionally admiring cogent altercation back it became bright that the novel, which Kosinski had originally anesthetized off as an annual of his own wartime childhood, was in actuality a assignment of fiction.

For all the accident that acceptance did to the author’s reputation, which was additionally aged by accusations of appropriation and apocryphal authorship, it hardly blunted the anecdotal drive or the raw, agreeable ability of “The Painted Bird” on the page. And it’s ultimately of little aftereffect in the movie, which presents itself as an absolute assignment of fiction, admitting a angrily aboveboard one. Moving with analytical assurance from atrociousness to atrocity, it spends two hours and 49 account patiently accumulating a daisy alternation of beastly misery.

Shot on starkly admirable black-and-white 35-millimeter blur by the cinematographer Vladimír Smutn´y, and anecdotal into nine chapters, the cine begins not continued afterwards the boy (played by an accomplished Petr Kotlár) is beatific by his parents to delay out the war in the affliction of an earlier barbarian woman, Marta (Nina Šunevič). One black he finds Marta dead, a analysis so amazing that he accidentally knocks over a bake and burns bottomward the house. In addition film, this ability be advised a tragedy. As one baby adventure in this near-Boschian hellscape, it about qualifies as a moment of absurdity — the attenuate adventitious accident unmotivated by acerbity or depravity.

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Story continues

From there, the boy is affected to aberrate aimlessly amid dry fields and thatched-roof huts dotting a vast, bearding amplitude of Eastern European landscape. He is sold, adopted, confined and anesthetized along. Sometimes he is the almsman of alarming abuse; sometimes he is alone an eyewitness of it, which is hardly better. Some of the bodies he encounters forth the way are played by acclaimed actors including Stellan Skarsgård, Julian Sands, Harvey Keitel and Barry Pepper, whose accustomed faces can be arrant but additionally accord you article to latch on to — a bit of cerebral analogue in a apple of contrarily indiscriminate, banausic suffering.

As in the novel, the boy himself is never alien by name and the accommodation of his backstory abide bearding — the bigger for us to apperceive him as not aloof an alone but a representative. As played with austere adroitness by Kotlár, he is every alone innocent, a amateur for endless nameless, afflicted others. He is additionally aphotic of hair, eyes and complexion, and appropriately anon incurs the anti-Semitic, anti-Romani bigotry of the blanched bodies he encounters, their abhorrence affronted added by alone superstition, religious bent and basal bloodthirsty nastiness.

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At one point he comes beneath the roof of an old healer (Alla Sokolova) who accuses him of actuality a vampire and has him active in the clay up to his close — a analytical antidote that about causes his eyes to get pecked out by an acerbity of ravens. Fortunately, he manages to accumulate his peepers; the adolescent plowboy he meets later, the one who makes the austere aberration of staring lustfully at a miller’s wife, is not so lucky. (Surely he should accept accepted better; didn’t he apprehension that the miller is played by Udo Kier?)

What Kosinski showed us in book and what Marhoul agency to appearance us in images is a apple gone irretrievably mad, in which the agony of war both exposes and exacerbates the aggregate absoluteness of the beastly condition, with its bottomless accommodation for greed, lust, animosity and sadism. The assorted transgressions either depicted or heavily adumbrated actuality accommodate adolescent rape, adolescent torture, beastly mutilation, animality and many, abounding added forms of beastly animality in a cine that could aloof as able-bodied accept been alleged “The Decapitated Chicken,” “The Violated Goat” or “The Immolated Squirrel.” The absolute appellation derives from a arena in which one of the boy’s kinder guardians (Lech Dyblik) applies a atom of white acrylic to a bird’s accoutrement — and demonstrates aloof how bound and atrociously associates of a accumulation will about-face on one of their own.

At times you may feel beholden for Marhoul’s accommodation to shoot in monochrome, as able-bodied as his addiction of staging every illustration of ache aloof askance abundant to accumulate you watching. Not anybody backward in their seats back “The Painted Bird” premiered aftermost abatement at the Venice and Toronto blur festivals, area it generated letters of mid-screening walkouts — a not-uncommon occurrence, and sometimes a calling card, for films whose bartering activity depends on the accomplished agronomics of controversy. But Marhoul, authoritative his third affection afterwards two added arcane adaptations, “Mazany Filip” (2003) and “Tobruk” (2008), doesn’t arise to be thumbing his adenoids at anyone. His assignment has none of the taboo-shattering archness of a Lars von Trier or the lysergic applesauce of a Gaspar Noé, to name two belled festival-circuit provocateurs.

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For bigger or worse, “The Painted Bird” is a punishingly aboveboard vision, arty in its affinity and algid in its effect. Should you accept to acceptable it into your active room, you may able-bodied acquisition yourself lunging for the alien back a accumulation of women atrociously advance one of their own, or back Russian soldiers alight on a German boondocks and exact a admeasurement of blood-soaked payback. But you ability additionally acquisition yourself aptitude in, for the simple acumen that adamant awning violence, alike at its best repellent, has a way of accomplishment its own momentum.

That’s abnormally accurate back a filmmaker is alive at Marhoul’s acutely aerial akin of craftsmanship. This is a blur of beautifully afire compositions, able-bodied camera movements and immersive aeon backdrop (the sets were advised by Jan Vlasák). It’s additionally a blur whose bright account of the wartime accomplished I kept calling into catechism — not because it’s physically unpersuasive, but because the ambience itself never risks demography on a activity of its own, never seems to abide for any acumen added than its characters’ corruption and destruction.

That ability be actual abundant to Marhoul’s bleak point, and to Kosinski’s as well. But the pummeling, totalizing abhorrence of “The Painted Bird” ultimately proves its undoing. In the greatest films about rural and civic collapse, Elem Klimov’s “Come and See” and Béla Tarr’s “Sátántangó” amid them, you appear abroad with article added than bludgeoning misanthropy and affected shocks. You get a rich, nuanced faculty of the accomplished as it already existed, and you feel the abiding rhythms of accustomed activity alike afterwards they’ve been fatally disrupted. “The Painted Bird” is a arduous film, impressively and proudly adamantine to watch. It’s additionally aloof a little too easy.

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