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Good story, Not enough for a whole film

best movie i've ever seen.

The film makes a home in your brain and the only cure is to see it again.

It is encouraging that the film ends so strongly.Otherwise, it wouldn't have been a particularly memorable film

Just got darker and darker. It might be difficult to find the movie under this title anywhere (the Germans just added a sub-title to it to make it easier), but if you find it, you might like its gritty, down and dirty style. The acting and the setup itself is pretty interesting, letting you in the dark for a long time, having to figure out what is going on and what's real and not.Spiritual and different, this will either be a tease that tastes like something you like or will appall you. It won't be for the masses (obviously), but I do think that those who "get it" (even if it's repeated viewing that takes them there), will love it with all their heart

In a village ravaged by an epidemic, a girl turns to the local priest for a cure for her dying sister, but the priest has a spooky suggestion.Wow - this looks damn fine! I spent the entire film trying to figure out where it was shot: Russian language, but turns out the urban scenes are in Marburg, and the camera work takes full advantage. Also the Russian landscapes are droolishly good.Anyway, a mysterious story and I'm not sure it's a horror. Certainly light on gore, with the emphasis on mild del Toro style grotesques, and the story is stuffed to the gills with oblique hints that didn't completely help me figure out whether or not I was in an allegorical world. At one stage I thought it was really about cancer or depression, but by the end something more literal was going on. The subtitles often seemed over-egged, and I guess I missed many points of significance. But it's beautiful to watch - as another reviewer noted, this feels like a low budget, grimy version of The Cell. And maybe the title can be explained by the three trips into ... not sure what you'd call it, purgatory? I could be totally wrong, but the scene with Mirra's half-buried dopplegangers reminded me of my sole viewing of the brilliant Russian war film Come And See.Acting is good, effects are good, but way too much dialogue as characters give us exposition on their own motives - odd flaw in a highly visual production. There's a cartoon montage in the middle, as Ayia flicks through the shaman book - imaginative, but a strangely hammy effect.Apart from the camera work, the outstanding element is the score by some entity called Moonbeam, with everything thrown in to create an eerie and ethereal atmosphere, with sharp elevations in tension.Overall, I dunno. One of those movies that on a second viewing might reveal more, or confirm the suspicion of style over substance. As for horror, 'tis a mild one.

III is the first film directed by Pavel Khvaleev. It was made on a very low budget with a crew of just eight people. The result this small team achieved is remarkable.The script, which was written by Aleksandra Khvaleev, focuses upon two sisters Ayia (Polina Davdova) and Mirra (Lyubov Ignatushko). A mysterious epidemic is ravaging their rural village and the girls promise their dying mother they will look after each other. The village priest, a family friend, also promises the girl's mother to take care of them once she has gone. When Mirra falls ill with the disease, Ayia realises traditional remedies are not going to assist. Looking for an alternative way to help her sister, Ayia finds a shamanistic healing ritual in the priest's home. However, the mysterious ritual requires Ayia to enter deep into her sister's subconscious. Once there, she has to confront and resolve Mirra's innermost demons in order for healing to take place. With the help of the priest, Ayia makes a number of terrifying journeys into the sickness that is the landscape of Mirra's mind.III is beautifully filmed. Great care and attention is taken to give the viewer a real sense of time and place. One becomes aware of the remoteness of the village, the bricks and mortar of the buildings, the scope and size of the settlement. This grounding in realism contrasts beautifully with the surreal landscape of Mirra's subconscious. Lighting is also used to contrast the differences between these external and internal vistas. Naturalistic lighting is used for the external world both sisters reside in, whereas a pink and/or sepia tint colours a great deal of Mirra's fear riddled subconscious.However, horror resides in both worlds. As the story progresses, the attitude, of those running the village, changes towards people suffering from the epidemic. In Mirra's mind-scape, horror resides in both physical challenges to Ayia and within the structure of the landscape itself. Here, I thought the special effects were well managed. There is no reliance on CGI, instead the viewer sees physical performances and actual body make up. These elements, combined with the lighting, manage to create some creepy and uncomfortable moments. The only criticism I would make is that Mirra's demons weren't surprising – they felt somewhat routine and the last one was a no-brainer. Yet care had been taken to ensure they fitted logically within the narrative framework of the film. Although I felt vaguely disappointed there wasn't something more shocking and horrifying about Mirra's demons, the film's ending, plus what happens to Ayia, did mediate my disappointment. Suffice to say, I like the ending. It is chilling and a nice touch to end a horror movie on.One of the reasons I liked the ending of III so much, was that it added another layer to the story. On one level there is the simple tale of a girl trying to save her sister using a shamanistic ritual. However, by the end of the film, the viewer is aware III isn't just a tale of two sisters. Clues are given to the audience throughout yet, somehow, they're almost unobtrusive - the clues blend with what is happening as the story progresses, and what is said by the characters. The reveal at the end is arguably the true horror of this piece. Without doubt III belongs in the horror genre, but it's creepy and unsettling rather than full of blood, guts and gore. The viewer is shown grotesque body horror and disease, as the result of fear upon both the psyche, and the physical body. Then, in the final scene, we're shown a different aspect to all of these terrors.Performances are solid, honest and the characters portrayed believable. No single performance blew me away, but they all did more than enough to keep me focused and involved in the story. More work on the sister's relationship before their mother died might have engaged more emotion from this viewer, but it was a small lack rather than an overwhelming one.I thoroughly enjoyed the journey Pavel Khvaleev and his crew took me on. I found their work to be gripping. I felt III was quite an unusual art house film because the narrative was linear, with a beginning, middle and end. As a first film, this is terrific and I look forward to seeing what Khvaleev and his crew do next. I highly recommend seeing III. Film making of this stature is to be encouraged and deserves support.

Saw this at the IMAGINE film festival 2015 in Amsterdam. Took its time to build up steam, yet not boring. "The ritual" as it was announced in the synopsis, was to be executed more than once, but I did not know that beforehand. After the first time, assuming it was the last and only, it felt as an anti-climax. Nothing nasty was revealed, and life seemed to go on as if nothing happened. I stood corrected when materializing more scary the second time, for me the real climax. But there was still more to come. Which dirty secret was revealed out of the third and last ritual, escaped me. Maybe executing the ritual three times was essential in itself, three (like seven) being a magical number in many such circumstances. Anyway, the film title III (Roman numerals, so not three capital I's) emphasizes implicitly that the number three is important. No other explanation for this film title springs to mind after having seen it from beginning to end.The sound track supported the proceedings but was often too much on the foreground, to the extent that it took away my attention from what was happening. That may be a fault of my own, as I faintly recognized most of the music, and was distracted while trying to pinpoint what it was exactly. A professional film composer (I forgot his name) said once that a good sound track should be unobtrusive and hardly noticed, but I'm not sure his word is law under his colleagues.All in all, I did not get what I anticipated, so a bit disappointed, but no compelling reason to ask my money back. I think there were ample ingredients left unused. One could have arrived at a more complex story and better execution, in addition to a few extra dramatic developments that were definitely needed. The semi-dark village, its people and its buildings bring in their twilight "horror" atmosphere almost by definition. I experienced most of the tension and creepiness while wandering through Mirra's subconsciousness, but not to its full potential. These scenes were visualized the same as dreams are usually shown, by enlarging external influences (e.g. banging on doors) and by slow-motion effects (e.g. dragging protagonist's walks, to never reach the intended destination). It usually works out on the viewer as artificial, and thus defeats its purpose altogether by setting the viewer on a distance rather than sucking him into the story. In a good Horror film such elements are presented in a subtle way, to involve us in the proceedings rather than distracting us. This movie fails halfway in this respect.