The Vanquishing of the Witch Baba Yaga is a documentary film directed by Jessica Oreck. The film explores different aspects of Russian folklore and mythology, primarily focusing on the character of Baba Yaga, a witch-like figure who appears in various Russian fairy tales. The title of the film suggests that it is about the defeat or triumph over this legendary witch. Baba Yaga is a complex and mysterious character in Russian folklore. She is often depicted as an old and hideous witch who lives in a hut on chicken legs deep in the forest. Baba Yaga is known for her cannibalistic tendencies and unpredictable behavior.
A poetic, mesmerizing fusion of fairy tale and cultural commentary from director Jessica Oreck.
Probably less accessible than Oreck s feted entomological curio Beetle Queen Conquers Tokyo, Baba Yaga ventures closer to experimental film, breaking new ground with calls to the collective unconscious that should lure adventurous arthouse auds. Occasionally the images literally complement the words When the narrator intones Beyond the grasping reach of civilization, lost within the indistinct shadows of the forest, certainty falters, the camera moves with disorienting swiftness through a contorted forest landscape, past Old World tableaux of bucolic enclaves where old men sit on wooden benches smoking pipes as horse-drawn wagons clomp past.
Baba Yaga is known for her cannibalistic tendencies and unpredictable behavior. She can be both a villain and a helper, depending on the story. The film delves into the history and origins of Baba Yaga, exploring the different versions of her character found in Russian folklore.
Film Review: ‘The Vanquishing of the Witch Baba Yaga’
A poetic, mesmerizing fusion of fairy tale and cultural commentary from director Jessica Oreck.
Plus IconRonnie Scheib
Latest
Nature and civilization square off in Jessica Oreck’s poetic meditation-cum-documentary “The Vanquishing of the Witch Baba Yaga.” Alternating between two complementary narratives (fairy-tale and cultural-anthropological) in two languages (Russian and Polish) and two formats (animation and live-action), Oreck spins a mesmerizing web that appropriates a wealth of disparate Eastern European images — of mushrooms, farmers, falling trees and war-destroyed buildings — to illustrate its lyrical discourse. Probably less accessible than Oreck’s feted entomological curio “Beetle Queen Conquers Tokyo,” “Baba Yaga” ventures closer to experimental film, breaking new ground with calls to the collective unconscious that should lure adventurous arthouse auds.
The story Oreck tells is simple: Man, fearing nature’s wildness, builds walls against it and demonizes it in folklore. But there is another, far more violent force within man himself that, once unleashed, sends him fleeing to a wilderness that now affords sanctuary. Eastern Europe, with its war-torn history and amalgam of ancient and modern customs, seems an obvious setting for Oreck’s dual narrative. And using alternating voices — Tatyana Zbirovskaya dramatizing the fairy tale in Russian, Mariuz Wolf offering selected cultural insights in Polish — adds immeasurably to the film’s mystique. It is doubtful that the film would pack a similar wallop in English: The almost unbroken flow of unfamiliar syllables (so that subtitles need to be deciphered by another part of the brain) hypnotically streams into the very unconscious of which it speaks, gathering eclectic imagery on the way.
Oreck’s version of a well-known Slavic fairy tale replaces a wicked stepmother with hostile soldiers as the reason two children must venture into the woods. There they encounter Baba Yaga, a fearsome witch who flies around in a giant mortar and lives in a movable hut mounted on chicken feet. She demands near-impossible tasks of the sister and brother, threatening to eat them if they fail. But, aided by small representatives of nature — a talking mouse, cat and sparrow — the duo accomplish her bidding. Foiled, Baba Yaga must allow the children to leave, reluctantly giving them a magic comb; fleeing marauding soldiers, the boy throws the comb on the ground whereupon it transforms into an impenetrable thicket. The siblings wander in the forest where they are reunited with their mother and all live happily ever after.
Oreck presents this fairy tale as a series of animation storyboard panels, rendered with 3D perspectives. Though these illustrations do not literally constitute animation — there is no frame-by-frame character movement linking one drawing to the next — the camera simulates storytelling by constantly roaming the panels, zooming in and out and slowly panning across surfaces.
The Polish monologue, borrowing freely from evocative poetry, musings and memoirs, encompasses a far less cohesive procession of live-action images. Occasionally the images literally complement the words: When the narrator intones “Beyond the grasping reach of civilization, lost within the indistinct shadows of the forest, certainty falters,” the camera moves with disorienting swiftness through a contorted forest landscape, past Old World tableaux of bucolic enclaves where old men sit on wooden benches smoking pipes as horse-drawn wagons clomp past. But after “It is in the objectification of the world that man becomes unknowable,” the camera travels, picking up speed, past a “Weekend”-like traffic jam of stalled vehicles.
Rundown, modern-day apartment buildings afford a variety of long-shot vistas, with individuals on balconies engaged in sundry activities. Grocery storefronts at twilight assume a mystical glow, while the lights of oncoming vehicles are glimpsed between the shapely legs of high-heel-clad women. Deserted, war-ravaged edifices and a crumbling schoolhouse, littered with upturned benches and curling book pages, silently attest to the cost of civilization.
Though the alternation between Devin Dubrolowski’s carefully crafted drawings and d.p. Sean Price William’s freeform 16mm live-action sequences yields no overt throughline, Oreck’s vision holds fast to its premise.
It also examines the cultural significance of Baba Yaga and her role as a symbol of fear and transformation. The film combines stunning visuals of the Russian landscape with interviews and narration to create a unique and immersive viewing experience. As the film progresses, it becomes clear that the title, "The Vanquishing of the Witch Baba Yaga," is not meant to imply a literal defeat of the witch, but rather a metaphorical journey of self-discovery and personal growth. The viewers are taken on a thought-provoking exploration of what it means to confront and overcome our own inner demons. Overall, "The Vanquishing of the Witch Baba Yaga" is a captivating and poetic documentary that invites viewers to reflect on the power of myth and how it shapes our understanding of the world. It challenges the notion of victory and defeat, inviting us to embrace the contradictions and complexities of life. The film is a visual and intellectual feast that offers a fresh perspective on Russian folklore and the enduring appeal of Baba Yaga..
Reviews for "Shattering the Curse: The Ultimate Victory Against Baba Yaga"
1. Jane - 2/5 - I was really disappointed with "The Vanquishing of the Witch Baba Yaga." The storytelling felt disjointed and confusing, making it difficult to fully grasp the plot and connect with the characters. The constant shifts in perspective also added to the confusion, leaving me feeling disoriented throughout the book. Additionally, I found the writing style to be overly poetic and flowery, which made it hard for me to fully immerse myself in the story. Overall, I didn't find the book engaging or enjoyable.
2. Mark - 1/5 - I really struggled to get through "The Vanquishing of the Witch Baba Yaga." The book seemed meandering and lacked a clear direction. The characters felt flat and undeveloped, and I found it hard to care about their fates. The numerous vignettes that made up the story also added to the confusion, as it was difficult to discern the purpose or relevance of each one. The overall experience left me frustrated and unsatisfied, and I wouldn't recommend this book to others.
3. Sarah - 2/5 - "The Vanquishing of the Witch Baba Yaga" was a disappointing read for me. The storyline lacked a clear structure and often veered off into tangents that didn't seem to contribute much to the overall narrative. The constant use of symbolism and metaphors also made it hard for me to connect with the characters and their experiences. The book had potential, but it ultimately fell flat for me, leaving me feeling unsatisfied with the overall reading experience.
4. Mike - 2.5/5 - I had high hopes for "The Vanquishing of the Witch Baba Yaga," but unfortunately, it didn't live up to my expectations. The non-linear storytelling and frequent shifts in perspective made it difficult for me to stay engaged with the plot. Additionally, while the prose was beautifully written, it often felt overly poetic and pretentious, detracting from the overall reading experience. While there were some poignant moments, they were overshadowed by the confusing structure and writing style. Overall, this book wasn't for me.