The growing pains of adolescence are hardly novel subject matter for the cinema, but in her short drama Snow in September, Lkhagvadulam Purev-Ochir offers a slightly unusual spin on a familiar trope. Telling the story of a teenager living in Ulaanbaatar who is, quite unwittingly, encroached upon by the adult world, the filmmaker mines something unique in its treatment of young love, physical intimacy, personal boundaries, and the pitfalls of masculinity. Featuring an impressively subtle performance from Sukhbat Munkhbaatar in the lead role, the film premiered in the Orizzonti section at the Venice Film Festival before going on to screen in Toronto later in the month.
Purev-Ochir’s film is all about thresholds. The first ones are architectural. In the crumbling Soviet tower block where Davka (Munkhbaatar) lives with his mother (Odgerel Bat-Orshikh), he one day finds himself opening the apartment door to a stranger (Enkhgerel Baasanjav) who subsequently inveigles her way inside. Claiming to be a family friend and needing to phone her husband, Davka then finds that this woman has gone into his bedroom and begins to ask him intimate questions. While the film isn’t explicit about what happens next, a personal threshold is crossed, and something is fundamentally changed in Davka. Consequently, he struggles to maintain the easy relationship he once had with his school friend, Anunka (Nomin-Erdene Ariunbyamba).
The director, who also wrote the film, has spoken about how she wanted to draw attention to the way that masculine culture doesn’t allow young men like Davka to open up about trauma, and it is interesting to see such a topic gender-flipped in this way. In particular, the film is fascinating in how it presents Davka’s resulting awkwardness with Anunka, and his inability to articulate either his emotions or desires. Munkhbaatar’s performance is excellent, filled with internal wrangling and confused frustration at himself, Anunka, and his mother. Prior to the incident, the two teenagers have easy chemistry – they flirt and joke – but innocence is wrenched from Davka by his experience and as they begin to embark on their own physical relationship, things become fraught. Instead of the charismatic smiling boy of the opening scenes, Davka has manhood thrust suddenly and forcibly upon him; it leaves him unsure of his feelings, his role, and even his own body.
Director, screenplay: Lkhagvadulam Purev-Ochir
Cast: Sukhbat Munkhbaatar, Nomin Erdene Ariunbyamba, Enkhgerel Baasjanav, Odgerel Bat-Orshikh
Producers: Katia Khazak, Charlotte Vincent, Ariunaa Tserenpil
Cinematography: Amine Berrada
Editing: Marylou Vergez
Sound: Benjamin Silvestre, Carlos Abreu, Paul Jousselin
Music: Maxence Dusse?re
Production design: Batbileg Lkhagvasuren
Production companies: Aurora Films (France) Guru Media (Mongolia)
Venue: Venice Film Festival (Orizzonti)
In Mongolian
20 minutes
