Starring: Seide Haarla, Yuriy Borisov, Dinara Drukarova, Tomi Alatalo
Distributor: Sharmill Films
Runtime: 107 mins. Reviewed in Jul 2022
Reviewer: Fr Peter Malone msc
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A long train journey of several days and overnights from Moscow to the Arctic city of Murmansk. Finnish student, Laura, has a ticket for compartment no. 6. Along the way she meets a number of people, but one in particular stands out.
Finland/Russia, 2021
Winner of the Grand Prix in Cannes 2021, Compartment No. 6 is a Finnish drama. And the title, of course, does suggest a train journey.
In fact, the journey is from Moscow to the Arctic Russian city of Murmansk, quite a long journey, through St Petersburg, then veering north, with stopovers, including one night in a remote town. Not sure whether this will serve as a tourist incentive for other travellers to take this journey. It is not always comfortable in the amenities, let alone in the risk of finding those sharing the compartment uncongenial, often obnoxious.
The title does have an aura which might lead to expect something like murder on the Murmansk Express. But, no, it is not that kind of film. Rather, it is a personal journey by a young female student in Moscow, Laura (Haarla), who is from Finland. She has become involved with Irina (Drukarova), a university lecturer, who persuades her to travel north to see the 10,000-year-old petroglyphs. At the last moment, Irina does not go on the journey, leaving Laura somewhat bewildered at venturing out on her own.
The first thing that happens in compartment number 6 is Laura’s discovery of her fellow passenger, Ljoha, a verbally abusive, drunk young man Ljoha (Borisov). The stern matronly-like figure of the train conductor cannot be bribed to change Laura’s compartment. There is refuge in the corridor. There is refuge in the dining car but it has to close. Where can this be going?
In the morning, the young man is awake, engaging in conversation which is rather blunt, no idea about the petroglyphs and dismissing them. Can the whole journey go on like this?
It doesn’t. Laura begins to come out of herself, disappointing phone calls to Irina, more conversation with the young man, even being persuaded during the night stopover to visit an old lady, his friend, a wise old woman who gives her good advice. A family sits in the compartment at one stage but then get off the train. Then a musician comes in, friendly, but leading to something which causes Laura complete dismay.
The mystery is whether they will ever get to see the petroglyphs because it is winter, the roads impassable, no one willing to serve as a guide.
Perhaps the best thing is to say that we realise that Laura is in search of herself – and in his own way, in fact, is the young man – and whether she will find herself in the quest.
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