Thomas Vinterberg, the director of the much-loved The Hunt, is back with Kursk, adapted from a true story. The film recounts the sinking of the Russian nuclear submarine K-141 Kursk, which occurred in the Barents Sea on August 12, 2000. Led by Matthias Schoenaerts, Léa Seydoux and Colin Firth, Kursk sheds light on a little-known history in US/Russia relations.
A classic but pedagogical film
Kursk is relatively well done. Thomas Vinterberg returns to a little-known and yet edifying story about the stupidity of governments. While the submarine is damaged and trapped under the ocean, and 23 sailors try to survive, families left behind desperately struggle with bureaucratic blockages. Kursk is a very classic film that links scenes of survival at the bottom of the water and diplomatic conversations on land. Thomas Vinterberg manages to articulate his rhythm around this montage that responds to itself. The underwater scenes are carried by Matthias Schoenaerts , who has the responsibility of saving his men, while the negotiations are carried by Léa Seydoux and Colin Firth, who have the courage to challenge the waves, whether natural or bureaucratic.
But Kursk quickly ended up going around in circles, and two hours of footage were ultimately not necessary to tell this story. Even if Matthias Schoenaerts ensures the show and holds the film on his shoulders, the survival scenes remain simply classic while the administrative setbacks are not sufficiently highlighted. Because this is Kursk's pedagogical goal, to highlight these injustices. Thomas Vinterberg recalls how a government totally lacks recognition towards its people, in this case its sailors who serve the interests of the nation. Brave, dedicated soldiers who traded a balanced family life for endless sea trips. Do they deserve to be abandoned at the bottom of the ocean by a government too self-centered to accept American aid? Certainly not. It is undoubtedly this pedagogical side that gives the full scope of the film. Thomas Vinterberg highlights the selfishness of a nation ready to give up the lives of 23 soldiers rather than lose face. A stupid political history, a legacy of the Cold War, a representation of a nation's ego. Kursk makes it possible to highlight the abusive use of governments on their soldiers, expendable pawns, for, sometimes, simple political formalities.
Efficient, Kursk unfortunately suffers from a slow pace and a few lengths. But the subject is edifying, the reality overwhelming, and the mess awful. The feature film has the merit of being pedagogue.
