폭력의 연쇄와 신화적 자연, 영화 ｢늑대들｣ 연구

초록

This paper provides a comprehensive analysis of the 2025 Altai film The Wolves (Волки), directed by Mikhail Kulunakov, positioning it within the burgeoning phenomenon of Russian regional cinema. In recent years, cinematic production from Russia's constituent republics, such as Yakutia (Sakha) and Altai, has garnered international acclaim for its unique cultural and linguistic specificity, operating outside the mainstream Moscow-St. Petersburg film industry. Based on a true 19th-century story, The Wolves depicts a personal conflict originating from a traditional bride-kidnapping that escalates into a brutal, community-wide vendetta. Through a multi-faceted approach combining narrative, aesthetic, and comparative analysis, this paper examines how the film portrays the cyclical nature of violence and revenge within the cultural context of Altai. The study argues that The Wolves embodies key characteristics of Russian regional cinema, including a profound connection to ethnic roots and the mythical power of nature. A central focus is placed on the film's core paradox of “fake wolves versus real violence,” where humans mimic the sounds and behaviors of wolves to perpetrate a brutality that surpasses that of the actual animals. The Altai Taiga is analyzed not as a mere backdrop but as a “silent arbiter”—a living entity that impassively witnesses human devolution. The aesthetic analysis highlights Olga Kulunakova's cinematography, which utilizes majestic long shots, natural lighting, and a stark contrast between vast, open landscapes and claustrophobic interiors to visualize the film's thematic tensions. Furthermore, by comparing The Wolves with the works of acclaimed Yakutian director Dmitry Davydov, the paper identifies shared thematic concerns—such as violence in isolated communities—while also distinguishing its epic, historical-drama aesthetic from Davydov's documentary-style realism. In conclusion, this paper posits that The Wolves is a landmark film that not only artistically represents the unique cultural identity of Altai but also exemplifies the growing artistic and thematic diversity of the Russian regional cinema movement, offering a profound meditation on the universal themes of violence, honor, and the ambiguous boundary between humanity and wildness.

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