Filmmaker Yana Osman explores fences, both actual and metaphorical, in her documentary
Filmmaker Yana Osman addresses her creative documentary Twin Fences to Russian architect Boris Lakhman, whose PO-2 fences, concrete and decorated with rhombuses, can be found throughout Russia and former USSR countries. Using imaginative composition and fast-paced storytelling, Osman spouts facts and history about public art and architecture in Russia – most of the time, standing directly in front of the fence, building or statue she’s discussing. A strong sense of humor is woven through her work. For instance, she makes separate “films” starring each of the experts she talks to.
Twin Fences does interesting things with form while talking about 20th Century Russian art, cultural identity and notable figures. This first section of the documentary moves so quickly, it seems like it plays at 1.5x speed, making it a challenge for much to fully sink in. Osman’s film slows to a more pensive pace as she delves into her family history and the racism she faced as a Ukrainian-Afghani girl. There’s a palpable tension onscreen as her mom talks about Osman’s father from Afghanistan and his sudden death.
The last section shows the filmmaker walking around Shostka, Ukraine, with her grandfather before the 2022 Russian invasion. There’s a sense of impending doom as one watches, knowing what is to come. But the clips we see of Osman and her grandfather together have an emotional immediacy and honesty, as if the two are aware their time together may be limited.
Osman’s film is silly as well as contemplative, yet doesn’t feel tonally uneven. Twin Fences may be informative about specific works of Russian public art, propaganda, and their historical impact; more importantly, the documentary showcases the filmmaker’s wit and unique voice. Osman has created a distinct and memorable film, layered with meaning.
Twin Fences screened over the weekend at Slamdance Film Festival.
