Siberia, in the early 1930s: Polina is sent to the outpost of Kasym to introduce the forest nomads and Khanty to the benefits of communist culture. Polina is accompanied by a troupe of artists whose members are less interested in the blessings of a workers' and peasants' state than in the cult of art itself. The Khanty have been fighting for years against the colonization attempts of a Soviet power, whose youngest representatives are now promising them the blue sky with living pictures of men with wide-brimmed hats, the sounds of spheres and walls full of red squares ...
Similar to Aleksei Fedorchenko's Silent Souls (Ovsjanki) (2010) and Celestial Wives of the Meadow Mari (Nebesnye zheni lugovykh Mari) (2012), Angels of Revolution is also anchored in the traditions and rites of minority ethnic groups. This time, however, it is not just about their lives, but also about those of their “liberators”, the representatives of the revolution, whose ideals of beauty and happiness seem no less alien at times. From this in reality brutal clash of cultures, Fedorchenko conjures up a modern fairy tale that is idiosyncratic and eccentric, multi-layered and visionary, playful in its visual power and as disturbing as it is beguiling in its splendid colors.
