The kindergarten is a bit old-fashioned, with worn-out toys and a faded mural on the wall. But Anastasia is thrilled to explore the room and meet her new classmates. There's a girl playing with blocks, a boy coloring with crayons, and a group of children singing a song in a corner.
The "Ice" of the title is significant. It represents the frozen state of the country, now thawing into chaos. The film captures a specific Soviet melancholy—a sense that the future is uncertain and the past is dissolving. It lacks the triumphant propaganda of earlier Soviet war films. There is no glorious victory here; only the damp, the wait, and the endless dripping of water. kindergarten 1989 ok ru
The year is 1989. Outside the frosted windows of Kindergarten No. 5, the Soviet world is changing. Maps on the walls still show a vast red country, and the morning routine is the same: "Spasibo" for the porridge, quiet hour on small cots, and the smell of wet wool from drying mittens. The kindergarten is a bit old-fashioned, with worn-out
You remember. And you reply: “I was there. 1989. Right before everything changed.” The "Ice" of the title is significant
The first thing that strikes the viewer is the setting. The film takes place almost entirely within the confines of a kindergarten that has been converted into a temporary shelter for children awaiting evacuation. But this is not a crisp, clean evacuation center. The defining motif of the film is water. The winter is unusually warm; the snow is melting. The ceilings are leaking, buckets are scattered everywhere to catch the drips, and the air is thick with dampness.
During recess, Anastasia joins the girl playing with blocks, and they start building a tower together. The girl's name is Maria, and she's from a family of artists. They chat about their favorite cartoons and games, and Anastasia feels like she's found a kindred spirit.
. What Is It Actually About? The film is a surreal, grotesque, and "psychedelic" drama. The plot centers on a couple, Graciela (Graciela Borges) and Arturo (Arturo Puig), who run a kindergarten out of their mansion. 1.3.3 . However, Polaco’s style—known for focusing on the decay of the human body and bizarre domestic routines—turns this premise into a fever dream of love, violence, and even taxidermy (the husband lives with his embalmed father-in-law).