COMPARTMENT NO. 6

England, Russia, 2021, 107 minutes, Colour.

Seide Haarla, Yuriy Borisov, Dinara Drukarova, Tomi Alatalo.

Directed by Juho Kuosmanen.

Winner of the Grand Prix in Cannes 2021, a Finnish and drama. And the title, of course, does suggest a train journey.

In fact, the journey is from Moscow to the Arctic Russian city of Murmansk, quite a long journey, through St Petersburg, then veering north, with stopovers, including one night in a remote town. Not sure whether this will serve as a tourist incentive for other travellers to take this journey. It is not always comfortable in the amenities let alone in the risk of finding those sharing the compartment uncongenial, often obnoxious.

The title does have an aura which might lead to expect something like murder on the Murmansk Express. But, no, it is not that kind of film. Rather, it is a very personal journey by a young woman, student in Moscow, Laura, from Finland. And she has become involved with Irina, a university lecturer, who persuades her to travel north to see the 10,000-year-old petroglyphs. At the last moment, Irina her does not go on the journey, leaving Laura somewhat bewildered, venturing out on her own.

The first thing that happens in compartment number 6 is Laura’s discovery of her fellow passenger, Ljoha, a bald young man, drunk and drinking, verbally abusive. The stern matronly-like figure of the train conductor cannot be bribed to change Laura’s compartment. There is refuge in the corridor. There is refuge in the dining car but it has to close. Where can this be going?

In the morning, the young man is awake, engaging in conversation which is rather blunt, no idea about the petroglyphs and dismissing them. Can the whole journey go on like this?

It doesn’t. Laura begins to come out of herself, disappointing phone calls to Irina, more conversation with the young man, even being persuaded during the night stopover to visit an old lady, his friend, a wise old woman who gives her good advice. A family sits in the compartment at one stage but then get off the train. Then a musician comes in, friendly, but leading to something which causes Laura complete dismay.

The mystery is whether they will ever get to see the petroglyphs because it is winter, the roads impassable, no one willing to serve as a guide.

Perhaps the best thing is to say that we realise that Laura is in search of herself – and in his own way, in fact, is the young man – and whether she will find herself in the quest.

1. The title, a train, a road movie, a railroad movie?
2. The initial Moscow settings, the city, apartments, parties? The railroad settings, the train, the compartment, corridors, dining car? The stops, the towns, St Petersburg Station, the countryside, winter, the overnight trip to the house, the city of Murmansk, the hotel, the streets, the industrial sites, the snowy countryside, roads, by sea, the destination? The musical score?
3. Laura’s story, student in Moscow, background from Finland, the encounter with Irina, the relationship, the party, intellectual background and questions in reading? Intimacy? The trip, her destination, the petroglyphs, archaeology, 10,000 years old? Her personality?
4. The trip, the compartment, finding the young man, his drunken behaviour, aggressive, asking whether she was a prostitute? His mess? Her repulsion, her bunk, going to the corridor, unable to change compartments, going to the dining car, the return, his sleeping? Her coping?
5. The young man sober, their discussions, his looking for work, not understanding her archaeological quest, not interested? The family occupying the compartment?
6. The overnight stop, his invitation, her refusal, the car, getting in, the drive, the old lady and the conversation, inviting Laura to find her inner self, the drinking, the bond with the young man? Waking, the drive, back to the train?
7. The change in attitude in each of them, but still themselves? The arrival of the guitar player, playing, the walk during the short stop, the young man slipping in the snow, becoming surly? The guitarist getting out, stealing Laura’s camera? Her being devastated, the filming, memories of Irina, consoling herself on the bunk watching the film?
8. The arrival at Murmansk, the time in the dining car, sandwiches, the discussion, his walking out? Disappearing at the station? Laura going to the hotel, the impossibility of going on her expedition, the winter snow?
9. Her ringing Irina, Irina and her offhanded responses? Laura initially thinking of going back to Moscow? Continuing?
10. The young men at the hotel, offering to guide her, the taxi driver, driving through the snow, the outposts, the discussions, the possibility of going by sea, the deal, the boat, landing, the track, the achievement of the mission (with the audience not seeing the drawings)? The playfulness between the two, the affection, the impact of the long embrace?
11. Is returning to work, the change in him, Laura back to the hotel, the change in her?