ICH-CHI is a spirit from Yakut mythology that protects the earth and its people. When city dwellers Lisa and Timur return to Timur's childhood house the family's past quarrels come to the surface. But when the night arrives something more menacing lurks in the dark and it is rooted in deep tragedies and great evils of the past.
ICH-CHI signifies the coming of Yakut film into Mainstream movie world. The movie begins as a serious drama about the reconciliation of the old and the new. The first half of the film is an engaging family drama which focuses of the conflict of two brothers - one came back from the city, the other lives in the wilderness with his parents. Both are dismissive of the other's lifestyle, and their inability to find common ground may demand a high price to pay.
The cast of characters supported by mysterious background of Yakutia's wild nature builds up to something incredible, but when the night falls and the horror part of the movie begins, it turns into a confusing mess. Remaining stylish and beautiful throughout, consistently well acted, the film would have done better to remain on the familiar family drama track. But the director Kostas Marsan is much more interested in the myths of the Yakut land and the terrifying nature of the past that haunts our characters.
The second part of the film is a dream-like labyrinthian sequence that makes little sense as it progresses and only by the end some questions will be answered. But will it be enough?
ICH-CHI signifies the coming of Yakut film into Mainstream movie world. The movie begins as a serious drama about the reconciliation of the old and the new. The first half of the film is an engaging family drama which focuses of the conflict of two brothers - one came back from the city, the other lives in the wilderness with his parents. Both are dismissive of the other's lifestyle, and their inability to find common ground may demand a high price to pay.
The cast of characters supported by mysterious background of Yakutia's wild nature builds up to something incredible, but when the night falls and the horror part of the movie begins, it turns into a confusing mess. Remaining stylish and beautiful throughout, consistently well acted, the film would have done better to remain on the familiar family drama track. But the director Kostas Marsan is much more interested in the myths of the Yakut land and the terrifying nature of the past that haunts our characters.
The second part of the film is a dream-like labyrinthian sequence that makes little sense as it progresses and only by the end some questions will be answered. But will it be enough?