PTSD (Post-traumatic stress disorder) is a term that became prominent in 1980 when the American Psychiatric Association recognized it as a mental health diagnosis that was often used to describe Vietnam War veterans and Holocaust survivors. Although PTSD could also apply to survivors of violent crimes, natural disasters and other calamities, it is more often association with war victims. Shellshocked is an earlier term for this disorder and was common in describing afflicted soldiers returning from battle during World War I. The Return of the Soldier, Rebecca West’s debut novel (published in 1918), was unique for featuring a shellshocked war veteran whose return home exposed his fragile mental condition to those who knew him before he went to battle. West’s novel was also significant for addressing such prevalent concerns in the narrative as class differences, Freudian psychoanalysis (which was popular at the time) and the lives of women living in a patriarchal society. All of this was skillfully integrated into the overlooked 1982 film adaptation of The Return of the Soldier, which faithfully captures the spirit and central focus of West’s narrative, one that utilizes the shellshocked protagonist as a means to examine three important women in his life and their response to his war trauma.
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Alone on the Tundra
If you are a devoted cinephile with a keen interest in the constantly evolving state of international cinema, then you know that there are always new filmmakers and cultures to explore in the cinematic universe. One of my recent discoveries was the existence of Sakha cinema, which represents the Yakutia province of northwestern Siberia in Russia. This region, which is 5,000 miles from Moscow and is subject to the coldest temperatures on record in the northern hemisphere, is famous for its natural resources, mountain ranges and arctic conditions. More recently, it is attracting international attention for its booming film industry which emerged after 1992 when the president (at that time) Mikhail Nikolaev established a national film industry which is affectionally called Sakhawood (in a nod to India’s Bollywood film factory). Writer/director Stepan Burnashev, a native of Yakutia, is one of the more renowned filmmakers to emerge from Sakhawood and Khara Khaar (English title: Black Snow, 2020) was my first exposure to his work.
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