Wandering in the Rain: Reaching Liberation

A Review of the Film RAIN

In contemporary cinema, it is nearly impossible for a filmmaker to tackle a subject that hasn't been explored before. What distinguishes modern cinematic works is the specific treatment a filmmaker gives to their story or subject. It is the use of imagery, visual language through editing and framing, and the use of music and sound that paves the way for artistic expression. Victor Mirch appears to know his tools well; his short film, RAIN, is a prime example of using available potential to achieve a desired result.

RAIN establishes its world from the very first frame. We are faced with a rainy night where a narrator speaks of his feelings toward the rain. Rather than a formal monologue, it feels like a deliberate "heart-to-heart" or a chat between old friends. While the subject seems simple, it subtly draws us into the depth of the matter. Sometimes, choosing the simplest and most obvious topics is a sign of a filmmaker's intelligence. While many seek complex subjects and fail in execution, taking a brave step toward subjects often ignored due to their everyday nature is significant.

Victor Mirch knows how to manipulate images through camera angles, cinematography, filters, and the soundtrack to create an atmosphere—the most vital element of his work. Atmospheric construction is difficult and often relies on the filmmaker's intuition. From the first image of a quiet alley, the atmosphere begins to build. In a melancholic and nostalgic environment, the narrator wanders the streets alone, sharing his thoughts as he passes various locations. Thus, the images are not merely decorative; they complement the narrator's words. The narration is so central that the work would lose its core meaning without it.

The narrator discusses how rain both brings people together and drives them apart. He moves from the physical reality of rain to deeper life themes, such as the realization with age that some things are beyond human control. He intelligently uses rain as a metaphor for his feelings toward life. These reflections have engaging visual equivalents; for example, when he mentions rain bringing us closer or further apart, we see the narrator multiplied on screen, with the copies then disappearing one by one until only he remains. By multiplying the narrator instead of using other actors, the director implies a loneliness so deep that "company" can only be reconstructed through self-replication.

The use of streetlights and vintage filters casts a shadow of nostalgia and loneliness over the film. This feeling is intentional, mirrored by the film's gentle, melancholic music. Together, they transport us into the mental space of a protagonist who has accepted that life is sometimes just sitting and watching raindrops fall. The narrator’s wanderings and his casual, comfortable tone highlight the film's experimental aspects. The filmmaker utilizes a key feature of experimental cinema: the removal of excess elements to reach an individual, isolated, and minimalist cinema.

The minimalism of RAIN is so honest that the audience connects with it immediately. The visual language and the monologue are so intertwined that removing any single element would damage the film's meaning. Ultimately, RAIN is about a person who has reached a kind of freedom and liberation in their life's journey, for which the nighttime strolls are a metaphor. The narrator moves beyond good and bad, ease and hardship, becoming a witness to the passing of life. Victor Mirch’s skill lies in using visual language to sometimes contrast with and sometimes accompany the narrator’s emotions. The film's overall form suggests that we, too, are moving through an unknown path and have no choice but to surrender to the flow of life. RAIN proves that with a precise understanding of cinematic tools and mastery of the medium, one can create a remarkable and thought-provoking work with minimal resources.