Heavy Sand

Two main parts of Anatoly Rybakov are titled after the writer’s major novels, Children of the Arbat and Heavy Sand, and explore the continuing relevance of these works for contemporary Russia. In contrast to Germany and its former allies, which went through an effective de-Nazification campaign, the Soviet Union experienced two aborted attempts to re-evaluate its totalitarian past and to dismantle Stalinist ideology and institutions: the Thaw and perestroika. However, as the filmmaker claims, in the Soviet Union the efforts of de-Stalinization and broader de-Sovietization were only half-hearted and never completed. The myth of the great Stalinist Empire and the heroic myth of the Great Patriotic War still obscure from Russians’ communal memory the uncomfortable narratives about Stalinist purges, the Holocaust, and Soviet-era anti-Semitism. Goldovskaia’s film cuts from footage of Stalin-era parades to present-day rallies in Moscow by fascists and nationalists, suggesting that the unfinished de-Sovietization breeds a new type of totalitarian mentality.

The section about Rybakov’s Heavy Sand explores Soviet-style Holocaust denial. The communal myth of Soviet martyrdom and victory in World War II is used to replace memories of the Holocaust. Goldovskaia links this Soviet experience of purposeful and state-endorsed manipulation of the historical past with the revival of anti-Semitism in present-day Russia. Anatoly Rybakov is, indeed, “the Russian story,” since it explains graphically how Russia’s way of dealing with its totalitarian past is different from the Western treatment of a similar social disease. The filmmaker’s message is clearly articulated by her observational cinema style: the agenda of de-Sovietization, including the acknowledgment of the Holocaust, has to become part of Russians’ collective memory before the country can exorcise its totalitarian demons.