The Tribe

Name: The Tribe
Genre: Drama, Crime
Released: June 17, 2015
Duration: 132 min
Rating: 78
Cast: Alexander Dsiadevich, Grigoriy Fesenko, Rosa Babiy, Yana Novikova

2015

METASCORE

Generally favorable reviews based on 27 Critic Reviews

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USER SCORE

Generally favorable reviews based on 40 Ratings

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7.8

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7.8	User Score Generally favorable reviews based on 40 Ratings

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The Tribe (Trailer 1)

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Movie Details & Credits

Drafthouse Films | Release Date: June 17, 2015 | Not Rated

Starring: Alexander Dsiadevich, Grigoriy Fesenko, Rosa Babiy, Yana Novikova

Summary: Somewhere in Ukraine, Sergey enters a specialized boarding school for the deaf. Alone in this new and unfamiliar place, he must find his way through the school’s hierarchy. Sergey quickly encounters the tribe, a student gang dealing in crime and prostitution. After passing their hazing rituals and being inducted into the group, he takesSomewhere in Ukraine, Sergey enters a specialized boarding school for the deaf. Alone in this new and unfamiliar place, he must find his way through the school’s hierarchy. Sergey quickly encounters the tribe, a student gang dealing in crime and prostitution. After passing their hazing rituals and being inducted into the group, he takes part in several robberies and begins to work his way up the chain of command to become pimp-protector for two of the girls, who turn tricks at the local truck stop. Finding himself in love with one of them, Sergey ultimately breaks all the unwritten rules of the tribe, with tragic consequences. [Drafthouse Films]… Expand

Director: Miroslav Slaboshpitsky

Genre(s): Drama, Crime

Rating: Not Rated

Runtime: 132 min

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Awards & Rankings

89	#89 Best Movie of 2015

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Metascore

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Critic Reviews

100

Barbara VanDenburgh

Jul 9, 2015

The Tribe is that rare breed of film so masterful in execution it requires watching once, yet so devastating you may never be able to stomach seeing it again. Read full review

100

Ben Nicholson

Sep 10, 2014

Slaboshpitsky's The Tribe is gripping, tour de force cinema from its opening jab, and from there it continually forces you against the ropes before delivering a knockout punch with a gut-wrenching conclusion destined to leave audiences stunned. Read full review

Eric Kohn

Jul 14, 2014

From one mesmerizing scene to the next, The Tribe never loses its flow. Even its harshest moments are defined by vibrant motion. Read full review

Matt Glasby

May 12, 2015

Original, engrossing and extremely confrontational, The Tribe treads the dark path between misery porn and masterpiece. Read full review

Scott Tobias

Jun 16, 2015

If there’s anything worth extrapolating from The Tribe, it isn’t the deaf experience so much as recognizing our own tendencies to conform to certain unspoken laws. The more insular a society, the more severe the consequences of rebellion. Read full review

Tirdad Derakhshani

Jul 17, 2015

A stunning examination of teenage cruelty, exploitation, and crime that refuses to give us the satisfaction of identifying with the characters. Read full review

Steve Macfarlane

Mar 18, 2015

The film is more interested in performance and symbolism than in the meaning of its characters' words or their substitutive gestures. Read full review

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User Reviews

cinecine

Jun 17, 2015

No need words, there is a storytelling upon cinematic language. The Tribe make you question the power of images. Think again and watch the films you see before...

1 of 1 users found this helpful10

skeptamistic

Oct 3, 2015

This review contains spoilers, click expand to view. Do not see it alone, nor with a child.

In post-screening dialogue at the Crested Butte Film Festival 2015, another audience member suggested that The Tribe evokes Lord of the Flies. That might be a most apt analogue. What consumed me was the question of why my response to The Tribe differed from my years-ago response to Pulp Fiction. One guess: Pulp Fiction is animated by aurally unchallenged, articulate, self-aware monsters. The words of Jules and Vincent—“Aw, man, I shot Marvin in the face!” as if he’d merely spilled a glass of milk—frame their decisive brutality so we rapidly recover from witnessing it. The dialogue in The Tribe might crackle just as well, but those of us who do not sign do not know. The Tribe is one of the most visually dependent films you will ever watch. Myroslav Slaboshpytskiy offers us no subtitles or voiceover, and uses no score or even a track of bassy, rumbling menace. He need not. The only sound we hear is of the action, including the tapping and slapping of the sign language dialogue as it frames and punctuates one long wrenching shot after another. The only sustained sound of the human voice we hear is the sobbing agony of Anna (Yana Novikova) in a scene that left me struggling to breathe. With no spoken words to bend its brutally blue and red light, The Tribe sears us.

In the post-screening dialogue, rapporteur Jack Hanley suggested spaghetti Western as a genre for The Tribe. He’s on to something. The film opens by following Sergey (Grigoriy Fesenko) “into town,” a Ukrainian boarding school for the deaf. Through distant shots that make him seem smaller than he is, we see Sergey assimilate into the school’s gang culture of crime and subsequently assume the role of pimp in a lorry yard a brief drive from the school, where several of the film’s turning points form. Later attracted to Anna in a way that disrupts the gang’s business—and perhaps saturated by the duplicity of the school’s official enablers of crime—Sergey turns on them and the student gang bosses, exacting macabre revenge, apparently after himself being killed. In the final scenes of retribution, he seems physically larger, laconic—that’s not ironic—and brutally methodical.

Women in the CBFF audience expressed a view that Slaboshpytskiy’s depiction of women in the film is horrible. The treatment of the two main women, Anna and Svetka (Rosa Babiy), is. Upon Sergey’s arrival at the school, we see two favorable views of women, the first of the principal (Tatiana Radchenko) handling an all-students ceremony in the courtyard and then managing a flow of visitors in her office with executive comportment. The second is of a history teacher (Ludmila Rudenko) in a subsequent class session, in which her authoritative poise manages a male student troublemaker (Alexander Dsiadevich). Yet the timekeeping bell, which in this school is a flashing lamp on the front wall of the classroom, interrupts her. The overarching system defeats an otherwise strong woman in a way that is utterly ordinary to the context. From then, the indignities of Anna and Svetka are the only way we see the women of The Tribe. The single moment of joy we notice, as Jack Hanley mentioned, is their possibility of a trip to Italy from snow-packed Ukraine—but for the purpose of extending their prostitution across national lines.

So the American women in the CBFF audience have a point about the grim circumstances of the Ukrainian women in The Tribe. Perhaps inconsistently with a spaghetti Western theme, Anna’s experiences are pivot points in the story, none of them liberating. She moves from being a prostitute to the lorry drivers, and then to Sergey; and then to being his lover, with a difficult consequence that only a woman fully understands; and then to being Sergey’s victim after all that she had already endured. Yana Novikova’s work as Anna earned her the CBFF’s Special Jury Award for Outstanding Debut Performance “for her astonishing and courageous turn” in The Tribe. Now, dare to consider this possibility: that her best work—and that of Slaboshpytskiy and all the others of The Tribe—is still ahead of them. I like the sound of that future, with or without subtitles or voiceover.… Expand

1 of 1 users found this helpful10

EpicLadySponge

Mar 11, 2016

The Tribe is fresh-loving madness. I'll love the Tribe as long you love it too. Otherwise, we're not equal at all. The Tribe is the best way to waste time and never asking for it back again.

0 of 0 users found this helpful00

ScribeHard

Jun 19, 2015

A feature film with no traditional dialogue or subtitles might be a technical and artistic feat, but it is still a film that is missing a critical component. The lack of that component all but demands compensation in another area of the film. In this case, that area would have to be story,A feature film with no traditional dialogue or subtitles might be a technical and artistic feat, but it is still a film that is missing a critical component. The lack of that component all but demands compensation in another area of the film. In this case, that area would have to be story, and the story here simply doesn’t work.

Feeling like an acting class was challenged to make a student film with no dialogue, The Tribe, in less than two hours, went from my Most Anticipated Film to my Biggest Disappointment of 2015.… Expand

1 of 1 users found this helpful10

fairbrother

Jun 7, 2017

The idea of a film set among deaf and seriously wayward schoolkids, whose sign language communication remains unsubtitled throughout, is a good one. And there are moments where this wordless drama, studded with some unflinching cruelty, hovers frustratingly close to it's promise. But alasThe idea of a film set among deaf and seriously wayward schoolkids, whose sign language communication remains unsubtitled throughout, is a good one. And there are moments where this wordless drama, studded with some unflinching cruelty, hovers frustratingly close to it's promise. But alas The Tribe is a textbook example of a fledgling auteur grasping for greatness on terms that expose him as a pretentious, exploitative hack. Aping Larry Clark, Michael Haneke, and plenty others besides, Miroslav Slaboskpitsky's debut feature is a determinedly cold, bleak picture intent on defying good taste, daring stuffy critics and square viewers alike to dismiss it; but it's provocations, finally, have nothing to say except "I am the new wunderkind of arthouse sadomasochism! Bask in the chilly glow of my real-time pacing, detached compositions, and blunt depictions of sex and suffering!" Bold, for sure, but shallow and nasty with it.… Expand

0 of 0 users found this helpful00

hotfromcauldron

Jul 9, 2015

Communication of thought distinguishes man from animal. In the twisted lord of the flies - Tribe - the audience is forced to interpret the actions of a pack of thieving survivors. It’s like watching the lion's cage at a zoo.
And a facination with the sounds of silence dissolves into aCommunication of thought distinguishes man from animal. In the twisted lord of the flies - Tribe - the audience is forced to interpret the actions of a pack of thieving survivors. It’s like watching the lion's cage at a zoo.
And a facination with the sounds of silence dissolves into a tiresome experience after two hours - even though there are images worth a thousand words. Eastern Boys - another European film exploring similar territory- is far more effective.… Expand

0 of 1 users found this helpful01

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