Abstract
ABSTRACT This study analyzes the post-war documentaries ‘The Train Stop’, ‘Landscape’, and ‘Portrait’, which reflect the aftermath of the Post-Soviet revolution, through the lens of Brecht’s Aesthetics of Alienation. Combining elements of poetic cinema and Brechtian aesthetics, these films engage the viewer intellectually while depicting the societal and human impact of post-Soviet destruction. Loznitsa’s documentaries invite critical reflection, highlighting the legacies of the Soviet era and prompting a reconsideration of historical and contemporary issues. Through visual storytelling, they offer a critical perspective on resilience and societal transformation following political upheaval.
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