When the Latvian-born director Viesturs Kairišs unveiled his latest work at the Cannes Film Festival, the black‑and‑white frame of ‘Ulya’ immediately set it apart from the glitz of the Croisette. The film, billed as a biopic of Ulyana Semjonova, a Latvian basketball legend who once dominated the Soviet circuit, opts for a visual language that feels more like an elegy than a celebration.
Semjonova’s story is inseparable from the physical stature that defined her career. Standing out in a sport that prized height, she navigated a world that both revered and ridiculed her size. The screenplay leans into this duality, portraying her as a figure of innocence and naivete, a woman whose very presence was a constant reminder of difference.
Kairišs reinforces this narrative through a soundtrack of mournful wailing and a cinematographic style that strips colour from every scene. The monochrome palette is not merely aesthetic; it mirrors the isolation Semjonova felt throughout her life, turning the court into a stark, almost clinical space where every movement is amplified.
A Visual Elegy for Height and Isolation
The film’s visual choices extend beyond colour. By framing Semjonova against empty gymnasiums and endless corridors, the director underscores a sense of alienation that transcends the basketball arena. These compositions echo the broader societal pressures she faced, suggesting that her height was both a gift and a curse.
Arnolds Karlis Avots takes on the role of Semjonova, delivering a committed performance that, while earnest, lacks the nuance required to fully flesh out such a complex figure. The screenplay, in turn, leaves secondary characters underdeveloped, reducing them to stereotypes that serve only to highlight the protagonist’s singular struggle.
Critics at the festival have noted that the film ends with a tribute that feels more like a lament than a celebration. While the homage acknowledges Semjonova’s historic achievements, it simultaneously reinforces the victim narrative that the director seems intent on preserving. This tonal choice has sparked debate about whether the film does justice to an athlete who was, in many ways, a trailblazer.
The production’s ties to the Soviet Union are hinted at through archival references and the inclusion of the organization’s name in the credits, grounding the story in a specific historical context. Filming locations span from Riga’s basketball halls to the Cannes red carpet, linking the personal narrative to broader cultural arenas.