This Ukrainian WWII saga opens with a tracking shot through the 1942 equivalent of a Bosch painting: for almost four minutes, Sergei Loznitsa‘s camera prowls after three Nazi-arrested locals as they’re led through an occupied Belorussian village, past children and weeping babushkas and relaxing Germans, to the gallows. After that, we’re at the door of a farmhouse, where a steely local resistance fighter comes to execute his erstwhile friend. We only find out why deeper into the film: the farmer was the fourth prisoner to be hung, but he was freed for reasons unknown, a condition that automatically convicts him as a collaborator. The subsequent odyssey through the Eastern Front wilderness proceeds into As I Lay Dying terrain, and Loznitsa makes sure the physical trial stays close to the ground and leave bruises, using long takes, hardbitten hyperreal imagery, and, reportedly, only 72 cuts. In The Fog has the inevitability of an avalanche.