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Come and See
Movie

Come and See

1985 • Unknown

Woke Score
1
out of 10

Plot

The invasion of a village in Belarus by German forces sends young Florya into the forest to join the weary Resistance fighters, against his family's wishes. There he meets a girl, Glasha, who accompanies him back to his village. On returning home, Florya finds his family and fellow peasants massacred. His continued survival amidst the brutal debris of war becomes increasingly nightmarish, a battle between despair and hope.

Overall Series Review

The film is an uncompromising Soviet-era historical epic that depicts the Nazi genocide and atrocities committed against Belarusian civilians during World War II. The narrative centers on a young boy's harrowing journey and the brutal psychological toll of war. The entire focus is a raw, visceral condemnation of war crimes and the evil of Nazism, serving as a powerful, authentic testimony to the suffering of a specific people and time. The film does not contain any elements of modern Identity Politics, Oikophobia, or gender/sexual ideology. The primary themes are the loss of innocence, the endurance of the human spirit, and a transcendent reckoning with evil. It is a time-capsule of historical reality and a universal anti-war message, entirely divorced from contemporary cultural critiques.

Categorical Breakdown

Identity Politics1/10

The core conflict is between the Nazi 'master-race' ideology and the Belarusian civilians. The film is a condemnation of a specific historical genocide, not a lecture on intersectional hierarchy or systemic oppression in the modern sense. Characters are judged solely by their actions as brutal perpetrators or heroic/tragic victims and survivors. Casting is historically authentic to the Soviet-era setting and time period.

Oikophobia1/10

The film is a tragic homage to the people of Belarus and the sacrifices made by the Soviet partisans in defense of their home and nation against a brutal foreign invader. It clearly upholds the values of family and resistance against the chaos of totalitarian depravity. Hostility is directed entirely at the Nazi occupation force and their collaborators, not at the culture or ancestors of the victims.

Feminism1/10

Gender roles reflect the historical reality of the war, where women are predominantly seen as mothers, civilians, or partisans. The female characters, such as Glasha and Flyora’s mother, are depicted as victims and survivors, not as perfect 'Girl Bosses.' The destruction of the family unit is a source of intense horror, which reinforces the value and vitality of motherhood and the family, not an anti-natalist message.

LGBTQ+1/10

The narrative is a raw, historical depiction of World War II atrocities with a focus on survival and psychological trauma. There is no presence of alternative sexualities, queer theory, or gender ideology. The nuclear family structure is the normative unit whose brutal destruction by the invaders is one of the film's central horrors.

Anti-Theism1/10

The film’s title is a direct reference to the Book of Revelation, framing the events in a high-stakes, apocalyptic moral context. The struggle is between absolute, transcendent evil (Nazism) and humanity's response to it. The film engages with profound moral and spiritual questions, suggesting an objective moral law that has been violated, and does not frame traditional religion as a source of evil.