The prospect of waking up in a world where reality is fractured, where buildings from different architectural eras collapse into one another, and space itself twists under the weight of forgotten memories shapes up the realm for the Russian science fiction movie, Coma. Nikita Argunov’s directorial debut takes you on a visually stunning journey of dynamic, distorted reflection of the subconscious, shaped by the memories of the comatose patients. This realm is just everything – dynamic, distorted, multidimensional, fragmented – but not normal. Coma becomes a setting of shifting labyrinth of forgotten eras and impossible geometry, where built forms compose a surreal world with an ever-changing reality that defies logic, space and time.
The Surreal Realm of Coma
The architecture in Coma exists as a fragmented mosaic, pieced together from the incomplete memories of its characters. Structures appear disjointed—modern concrete, glass, and steel intersect with ancient stone structures and intricately detailed marble finished watch towers— generating a surreal fusion of styles. This distortion embodies the fragile nature of memory, where only parts of reality are recalled. These materials blend in twisted forms, bending the familiar into the unfamiliar, evoking a sense of displacement.
What makes this realm striking is the coexistence of clarity and distortion. Certain structures stand sharply defined—hyper-real, almost tactile—while others dissolve into abstraction, as though memories are slipping from reach. Geometries defy logic, as staircases spiral into infinity and networks of memory float in the clouds, where each node is another world in itself. The compositions defy anyone’s normal sense of place when one is presented with a composition of Big Ben, Burj Khalifa, and magnificent Roman structures all in a single frame. This surreal setting creates a captivating tension between reality and illusion, inviting viewers into a world where architecture becomes a reflection of a fractured mind.
Architecture of The Base in Coma
The Base in Coma reflects the gritty, fractured memories of the comatose, fusing different places into one chaotic setting. Entering through a bus in a field and exiting into an industrial wasteland—a forgotten cement factory—captures this fragmented reality. This setting is raw and rugged, defined by industrial decay, with piles of waste strewn on the fringes. There is almost a post-apocalyptic feel to the scene where Durkheim’s Theory of collective consciousness results in all the comatose patients having formed a community contained at a shared base for improved security and support. The ground floor of this factory serves as a communal area where these patients gather around and socialise. On the foreground are the working men who are working with steel and hammer and welding stuff for defence equipment and makeshift tools for survival.
The upper floor serves as a resting area for its residents, where the perimeter of the floor is watched and guarded by all in rotational shifts. The internal cells are dark, dingy, and devoid of any natural light. The absence of light here reflects an eerie disconnection from the outside world, mirroring the characters’ psychological isolation.
Architecture of The Hospital-turned-Religious Sect Headquarters in Coma
The religious sect’s headquarters creates a jarring contrast between the exterior and interior spaces. A long, green road dotted with advertising boards leads to the entrance, a grand portico with Greek-style Ionic columns, a detailed frieze, and a pointed pediment, all gleaming in white. Crowds gather outside, eager to enter, but inside, the mood shifts drastically. Dimly lit corridors with worn walls are lit only by low-hanging chandeliers. These eerie, double-loaded halls lead to a central wooden door guarding the leader’s chamber.
Inside, the room commands attention. Triple-height ceilings give an imposing air to the space, lit naturally by a large, arched window on the far wall. The contrast between the starkly minimal furniture—an authoritative central wooden table with sparse chairs—and the more luxurious chesterfield leather sofa at a diagonal creates a disorienting composition. The room is framed by Ionic columns, intricate carvings, and asymmetrical art pieces on the walls, enhancing its unsettling atmosphere. A large chandelier hangs at the room’s centre, highlighting the authority and mystique that fills the space.
Architecture of The Paradise Island in Coma
In the climax of Coma, the architect conjures a remarkable island, blending various architectural styles from across time and imagination. The island is marked by gleaming white marble watchtowers, echoing ancient ornamentation, juxtaposed with a sprawling palace intricately carved with royal detail. This traditional elegance is seamlessly integrated with fluid, contemporary forms—curves of modern skyscrapers and futuristic transit systems wind through the landscape, forming bridges and highways that connect structures. These new elements are finished with traditional materials like stone, enriching the island’s surreal yet majestic ambiance. Amid this, lush greenery enhances the feudal, castle-town-like atmosphere, creating a sanctuary for Yan amidst the chaos of the comatose world.
Coma leaves viewers with a powerful, lasting impression of a world where memory, architecture, and reality collide in a fractured, dreamlike state. The film’s use of surreal, fragmented structures becomes a metaphor for the human mind—both its ability to create and its vulnerability to distortion. In this ever-shifting world, architecture embodies the delicate balance between clarity and confusion, reflecting the complexities of memory and identity. Ultimately, Coma explores how fragile our reality is, and how architecture can evoke both the beauty and chaos of our subconscious.
References:
Andreasyan, S. et al. (2020) Coma [film]. Russia: Central Partnership. Available at: https://www.mxplayer.in/movie/watch-coma-movie-online-7278b6f8099b2e53eddb6cb4bb0cbef9?watch=true (Accessed: 2024).
