The Good Postman Screen 4 articles

The Good Postman


The Good Postman Poster
  • As a technical package, The Good Postman is slick enough. Orlin Ruevski's visuals find deep, rich colors at every turn; their widescreen format excels at capturing the splendidly rugged countryside but proves not so well suited for more intimate material, when each wobble of the tripod-free camera becomes distractingly magnified. The bittersweet aspects of this drolly mournful tale, meanwhile, are hand-holdingly underlined by Petar Dundakov's woodwind-heavy Middle East-inflected score.

  • Despite the absence of externalized drama, The Good Postman is thoroughly engrossing, and abundantly expressive, thanks to Orlin Ruevski’s elegantly composed wide-screen cinematography, Petar Dundakov’s score, and the beautiful face of the good postman himself.

  • While his neighbors are both opposed to and supportive of his brainstorm, the film is anything but predictable. Rather than conveying a heavy-handed political message, Hristov provides us with a thorough portrait of a rural community, including its often laugh-out-loud absurdities. It’s a funny, feel-good film about the refugee crisis — a rare gem indeed.

  • Such an impassioned, paralysed feeling is dramatised to great effect in The Good Postman, a Bulgarian documentary about Ivan, a postman who decides to run for mayor of his small village on the platform of accepting refugees. The Good Postman is beautifully shot, so much that, at times, it feels as though you are watching a fiction film, our lonely protagonist’s craggy face perfectly lit and set against a peeling, painted wall.