Tarrying with Failure: Film Form and the Horizon of Abolition in Svetlana Baskova’s For Marx…

Released in 2012, Svetlana Baskova’s Za Marksa… (For Marx…) poses the question of the abolition of capitalism through workers’ struggle—that is, the question of revolution in decidedly non-revolutionary times. A follow-up to her activist documentary Odno reshenie—soprotivlenie (The Only Solution Is Resistance, 2011), For Marx… can be read as a post-Soviet return to Sergei Eisenstein’s Stachka (Strike, 1925), one that confronts the historical afterlife of the revolutionary proletariat following the rapid decomposition of the industrial working class once positioned at the center of the socialist imaginary. Borrowing its title from Louis Althusser and situating itself within an international genealogy of left debates on form and revolution—running from the Soviet avant-garde through Brechtian estrangement, militant cinema of 1968, and the collapse of “actually existing socialism”—the film mobilizes inherited models of committed art only to expose their historical limits. I argue that For Marx… does not revive earlier oppositional forms but stages their failure under contemporary capitalism. Montage, estrangement, and documentary realism appear as sedimented forms that no longer cohere into an operative revolutionary praxis. By foregrounding the exhaustion of political form, For Marx… reframes abolition—not only of the police or the carceral state but of capitalism itself—as a horizon that persists precisely where inherited aesthetic strategies break down. The film’s success lies in its refusal to offer closure, keeping the question of political transformation open.