User:LaMillionaire/Noon

Noon (Russian: Полдень) is a Russian folk horror film, directed and written by Edgar Ivanov.

The film follows a detective from an unknown regional center investigating murders in a rural area, which all happen during noon.

Plot
Detective Dmitri Chizhevsky arrives from the "regional center" to the rural areas of Russia, after local police forces have reported multiple murders, which all seemed to have happened in noon, and only people working in the fields were attacked.

Some superstitious locals tell Chizhevsky about, the ancient Russian spirit of fields, which presented danger to those working in the field during noon, and prompted farmers to rest during noon. Chizhevsky does not believe in what he deems myths, and dismisses this information, although politely.

The weapon of murder in all cases seems to be a sickle, so some of the farmers are suspected in the murders. Eventually eyewitnesses appear, describing the murderer as a blonde woman, dressed in a white dress, and holding a sickle. A similar woman is then caught in the field, but keeps talking about her innocence.

An insane woman is then caught by the police; she claims to be Poludnitsa and says that she committed all the murders. She is taken into custody, and is soon to be sent to a mental institution. But when walking through a field, Chizhevsky sees a woman in a white dress cut a boy's throat, and rushing to help, he is soon encountered by the woman, who does not have a face and terrifies Chizhevsky; he is then stabbed to death.

Conception and writing
The idea came to Ivanov when he found out about the spirit of the fields in Slavic cultures, Poludnitsa, as well as the psychological phenomenon of "midday horror", which he used in the film to its full extent.

Being a fan of, Ivanov also often included them, ranging from fields to empty police station corridors.

According to Ivanov, the point of the film is "not to scare the viewer, but rather make them feel uneasy."

Soundtrack
The film does not have an original soundtrack, rather opting towards ambient music from other musicians - the most notorious ambient composition in the film was "One Ten" by, which is, according to Ivanov, "a musical embodiment of midday horror".