Gloria Victoria unfolds on the still-smouldering rubble of a furious 20th century, propelled by the exalting “invasion” theme from Shostakovich's Leningrad Symphony (No. 7). Resembling a military march with bolero overtones, the music sweeps over imagery of combat fronts and massacres, leading us from Dresden to Guernica, from the Spanish Civil War to Star Wars. It is at once a symphony that serves the war machine, that stirs the masses, and art that mourns the dead, voices its outrage and calls for peace.
Gloria Victoria is the third film in a trilogy on the relationship between art and power. It is the work of an exceptionally gifted filmmaker and multi-faceted artist, a virtuoso of collage and recycling who conjures up everything from surrealism to Dracula, and makes cubist constructions emerge from the horror of dismembered bodies. Through a multitude of quotations, allusions and references, Theodore Ushev orchestrates a thundering nightmare in the name of peace.