The material is assembled in no special order. Kossakovsky simply films people on the streets, at work or at home. Some talk freely to him, while others are shy and clam up. One woman throws helmer and his film crew out of her apartment. There’s a police officer and a convict, a wealthy-looking businessman (planning to renovate an old boat into a tourist vessel) and an impoverished drunk. There’s a teacher, a builder, a driver, a magistrate, a masseuse, a victim of police brutality. There’s a new mother, thrilled with her baby boy. Religious and political leanings run the gamut. Most of the interviewees seem surprisingly contented: “Life is good” is a recurring comment.
The one character to whom Kossakovsky keeps returning is a grossly overweight pregnant woman who shares a tiny apartment with her artist husband and a large dog. She awaits the birth of her first child anxiously because she’s clearly not in good health (she had a drug problem that seems to have been cured) and because hospital beds are not always available. The film ends as she triumphantly gives birth to a sickly, but living, baby girl.
“Wednesday” is best compared to documentaries like Michael Apted’s “7 Up” series, which explores the lives of ordinary people.
Technical credits are fine given the on-the-run nature of the filmmaking.