Thursday, 2 July 2015

Andrey Proshkin: Orleans - Орлеан (2015)

Director: Andrey Proshkin
Writer: Yuriy Arabov
Stars: Nikolai Karpenko, Vitaliy Khaev, Artyom Kobzev,Yelena Lyadova,

Orleans (2015)

Orleans is a sonorous name of a dusty concrete backwater Russian town; it should come as no surprise, though, as there are villages scattered across Russia that are called, for example, Paris (such a village exists in practically every region, and there’s indeed Orleans in the Altai mountains). The name “Orleans” is more widely known as part of “New Orleans”, because of the 2005 hurricane that looked like an almost Biblical punishment – which corresponds to apocalyptic ending of Andrei Proshkin’s film. One can’t help thinking of Babylon (“Alas! alas! that great city, Babylon, that mighty city”); covered in ashes Sodom and Gomorrah (there are ashes in “Orleans” too, although of a different origin) go without saying. An almost Biblical – or anti-Biblical – story is closely intertwined here with the esthetics of poor apartment blocks, dilapidated hospitals and police stations – basically, with everything that stopped being mere decorations and became part of the very language of the new Russian cinema.

The thing our “new wave” representatives have in common is not only this language but also the idea that absurd, grotesque and buffoonery correspond to the Russian reality, and there’s no need to look for boring, realistic plot to express the “Zeitgeist”, hits its very nerve. Aleksey Balabanov became one of the pioneers who created the bridge between what esthetes tend to call “trash” – and stylistically opposite films that convey the same message. In this context it becomes especially symbolic that Executor in “Orleans” is played by Viktor Sukhorukov – one of Balabanov’s favourite actors. Another person who “made” “Orleans” is Oleg Yagodin. He can certainly be called this year’s discovery of the Russian cinema. However, he’s already quite well-known as a theatre actor, and in 2009 the French newspaper “Le Monde” called Yagodin “an actor who Luchino Visconti would have kidnapped without thinking twice to film him in his “The Damned” if the two had been contemporaries”. However, Yagodin was “kidnapped” much later – and brought straight to the town Orleans, where his character, a doctor, together with his fellow losers, a cop and a hairdresser, becomes an object of particular interest of a prophet, who might as well be Antichrist or personified conscience. Read more >>>

Sunday, 7 June 2015

Filming of Kharms Biopic Completed in St. Petersburg


Shooting of a feature film about the famous Russian writer and poet Daniil Kharms has been completed in St. Petersburg.

The film director is Ivan Bolotnikov, a successor of the renowned Alexey Hermann Sr. The leading role is played by the Polish actor Wojciech Urbanski. Lithuanian actors (Aisti Dirjute and Darius Gumauskas) and Russian actors (Nadezhda Tolubeeva, Alexander Bashirov, and Yury Itskov) also take part in the movie.

The film shooting proceeded for 22 days. Within that period the film crew managed to finish shooting scenes in St. Petersburg and Kronstadt.

The biopic Kharms will premiere this autumn, and its going on wide release in winter will be timed to the
110th anniversary since the birthday of Daniil Kharms.

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Wednesday, 20 May 2015

Alexander Kott: Test - Испытание (2014)

Испытание (2014)

Director: Alexander Kott
Cast: Elena An, Danila Rassomakhin, Karim Pakachakov, Narinman Bekbulatov-Areshev

Awards :

Best music Aleksey AIGY , Annual award of the Guild of Historians of Cinema and Film Critics, Moscow (Russia), 2015 Annual award of the Guild of Historians of Cinema and Film Critics, Moscow (Russia), 2015 First prize Open Russian Film Festival Kinotavr, Sochi (Russia), 2014 Best Cinematography Levan KAPANADZE , Open Russian Film Festival Kinotavr, Sochi (Russia), 2014 Guild of Historians of Cinema and Film Critics Prize Open Russian Film Festival Kinotavr, Sochi (Russia), 2014 Guild of Historians of Cinema and Film Critics Diploma Open Russian Film Festival Kinotavr, Sochi (Russia), 2014 Special Prize Middle East International Film Festival : MEIFF, Abu Dhabi (United Arab Emirates), 2014 Special mention Honfleur Russian Film Festival, Honfleur (France), 2014 First prize International Human Rights Film Festival, Moscow (Russia), 2014

Testing (2014)

Young hearts go nuclear in Alexander Kott's mannered but quietly affecting Test (Ispytanie), set in an utterly remote corner of the USSR at the dawn of the H-bomb age. Elevated by a luminous performance from newcomer Elena An and Levan Kapanadze's crisply poetic cinematography, this wordless, subtle fable of teenage passions has made an explosive start to its festival career and appeals as an accessibly exotic Russian export. Adventurous distributors in receptive territories will be keen to check it out, although the lack of dialogue may be as much of a hindrance as a help.

Picking up the top prize when premiering at Sochi's Kinotavr in June, the functionally-titled Test was named Best International Feature at Turkey's Golden Orange festival in Antalya four months later. Writer-director Kott, with more than half a dozen features under his belt since debuting in 2001, previously best known for wartime epic Fortress of War (2010), a.k.a. The Brest Fortress, set during the start of the Nazis' Operation Barbarossa in 1941.

Testing (2014)


Test takes place at the other end of the same decade, and for the overwhelming majority of its running-time presents a radically more serene and idyllic vision of the Soviet Union. Unspecified in the movie itself, the geographical setting can be deduced as somewhere near Semey in modern-day Kazakhstan, then known as Semipalatinsk — notorious as the site of the USSR's first nuclear test, in August 1949.

This backwater was selected by Stalin's henchman Beria as it was supposedly "uninhabited" — which would be news to farmer Tolgat (Karim Pakachakov) and his teenage daughter Dina (Elena An), who tend their flock in a windblown corner of the pan-flat steppe. Their harmonious relationship to nature and the film's bold visual approach are neatly encapsulated by the first post-credits sequence, in which Tolgat naps on the back of his flat-bed truck using a similarly somnolent sheep as a pillow, the scene initially presented from a distant angle, high above the dozing duo. Kott, his cinematographer Kapanadze and sound-designer Filipp Lamshin (whose contributions are especially critical given the absence of speech) instantly take us into the inner world of the observant, artistically-inclined Dina, whose delicate leaf-collages hint at a desire to explore horizons far beyond home. Her two smitten, spirited suitors represent forking paths in the map of destiny: she's semi-betrothed to local lad Kaisyn (Narinman Bekbulatov-Areshev), until fate happens to bring pop-eyed Max (Danila Rassomakhin), whose Caucasian blondness indicates he's not from these peri-Asian parts, into the picture.

Daniel Rassomahin

Test is essentially a simple tale, imaginatively told, with grace-notes of genuine transcendence and beauty studded throughout its brisk running-time. Kapanadze makes playful use of widescreen aspect-ratio, often framing his compositions with a pictorial precision that would have Wes Anderson sighing in appreciation. At times the arresting simplicity of the visuals seem to owe more to animation than conventional live-action cinema — the gymnastically hyperactive, grinning Max is especially cartoonish, in contrast to the more rounded presences of Dina and Tolgat, whose warm father-daughter bonds are amply conveyed without benefit of dialogue. Amid these gusty climes, perhaps even language has been blown away.

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Pavel Chukhrai to Film War Melodrama in Lithuania


Renowned Russian film director Pavel Chukhrai is shooting the war film The Stranger in Lithuania.

The film tells a love story unfolding in wartime. The leads are played by Rinal Mukhametov and Julia Peresild. Julia Peresild starred in the film Battle for Sevastopol, which has recently won a prize at the Beijing Film Festival. One of the key roles is performed by the People's Artist of Russia Sergey Garmash. Lithuanian and Italian actors are also involved in the film project.

The film events are set in Lithuania of the 1940s. Sabina Yeremeyeva, the producer of The Stranger pointed out: “The project is unique for the fact that it tackles upon psychological and love aspects known to practically every adult. All this is surrounded with evil and war, and against all the odds the main characters’ feelings overcome the evil”.

RiC

Monday, 18 May 2015

Sergey Mokritskiy: The Battle for Sevastopol - Битва за Севастополь (2015)

Battle for Sevastopol (2015)

Director: Sergey Mokritskiy
Cast: Yuliya Peresild, Evgeniy Tsyganov, Joan Blackham

'Battle for Sevastopol'

Story of a woman who changed the course of history  Falling in love with men who perished in devastating enemy fire, befriending Eleanor Roosevelt, delivering a landmark speech at a conference that influenced the outcome of World War II, constantly fighting in order to live and to love can a fragile woman handle all this ? This is the true story of Ludmila Pavlichenko, a legendary Soviet woman sniper. Soldiers went into combat carrying her name. Enemies hunted her. She saw death and suffering on the battlefield, but her hardest test was love, which war could take away from her


Sunday, 17 May 2015

Andrei Konchalovsky: The Postman's White Nights - Белые ночи почтальона Алексея Тряпицына (2014)


Director: Andrey Konchalovskiy
Cast: Aleksey Tryapitsyn, Irina Ermolova, Timur Bondarenko

An isolated village in Russia’s far north is the setting for Andrei Konchalovsky’s “The Postman’s White Nights,” a fiction feature informed by reality with a cast largely composed of non-professional locals acting out their daily lives. The story, about a charismatic postman who is the locals’ sole connection to the outside world, allows Konchalovsky to bring in a host of themes, from the sublime in nature to post-communist nostalgia and vodka, always vodka. Some stunning shots and a likable protag can’t cover up the story’s shallowness, which means international exposure will rely on fests and a limited Euro release.



Rural Russian atmosphere seems to be all the rage after Aleksey Fedorchenko’s “Silent Souls” and the like, though Konchalovsky is hardly a stranger to the genre, and “Postman” has much in common with the vet helmer’s 1994 Cannes title, “Assia and the Hen With the Golden Eggs,” in that both are set in villages, using mostly non-actors taken from the locale. Piqued by the idea of a country mailman’s vital role as lifeline to inaccessible communities, the director searched for the right representative and found it in Aleksey Tryapitsyn, serving a remote area on the shores of Lake Kenozero, south of Arkhangelsk.

The pressbook should probably drop Konchalovsky’s quote, “This film is my depiction of my life amidst the very simple Russian people,” reeking of either condescension or irony (it’s difficult to tell, though likely the former). “Postman” doesn’t ridicule the locals, but it does show them as simple folk with basic needs (like vodka); side characters, especially when seen in professional capacities as store clerk or post office manager, convey more interest than most of the main players.



Lyokha (Tryapitsyn) is a local, a recovering alcoholic on the wagon for the last two years, who delivers the mail via motorboat. He also brings people their pension money and other goods, making him a crucial link to the outside world for villagers living in hard-to-reach areas without roads. Ever the joker, Lyokha enjoys flirtations, especially with Irina (Irina Ermolova, one of the few professional actors), a transplant in these parts with her young son Timur, aka Timka (Timur Bondarenko, another pro and extremely good).

The film’s best interactions are with these three, especially a lovely scene in which Lyokha takes Timka out on a boat and frightens the boy with talk of the local witch, the Kikimora. A crisis comes when Lyokha’s motor is stolen, making it impossible for him to do his job. At the city post office hq, he’s told it will take possibly months to get him a new one via official channels, which isn’t an option, yet he can’t afford to buy one himself. Making things worse, Irina, the unrequited object of his affections, is moving away.

Konchalovsky throws in a scene in the nearby Plesetsk Cosmodrome, just before a space rocket launch, as a way of reminding auds that the modern world exists side-by-side with wooden house communities living much as they did for the past hundred years. The idea may work for some viewers, yet it’s a rather facile acknowledgment, and notwithstanding a gag scene towards the end that draws a laugh, the rocket scenes feel gratuitous.

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Saturday, 16 May 2015

Natalia Meschaninova: The Hope Factory - Комбинат «Надежда» (2014)

Фильмы онлайн: страна - ссср, россия. . - KinoFactor.ru

Director: Natalia Meshchaninova
Cast: Dar’ia Savel’eva, Polina Shanina, Maksim Stoianov, Daniil Steklov


The irony at the beginning of Natalia Meshchaninova’s debut film is hard to miss. Once the title Hope Factory has faded, we see a young man posing in front of a smart phone and declaring his love for his native Norilsk while being showered by water spurting from a rusty, leaking pipe. A few moments later, we are at a vodka-drenched open-air party of local youths drinking to the “northern character,” and in particular, to the health of the Norilchane. Ominously, the sun is out, but already setting; in the background, we see smoking chimneys against a desolate industrial landscape. Welcome to Norilsk, one of the most polluted and isolated cities in northern Siberia built on the bones of GULAG prisoners in the 1940s and 1950s and still a major pillar of Russia’s metallurgical and mining industry. As the opening scenes suggest, the city has little to offer in terms of hope except for the local metallurgical plant and its fringe benefits.

kombinat nadezhda

For Sveta, a seventeen-year-old student nurse at the factory’s health department, staying in “fucking Norilsk” (bliadskii Norilsk) is not an option. She is determined to begin her adult life on the “mainland” (a local metaphor for the urban world beyond Norilsk), even if her ambitions don’t go beyond being reunited with her boyfriend Max, who is seemingly enjoying the good life in some unspecified city in the south. Sveta’s plans of leaving Norilsk arouse sarcasm in her bitchy boss at the factory and disbelief at home. Her parents have even bought her a flat for her upcoming birthday, assuming that she would spend “her whole life” in Norilsk. When she insists on joining Max and moving to the mainland, her father makes an argument that Sveta encounters more than once in the course of the film: “Who needs you there? Life is completely different on the mainland.”

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kombinat nadezhda

Establishing the film’s narrative about teenagers’ personal experiences and the lives of her friends and crew, Nataliia Meshchaninova constructs a story about a teenage girl who desperately wants to leave N* (Norilsk), the northern city where she was born, grew up, and in which her family and friends live. The film is full of people who are constantly talking about leaving for other cities: Temriuk, Belgorod, Ekaterinburg, Omsk, Sankt-Petersburg, Moscow, and Voronezh. They dream of living in the mainland (“materik”). Their desire establishes a new imaginary land that exists only in the minds of people who live and work in the new imperial periphery: cities built on permafrost to excavate and to process natural resources.

Combine the "Hope" (2014)

In this film, Norilsk represents all cities that aim at supplying the post-communist imperial center with money. The huge industrial corporations rooted in Moscow organize the city N* people’s lives to attach them to the plant with good welfare, medical help, and high salaries. This attentive care comes with strings attached: common ecological disasters that damage lives, arduous working conditions at the plant, and an almost eternal winter that lasts more than nine months, three fourths of the year. Working people pay a price for comfortable lives. In every Russian city N*, the endless imperial story is the same: it is simply repeated with new geographical nuances of longitude and latitude. The film director keeps this centripetal motif straight: the periphery exists to supply the metropole. This motif is underlined by the omnipresence of the factory in the film: it appears in the city views and landscapes, and in the citizens’ minds, as the plant determines their future. The film does not show a panoramic view of this industrial monster that breathes the lives of its workers. Almost every shot, however, is filled with background images or signs of the plant: whether it is a city view or natural landscapes. The only natural view that inspires the film’s main characters and represents an inspirational place is the taiga and the slough landscape without an industrial background. The horizon is not sunny or bright: it is grey with a bit of sunshine, but the main point is that it is clear of the smoking pipes that constantly remind people about the purpose of the city’s existence: to serve this plant.

still1 The Hope Factory

Though even with the omnipresent industrial and sovereign business plant, the people of the city N* live their lives fully and happily. The comfort that people receive with down payments from the industrial shadow, allows them to fulfill their dreams: to become a singer in a local rock-band, to work as a taxi driver for tourists, or as an illusionist in a restaurant, to cook exotic dishes for family in their spare time. These people are happy: they have both comfort and self-realization, and their future is clearly defined; they do not need to look for a job or money. They no longer remember the price they paid for this: their health, quality of life, and years of their lives.

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