Seven secular sins

Of all the domestic film premiere of this fall, the most unexpected way received the film, conceived and filmed purely for internal use, almost corporate video. Tatler dedicated to the decade of the Tatler magazine and shown at the Humoreskoy festival, the authors of which theatrical director Konstantin Bogomolov and professional Entertainer Mikhail Druyan, in a homely circle, ridicuating the morals of secular Moscow. So who is about, how and why joked from the scene of the Maly Theater that warm autumn evening?

As the editor -in -chief of Tatler, Ksenia Solovyova, put it before the show: "The film is about those and for those we have been writing in our journal for 10 years." However, not all the heroes of the parody appreciated the courageous humor of the creators, so the life of the picture was not limited to one day. The owner of the company Rusmoda, IT-Woman Oksana Lavrentieva, offended by the hearing, filed a court to the Condé Nast Publishing House, and also applied point repressions to customers and performers.

But fragments of screen copies followed the hands - instagrams, telegrams, facebooks; The broad masses are intrigued, the people are not silent, it requires deciphering a black box.

In approximately a 45-minute work, Konstantin Bogomolov managed to shove as many as six storylines. These are everyday life of secular characters, known even outside the garden ring. They are united not so much the time and place of action (Moscow, our days), as a common passion: to get into the light of spotlights at any cost, to get out of the shadows. This is a kind of almanac “Paris, I love you” the opposite: the authors sang not the poetry of private existence, but the prose of existence in public space. Some were placed outly, and some were worked out in details up to the features of intimate life.

The superstar of the film is a wide profile entrepreneur Yana Rudkovskaya, who records the vlog about Easter breakfast in the company of the spouse, the Olympic champion Yevgeny Plushenko, and the son of Sasha, aka Gnome Gnomych. In hypertrophic-pitched interiors, in the colloquial of the called “Armenian Repair”, the heroine sets the Sunday table, which consists entirely of the pies “with a refine”. The skater Plushenko (Bogomolov himself in the traverse wig Blond) silently signs the keeper of the family hearth, Gnome Gnomych in the same wig and with a cigarette bastard for life and reproaches his mother. In the final, we find the protagonists twenty years later: the dwarf Gnomych in the BDSM-aminations tastes the stolen pies from the hands of the aged Yana.

The founder of the 418 intellectual club Nadezhda Obolentseva is shown in her element-behind the entertainment of the master class of theater artist Pavel Kaplevich and Life-Kochchi Mikhail Labkovsky. Inquisitive questions come from the audience: where is the brain and why is it needed?

The main “Runner of the Russian land” is the owner of the military-memorial company oligarch Oleg Shelyagov, he is busy with his wife Victoria by the work of promo-roller about the business of ritual services. Spouses are dressed in the silk neglige of one famous Italian brand, the name of which Victoria beats for hashtags - for example, #DOLCEDEAD . Other, more patriotic, options - #Zaupoko.ru, #healthy little by sound. On the motive of Eduard Kolmanovsky, the duet performs “I love you, death”, simultaneously advertising gluten -free kuta.

The aforementioned Oksana Lavrentieva selects at the exit from the boutique in the Tretyakovsky passage of the future husband, but for now, the homeless kitten, who will very soon turn into the fashionable writer Alexander Tsypkin. As one of the experts confidentially states, a person can be made for grandmas from anyone.

The star of the stage and television screens Igor Vernik is kneading before a run on the patriarchal ponds and simultaneously teaches the adult son (the memorable Camo of Alexander Semchev) how to get acquainted with minor girls.

Finally, the Orthodox jeweler Peter Aksenov in the sweat of the person is rooting over a new order - the crown of the Russian Empire. Striptizers dressed up by blacksmiths help him to overcome the state squad; The leather apron barely covers the genitals. Aksenov mines gold to the crown, tearing his teeth from the Tajiks on Tajiks. At night Aksenov dreams indecent homoerotic dreams.

Bogomolov gave all the roles to his beloved artists - Alexandra Child (Rudkovskaya), Pavel Tabakov (Gnome Gnomych), Igor Mirkurbanova (Shelyagov), Maria Mironova (Shelyagova), Rosa Khairullina (Rudkovskaya 20 years old), Daria Moroz (Aksenov, Kaplevich) ETC. And only Igor Vernik is portrayed by Igor Vernik himself.

The stylistic of the film is also recognizable: this is a typical caustic grazing for the Bogomolov, a sort of acting cabbage, familiar to the viewer according to the scandalous performance “The perfect husband”, in which the line between the parodist and the object of the parody is intentionally blurred (that is, any character is a mask, because of which the actor, playing the role, be shamelessly winking at it, laughing and above it and above it and above it and above. yourself). However, the new video performance format for Bogomolov automatically makes its adjustments to the menu of spent copyright techniques. There is even more conventionality, and imitation turns into outright troops. Therefore, the main reference here is not even the work of Bogomolov himself, but the unforgettable art of the deceased Vladislav Mamyshev-Monro (this is especially felt in the short story about Aksenov).

How did it turn out that in moderation the offensive film caused a reaction imbalance and why is the public interest so great in this “craft”? The answer is obvious. The magical power of art! The most vulgar joke, conveyed to the viewer in the form of a series of vivid artistic images, each of which is also a complex postmodern metaphor - is no longer just a retelling of gossip and sloppics, but an acute statement and a document of the era. Bogomolov not only brought a mirror, which can still be repaired, but witnessed, as the artist should be supposed to, modernity in all its glaring insignificance.

It is amazing that the editors of gloss and other fashionables who are accustomed to work with the appearance, and not with the speech, the offenders so shortly the power of the images (that’s who would not hurt to see the last Movie film). Any, even the most flattering, text review under post or status is instantly annihilated by an unhealthy picture. No matter how much it was said in the film that Navka is good, as soon as it is shown, the opposite becomes obviously - that is bad. And the hall laughs.