Mysticism of love

The film Andrei Zvyagintsev "Exile" is released in Russian rental

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Russian spectators will finally be able to see a film that at the last festival in Cannes caused a violent reaction of the public and criticism-from insane delight to fierce disputes. On October 4, Andrei Zvyagintsev comes into our rental. The New Times offers the reader a bliticinter with Andrei Zvyagintsev, Swedish actress Maria Bonnevi (role of faith) and Konstantin Lavronko (role of Alex), who won the golden palm branch for the best male role at the festival in the Cannes

Andrey Zvyagintsev:

“The ideal viewer is hard to imagine. The film is verbose: intrigue, secret, philosophical and symbolic layers ... Probably the perfect viewer is a person who considers the film as deep as life itself, catching the hidden connections between things in the broadest sense of the word. ”

“I refrain from reading reviews. Even if there are useful information in the words of critics, I will still make my cinema as I think it is necessary. It is more correct to proceed from yourself. This is the only way to survive as an artist. Otherwise, you will break up into molecules, trying to please everyone, predicting other people's reactions. ” “I told Maria Bonnevi: imagine that there are no social institutions in the world where your heroine lives, in particular, there is no court to divorce. It is impossible to part with her husband and find new love. Only her husband and those characters that we see. This is the edge of the Earth, an island, in the center of which is a house, and on the outskirts of this being is a city desert. ”

“Women sooner or later find themselves knocking on their husband's back. They are trying to achieve the sincerity and openness that was at the beginning of their relationship. But - she is already married. Married. Behind him. And, when a woman begins to knock on this back, some men respond, turn, enter into a dialogue. But the majority - no. Their way of thought has been established on all the so -called life: this is all mine - my daughter, my son and my wife, who are separate from me with my desires, dreams and fears - as if it does not exist. I, I, I ... As one of my old friend says: the family is seven "I". A deep, of course, thought, but by nature, it seems to me, terribly selfish. ”

Maria Bonnevies:

“I read the script before filming. But the actors who played a happy family had no script. The children certainly did not have it - that they were in the completely ignorance. They did not know that it was a sad and dark story. Katya, who played my little daughter, in the process of filming felt a strange atmosphere in the relationship of my faith and Alex. Between the doubles we joked and laughed a lot. There was such a case on the site. We shot one scene at the beginning of the filming, I had a small dialogue with her, and then I left the room and began to cry. So after filming, Katya ran to her mother and said: "Mom, mother, I brought Mary to tears." And we rushed to explain to her that all this is needed for filming. And after each heavy scene, we told her: “That's it all ended. Now we are having fun again. ”

“In Konstantin Lavronenko, power, strength and softness are combined simultaneously. This is a very beautiful combination. His character has an extraordinary depth, as well as vulnerability. I was very pleased to work with him. Nice and comfortable. "

“During the filming, faith for me was an ordinary woman who is trying to deal with her own life. I did not delve into the symbolism and conventionality of the picture. ”

“When I saw the film, he really seemed to me very strong and symbolic in many ways. This was both in the script, and in the idea of ​​the film, but at the exit symbolism was visible even more. "

“All mysticism in the film is a mysticism of love. When working on the role of the main thing for me were children, nature, the struggle for love. ”

Konstantin Lavronenko:

“This is a film about a person who has a choice. It is always not easy to make a choice. The difficulty is to be as sincere as possible to open your heart towards a ruthless, severe and at the same time fearless look at yourself. ”

“With Maria Bonnevi, mutual understanding arose immediately. We talked remarkably with both the translator and without. And at the level of views, gestures. We did not need a lot of words ... "

“Thinking all the time about a reward in Cannes as an assessment of your work is unrealistic. You will not approach the mirror every day and say that you are the best. It's funny. You understand this once - and that’s it. ”