Orphans and peasants

"Behind the hills." Director Christian Mongiu, 2012, Romania, the best scenario, the best female roles of the Cannes MKF.

Morning is foggy, piercore poron; A marvelous Romanian stream of gloomy Romanian men hurries in a black dress. The stream rummages, the platform breaks off - on the left, a girl in a dirty sports jacket, tears, hugs rushes across the “black dress”. Girls - friends from the shelter: “black” lives in a monastery, “jacket” has nowhere to live. Holding hands, they head to the monastery - the Black House.

Such a prologue at the picture of the Romanian director Christian Mongiu, marked by the Cannes jury of the current year for the best scenario and two main female roles ... and immediately became a victim of critics who glued the painting a liberal label - “anticlericality”. This “point of view” turns respected spectators into involuntary participants and hostages, as it were, in a pre -alienated, specifically engaged story, told, as it were, not quite honest and not quite deservedly recognized by Cannes, director of Munzhiu. As the perspicacious and cynical Napoleonic minister said: “This is worse than a crime, this is a mistake” ...

“Behind the hills” it is more accurately translated as “after the hills” - this is the name of the tiny monastery behind the leaky tyn, who is trying to revive the community from a pair of nuns, six novices and a rustic priest. They live in natural farming, they almost do not see money, provide the city orphanage with agricultural products. Some shelter girls dream of moving to a nursing monastery shown by a man without sentiments, with sincere warmth - a kind, fair, strict, closed peasant community "with the idea of ​​Christian ministry." “Not covered” by her graduates go to label on “foster parents” or prostitute in Germany united Europe. The father understands that the “jacket” that has been there and the him is not a place in the monastery, and the “jacket” itself does not want to linger “in black” - everything mutters to his friend: “Let's go, leave, decide more!” Scandalite, does not want to get along with the "sisters"; In the general opinion, she does not speak in her voice, provokes a scandal, break, explosion. But there is nowhere to expel her. After the shelter, the “jacket” Alina was handed over to the home -shaped family, to which she began to label, and they robbed her. Alina has no one to hope for except for her friend in a black dress - Alina loves Voikita. In the shelter, she defended her, protects her in the monastery. From other people's (Batyushkins) words, Voikit speaks with Alina and does not dare to escape to the world - they do not accept fugitives to the monastery, there is a turn from the shelter orphans.

History, of course, about fatal love. But not about the same -sex, but about the maternal. And there is nowhere to run, grabbing for this love like for the last shelter in a cooling, archaizing world. It is no coincidence that Alina breaks into the altar, where the priest stores the miraculous image of “all the Christians of Mati” - the Virgin. Orthodoxy in this world is an extreme authority, as it turns out, insufficient: fleeing “behind the hills” as if in an ark, the priest does not want to save the drowning in the world, so as not to lose their naughty, consciously saved with him. Therefore, he is not authoritative for Voikita and other draws, but for the peasant community he is a suitable leader.

By his own admission, Christ brought not the world to the world, but Alina’s sword and fateful development of the hungry mother’s warmth is predictably: taking even a temporary place in a self -loaded society (in the church, in the community, in the family, in the tribe), you cannot be disloyal to its values ​​without crushing consequences. Because the external, even harmless carrier of individual value consciousness, the idea of ​​personal superiority is a bomb that brings death to each member of the tribe, every peasant. Especially if this “external” recklessly applies to God and bycumes, it follows the individual -sacrificial path - the path, say, Job. How can the peasants protect themselves from a broken "proud" person? They turn their monastery into a total psychiatric hospital, they build Alina the pedestal! But she does not need a monument, speech, I repeat, in her case, is about the maternal instinct, about the birth, and the liberation of her girl into the world. Why is she really Alina directly disappeared without “her” Voikita or vice versa? Well, yes, literally one and the other, they simply have no one to live for: they don’t know how, they don’t teach and have nowhere to run!

It would be so easy to imagine Alina with a daring factory girl, or a hippushka, or an activist-Lesbian of the twentieth century. Not right now: society, communication, cooperation are curled up in archaic formats: church community or sect, brothel, gang. There are no joints between these “organs”, nothing but the pain of friction - against the background of the destruction of non -traditional communities, only osteochandrosis develops between traditional hostels. Instead of the muscles, gaps are formed, the kidneys are floundering, the liver passes - between families, clans, states and churches, an imaginary war is being expelled, at the same time, as all organs are subjected to unlawful destruction. The latter refuses the head - up to the deaths of the Bezumo -based structures, the magnificent paternal authority, “His father”, devoid of male, expansive goals and aspirations, will euphorically, will euphorically: God will bless us, and the priest, say, directs ...

Yeah, right now! This also does not work anymore, nowhere.

Fortunately, the church has no borders and Christians (not peasants) benefit when they are dispersed. Well, the true shepherd is the one who finds and collects the community out of scattering, and does not take “loan” from the world. In other words, it was the Christian filmuroman from three parts on top of the barriers to Mongiu on top of the barriers, including 8 minutes of prologue and 8 minutes of epilogue.

However, no crushing and strong plots are enough for the leading film festival to recognize an outstanding achievement in their linear combination. I would like to note the triumphant realism, a stable union of a moderate-moving chamber with a dense emotional texture, accurate verbiage, a conversation between the eyes and the preferential silent dialogue of Alina and Voikita.