Mikhail Mareskin

The film by Mikhail Mareskin "Argentina. An interview with the dead drug dealer" appeared unexpectedly and turned out to be quite amazing. By the quality of shooting, operator work and actually on how everything is collected together-a film 37 minutes long removed most Russian attempts to do something decent in the style of Tarantan-Gai Richie. The parable about the St. Petersburg dealer trying to tie the for the sake of an accidentally encountered lady of the heart - surprisingly well made, invented and generally leaves a rather pleasant impression. The film - the director’s thesis itself was shown at several international festivals, and now scattered over the network, and gained certain glory to both boys and girls from cinema and institutions and good ordinary guys from sleeping areas.

What are you doing?

I play a computer.

Bad habit?

No, rather, nostalgia for childhood. When I was thirteen years old, I often played, I did not like all kinds of strategy. And now two times a month, when there are some problems, difficulties, or when I just get tired, I play a little.

Well, actually, let's immediately about the cinema. Why did you take it off?

There are two versions. The first is this picture - my diploma at the University of Cinema Itelvision.

And secondly, it always seemed to me from the first that we had some kind of excess of such a "Petersburg cinema" at our university, about cellars, homeless people. I wanted to do something in contrast.

The film really likes different audiences, from gopniks from sleeping areas, to children from theatrical schools. How do you like the reaction to the film?

Honestly, I did not expect such a public resonance. I thought that I would show the film at the institute, my master, the maximum at the student festival. That the film will begin to live some of its own, uncontrolled life, of course, I did not even suppose.

What, besides love for Tarantino and Guy Richie, moved you in choosing the very stylistics of the film?

I wanted to find some interesting, topical plot that would be interesting for a different audience. That is, one could consider the whole topic about drugs, the lives of sleeping areas, and for a slightly different audience, we laid references to Russian classics, Kafka, Aisid House Welsh. The reception of “Apart” itself, when the protagonist constantly addresses the viewer, we borrowed from Berthold Brecht generally. The film has two parts - the first, this is such an American black comedy, the second is more likely a parable.

Why in the first part one of the heroes of R is in the voice of a gay-kovbo? Do you think this is what the drug dealer looks like?

Ruslan Barabanov and I, the performer of this role, sat for a very long time and invented this character, he really speaks five times more slowly, and several tones lower.

It seemed to us that it would be reliable and interesting.

What did not work out?

We did not take off a couple of very interesting personnel. For example, in St. Petersburg there is a house, there is a Buddha on four floors, such a natural Buddha is ten meters high. It was some artists who painted back in the 70-80s. We wanted this house to be the house of Mrs., but when we came to shoot, a construction began there. And so we were waiting, we already took off everything, then we sat down to mount, and there was everything, then we finished to mount, and it became clear that the construction would drag on for a long time. A pity, because the frame is very colorful.

This film is St. Petersburg cinema, or cosmopolitan, could it star in another place?

In general, yes. Although of course the surroundings of the city are very important. Peter is generally a very strange city. City decoration, ghost, here is a thousand psychos on every street. Moscow, in this sense more cheerful. Although I like the St. Petersburg film school, Sokurov, Lopushansky, Herman, I generally consider him the greatest of the living directors. But he would not want to shoot Takkak.

Why?

Firstly, I am not seventy years old, I like what Gondri does, Jones, I gravitate to something easy. Although now, for example, I always watch Robert Bresson.

Was there any desire for reliability? The story with the hit of the grass to the client, for example, is very similar to the truth.

This is still film-accommodation. Just removed differently. I do not like such a fashionable Tarkovshchina, in a bad sense of the word. Such symbolism attracted for eggs, long muddy plans, art house, when you look and think-here again pi ** c has started.

But the heroes of my film are still so exaggerated-symbolic in nature.

Of course, your film refers to Gui Richie, Tarantino and other projects similar in style, in Russia several stylistic fakes have recently been published, like “Work the Failures”, “7 Cabinets” or “Don't even Think”, what do you think of them?

Of all this, I watched only “7 booths.” The scene seemed interesting to me, but those who took off was not enough some kind of impudence. That is, everything turned out a little undercomes.

Are you satisfied with the film yourself?

It is always difficult. When he wrote, he laughed all the time. When he took off, I could not understand anything for a long time. Because when all this lies on the mounting table, the roof goes and stop understanding anything at all. Now, when I watched the film in the hall, I realized that it was seventy percent, the film was a success.