This year the XXVI Moscow Film Festival will take place. Among the stars expected are Meryl Streep, Isabelle Adjani, Emir Kusturica and Alan Parker as chairman of the jury. Over its almost half-century history, the festival has undoubtedly had its glorious moments. In 1963, they were not afraid to award the Grand Prix to Fellini for “8 1/2,” although Khrushchev fell asleep while watching it. In 1979, Coppola brought “Apocalypse Now” and a set of equipment for it, as he found out that Soviet cinemas did not have stereo sound. The main thing is that it was a democratic festival: Dean Reed, Akira Kurosawa and Sophia Loren walked peacefully along the city streets (at least that’s what old photographs show), and films were taken to towns near Moscow. And people flocked to “Mississippi on Fire,” although tickets cost 2 rubles. 20 kopecks – a little cheaper than vodka. True, there were many passable films: who now remembers “The Father” by Szabo or “Army Story” by Jewison?

Parker, vodka, minor films - all this will be at the XXVI MIFF. But something has changed. For the first time, there are two programs in the competition: the main one of 17 films and “Perspectives” – a screening of young cinema. Nobody has seen the films of the main competition yet; they may be good, but the announcements are depressing: “A parable about the principles of the Buddhist faith. “Angulimala” Tunniruta” or “Three escaped from captivity and have nowhere to go. There are enemies all around. Meskhiev’s “own people.” But in “Perspectives” they are already talking about “Occupation” by Andrei Kudinenko, a film that was banned in Belarus because “the interpretation of the partisan movement contradicts the true truth.” Changes in the non-competitive program as well. There will be no more programs by Plakhov and Shepotinnik. Instead of them - “Gala Premieres”. To skip most of the films here, in my opinion, is a crime. First, they will show Almodóvar’s “Bad Education,” an autobiographical (partial) film about the horrors happening in Catholic schools. Secondly, the sad and beautiful “Elephant” by Gus Van Sant, which tells about the massacre at the American school “Columbine” (not to be confused with “Bowling for Columbine”) and seems to be inspired by the theme of Beethoven’s “Moonlight Sonata”. And thirdly, the film “Oldboy” by Chan Wook Park, who retold Dumas’ novel “The Count of Monte Cristo” in the South Korean style.

But the most unexpected thing was the opening film, Kill Bill 2. Quentin Tarantino, who has long promised to come to Moscow, is being lured to represent him. But even if he comes, it’s somehow strange to open the festival with a film that just opened Cannes.

In the future "Occupation"