The 30th MIFF is closed. At the time of submitting the issue, it was not known who received the main prize (the competition was weak, and the results were not that interesting). But it is known who awarded this prize: the president of the jury, the great Norwegian actress Liv Ullman, who gave the only interview to The New Times columnist
You are one of the few successors of Bergman's work in cinematography in the world. What do you think, will the memory of Bergman go away now that he himself has passed away?
I have no idea, but so far even our simple project to organize a Bergman museum on Foret Island, where he lived in recent years, has failed: we simply did not find money. Of course, his films will live as long as people can imagine what a true film masterpiece is - how the paintings of Tarkovsky and Fellini live. But at all these festivals we see so many bad films that sometimes it seems to me that the day will come when the public will simply stop understanding cinema of this level. I hope that Bergman's heritage will be enough for my lifetime, but already now I am insanely short of new paintings worthy of the old masters. An acquaintance of mine teaches at a film institute in Peru, and he claims that by the fourth year his students have not experienced the slightest desire to get acquainted with the work of Fellini or Bergman. Haven't seen a single movie!
Who are we and where are we from
At Faure, I met the founders of Ingmar Bergman's Internet Foundation and was surprised that these are very young people who know the films of the master by heart.
This fact unspeakably pleases me. After all, today, more than ever, the audience should watch a movie like Bergman's, a movie that can tell us who we are and why we appeared on this earth.
Is it more important today than yesterday? Why?
Because the mass media and especially television with the Internet have confused everything and confused everyone. So many lies or, at best, half-truths! Cinema begins to play the same role as other "obsolete" arts like classical music or ballet. Where else to look for the truth? Except sometimes in books. But there are so many more lies and the media are bombarding us so aggressively that it is almost impossible to defend ourselves. The current rulers support this, because it helps politicians to manage people.
Do you think there are people in cinematography today who are able to resist these processes?
Yes, but very little. Recently, shortly before the start of the MIFF, I saw one Russian film - "Return". Debut, imagine! I watched it on DVD, watched it in the morning, and walked around with a smile on my face until the evening. He made me happy for the day. I am so grateful to him… These images are still before my eyes. And what I understood, and what I did not understand, and what I liked even more.
Are you talking about Zvyagintsev's film?
I couldn't remember my last name. A film about a father and two boys, right? If you see the director, tell him that I was shocked to the core. I couldn't believe my eyes! It turns out that talent will always find its way - of course, if there are producers and distributors willing to take the risk. Now I dream of watching the second film of this director, I will try to buy it here.
The Swedish-Norwegian actress Maria Bonnevie played there ...
Ah, so that's where she was filmed! I heard that in some Russian film ... I'm extremely happy for her. Congratulations on meeting.
Culture has fallen in price
Do you think that the status of the director and actor has changed in the current cinema? They have ceased to be "sacred cows", as in the 60s?
Today, most stars are cheap stuff, promoted by the yellow press. Their icon is Paris Hilton. Only journalists are to blame for this. Culture has fallen sharply in price, and so has its consumer. I don't know who is to blame, the media or their consumers. And does it really matter… On the other hand, we still have Steven Spielberg and other really talented authors who nevertheless attract the attention of the press. So all is not lost.
At one time, Catherine Deneuve wrote a letter to Lars von Trier and asked him to shoot her in any role - the result of which was Dancer in the Dark. Could you write such a letter to any of the contemporary authors?
Well, certainly not Lars von Trier! Him for nothing. Unless I would write him a letter so that he would never, for anything, film me. But your Zvyagintsev would not refuse. I would love to work with a director like that.
One of your films with Bergman is called Face to Face. Bergman adored close-ups and considered the human face one of the most striking visual images in cinema. Why do you think directors today so rarely take pictures of their actors' faces?
In order to show a face, one must have a worthy face. There are fewer and fewer such people. I have no doubt that Zvyagintsev shows in his film a close-up of Maria Bonnevie's face. Istvan Szabo, speaking of the same problem, said: “Where are those ancient faces today?” The camera is simply not interested in those faces that come into view today.
Chekhov and Tarkovsky
You are a defender of classical theatre. Do you think it is also going through a period of decline today?
It's just that producers of theatrical productions are increasingly thinking about box office receipts. It seems to me that the government of any civilized country should allow its citizens to go to theaters absolutely free of charge. Show both classics and contemporary authors, gradually form an audience. You won’t be fed up with blockbusters alone, either in the theater or in the cinema. Therefore, when someone like Zvyagintsev makes a film, all fellow citizens should embrace him, groom him, cherish him, support him and finance him. Although - there is no prophet in his Fatherland. I know for myself: I was going to shoot A Doll's House a couple of years ago with Cate Blanchett and Ralph Fiennes - and I couldn't find funding in Norway! I spat and stepped back; I no longer have the strength to fight for a just cause. If I were younger… Evil is not enough for them.
Have you retired from directing?
I just can't find decent material. If Ibsen didn't fit!
You are increasingly traveling to festivals as a jury member or chairman. What do you like about this job?
It's so amazing to watch amazing movies for several days! True, it's terrible when these films are bad. However, I like to be back at school where I learn a lot and teach some things myself. And I came to Moscow for one more reason. I grew up in Russian culture. On films and books. The pictures I saw in my youth changed me forever. For example, "Lady with a dog" or "Cranes are flying." And Tarkovsky's films, all without exception. Fantastic! I read Tolstoy and Dostoyevsky from my youth, they impressed me for life. Like the Russian theater - first of all Chekhov. Without his plays, I would not be who I am. I was in Russia once, thirty years ago, and everyone around me spoke Russian and drank vodka. I had a drink with them and soon we forgot that I don't speak Russian and they don't speak Norwegian. I felt like I understood every word. I don’t know why, but I’m sure: my roots are in Russia.
Liv Ullman, a purebred Norwegian, was born in Tokyo, lived in New York and Canada, and became famous in Sweden. There she met the main director of her life, the great Ingmar Bergman. She starred in ten of his best films, including his most beloved Persona (1966), his most bitter Whispers and Cries (1972), his least favorite Autumn Sonata (1978), and his most recent Sarabande. » (2003). She also bore him a daughter, Lynn Ullman. She also directed two of her films based on his scripts - Private Confessions (1996) and Unfaithful (2000). Although Liv Ullman is not only Bergman, but also Ibsen, Strindberg, Eugene O'Neill and dozens of other important playwrights, in whose exemplary productions she played the main roles. In addition, Liv Ullman is the professional president of the jury: she headed the “judging panels” in Berlin (1984) and Cannes (2001), and now she has arrived in Moscow.
