Translated material
Do you watch new Russian cinema?
COLTA.RU continues the “Responsibility” heading: Dear people, people answer a question that has been ardently discussed in recent days. Last week, for the first time in a long time, in addition to political plots and all -Russian problems, people discussed cinema - more precisely, the folk comedy “Bitter!” which beats records in the domestic film distribution. In this regard, Colta.ru asked two questions.
1) Do you watch new Russian cinema and what do you think of it?
2) How do you like "Bitter!"?
We also suggest you express your opinion in a reader voting.
Dmitry Bykov
Vladimir Raevsky
Vasily Esmanov
Sergey Shargunov
Igor Gulin
Sergey Gandlevsky
Evgeny Mayzel
German Vinogradov
Igor Mukhin
Leonid Zlotin
Dmitry Vodennikov
Arina Borodina
Nikolai V. Kononov
Evgeny Margolit
Dmitry Bykov
Writer, journalist
1) I look, because an objective reality can sometimes get into the frame and it can be more accurately judged by what is happening.
2) It seems to me that this is the transition of Russian cinema to a certain qualitatively new level, when artistic virtues recede or, more precisely, begin to be considered already as symptoms. From the series "so bad that it is almost good." This also applies to Russian reality as a whole. Such a stylistic sequence, integrity, monolithic is already similar to an overripe fruit - that is, it almost falls.
Vladimir Raevsky
TV presenter
I try to follow Russian cinema and experience related tenderness for him. Although, of course, I understand that Russian cinema is not far from Russian, for example, television - the same mixture of propaganda, merry and sawing. However, of course, not without glimpses.
I do not understand why filmmakers in Russia do not use a huge supply of surrealistic material and an absurdity withstanded centuries, which is so rich in our Fatherland. It would all look much more spectacular than the attempts to play Hollywood, which are still more. According to the stories of friends and reviews of critics, the film “Bitter!”, Which I have not watched yet, is a successful attempt to capitalize our great and mighty trash. And we still have so many things! There, one word “shibusta storage” - what is not the name for a truly Russian thriller? According to the script of Vladimir Sorokin, for example.
Vasily Esmanov
Look at Me -founder
Yes, I look. Some films like, some are not. But in Russia, the cinema, which I like, is genre - with rare exceptions they are almost not shot, because they do not know how. It requires more skill than non -anticipated cinema. Of course, there are some cute samples, there are even films that I love terribly, but there will not be so many of them in ten years. And everything else that is massive is very strange. And if our author’s cinema still feels good (“Anton is nearby”, for example, a very powerful film), then the rest is rather unfinished, unfinished.
From the latter I recently watched “intimate places”. Normally, I liked it, but the same claim to him - it breaks out strangely, does not end in anything. This is a problem not only of Russian cinema - the logic of scripts. It is always amazing that five hundred people make a huge colossus and not one of them will say: guys, it seems to me that we are taking off some kind of garbage. So everything comes to the screens. At the same time, I love even a completely moronic Russian cinema type “Anti -Ciller”. If you take something relatively long ago, then I am a terrible fan of films such as “Cuckoo”, “Features of national hunting”, “Downing house”. These are very cool films. The “cuckoo” is just the completed, logical, tight and mental statement, which is well removed, where everything is fine with the dynamics and nothing sags. And the “features”, despite the fact that he, of course, is wild, it’s just nice to watch: it is shot with a huge taste, and all the characters are very real (my dad has all friends and they spend time). At the same time, all this is still imposed on a light absurdity and the likelihood of the incredible that I like in the cinema. Unlike our foreign cinema shows that anything can happen in some city-from a love drama to an action movie. In Russia, the cities (and Moscow in particular) do not look like that, but some very unsaturated, or something.
And it seems to me that when you go to watch Russian films in the cinema, for some reason the audience behaves more awkwardly than in foreign cinema.
"Bitterly!" I haven’t watched yet, but I probably won’t go to the cinema, I will watch at home.
Sergey Shargunov
Writer, journalist
I'm watching. But "bitterly!" I did not look. But I can advise the “geographer of the globe of the globe”, which recently visited the premiere. Alexander Veledinsky is generally an excellent director (I advise his film “Russian”, few people saw), and “Geographer” turned out to be completely excellent, light and deep at the same time. And disarmingly bright. Of the films of recent years, I’ll call “Portrait at Twilight” and, perhaps, “simple things”, and I also like what Boris Khlebnikov does.
Igor Gulin
Poet, critic, journalist
I look-unfortunately, less often than it costs if you mean something about modern Russian culture, but, unfortunately, more often than it is worth it if you want to enjoy it. "Bitterly!" I have not seen yet, but I think it will be. But last night I finally looked at the “intimate places”, and it would be better if I did not. Even a sex colon on the WOS website presents a more exquisite level of sexual reflection.
Sergey Gandlevsky
Poet, prose writer, translator
I do not watch the movie for a very long time. There is no principle in this. I don’t know, my life is going so. Not only modern, but generally I don’t watch a movie. And I don’t watch a movie, because I don’t watch TV. And I do not watch TV, because there is also no need for this. I learn the news from the Internet. There is no fundamental line in all this, but just like that has developed. The reflex disappeared.
Evgeny Mayzel
Journalist, chief editor Kinoart.ru
New Russian cinema is a strange, almost mythical beast, like a unicorn or dragon (the comparison is appropriate, because one and the other are the symbols of happiness, and therefore, in a sense and inconsistency). So the new Russian cinema is rather the embodiment of projections, expectations and hopes than a scientifically registered phenomenon that would consist of something more than just from films made in Russia by our compatriots. Many talk about NRC, many have heard about him, but few saw with their own eyes. I recall the dialogue from the Ryazan comedy “Garage”: the heroine of Ostroumova says she is studying the modern domestic satire, and the hero of Kostolevsky replies that this is a wonderful profession - to study what is not. The same and I have thoughts about the "new Russian cinema."
At first glance, the activity in Russian cinema reigns frantic. Every week there are a lot of events and premieres; Each corner of the country has acquired its own, often very decent, film festival, or even several; The state (even if not always appropriate, but still) allocates huge funds to support the industry, and so on, and the like; But at the same time, something really worthy, that could be united into such a collective concept, is not even close to nothing like that. Hence the optical illusions, visions of the oasis in the desert, stimulated by thirst. It is worthwhile to appear to some curious and not the most trivial film, as joyful exclamations are always heard, welcome the long-awaited birth of this baby. But soon these exclamations subside, and despondency reigns again. I remember a few years ago, with the advent of Boris Khlebnikov, Bakura Bakuradze and several other directors of the same generation, an almost general feeling arose that well, it finally began, now it will trample. And what? How this sensation appeared, it was also scattered as quickly.
In principle, there is nothing wrong with this, and it is not sad at all the absence of any general course, national wave, a single school or the flow of aesthetically close to each other films. The overall level of this fragmented activity, which we still observe, is sad. He is regrettable, and this is connected, I believe, with a more general and deeper process of provincialization, in which our country is linked to deeper. Public problems discussed and painfully experienced in present -day Russia are deeply uninteresting problems. Or obsolete, provincial, long ago decided in the world to all whom they touched; Or far -fetched, sucked from our deeply artificial circumstances and generated by rather growing ignorance and obscurantism than modern reality. Speaking briefly, the problems of three -year -olds and doubles who are not used to teaching lessons. After all, it is the consequences of such behavior that we see in new Russian cinema, in which grayness reigns primarily. This is a bitter paradox: during the period when an unprecedented horizon of possibilities for self -education arose, among young directors the ball of the material, weakness, intellectual helplessness, compensated by equally impressive self -confidence, rule the ball.
Summarizing: there are individual authors, among them - more or less original. There are new Russian films. New Russian cinema - no.
View "Bitter!" I haven't had time yet. Having read a lot of laudatory reviews, I was almost going to go to him once, but at the last moment I changed my mind, remembering that there were too many relevant and allegedly important paintings at home. Nevertheless, I will probably watch this film today or the other day.
German Vinogradov
Artist, poet, musician
I don't look. I look only if my friends make the film.
Igor Mukhin
photographer
I definitely don't look, and "bitterly!" I did not look, alas! But at the same time I regularly go to cinemas.
There is an opportunity to watch in the cinemas of the living years of the same year (“Socialism”, 2010), T. Kitano, Greenaei, Woody Allen, Tarantino and conditional br. Cohen; I have been choosing them in recent years. I like to watch new foreign films in 3D, 4DX format today - I at least understand why I pay these 550 or 770 rubles for a place in the cinema.
Leonid Zlotin
journalist
I plan to watch "Bitter!" And "Geographer drank the globe." But in general, I rarely watch the new domestic cinema - because of bad scenarios, fake stories, actors, with rare exceptions that do not believe in the affairs and actions of their characters, well -visible saving funds. This does not apply to everyone, but to most films. The last series - about Vasily Stalin and “Vaska ash” (my name) - outside the discussion. In the second case - due to the obvious scenario failure. But this opinion is deeply subjective, of course.
Dmitry Vodennikov
poet
Unfortunately, I do not watch a movie at all. No.
Because I cannot and do not want to watch fictional stories. And the fictitious stories of Russian cinema - even more so. To invent, you need some kind of inspiration. I still do not see such potential in Russian cinema. If this story, however, does not tell a woman. Here, Litvinova and Avdoty Smirnova (despite all their opposite), as well as Kira Muratova (but it is a separate song) this comes out. Because they tell some of their dreams. Dreams can still be believed.
Arina Borodina
journalist
I watch Russian cinema regularly. As a rule, I buy a ticket and go to the cinema, I visit the premieres or buy DVD and watch at home. It turns out that I watch our cinema even more often than Western. This is partly due to my work, because most films are then shown on TV. Well, I just look like a spectator who is used to going to the cinema, watching new films.
Over the past three weeks, I watched the Stalingrad Fedor Bondarchuk, and “Bitter!” Zhora Kryzhovnikov (pseudonym of Andrei Pershin). On weekends, I am going to go to the "geographer of the Globe drank" Veledinsky. Recently, Yuri Bykov’s film “Major”, shown on the last “Kinotavra”, was also watched - in October his premiere was on the NTV channel.
As in any movie, I like something, something-no. Something causes emotions, something leaves indifferent or even annoying. But I always watch everything to the end. “Stalingrad” I watched on a completely one note, caught myself thinking that for the whole film the expression of my face has never changed, although it was called, as they say, with an open soul. Without bias. Moreover, I liked Bondarchuk's “9th company”. "Stalingrad" seemed completely empty. "Major" made a strong impression on me! And the film “Bitter!” Turned out to be completely beautiful. I also really look forward to the “geographer”, because the film is resonant and the opinions of film critics about it are almost all enthusiastic.
I did not expect that I would like “bitterly!” I believe that this is the real success of the whole team - from screenwriters to producers. I admit that at first, when I was in other sessions and saw the promo-rollers “Bitter!”, I was sure that this was an ordinary box office film “Eggs of Fate”, “Hitler Kaput” and something like that. In general, from the announcements it seemed to me that it was an ordinary crap. But then, having read the reviews of film critics-this was the case when I want to say special thanks to them for this-I thought that if so many friends I have noted this work, it is still worth going. I went and got a lot of pleasure - from the first frame to the last. And she laughed and cried, because the genre in which this film was made is absolutely flawless. I know that he aroused a variety of opinions among my friends who are not related to the world of the movie, but, it seems to me, this is really a very successful project by Timur Bekmambetov. And the director’s absolutely wonderful work, actors, from whom I know only Elena Valyushkin (I saw the rest for the first time, and all the more pleasant it was to watch how great everyone worked). I would not look for some double meanings in this film-“Russia that we have lost” or, conversely, “this is what we have received now.” "Bitterly!" - This is just a genre movie, such a lyrical melodrama where there are episodes, I repeat to let a tear (I burst into tears twice) and just laugh. I love to leave the cinema with good emotions, I am incredibly glad of this, because it happens infrequently, especially in the case of Russian cinema. It seems to me that the film "Bitter!" Made for everyone. It's just a good movie. And my personal gratitude to the artist-winner and costume artist in “Bitter!”. Great job!
Nikolai V. Kononov
Hopes & Fears editor
I watch Russian cinema in three or four films per year, if we talk about the big screen. Usually I look at what, judging by the reviews, is interesting. "Bitterly!" I did not look. Judging by the reviews, this is talented - popular, but at the same time a rather deep and accurate comedy, which, like a good children's book, not only for children, but rather for adults and in general for growth and about this absurd life.
From the latter I saw Stalingrad. I liked it, although many scolded him. Cool, but, of course, there are all sorts of questions for Fedor. For example, if he wanted to make a strong story that would become a Russian epic with memorable heroes, then why there are no some of their West in the soul of features, monologues, internal conflicts? Critics rightly blame that it turned out rather a fairy tale, a parable, where the most catchy hero is a German played by Kretschman.
I try to watch talented films, all the same, game or non -game. As a documentary, I really like the “term” and “Anton is nearby” and “Mom, I will kill you”.
Now the most interesting, in my opinion, in domestic cinema - will the series become what they became in the global market; More precisely, whether they are approaching American quality. It is clear that in Russia there are very few people who are able to write a script from and to, plus a lack of cool stories (despite the fact that the series as a form allows you to stretch pleasure and write such a novel in a film), but ... in short, it is interesting how to cope with this challenge. The market - as in many other industries - is empty. At the same time, cinema as a type of entertainment will eat more time and, accordingly, money. By the way, I saw a couple of episodes about hockey players (“Youth”): you can look at it, and, it seems to me, the authors will still add.
Evgeny Margolit
Cinema, film critic
I rarely watch modern Russian cinema, from case to case. More precisely, from disappointment to disappointment. It very reminds me of the previously Russian cinema of the pre-revolutionary years, which I do not like, where there is its own "mainstream" ("strong drama") and its own "arthouse" (and what, if not "arthouse", mature and already dead-lawn Bauer?) Plus, imported "blockbusters" with technical tricks (their role was successfully played by the Chalosa extravaganza). And most of all the parallels of aschers with its signature sign-the “bad end”, from the acute, all-pervasive sensation of general futility. So the “bad end” here can be used without quotation marks - this movie really very badly ended with your viewer: it died out as a class. He survived, in fact, one protazanov. Because, unlike the rest, he was a professional in the highest class, a master (“Du Mester”, “Master” called him the Lunacharsky People's Commissar) with a phenomenal sensation of a particular audience and an artist, rooted in a classical cultural tradition.
Recently, someone (the smartest Vadim Abdrashitov) spoke out in the spirit that the directors are actually divided not by their artistic aspirations and views, but simply divided into those who read the “captain’s daughter” and those who did not read it. И уж точно к последним принадлежат те, кто распоряжается кинопроцессом и культурой в целом. Сегодняшняя система — диктатура непрофессионалов, объявивших войну культурной традиции от Пушкина до Эйзенштейна. Слой носителей этой традиции с каждым днем становится все уже и тоньше. Водораздел проходит по языку. Или ты говоришь, мыслишь и чувствуешь на языке Пушкина, Чехова, Пастернака — или на «фене» подворотен. Упрощение языка приводит не просто к упрощению, но — атрофии чувствования.
Главная особенность нынешней кинопродукции состоит в том, что она вообще игнорирует полноценного со-переживающего, со-чувствующего зрителя. Эта продукция рассчитана на человека, случайно зашедшего в зрительный зал — неважно, в спальном ли районе или на престижном киносмотре, — чтобы убить время. То, что заполняет репертуар, не более. Деньги все равно зарабатываются не на прокате — просто «бабки отбиваются» в процессе производства. Кино существует вне зрителя. А полноценный зритель существует лишь как возможность, которая неизвестно, реализуется ли. «Артхаус»-то у нас в полном порядке: катается по фестивалям в том же качестве — заполнения репертуара, а живое кино срывающимся голосом отчаянно кричит в пустое пространство, не находя отклика, — будь то «В субботу» Александра Миндадзе или «Дом» Олега Погодина, «Русалка» Анны Меликян или «Око за око» Геннадия Полоки или недавние, увиденные на «Кинотавре» «Стыд» Юсупа Разыкова и «Диалоги» Иры Волковой — вещи, помимо всего прочего, высокопрофессиональные.
"Bitterly!" еще не видел. Тот редкий случай, когда даже печатные отклики возбуждают сильнейшее желание пойти и посмотреть. Удерживает, однако, страх очередного разочарования.
Подготовили Юлия Рыженко, Тамара Великоднева