Suddenly "Sandens"

In relation to Sandens, there are several common stereotypes - and not so unreasonable. It is believed that the struggle for the rights of oppressed and puppy-spiritual miniatures from the middle class’s life is most appreciated here. It is believed that all Sandensian films are painful. It is believed that it makes sense to watch here primarily a movie shot by 30-year-old Americans-and does not tolerate everything else. Well, then this year the Sandance did not look like itself - and turned out to be largely more interesting and radical than the Rotterdam festival that followed him. There was no longer anything in the competition, even remotely reminiscent of the most tendentious of the American indie hits-like the treasures that won in 2009 with incestive passions in the poorest Harlem ghetto or last year's Frutville Murder of an unarmed black guy. This year, the focus was transferred from the social to physiological - either thanks to the hard hand of the main selector of Trevor Grotto, or thanks to the evolution of the directors themselves, who seemed to be convinced of the exhaustion of the former Sandensian format (that we all need to go beyond the same old plot, and festival roller before each score).

In the diversity of the new Sandensian format, he was convinced primarily by the director “Fishing without nets” by the director and screenwriter Catter Odirna who won the directorial nomination. The main character of the film, the young Somalian fisherman Abdi, who has never held the machine gun in his hands, goes to the great water, to the pirates - to earn on the crossing of his wife and the child across the border. The French oil tanker team is surrendered without a fight, but it turns out that getting money for foreigners is more difficult than it seemed at first. The expectation absorbs all reasonable arguments, the further this wild adventure comes in, the more risk representing its friendly character and attempts to communicate on a satellite phone with the outside world. The fact that in the exemplary-patriotic “Captain Phillips” with underwater filming and Tom Hanks on the side of the good looked like the insurrection of the madmen, in Odirn does not imply any subtext, except for elementary physiology. The Somalians simply rumble too much in his stomach - and Odirn from the very beginning does not see permission for this story. So it remains only to observe how all its participants sucks into a deadly funnel.

The most pronounced of the current American independent Joe Swinberg, who used to serve as an example of slurred (justified by Mabelkor-Yarlyk, who was hung on his films), in his new picture of “Happy Christmas”, on the contrary, presented an absolutely clear and meaningful story of depression, creative crisis and feminist values ​​of the second wave. The director, who was shot in his own house-the mart-root-root did not disappear-but already with a solid cast, in which the star of the series "Girls" Lena Dunham and Anna Kendrick, who are in Hollywood, was found. He refutes the stereotypes about the American indie and "Kumiko. Treasure hunter ”Zelener brothers, at first glance, the seemingly juggler ommazh Coenes. The main character, an autistic Japanese woman, goes in search of treasures hidden by the hero of the “Fargo” by Steve Bushmoi at an unknown barbed wire somewhere in the state of Minnesota. In fact, this story about faith in the art and vulnerability of modern man is much more universal and more precise than the next ode to the loser who is tired of fighting (here we are hinting at Damien Chenzell’s “whip”, a compromise and, in the opinion of the audience of the winner of the festival).

Underfectibly, non -standardized personal - whether it is physiological features or details of a private biography - triumphed over the social and international program "Sandens". “Victoria”, the three -hour canvas of the Bulgarian director Maya Vitkova, rethinks the totalitarian past through an anecdotic image of a child born without a navel, and the straightforward symbolism of breast milk and blood. And at the same time, the German drama of growing up the “Forbidden Territory” was the main hit and antichitis of the international program. From the first frames, Helen, who dreams of reuniting his parents, demonstrates all possible ways to refuse personal hygiene - including the reusable use of tampons and an intimate shaving scene, which is easily interrupted by frankness and sensuality of vaunted bed exercises in the "life of Ales".

The Chilean Alehandro Almens won the Sandens International Competition with the history of the elderly diabetics, who decided to avenge the mockery of the leader of the courtyard gang. “Kill a person” begins as a draft of Dostoevsky’s novel - the forester Horhe is humiliated on the way from the store home, and he forgives everything, a wide soul. This does not last long: the wife leaves due to disgusting ships with the offender, the eldest son gets to the hospital, they attack the street in broad daylight on the street. Gradually, history is gaining trierov turnover, and, falling into its natural environment of forests and rivers, the victim and rapist will not be able to get rid of each other, despite the fact that one of them has long been a bloated corpse. As on the Somali shores, the heroes - and with them and the viewer - no one will come to the rescue, because their confrontation is rooted in the irrational, but such incorrigible human nature, and is not in the speculative sphere of abstract social justice. Perhaps this small roll of the festival conjuncture reflects a large turn in the ideas about humanity, unfolding his back to duty, facing feeling.