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"Through the Snow" ("Snowpiercer")

Director Bon June Ho

The European project Bon June Ho (The Invasion of the Dinozaurus, “Memory of Murder”), a rather free film adaptation of the French comic book about post -apocalyptic humanity, always rushing along the global ring road in a huge train. Outside - a new ice age, inside is a hard caste society. No one works, dirty passengers from the third grade receive daily rations of a gelatinous norm. Periodically armed people in Hoops pull out musicians or children from the people in the direction of their heads. A uprising is prepared in the heats, which will partially turn into an expanded version of the famous passage with a hammer from Oldboy, partly into the monospel of Tilda Swinton, drew up under the conditional Tatcher-Mizulin-Matvienko.

Further praising of the film should not occur here - but, say, on the pages of the newspaper "Culture" or at an extraordinary meeting of the Ministry of Culture. The fact is that “through the snow” is the same extent both the anthem of the system anarchism and an instructive illustration to the calls “not to rock the boat”. Bon June Ho actually performs the terrible scenes of class inequality, actually acts as a real postmodernist of the Zizhekovsky spill - and even even more radical than the glory of Zizhek. In his book “First as a tragedy, then like a farce”, he proposed a special vision of revolutionary time: the revolution as a stop crank, which impedes the locomotive of historical progress, which at all pairs rushes to the catastrophe (environmental, economic, military, etc.). Bon June Yo goes even further: the revolution in the stuffy railway world invented by him is a phenomenon, although permanent, but subordinate to the logic of the original plan (about the same as the seasonal rotation of elites or invigorating bloodletting, evaluates the events in the city squares the wise majority). The way out of this homeostasis of the cannibal (literally) stability, of course, through the brewed door outside, into the fresh air, into the icy desert of the real one, along which the obvious threat of political determinism wanders: lonely - and obviously oh, so hungry - white bear.

"Magic Magic" ("Magic Magic")

Director Sebastian Silva

Anxious drama in the genre "City and Secrets of Wildlife." The mixed company of junctions (Chileans and students studying in Chile) goes to rest in a blank coastal village. As a mocking object necessary in any team, a silly, sensitive and in excess of measure, clamped Alicia (Juno Temple), a cousin of one of the Americans is taken into the group. Upon arrival at the place, normal youthful fun begins - wine for breakfast, pisco for lunch, shooting from pneumatics on parrots, roller -tennis, walks along the picturesque surroundings past sheep and extreme entertainment on the water. Quite quickly, the prospect is shifting, we begin to see everything that happens widely opened in panic through the eyes of Alicia, who is clearly not good. The forest around the clock, cute fluffy shepherds strive to attach to your leg, the views of the neighbors are suspicious, and the prankster Brink, a lustful Batthead in the old gaiter (Michael Sera in the unexpected role of a pervert) is especially disgusting. And the further - the more incomprehensible and alien.

“Sarah prefers to run”

Director Chloe Robisho

The film debutant from Quebec Chloe Robisho begins and ends with scenes of decisive athletic races: a affected camera, measured Drone breathing behind the frame, a complete author’s indifference to the one who will win. Between these two races, the main character, the young runner Sarah, will also not slow down, responding to (which, of course, here you need to read as a “flight”) to all life circumstances: rejection of a sports career by parents, restlessness in a new place, the impossibility of at least some kind of self-identification. The heroine does not know anything decisively about herself and only a small, and even timid, step towards awareness of her sexual orientation. Robisho drowns a frame in a dense, reminiscent of a new Romanian cinema with half-asleep frost and carefully circumvents any opportunity to twist at least some entertaining plot around Sarah. Thus, in her film, the canon of sports drama is suddenly turned inside out - a heroine who, according to all the rules of the genre, should find herself through self -denial through sports, here decides to look inside for himself only for a second, discovers there the abyss and prefer, forgetting about what he saw, to run further. Robisho’s open finale supporting his Sarah can understand: in the end, she is also a girl and, it seems, also does not want to solve anything.

“TV presenter: And Hello again” (“Anchorman 2: The Legend Continues”)

Director Adam McKay

Meet Ron Burgundy (Will Ferrell) - a news announcer, the owner of uncompromising mustache, a dogrous. As well as a convinced racist, chauvinist, National Patriot and Thuser. Soul, in general, a person-of those that become dangerous, only having gained access to a wide audience. This, however, is happening from Burgundy in the sequel of one of the best comedies of the Apatou canon-he moves from the provincial San Diego to New York, enters the federal channel and rapidly seizes America’s minds, turning the innocent news format into the corruption of propaganda, delicious and the lowest seizure (like a straight line of police officers chasing). The action takes place in the early 80s, so that the satirical message of Ferrell and director Macakea is obvious: the television, as we know him, is the work of clinical idiots and the result of the war for ratings. In comparison with the original Sicvel of the “TV presenter”, it is somewhat lacking the unpredictable breadth of the absurdity; This, of course, is already a more schematic and less outstanding cinema, but there are outbreaks of surreal comedic madness. This applies to all episodes with a synoptic degenerate (the character of Steve Karella), the bad in its inadvertency of the dinner scene with the Negro family and especially the Herrell Shark, worthy of Wes Anderson: it is difficult to get rid of the thought that this is how Dmitry Kiselev conducts his leisure time.