Crisis of disgrace

All feature films that appear “Contemporary Art” are equally absurd, and films about contemporary art are doubly absurd. “Yes, and yes” Valeria Guy Germanicus does not bring anything new to this statement: yes, this is a movie, the main character of which is a modern artist, so to speak. Yes, this movie is not good.

The Fabula of the film in a literal retelling may seem innovative: the cinema according to the script of Alexander Rodionov is two, no, three scenes of passages along the night street, two scenes of the bohemian orgy, one lyric-erotic scene and several short, but expressive episodes of creative insanity (the young artist energetically attacks the canvas, producing rhythmic karaculi on it). A few optional sketches of state institutions (a hospital and passport table) were somehow clogged between them, designed to demonstrate the inertness and limitations of the official world compared to Bohemia’s life, as well as several fantasy episodes with black crows and slightly stubborn wolves (special effects are still not the strength of the Russian cinema)-the latter indicate that we, in essence, are, in essence, in front of us, in essence, in essence. Children's cinema, a kind of general rehearsal before the Gothic film adaptation of Ole Lukoye, which Germanicus seems to be removed at Glavkino studio.

The plot, which is as if behind the scenes, but still read, refutes this fabulous theory. “Yes and yes,” in essence, is the usual adult (and typical Russian) story about the alcoholic’s wife: she leaves (the first march on the street) from mom and dad to an interesting person (orgy) to a person, he does not dry out and rolls along the inclined (hospital), she throws him and returns home (along the same night street), but not just an interesting person.

An interesting, according to the director, can only be an artist, and not simple, with gypsum there or underwear, but a modern one. However, the picture of the state of art depicted in the film is a little anachronistic and corresponds to the ideas of about the middle of the 19th century: unrecognized geniuses, vodka, the obsessive idea of ​​“self -expression” and an almost complete absence of results. Just like one of the heroes of the Murge, who hung a sign “The artist works”, a prone of the film Germanika (a penny young man with a romantic pseudonym Antonin) during a daytime sleep. Sometimes, starting up, he rushes to a little subframe and begins to take his hands with his hands soaked with acrylic. It looks fun and drivers - a permanent Germanican operator Vsevolod Captures daches a complex dance around his objects, actually playing everything for them, and the color music included in the whole film covers the bodies and walls with a picturesque game of light. This slightly facilitates the mournful work of observing the lethargic sleep of Antihero, as if written off from the artist Trushevsky. But not that strongly.

However, I had to hear favorable reviews to “Yes and yes”. For example, a comparison of the Germanika film with “Survival only lovers” Jarmusha, a picture of the equally plot, relying on interiors and pleasant music, than some intelligible statement, has a comparison of the film. Well, Germanican’s slurred, maybe it will be worse than that of Jarmush, but the difference between them is between the guitar psychedelia that he has on the soundtrack, and the Russian pop rock (for example, a “picnic”), which sounds in “yes and yes”. That is, Germanicus is, obviously, POPS: the reproduction of very superficially understood gestures and style, devoid of sincerity, but rather fantasy, minimal reflection and so necessary in case of work on the verge of poor taste of sentimentality. Not Camp, but Kitch. The caricature, incredibly false existence of invented heroes shown on the screen is a completely congenial creative method of Germanicus, in which there is completely no narrativization, comprehension of reality. Germanicus is a director of a formal reception, an expressive jerk, a beautiful exit in the window (this gesture is repeated from her work to work, “yes and yes” - no exception). Compared to the clogging of new Russian dramas just shown on the Kinotavr, films that formally indistinguishable, merging into one solid almanac with through heroes-“Yes, and yes” it seems not to be the work of skillful (the art has nothing to do with it), rather-perfectly well-designed. But at the same time, those new ones, which seemed to come from the “school” and “a brief course of a happy life”, are alive, young, vital. And the cinema Germanika is hopelessly dead, stuffed with sawdust scarecrow. There is even some kind of divine harmony that the author preaching the most common cliches of vulgar modernism has really died-in a creative sense-young.

On this, in principle, it would be possible to finish-if the not-known features of the current cultural and historical moment. Life and customs of sluggish and worthless heroes “yes and yes” revolve around contemporary art - a phenomenon, in general, alien and most of the country's population, and the Russian Ministry of Culture. The attitude of the authorities (especially in the southern regions of the country) is known: it is an Apocalypse, whose horsemen are deducted by blasphemy, androgenity, debauchery and black square.

But I would give three rental certificates at once to the Germanika film on the site of the Minister of Culture. After all, this cinema clearly convinces the viewer that Contemporary Art is an anti -people, with a finger made and extremely destructive for the brain, kidneys and liver of garbage, the destiny of anthropological garbage, all sorts of urban excesses in dreadlocks and sneakers. So the characters of the Moscow art scenes in their cameo in “Yes and yes” confirm all the terrible guesses of traditionalists. Alexander Vinogradov, Nikolai “Spidder” Palazhchenko, Evgeny Mitt and Joseph Bakstein himself, director of the Institute of Modern Art of Modern Arts - all of them enthusiastically and sparkle shine on this cheerful, as it seems to them, a cabbage, not very apparently realizing that they are removed in the products of “Art Pickcers Studio” and “GDP Alliance” (yes, this is precisely the fact that it means precisely that it is precise You thought) - in fact, the filmanaries of the first and NTV. Of course, the desire to exhibit inherent in all people of art is clear. It is not clear why it is on Entarte Kunst .