Dibbuk got into a macbook

No, this is not a new “witch from Blair”. Although to compare the desktop-triller Levan Gabriadze “To remove from friends” with the revolutionary punk-citizen of the beginning of 2000thx is very seductive. Both here and there - the triumph of a single, unique, precisely corresponding to the spirit of the moment of admission, the minimum budget and phenomenal fees. But the film Gabriadze (however, whether it is a film or something genetically completely different, only outwardly mimicing under the cinema - another question) is more likely playing the role of “arrival of the train” or “the exit of workers from the factory”. On the one hand, he creates an accurate, frighteningly plausible illusion-the illusion of that virtual part of the real that previously existed autonomously from representation, had no exact screen image and, therefore, was not considered a phenomenon of culture (except for subculture; as if in the history of editing the FB-Postom of Drama, there is less than some “queue” of Sorokin). On the other hand, “removing from friends” accurately documents the daily routine of the Internet, which is ubiquitous, as air consisting of daily documentation itself and because it would not be considered worthy of any external-that is, carried out by more traditional (read out) media-fixation.

The action “remove from friends” takes place exclusively on the macbook desktope-the outside world in which the mysterious force speaking with people through the FB accounts of the dead, kills real people, is present only in the form of a distant referent distorted to the echo by double representation. Personnel of “real life” here is Yetuub Roliki or Skype screens mutilated by interference. As if only a look through the camera of a mobile phone or laptop, the reality is legitimized, making it undoubted. Well, in a sense, in a sense, the Gabriadze film is about this: the all-seeing Eye, Miracle Organ, in the literature of past centuries belonging to Providence (“The Bridge of the King of the Louis of the Holy”) or the hero of the mosser with the sides of the detective and the brain of the intellectual (“Count Monte Cristo”, “Ten Negro”), now correlate with the Kash, book, book, book, book, book, book In which we ourselves meticulously bring our misconduct and achievements. The characters “remove from friends” - ordinary American junners with the usual in the heroes of the American youth drama in sins (lies, treason, slander and slander) - become accused at the Last Judgment, which arranges for them something represented by the spirit of the deceased girlfriend. This writes something with the FB account by the dead and fateful, unknown interlocutor wedges at Skype conference. The inanimate makes the living repent, presenting video and photo materials from the network as evidence. All moves are recorded, it is impossible to unlock.

However, the most important advantages of “removing friends” are outside the sphere of moral judgments and obvious conclusions about the great power of the Internet. The main game here is not a fatal “ Never have I Ever” , which makes the heroes play the evil spirit, but the indistinguishability of representation and presentation in the eyes of the viewer. The preacher of realism Andre Bazin, deeply convinced of the mimetical nature of cinema, suggested that someday the medium of the movie, the film on which reality leaves its imprint, would dissolve-and the viewer would be left alone with the real one. About this happens in the Gabriadze film. Unlike the movie screen, the desktop, on which the action “remove from friends” unfolds is not an empty, clean curtain that captures the images of things. He himself is a thing, an object of a real, albeit not always tangible, world. It is no accident that at the first minute of the film the viewer’s hand involuntarily reaches for the mouse to turn off the uninvited guest who appeared in the Skype Conference (just the same, visitors to the Lumier session, involuntarily shuddered when a static image of the train on the screen suddenly came into motion). The MacBook screen is the unfortunate student Blair Lily, from the point of view of which we look at all this online uzhas-it is also the viewer’s macbook screen to “remove from friends”. Rather, he would be him if the Gabriadze experiment was shown at VOD , and not in the cinema. Alas, the triumphant cinema distribution “remove from friends” (50 million fees with a budget of 120 thousand) is the very case when the medium kills the entire message.