"My nights are more beautiful than your days"

At the request of Colta.ru, film critic Denis Gorelov compiled a personal top of the Stage Russian films of the 1990s.

The 1990s were a time for a continuous revision of the missed world cinema classics. National cinema merged on the periphery and was present in the cultural field "according to the residual principle." The edge of the eye was fixed by the rapid wilting of veterans (Ryazanov, Khutsiev, Alla with Naumov) and biased retrospers in the Stalinsky of the authors of the middle ages (“Tired of the Sun” by Mikhalkov, the “thief” by P. Chukhrai, “lost in Siberia” by Mitta). The new heroes lacked everything: funds, name, rental and interest. Until the “brother”, the domestic film was the sectarian entertainment of the club of “Kinotavra” lovers and the Moscow House of Cinema - because of the choice of films of the first half of the decade, purely voluntarist and other could not be. The "post -collegium" cinema has already been made for the public younger, the viewer was found and was heard - so the further list is more objective. The exception is the “outskirts”, but without Lucic with a self -propelled cultural landscape of the decade of Kutz and one -cap.

The first and last film of the humanitarian-universal Filatov is a parable about the riot of puppets for the honest name of the master. The story of excommunication from the Motherland of Yuri Lyubimov happened to his family earlier and was heard, so the prototypes were guessed: Gordynsky (Abdulov)-of course, Khmelnitsky (him, Lviv, there are also scares a residence permit), Nagvvordilova (Shatskaya)-Demidova, Simochka Korzukhin (the name of the Oligar-Grandoye of the Bulgakovsky “Beg”! In the film she was played by Tatyana Kravchenko) - Slavina. Others were not so deciphered or showed a collective image. To butt with the Soviet government convincingly and without consequences was a utopia - therefore, Filatov created a noble myth, at the same time setting the canon to the epigones. The bowl war with the brother and stepmother of the 90s was also a fiction, so important films decades were shot in the fairy tale genre-heroic (“Brother”), funeral (“Features of national hunting”), state (“Siberian barber”). Filatov, having crowned his native estate in vain laurels, decided to hang a slap in the next film “Freedom or Death”, threatening to become a bomb for many puzzled reputations, but weakened and layered. So the scandalous caste remained on home-made boats, and the author with the reputation of the good storyteller Ole-Lukoi, whose motley umbrella was opened, and the black was dried somewhere.

But if anyone is interested, the script is in access .