
Their films have an incomprehensible feature - over time, they become more relevant and prognostic. Probably because they opened the wrong side of conflicting reality. In their household dramas there were abysses of subtexts, the rigidity of the construction and accuracy of the texture exploded from the inside with the magma of life. True - fantasy, social recognition - a metaphorical shift, private - planetary. They had a sky. And the tragic history of the country.
It seems that he made harsh social cinema, biting into topicality. But the secret and modernity of his films is into the ability to verify the acute social background into the “Air Worlds” of philosophical thoughts about the meanings, damned issues. Basics of being. About the exciting anxiety of the future, which has become real. And you are amazed how they managed to not just formulate everything, but see the artist’s inner gaze. For example, the fact that the wars do not end, crawl into our lives, turn away from hope. At the time of the Brotherhood War in Ukraine, when people turned out to be hostages of circumstances, again painfully and anxiously knocking on the temple “Time of the Dancer”.
But they tried to warn us about the dangers of the “magnetic storms” of the lack of freedom, which constrains, pulls to the bottom. Sorry, they were not heard.
In the cinema of Abdrashitov, the time code is hidden, his cardiogram, which changes together decrepit era-from an even pulse to a confused heartbeat, to the deaf despication, in which the Armavir ship is drowning, drowning, sinking.
Sergey Soloviev,
director
I sincerely congratulate Vadim on these incredible numbers. Just incredible. It's hard to believe.
We almost came to the studio together, together began our paintings. Always pushing, difficult, but nevertheless broke through.
Very close and gratifying in Vadim is that he is an unusually serious person. It’s funny to say that in our times. But he is really serious, and without thoughtful. Of course, meeting we idiotic, mock each other, conduct funny conversations. But behind all these gripping and jumping there is a serious figure of the artist.
Their films with Alexander Mindadze were an exciting feature of Soviet cinema. They are an integral part of the world film process. Their cinema is unique and unique. They managed to make films that were a reflection of their life. And our life. And they succeeded. How - the mind is incomprehensible. All his life he walked his own road, he was engaged in what no one was doing before him.
Both I, and we all can distinguish his picture from any other from five frames. It is worth a lot. This handwriting, the uniqueness of a cinematic pen is not amenable to analysis, elementary decoding. Remember how many disputes were around the “plumbum ...”? Who is this guy? What is this phenomenon? Is he a villain or an angel? And all these questions still hide around the film, because it is still alive, excites. And so every movie Vadim, which is made professionally strong and at the same time at the highest degree of emotions.

It is serious not only that he has conceptually clearly, logically and at the same time difficult and difficult films. But even in the fact that he tries to deal with both on the screen and behind the screen exclusively with people of his circle. And despite the fact that he is selective, his circle is huge. This brilliant friendly circle began to form in VGIK.
Here is another serious word - uncompromising. He really makes his cinema, rejecting all compromises. A movie in which everything is art, and a social context, and a profession. For this, a cinematic audience loves him. How he was appreciated by George Rerberg! How appreciated colleagues for filming! How the actors of the first magnitude dreamed of actors. They never counted on the star’s roles. They knew that it would be difficult. But there will be a unique, piece work.
He is not just a high -haired intellectual, in our contradictory movie, Vadim Yusupovich Abdrashitov is an indisputable authority.
Happy birthday!