
Of all his many posts, scientific degrees and titles, perhaps the most important in recent decades was his leadership program of the Moscow International Festival, institutions for many dubious and from a political and economic point of view. But thanks to the ravrasses and his team, selection for Russian synfils, shows at the MMKF were the possibility of connecting with world cinema. With directors, with films - old and the most new - which, for many reasons, in a obscurantist country could not be shown.
Of course, first of all, he was an enlightener.
Its author’s program “Kultinkino” on the Culture channel is not just a lecture that precedes the film screen. This is a conversation about the phenomenon of culture, about a many -sided unrestrained film process, about a single space in which Chinese or Mongolian cinema, Hollywood and avant -garde, Godar and Hitchcock, Barnet and Lutsik with Svorovyv live.
By the way, in the project of Novaya Gazeta about the films of the 90s “Cinema, which we have lost”, Kirill Emilievich chose Lutsik and Samor Roryov for his review of his review.
... I defended the candidate. Distresses were an opponent. VGIK - leading organization. And one Vgikovskaya aunt wrote a superficial and biting review. Kirill Emilievich came out with a stack of leaflets: “This is my official text about the interdisciplinary dissertation of Malyukova. You can read it, who is interested, - put the leaflets to the side. “And I will oppose the completely unconvincing recall of the Department of Tying of VGIK.”
We often argued with him, sometimes on very significant issues, sometimes publicly (the last discussion was at Echo of Moscow), but we never quarreled. And my admiration for his encyclopedic knowledge of the movie to the video art to the video art, from Orson Wells to the French wave, immersion in the science of cinema, culture, a sense of personal participation of the great synem, with the titans with which he spoke the same language, never decreased.
Bright memory!