Cake with blood

On the screens the posthorer "Sisters" Ivan Petukhov

When they talk about cinema about domestic violence, you immediately imagine a drama - most often social.

The debutant Ivan Petukhov (he shot a “gift” short film with Uma Turman in the role of a saleswoman who is in love with a buyer-focus) is not tormented in domestic cinema, offering an unexpected solution to a superfluid, moreover, unpopular in our patriarchal parts of the topic.

Porcelain "Sisters"
When it comes out - November 24

Where to watch - cinemas

At first glance, Anya ( Irina Starshenbaum ) is the happiest of women: a beautiful house, a little son, whose caring husband (Nikita Efremov) will take his mother in the evening so that they can celebrate the wedding anniversary of the candlelight.

But Anya is as if not in herself. I have a rumble in her head. She has fear in her eyes. A sticky silent horror settled in her house. The mother -in -law would say: "It is furious from fat." Actually, the mother -in -law thinks something like that: "What is she still missing?"

Anya bakes a branded cake and, in anticipation of her husband, in a dull broken mirror, examines bruises and abrasions on the body.

This, AN, is not a mirror broken, this life is completely fragments: not to glue.

She dreams of one thing - the escape from this hellish "paradise". Save yourself from the flames of the Abuezer aggression flame - from nothing, from any trifle. To run away from despair and humiliation with the child ... in order to be overtaken again and again portray the beloved wife of a sweet monster, who has a purely American slide: down - tenderness and care, up - rage, anger, violence.

And then Anya enjoys the advice of a stranger with a hood hidden with a hood from a chat of victims of domestic violence. The stranger will teach her a secret way to arouse dark forces. Anya is almost ready to conduct a rite of blood and fire, calling death on the offender's head. You just have to decide ... or change your mind.

Ivan Petukhov twists Saspens on the territory of the author’s cinema. He takes off the posthorer, or the "elevated horror." This is a demanded genre in world cinema, which overtook a wave of intellectual, outside formats, slow, meditative artfilms that are not like a “saw” or “something”. We are talking about paintings in which the main thing becomes not a story that does not frighten the viewer of action, but the atmosphere, psychologism, subtle settings.

“Witch”, “Mayak”, “Solstice”, “Reincarnation”, “Babadk” formed a new course in the genre - Nejlut Horror. One of the most famous directors developing this genre is Robert Houston Eggers (“Witch”, “Mayak”), who experiments with a cinema language in each film, is looking for new non -trivial forms of expression for the study of the depths of human nature. Here, Saspens is associated with a whimsical psychological pattern, folklore elements, philosophical references.

Ivan Petukhov does not copy Eggers.

Using special methods of shooting, animation and even a life screen, he tells the story of our native recognizable Abuez. Here, the grandmother is caring-if only the children were happy, and dad is “everything into the house”, and the victim is a victim.

Why did not declare to the police? But then the husband will be imprisoned ...

And on the computer screen, instead of a stranger with a mutilated face (almost unrecognizable Anya Chipovskaya ), black sisters appear. Once the dark power, having taken the appearance of the monsters, harassed their blood and flesh. And the sisters locked themselves in the temple - burned themselves; Their dust is scattered; If anyone is bad, they will come to the rescue. Now they - like Moira - are carried out by an adamant and inevitable force.

Episodes with sisters in black robes are needlework coal animation. With difficulty, I found out that they were doing it at the Yekaterinburg Studio "Bright Stories". I wanted to restore justice and name the authors who invested in the picture one more - a mycetic dimension. This is a relatively young studio, created in Yekaterinburg by teachers and graduates of the Department of Animation Urgakhu and founded by remarkable masters - Oksana Cherkasova and Alexei Karaev. And the spirit of the Sverdlovsk school of animation with its craving for myth and ancient folklore motifs also blows in the coal animation of the "sisters".

Anya simply has to call on otherworldly forces to help - there is no one else to hoping.

... And a black ash flies on her head instead of snow.

The authors are trying to condensively convey the confused state of the heroine, to recreate the incomprehensible logic of the relationship of Abuuser and the victim. With the help of a viscous viscous atmosphere, twitching uneven installation, the game of light, strange aching sounds and the changing geometry of the apartment and recognizable household items and a viscous atmosphere of the psychological horror arises, a feeling of a compressed claustrophobic space. Although at times it seems that the director is too passionate about the technique of monotonous disconnection of horror and panic. Sounds are already unstoppable and unbearably aching, Anya cuts an elegant cake with a large knife, and the cherry inside it oozes with blood. Anya turns on the burner, and the gas hisses-this is about to explode with a blue flame all this visible comfort.

Of course, the center, the power field of the film is Irina Starshenbaum, it is almost all the time in the frame. Her heroine is a magnet attracting fear. Punic and anxiety is locked in prison. And when her husband solemnly offers her to have a second child, in her eyes a already dead gray ash.

In the final of the mystical horror, there are dry statistics, from which there is definitely frost on the skin: seventy percent of the murdered women died from domestic violence.

Seventy -nine percent of women convicts for the murder of women defended themselves from domestic violence.