"I'm afraid to be afraid"

The film or Malakhova “Hello, Mom”-in the program of the festival in San Sebastian, which has not been fundamentally not taking a movie from Russia recently

The world premiere of the film or Malakhova “Hello, Mom” will be held at the International Film Festival in San Sebastian, which opened today, September 22. What attracted European selectors with a debut picture?

“Hello, mother” is a universal, delicate, impregnated painting of an unconventional family, in which there are two older and two younger sisters. P

ASSKAZ about an employee of Pulkovo Airport, who lives with her sister and her daughters. Mom, who kicked them out of the house, is missing. The heroine has a chance to get an inheritance and start a new life, but she does not want to change anything, hoping for the return of her mother. This is a movie about the impossibility of putting up with the death of parents, about children's memory, which shelter from the indifference of adulthood. And also about St. Petersburg - a city where death freezes in snow -white snow and a frozen river.

Ilya is a debutant in directing. But she already has a decent filmography. Student Marlene Khutsiev participated in the creation of scripts of the films of her husband, the famous director Bakura Bakuradze, Schults, Hunter, Brother Daean, as well as the Call Cosmic Blockbuster.

She helped Bakur in writing the script of the new film about the blockade. I settled for these materials, and 17 kilograms of weight, according to her, just flew away. Such a topic ... Ilya is the granddaughter of a blocker; True, my grandmother did not like to talk about the terrible year. She and her husband themselves plunged into history, composing this crazy epic, tried to physically feel time.

Ilya Malakhova:

- Having read, I realized how blockade people moved: minimal stress, such a strange sensation.

I'm terribly afraid that the hut will begin to remove the blockade - a dangerous topic. At the same time, I want him to make this film - he has been living with him for a long time.

Baccan has just completed the picture “Snow in my yard” - a beautiful Tbilisi story. Another, easier camera, with a different aesthetics. Noble movie with amazing breathing.

- Interesting you “dispersed”: you are in female history, it is in a male story.

-As if they wanted to tell each other something important and tender.

- How do you feel about the concept of "female cinema"?

-I love when it is honest, it does not try to pretend to be something else. You say to the students: “Look at the first frames of the American cutie. What does the director do? Literally climbs to the heroes into the armpits, under the eyelashes. And, for example, the first frames of the “death of Louis XIV” by Serra or “The History of My Death” - you immediately understand how male style it is. For me, thin women's cinema - "some women" Reichard. There, it seems, the camera has a skirt. Another thing is the Great Muratov. She is not a woman - a hyperhumel. Female/male does not work here.

- And Muratova told me that she did not mind when they notice in her cinema it is a female view of things. Therefore, she needed Litvinova as a super -woman, a concentrate.

- Well, yes, Renata is a bright gender image. I show students in the film college for five minutes of different films without sound. Then we listen to the sound separately. I ask you to combine them yourself. They say: "Of all this, we only guessed, who were immediately guessed and felt."

- At the festival in Vyborg, where they showed your picture, in the competition almost all films were female or about women.

-I have many guys among students-desperate, beautiful, and, obviously, in the future they will do something.

But now, when we are immersed in chaos, we live in a crazy context, it seems that men simply disappeared, inner text. And a woman has this text always, because ... it is a cell, biology, heaven and earth.

- Children…

- Yes, I am mother, I am children, I am childhood ... Men overwhelming the feeling of dumbness. And the new cinema Bakur is obsessed, because it expresses this dumbness in it.

- You decided to direct your own film late?

- It seems to me that I was always ready. I decided when I realized that my children were not needed, they have grown wings, fly without me. I have time for myself, for my pain and joy.

The story that I wanted to tell has developed for a long time, changed. At first, she was about a bad aunt, who reports to her talented niece. Inner envy captured her, blew up. Then it went the other way, through love, acceptance. From the internal texts, everything was blind. Producer Natasha Drozd said: "I like the script, but it is raw." And we met for the whole summer, pumped the text. We loved these women.

- The heroine is you?

- And I, and no. I am more like in life to her sister Vera, which is easier. And our heroine Kira is a mysterious character, that very elusive woman.

-Someone saw in her an “infantile”, but it seems to me that in her inability to break a connection with the dead parents, with her past-her feature, complexity, uniqueness.

- We all in one situation can be infantile, in the other, it is aupery. There are all the heroines - ambivalent, even whole faith that drags her life, children, sister. And Kira constantly in the search for some impossible, unattainable goal, including herself.

- I had the feeling that this is your story, right on the soda skin.

- In this film, I rather recalled the loss of my grandmother Ira, a blockade. I was in India with the youngest daughter Duska. I’m going on a moped, my sister calls, says: “There are no more women.” And I can't buy tickets at the airport. I did not have time to bury her. Now it is constantly dreaming: the nose is an Ingermanland, thin as a knife ... Dents from glasses on the nose ... I try to touch the hands of arthritis ... I try to touch. It seems that we never parted. I come home: “Hello, ba! Look, how cool the weather is today! ” She is my fragile important connection with Peter, the place of power, the birthplace of my childhood. In fact, she looked like an old woman Shapoklyak, harmful and funny, such a thirteenth fairy ...

- Do you know that Shapoklyak had prototypes “from the former”, close relatives of Schwarzman?

- Here is Baba Ira is the same. She ran across the road, lowering her head, despite the sides - and all the cars, the buses stopped. It scared me terribly.

- Tell me about your family.

“My dad is a doctor, Tatar.” Mom - Russian, teacher in kindergarten. And the grandmother Ira is Finnka.

- For your husband you are a Georgian.

- For her husband - yes. Well, Baccam is also not super weights, he has a dad - German.

- Not the family - the Babylonian tower.

- We have so many blood ... I am scared when I think about it.

- In your film, men in the “Women's Kingdom” are strange aliens, like their neighbor boy Petya, an autistic who creates his humanity from the figures of Lego on the windowsill in his apartment.

- I even had the scene "Petya - the idiot is magical, talking to the sea." In this role, my son Lerik starred. Petya is from the Myshkin clan, a superduce who does not know how to broadcast herself. Like people who returned from the war, their eyes are burned out, screaming inner non -metabolic.

If Bakur and I did not have Lerik with such a pure attitude to life, we would probably remain ended with idiots. Lerik flashed us. And in the film he is an alter of the ego of Kira, her separateness, idiocy, canceling common sense.

- Other men in this movie are passing trains flying aircraft. Some married lovers of Kira, some Tolik has her sister faith, which exists only on her phone.

- Sisters are a self -sufficient women's team, a mermaid fraternity. And the youngest daughter of Vera, painting her only comrade - Carlson’s doll, and the eldest daughter Asya, who is in love and writes poetry ... In this female world there is no place for a man. And this is their drama.

- Ilya, who shot this copyright secret cinema, and Ilya, who participated in writing the script of the cosmic “Call”, are different people? Do you turn on different half of the brain for commercial and author's cinema?

- Initially, in the Call there was a good scenario, which, in my opinion, was spoiled by a large number of people responsible for the project. For me it was a human story about a woman-dog woman. Lost, driven, not having time, neither with a child, nor with a mother. She is both strong and so small.

- Why do you need students? And not in prestigious film schools, but in college. How old children are there?

- 15–20 - the best age on Earth. They know how to explode, light up. This is an absolutely incredible energy. When they say to me: “Cinema died,” I reply: “Sorry, no. I know that there will be a movie. I just see this new movie in their eyes. ”

- Do you have students who have already taken place?

- Gabriela Selivanova, Glory Ivanov, Stepa Tikhonov, who did several works. Sveta Abramova did an amazing job about light. You see that they are alive. And I'm not afraid to open my pain with them. This is an important not only professional, but also human interchange.

- How to shoot today, keep yourself in a hostile, complex world?

- When it all started, I showed them “Mephisto”, an amazing story of choice and spiritual degradation. Cinema is the best of ways to think about how to remain yourself.

- Not afraid to talk with them about the difficult, terrible?

- I'm afraid to be afraid, afraid of silence. We all at some point scare, give up, and perhaps the moment of total dumbness will come. But today I’m panicky afraid to get scared, not to ask a question and get away from the answer. I am afraid to deceive myself through this fear. This is probably still connected with the children ... You know, he gave birth to one, almost died, the second, and he is an autistic, and then the third, and almost died again.

- You have three children, and among them special ...

- They are all complicated. Lerik is super -drum. I don’t know what would happen to us without him. His sisters love him so much ...

- Why did you include the history of blockade with stacks of corpses in an intimate, personal story of one strange family?

“Kira tells about this to her married man.” This is her resentment. He: "I want to buy an apartment here, I will run on videos." And experiencing the pain of his absence in his prosperous life, the failed fate with this man: “Do you want to buy an apartment here? In the very place where the blockades dumped the corpses? " When Salyut-7 was shot, Bakura was rented an apartment on Repin Street. I say: "I can’t be here." He asks: "Why?" “I go out and see at night, I feel the frozen shadows of people.”

- But it is also impossible to live. It will pursue you everywhere. We and in Moscow have many cellars in which people were tormented. And under Red Square - graves.

- Yes, almost anywhere there is this ADOVA Flour hidden underground. But at the same time there are new sunrises, and the noise of the Neva, and my Lerik, and the rainbow. Everything is diversely intertwined. And in the evenings the youngest daughter Dusya asks me: "Mom, do you see the blue mountains, there, behind the trees?" I say: "Baby, these are just the clouds very low."

- It is curious that your very Leningrad film history turned out to be universal. Interesting to one of the important European film festivals.

- You know, one of the operators of our film Denis Klebleev said: “ Ilya, with one frame in which the baby paints her Carlson, we refute all the worst thing that happens to all of us.” For me, this is super -vitality. It’s like ... let's get a tattoo.

Let's be! We will just contrary to everything. At first there was our common terrible state. You climb into the frame - you breathe, then: "Stop, removed!" You take off the headphones - and there is nothing to breathe: my God, all that is happening to us now is reality?

- About what could you tell more now?

- I am writing a ridiculous story about an adult uncle and a young girl, about their complex excellent relationship. I suggested Natasha Drozd: “Come cross the“ difficulties of translation ”and“ in love of my own free will ”, two films that I adore. I am interested in these texts. A tired man who does not have a daughter looks at this alien girl. And between them there is an intimate dialogue about the hidden and important, which you can’t say about a stranger. A conversation that cannot be entered into the usual picture of the world, do not tell either children or wife. This has nothing to do with erotica: it is the contact of souls, blinding, awkward, leading to a different level of understanding of the other.

- What is the most valuable you acquired from your priceless teacher Marlene Khutsiev?

- Remember the trembling “shoulders” - an empty hanger in “I am twenty years old”? As a metaphor for a new life that a hero begins to return home. She tore my heart, this hanger. You can be weak, not take place, but still feel this poetry. He was a wonderful eccentric. I remember standing in a green cloak, and he: “Oh, Ilechka, is that, overhead shoulders?” - And touches the hand. “No, Marlene Martynovich, I have such square big shoulders.” And he is scared: “Oh! Sorry! " I thought to joke, and it did not work out. And we are all funny to us. How to share this?

- It seems to me that you succeed: through the painted Carlson, the words “you are the Baltic Sea, he is“ Baltika 7 ”or the Gate of Malaya Okhta, who do not lead anywhere.

-When the guys and I are reviewing the “Ilyich outpost”-this is the best of possible master classes. A way to understand what a movie language is. Do you remember the exposure? A booming sound of steps: first, the Red Army go along a cobblestone pavement. Then - on wet asphalt, as if gradually moving into the future. They imperceptibly turn into three modern young people - into us. Night lights go out. And the sound of steps grows almost to the drum fraction. This is a demobilized boy running up the floors home. And translated into human language, all these shots are formed into the words “mother”, “peace”, “love”.

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