Sex is outdated

Distribution of relations in the series Daria Moroz "before and after"

On OKKO's platform, the mini-series “Before and after” the authorship of the actress and director Daria Moroz-14 episodes of 15 minutes about the behavior of men and women before and after sex. The authors of the script are several male names that invented “slave”, “Voronins” and “daddy daughters”, in the main roles - both new faces and veterans like Goshi Kutsenko and Igor Vernik. In the domestic industry, where intimacy is removed either awkward or inappropriately, “sex. Before and after ” - a unique project that is trying to figure out the nuances of relations between men and women. True, for the online release the word “sex” was cut out of the name, so now it’s just “before and after”, which is very reminiscent of Anna Melikyan’s vignet “about love”: you can shoot about love and relations in Russia so far. The film critic Katya Stepnaya looked “before and after” and states that sex on Russian screens and in reality is a joyless and even depressive phenomenon, despite some comic.

“Sex is outdated, the drags is tired,” the melancholy first series begins with these words. The action of the series unfolds in a cold cafe with a blue light called "ice" somewhere among high-rise buildings of the river station in Moscow. From the setting of the “ice” the feeling of incredible cold: both young and mature heroes in this light look like walking dead, and in the stingy uncomfortable interior I want to hold only short meetings. So, in general, it happens: they go to the “ice” to warm up, drink a cocktail, have dinner on a first date or meet for an hour. The manner of the “ice” is the Snow Queen Daria Alekseevna (Daria Moroz), the lonely mother 45+, who, out of boredom, has sex with one of the bartenders and builds the staff with an iron voice.

“Before and after” - the story of 14 meetings of people who always end in sex with different result, but relations are extremely rare. The same seems to be modern Moscow, where sex has become a service like a taxi or food delivery, but people are still mistakenly counting on intimacy. “Before” takes place in the “ice” room, after - in the bedrooms of heroes similar to each other, like ready -made new buildings of the peak. “Before and after” has versions with censorship and without censorship, but they differ only in obscene speech, and not bed scenes. According to the modern rules for shooting sexual scenes, all heroes are covered with blankets or have sex in underwear: thank God, at least do not wake up with perfect makeup and even say “whore” after orgasm.

The series shot in the studio is sealed and stingy for details. He alienates the heroes as much as possible from Wednesday - the authors see sex in one of the few ways to brighten up loneliness in a big city: Moscow remains behind the scenes, but it seems only monstrous from this.

Import substitution came to the digital space: instead of the “Tinder” who left Russia, there is a fictional application with a similar pink-orange logo “Point”,

Where heroes are looking for sex and relationships, in swings in profiles. As it should be according to the standards of Russian censorship, there can be no homosexuality and bisexuality in the series at all: mentioning in “Before and after” a man who loves sex with a woman in strapon is already great liberty.

Sex, according to many heroes, is boring and the same, moreover, “it becomes bad after a couple of years of relations”, so that mutual friendship remains and, in order to tickle nerves, experiments - from which most Muscovites are very uneasy. To the honor of the authors, several dozen characters are still similar to ordinary people. There are young employees of a cafe, stand-up comedian and a girl below the knee, a graduate graduate, two married couples of about 50, oncomal, vegan, feminist, sex worker, involuntary sperm donor and even Dmitry Malikov, as if frozen in his 30-year ideal, but treacherously pulling the upper notes behind the piano. They unite them all one thing: manipulations and inability to say directly about their intentions. Muscovites pathologically played in the desire to look better or worse than they are.

There is no need to blame the mirror: male characters, respectively, their prototypes, muzzle without stopping, explain how the world of women and men works, who really wants and why men are allegedly fixed on sex, and women on romance. Such hypocrisy turns interfere with “before and after” to become a study of relations, but what else to expect from a scenario group consisting entirely of male names? Quoting the “truth of life” either from Instagram-rings about how to keep a partner, or from a video of a pseudo-coal for relations, scriptwriters reproduce stereotypes that it is time to shake it long ago.

Sex is outdated only for those who do not know how to explore their and other people's pleasure, and go on dates with a package of plastic requirements. Sex for several hours, on a first date or with an unexpected partner, is still served as an exception to the rules and almost nymphomania. About preludes and sex toys-not a word, about ethical non-nmonogamy-even more so. Ordinary sexism, the old kind of compression and woodenness of the body and language, when it comes to the body. But criticizing this state of affairs would be too risky, so most jokes are stomping in the familiar territory of Dani Perenechny or Ruslan Saburov: some curious situations, however, are unexpectedly funny and human.

Two unchanged constants “before and after”: men who are cooking from performances around sex (dates, courtship, communication and intimacy) and rampant betrayals. Unfortunately,

“Before and after” does not show a single case when sex would cause sincere joy and enthusiasm among heroes: shame, anxiety and fear - the main motivators at the start, even if we are talking about a pleasant meeting for one night.

In contrast with female characters, men's - extinct and discharged, despite the demonstrated masculinity, and very poorly understanding their sexuality. “Before and after” reveals the mechanisms of manipulations, from which both sexes are tired: embellishment of the virtues in the acting applications, the rules “no sex on the first date”, games behind the bar “nobody need no one” and a males, which often hides a complete absence of emotional intelligence.

The toothy Moscow capitalism did its job, and most of the dates are transactional in nature: you are me, I - you. It's not so much about money as about self -esteem: it is scary and unusual to give a person more than you expect to get from him. The background of the date is an overshadowous calculation: the games are upset everyone, but few are able to come out of them. Things are even more sad with women in adulthood: the best decision, in order not to remain alone, to look for an approach to a partner who has a soreness or parking himself in an emotionally broken and rejected man much older. Cugs and see the comedy with Adriano Celentano and the Ornell Muti for a mature woman is much easier than to open to another man who will turn out to be a passerby consumer.

“Before and after” grieves with his truthfulness and, criticizing him, one cannot move away from criticism of his prototypes. The characters, blue from the Moscow Snow Winter and chronically exhausted, are really little different from the townspeople of pre -war and wartime, who are ready to drink all cocktails in the menu, just to hide from the obvious. Disagreement occurs not only in the news and zones of military operations, but also on thousands of optional dates, where post -Soviet interlocutors do not see each other point blank, operating only with the concepts of the floor. Men do not say what they feel, women are silent about what they think. Everyone hangs on each other guesses, extremely far from the truth.