There can be no space without roots

In the Urals, the film test ended - an impressive festival of young cinema. What to watch?

First of all, I will share the amazement of the program of game paintings. This year she was at several festivals, and wrote a lot about the escapism of young cinema. The Ural "Kinopobe" demonstrated the surprising deficiency of beginner professionals (including ours) in a modern agenda with all its tragedy, anxiety. I would like to thank the selectors, director of the festival Lilia Nemchenko and President Director Vladimir Makerantz. It seems that in the Ural frost, far from the center, the free breath. I’ll tell you about the work that impressed me, and I think you will agree with me.

• “250 km” Asmik Movsisyan (the main prize of the film festival “Film Prob”)

About how on the very first day of a suddenly flashed war, the family is forced to flee their home, because the bombs fly very close. But how to run? Where? And a teenager, who is not yet 14, removes an old car from the garage of daddy. Family and neighbors, and people met on the road, are loading into it, including a pregnant girl. And also a turtle, for which the main character risks life. He is lucky on broken roads under fire for 250 kilometers to a safe place. And the car itself becomes a fragile noev ark, saving people from deadly massacre. Of course, in a sense, this is an Ommage “Ballad of a Soldier”-peace and compassion in the soul during winning hatred. It is amazing that the cinema is based on a real story.

• "Tree without leaves" Roman Belov (prize for the best debut)

With a dry pen, a written and removed story of a young mobilized, which is called up. He is scared, and he does not understand: why? But the father, who does not turn off the TV either day or night, is strict: "Protect us from enemies." "From which?" - "They will tell." Tragic finale. Scanty metaphors. The quiet tragedy of helplessness.

• "Always ready" Roni Weiner (prize for the best educational film)

A movie made in the Israeli film school named after Steve Tisha, which is called the best among all schools. And really: her films are one better than the other. At the firing training ground. The officer gives a team. But one newborn on the fire line cannot shoot in the target, torn into scarves. Whatever they do with him. Well, just can't, at least kill. Then they call the oldest commander. And the strongest psychological processing of a young soldier begins. It is practically introduced into a state of affect. He begins to shoot and can no longer stop.

• "Mir" Gurama Narmania (Special Prize) (Moscow School of Cinema)

There is a video shooting. In the frame, the guy, almost crying, apologizes. Two formidable dzhigits hung over him. The guy mournfully asks for forgiveness from the whole Georgian people for ... what Hinkali called dumplings. When the dzhigits with suitcases and videos come to the head of the ministry of the apology, the boss is indignant: not reliable, not sincerely! We have to return for a second double. Then a lot of repentance.

On the credits, the director apologizes to the audience for making such a shameful movie. Then the producer - because she gave money for such a terrible film, defaming all of us. Narmania is a famous blogger, video director. Immediately you feel an experienced hand and a great sense of humor with a social lining. The hall applauded for a long time.

• "Steak" Iranian director Kiarash Dadgar (jury diploma)

Expressive microkino without words. Mom frying Parit, prepares the table-the birthday of the child. Ball. Cake. She begins to cook meat. But they shoot on the street. Mom immediately hides the child in the closet. One of the random bullets through an open window deadly hurts it ... I will not retell further events. All this happens in a matter of minutes.

Sign final. The camera moves from the bottom up the inverted image - the world is the top with trowels. It turns out, on the glass of the oven. And freezes on the very steak that mother fried for a festive dinner.

• "Ayyy Kuo" graduate of the workshop of Alexander Sokurov Aaala Adamov

Aiaal Adamuzhezhe visited festivals in Busan, Toronto, Montreal, St. Petersburg and others. Ayal is not just a thinking director. He is looking for his cinema language, developing the traditions of national culture. He shot not so much a story as visual verses based on mythology: about the cycle of female fate among the Yakut snow. About the inextricable connection with the native place. After the death of the eldest, the younger sister comes from St. Petersburg home to a remote village. In the very house where there was quiet violence, and she was a victim. Now there are no sisters with her sick heart, and the youngest will become the mother of her niece ... And then her niece will take her place. A vicious circle.

Cinema steming like a winter stream, from an icy “universe” Olonkho, its middle world, in which Ichci (perfumes) live among people (tribe). A prize for the development of a movie language in the traditions of national culture.

• "What will we hug?" Anastasia Kuzina (VGIK)

About the seventeen -year -old Stepa, who fell into the colony for the murder of the offender of his mother. Now dreams of one thing: a meeting with his mother. But other mothers come to dates - with pies, pickles, with touch, care. Mom Stepa does not answer letters. And Stepa himself is mercilessly beaten at night and day. For not sharing money for work. He sends everything to mom. They beat so that the world around the bloody veil is covered. We will see this terrible mother, with her dislike, with sharp cutting words: so that he died, no one interferes with living.

And the teenager will twist on the bunk of the carpet with an embryo, covered with red haze. Close his head with bloodied hands. And it will seem to him that his head is on his mother’s knees, she strokes his hair and sings the lullaby (the same finale was in Vasily Sigarev’s “Volochka” about the dissolved and ruthless mother performed by Yana Troyanova). There, too, there was a narrow lumen of the catharsis in the black corridor of the finals - mother's lullaby.

***

"Film Industry" is a practitioner forum. From morning to evening, in addition to shows: lectures, master classes, pitching.

At my lecture at the Yeltsin Center “Russian Cinema. Continued present ” was a special audience. After the story about the main trends of modern Russian author’s cinema, a discussion arose - why today the feminine is clearly dominated by the feminine.

The versions are such. In the absence of the opportunity to talk about the outside world, a woman who is more connected with nature, biology, children, and therefore not only with the present, but also with the future, ”tells the stories of feelings with a turning pupil inside.

Associate Professor of the University of Ural clarified its point of view. In the time of the break, the crisis is gradually canceled civilizational progressive development, continuity - in all areas of culture, cinema, including. And women-players, as if from a white sheet, make a movie to themselves, from themselves.

One of the most interesting was the master class of Konstantin Bronzita . Twice the Oscar Nominant and so on ...

If you proceed from the postulate “Cinema cannot be better than the author itself”, then in the case of a bone this is confirmed. Most often, a laureate of a drilauureate says that it did not work out in his paintings. Why did not work out. How I missed the opportunity to make such a scene - and describes it in colors.

He makes such a different movie, as if it is another author with a different style. I thought so - the time itself asks. It turns out that it is completely conscious. Each story requires its own design.

He invents each time - the world from the clean sheet: graphic, colorful, absurd ... but with accurate realistic details and reliable psychological motivation of heroes.

Konstantin Bronzite:

- My teacher, scientist and culturologist Anatoly Prokhorov, blinded the director, from me. In order for your creativity to change, it becomes better than itself the previous one, you need to move forward. You must be not concerned about films, but by yourself, with your own growth. To do today what promotes you in relation to himself yesterday. In the process of working on himself, the filter changes. After all, there are always a lot of ideas, but most of them are garbage. Here is the filter and the author needs the director to draw this garbage. Of course, we come up with everything from our heads. But everything invented has roots. Without these roots, there can be no audience empathy. Complicity.

Again I watched “We cannot live without space” , a small film that he did for four and a half years. It was 24 minutes. He threw nine! In this film, the self -firing friendship of two astronauts is struck by sniper accuracy in details about the selfless, disinterested friendship. The dull knock of their farewell handshake - because they are both in spacesuits. Or in training, they steam a couple inside the centrifuge, one loses its height, and the other imperceptibly supports his hand.

When they choose one flight, and the rocket takes off, at the other - a drop of sweat rolled along the cheek inside the spacesuit and excitement.

And the sign of death is the book presented by a friend “We cannot live without space”, charred - it is alone in the starry sky.

“Imagine,” he says, “how bad this film would be ... If it was 9 minutes longer.” Here is such a branded Bronzite filter. Real master class.

Even our jury work, too, in fact, turned out to be a seminar. When the discussion is a continuation of the movie. I want to say thanks to my colleagues for this: to Russian director Pavel Mirzoev, the famous Yakut director Eduard Novikov, director of the Kazakhstan Turan Film Academy Ayana Naisabekova, the actor of the theater on Litein Sergey Gamov.

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