Pasolini's Theorem approaches abstract, geometric cinema similar to the early experiments of the avant-garde artists of the first quarter of the 20th century. However, apart from the obvious difference in using rather than literal geometric shapes of human bodies and psyches, the film is also distinguished by its orientation. Orientation is against the viewer.

A strange guy without money or a passport (James Franco) upon arrival in Los Angeles is grabbed by the arms and dragged to the police station. An angry detective (Danny McBride) shoves his face into a photograph of Sharon Tate, and Franco, incomprehensibly, begins to rattle off the titles of Roman Polanski's films. He calls himself Vicar, he just graduated from the seminary, and he saw the first film in his life - “A Place in the Sun” by George Stevens - 11 months ago.

I have no idea what my IQ is. Those who care about their IQ are just losers. Stephen William Hawking The elevator button is cool from loneliness. Take me to the seventeenth, obedient. A little thoughtful, disdainful of girlish haste. It’s not going anywhere, it’s not going anywhere, subordination is invested. The doors rustled, the nerve cables creaked, and they pulled upward, toward the landscapes of bird wings. How can it be here... The silence of the evening is saturated.

Square - Ruben Estlund, 2017. Poster by Alexey Vorinov We’ll start the new season at the film club with “Square,” winner of the 2017 Cannes Film Festival. Alexander Romantovsky talks about this strange, deep and controversial film from Sweden, which in a couple of years has become a cult favorite among lovers of contemporary art. The poster was designed especially for Quinoa by Alexey Vorinov.