the festival catalog in pdf format

ƒÓÓ„Ë ‰ÛÁ¸ˇ!
Dear friends!
ŒÚ ËÏÂÌË ÃËÌËÒÚÂÒÚ‚‡ ÍÛθÚÛ˚ Ë Ï‡ÒÒÓ‚˚ı
On behalf of the Ministry of Culture and Mass
ÍÓÏÏÛÌË͇ˆËÈ –ÓÒÒËÈÒÍÓÈ ‘‰Â‡ˆËË ÒÂ‰Â˜ÌÓ
Communications of the Russian Federation
ÔË‚ÂÚÒÚ‚Û˛ ÍÓÌÍÛÒ‡ÌÚÓ‚ Ë „ÓÒÚÂÈ XVII
I warmly welcome the competitors and visitors of
ŒÚÍ˚ÚÓ„Ó ÓÒÒËÈÒÍÓ„Ó ÍËÌÓÙÂÒÚË‚‡Îˇ
the 17th Open Russian Film Festival ìKinotavrî.
´üËÌÓÚ‡‚ª!
For the seventeenth time a creative competition
¬ ÒÂÏ̇‰ˆ‡Ú˚È ‡Á ‚ „ÓӉ —Ó˜Ë ÒÓÒÚÓËÚÒˇ
will be held in Sochi, a competition among the
Ú‚Ó˜ÂÒÍÓ ÒÓÒÚˇÁ‡ÌË ÎÛ˜¯Ëı Ô‰ÒÚ‡‚ËÚÂÎÂÈ
strongest representatives of Russian cinema,
ÓÚ˜ÂÒÚ‚ÂÌÌÓ„Ó ÍËÌÂχÚÓ„‡Ù‡, ‚ ÍÓÚÓÓÏ Ì‡
where award-winning and established directors
‡‚Ì˚ı ·Û‰ÛÚ Û˜‡ÒÚ‚Ó‚‡Ú¸ Í‡Í ÔËÁ̇ÌÌ˚Â,
will compete on a par with debutants. They are
ÚËÚÛÎÓ‚‡ÌÌ˚ ÂÊËÒÒÂ˚, Ú‡Í Ë ‰Â·˛Ú‡ÌÚ˚.
united by their love of cinema, their talent and
¬ÒÂı Ëı Ó·˙‰ËÌˇÂÚ Î˛·Ó‚¸ Í ÍËÌÓ, ڇ·ÌÚ Ë
their desire to share this with the audience.
Ê·ÌË ÔÓ‰ÂÎËÚ¸Òˇ ˝ÚËÏ ÒÓ ÁËÚÂΡÏË.
It is in many respects thanks to ìKinotavrî that
¬Ó ÏÌÓ„ÓÏ ·Î‡„Ó‰‡ˇ ´üËÌÓÚ‡‚Ûª ÓÒÒËÈÒÍËÈ
Russian cinema continues to be full of creativity,
ÍËÌÂχÚÓ„‡Ù ÔÓ‰ÓÎʇÂÚ ÊËÚ¸ ‡ÍÚË‚ÌÓÈ
to develop, and to discover new names. I am
Ú‚Ó˜ÂÒÍÓÈ ÊËÁ̸˛, ‡Á‚Ë‚‡Ú¸Òˇ Ë ÓÚÍ˚‚‡Ú¸
confident that this year, too, there will be many
ÌÓ‚˚ ËÏÂ̇. ”‚ÂÂÌ, ˜ÚÓ Ë ‚ ˝ÚÓÏ „Ó‰Û Ú‡ÍËı
such discoveries, and the festival will once again
ÓÚÍ˚ÚËÈ ·Û‰ÂÚ ÌÂχÎÓ, Ë ÙÂÒÚË‚‡Î¸ ‚
meet the expectations of the film fans!
Ó˜Â‰ÌÓÈ ‡Á Ì ӷχÌÂÚ ÓÊˉ‡ÌËÈ ‚ÒÂı
β·ËÚÂÎÂÈ ÍËÌÓËÒÍÛÒÒÚ‚‡!
Wishing you great inspiration and success,
Minister of Culture and Mass Communications
— ÔÓÊ·ÌˡÏË Ú‚Ó˜ÂÒÍÓ„Ó
of the Russian Federation
‚‰ÓıÌÓ‚ÂÌËˇË Û‰‡˜Ë,
A. S. Sokolov
ÏËÌËÒÚ ÍÛθÚÛ˚ Ë Ï‡ÒÒÓ‚˚ı
ÍÓÏÏÛÌË͇ˆËÈ –ÓÒÒËÈÒÍÓÈ ‘‰Â‡ˆËË
¿. —. —ÓÍÓÎÓ‚
ŒÚ ‚ÒÂÈ ‰Û¯Ë ÔÓÁ‰‡‚Ρ˛ ‚ÒÂı Ò ÓÚÍ˚ÚËÂÏ
I congratulate everybody wholeheartedly on the
XVII ÙÂÒÚË‚‡Îˇ ´üËÌÓÚ‡‚ª. «‡ ‰Ó΄Ë „Ó‰˚
opening of the 17th ìKinotavrî festival. For the
Ò‚ÓÂ„Ó ÒÛ˘ÂÒÚ‚Ó‚‡Ìˡ ´üËÌÓÚ‡‚ª Á‡‚Ó‚‡Î
many years of its existence ìKinotavrî has
ÒÚ‡ÚÛÒ „·‚ÌÓ„Ó Ì‡ˆËÓ̇θÌÓ„Ó ÍËÌÓÙÂÒÚË‚‡Îˇ
achieved the status of the countryís main
ÒÚ‡Ì˚ Ë ÔÓ˜Ì˚È ‡‚ÚÓËÚÂÚ ‚ ÏËÓ‚ÓÏ
national film festival and gained a strong
ÍËÌÂχÚÓ„‡Ù˘ÂÒÍÓÏ ÒÓÓ·˘ÂÒÚ‚Â. ¬Ó ÏÌÓ„ÓÏ
position in the community of world cinema. In
·Î‡„Ó‰‡ˇ ÙÂÒÚË‚‡Î˛ ÓÒÒËÈÒÍË ÁËÚÂÎË
many respects it is thanks to the festival that
ËÏÂ˛Ú ‚ÓÁÏÓÊÌÓÒÚ¸ ÔÓÁ̇ÍÓÏËÚ¸Òˇ Ò Ò‡Ï˚ÏË
Russian audiences have an opportunity to get
ËÌÚÂÂÒÌ˚ÏË ÍËÌÓÌÓ‚ËÌ͇ÏË. ¬ ÔÓ¯ÎÓÏ „Ó‰Û
acquainted with the most interesting new films.
ÙÂÒÚË‚‡Î¸ ÔÂÂÊËÎ ‚ÚÓÓ ÓʉÂÌË Ë
Last year the festival underwent a phase of
ÔÓ‰ÓÎʇÂÚ ‡ÍÚË‚ÌÓ ‡Á‚Ë‚‡Ú¸Òˇ ‚ ‚˚·‡ÌÌÓÏ
regeneration and now continues to develop in its
̇Ô‡‚ÎÂÌËË. ”‚ÂÂÌ, ˜ÚÓ Ë ‚ ˝ÚÓÏ „Ó‰Û
chosen direction. I am confident that the
Ó·ÌÓ‚ÎÂÌÌ˚È ´üËÌÓÚ‡‚ª ÔÓ‡‰ÛÂÚ Ò‚ÓËı
updated ìKinotavrî this year will impress its
„ÓÒÚÂÈ ÌÓ‚˚ÏË ÓÚÍ˚ÚˡÏË, ڇ·ÌÚÎË‚˚ÏË
visitors with new discoveries, talented films and
͇ÚË̇ÏË Ë ÌÂËÁÏÂÌÌ˚Ï Ô‡Á‰Ì˘Ì˚Ï
a celebratory atmosphere. I sincerely wish all
̇ÒÚÓÂÌËÂÏ. »ÒÍÂÌÌ Ê·˛ ‚ÒÂÏ
participants of ìKinotavrî that they enjoy
Û˜‡ÒÚÌËÍ‡Ï ´üËÌÓÚ‡‚‡ª ÔÓ‰ÛÍÚË‚ÌÓ„Ó
productive, creative and professional dialogues;
Ú‚Ó˜ÂÒÍÓ„Ó Ë ÔÓÙÂÒÒËÓ̇θÌÓ„Ó Ó·˘ÂÌˡ, ‡
may the festival have grateful spectators and a
Ò‡ÏÓÏÛ ÙÂÒÚË‚‡Î˛ ·Î‡„Ó‰‡Ì˚ı ÁËÚÂÎÂÈ Ë
long life full of interesting events.
‰Ó΄Ëı ÎÂÚ ÊËÁÌË, ̇ÔÓÎÌÂÌÌ˚ı ÏÌÓÊÂÒÚ‚ÓÏ
ËÌÚÂÂÒÌ˚ı ÒÓ·˚ÚËÈ.
M. E. Shvydkoi
Head of the Federal Agency for Culture and
Ã. ≈. ÿ‚˚‰ÍÓÈ
–ÛÍÓ‚Ó‰ËÚÂθ ‘‰Â‡Î¸ÌÓ„Ó ‡„ÂÌÚÒÚ‚‡ ÔÓ
ÍÛθÚÛÂ Ë ÍËÌÂχÚÓ„‡ÙËË
Cinematography
1
2
ƒÓÓ„Ë ‰ÛÁ¸ˇ!
”‚‡Ê‡ÂÏ˚ ۘ‡ÒÚÌËÍË Ë „ÓÒÚË ÙÂÒÚË‚‡Îˇ!
≈Ê„ӉÌÓ Ò Ë˛Ìˇ ÔÓ ÌÓˇ·¸ ̇¯ Í‡È ÔË‚ÎÂ͇ÂÚ
‚ÌËχÌË ÔÓÙÂÒÒËÓ̇ÎÓ‚ Ë Î˛·ËÚÂÎÂÈ ÍËÌÓ. üÛ·‡Ì¸, ÊËÚÌˈ‡ Ë Á‰‡‚Ìˈ‡ –ÓÒÒËË, Òڇ· ¢ Ë
ÙÂÒÚË‚‡Î¸ÌÓÈ. –‡‰, ˜ÚÓ Ô‡Á‰ÌËÍ ÍËÌÓËÒÍÛÒÒÚ‚‡
ÒÌÓ‚‡ Ô˯ÂÎ Í Ì‡Ï.
´üËÌÓÚ‡‚ª, ÒÓÎ̘Ì˚È „ÓÒÚÂÔËËÏÌ˚È —Ó˜Ë Ë
ÚÂÔÎÓ ÏÓ ‚ Ó˜Â‰ÌÓÈ ‡Á ÒÓ·‡ÎË ÚÂı, ÍÚÓ
Ô˘‡ÒÚÂÌ Í ÒÓÁ‰‡Ì˲ ÒÓ‚ÂÏÂÌÌÓ„Ó ÓÚ˜ÂÒÚ‚ÂÌÌÓ„Ó ÍËÌÓ. » ÚÂı, ÍÚÓ ÔˉË˜Ë‚Ó ÓˆÂÌË‚‡ÂÚ Ëı
Ú‚Ó˜ÂÒÚ‚Ó ó ÁËÚÂÎÂÈ.
üÛ·‡Ìˆ˚ β·ˇÚ ÍËÌÓ Ë Ê‰ÛÚ, ˜ÚÓ Ì‡ ÙÂÒÚË‚‡ÎÂ
ÔÓ ÒÎÓÊË‚¯ÂÈÒˇ Ú‡‰ËˆËË Ì ÚÓθÍÓ ·Û‰ÛÚ ·ÎËÒÚ‡Ú¸ ÎÛ˜¯Ë Á‚ÂÁ‰˚ ÓÚ˜ÂÒÚ‚ÂÌÌÓ„Ó ÍËÌÂχÚÓ„‡Ù‡, ÌÓ Ë Á‡Ê„ÛÚÒˇ ÌÓ‚˚Â. —Â„Ó‰Ìˇ¯Ì ̇¯Â ÍËÌÓ ‰ÓÒÚÓÈÌÓ ÔÓ‰ÓÎʇÂÚ ÎÛ˜¯Ë Ú‡‰ËˆËË ÓÒÒËÈÒÍÓ„Ó, ÒÓ‚ÂÚÒÍÓ„Ó ÍËÌÂχÚÓ„‡Ù‡. ´¬ÂÎËÍÓÎÂÔ̇ˇ ËÎβÁˡª ÔÓ-ÔÂÊÌÂÏÛ ÔÓÏÓ„‡ÂÚ Ì‡Ï Î˛·ËÚ¸, ÒÓ˜Û‚ÒÚ‚Ó‚‡Ú¸, ÒÓÔÂÂÊË‚‡Ú¸. ¬ ÓÒÒËÈÒÍËÂ
ÙËθÏ˚ ‚ÓÁ‚‡˘‡˛ÚÒˇ ‰ÛıÓ‚ÌÓÒÚ¸, Ì‡‚ÒÚ‚ÂÌÌÓÒÚ¸ Ë ÓÔÚËÏËÁÏ, ÔÓÚÂˇÌÌ˚ ‚ „Ó‰˚ ÔÂÂÏÂÌ.
¬Â˛, ˜ÚÓ Ì˚̯ÌËÈ ´üËÌÓÚ‡‚ª ÔÓÒÎÛÊËÚ ÔÂÍ‡ÒÌ˚Ï ÔÓ‚Ó‰ÓÏ ‰Îˇ ‡Ò¯ËÂÌˡ Ú‚Ó˜ÂÒÍËı ÍÓÌÚ‡ÍÚÓ‚, ‡ ‚ÂÏˇ, Ôӂ‰ÂÌÌÓ ̇ ·Î‡„Ó‰‡ÚÌÓÈ ÍÛ·‡ÌÒÍÓÈ ÁÂÏÎÂ, Á‡ÔÓÏÌËÚÒˇ ̇¯ËÏ „ÓÒÚˇÏ Ì‡‰Ó΄Ó.
ŒÚ ‚ÒÂÈ ‰Û¯Ë Ê·˛ Û˜‡ÒÚÌËÍ‡Ï XVII ŒÚÍ˚ÚÓ„Ó
ÓÒÒËÈÒÍÓ„Ó ÙÂÒÚË‚‡Îˇ ´üËÌÓÚ‡‚ª ÔÎÓ‰ÓÚ‚ÓÌÓÈ
‡·ÓÚ˚, ËÌÚÂÂÒÌ˚ı Ú‚Ó˜ÂÒÍËı ‚ÒÚ˜ Ë ÔˡÚÌÓ„Ó ÓÚ‰˚ı‡!
¬ ‰Ó·˚È ÔÛÚ¸, ÙÂÒÚË‚‡Î¸!
Dear friends!
Dear participants and visitors of the festival!
Every year from June until November our region
draws the attention of film professionals and fans.
The Kuban region, Russiaís granary and health
resort, becomes even more festive. I am glad that
the holiday of cinema is with us once again.
ìKinotavrî, the sunny and hospitable Sochi, and
the warm sea have once again attracted those
involved in modern national cinema, as well as
those who loyally esteem its output: the
spectators.
The people from Kuban love cinema and expect the
festival, according to tradition, not only to show
them the stars of national cinema but also light up
new stars. Our contemporary cinema continues the
best traditions of Russian and Soviet cinema. ìThe
Great Illusionî still helps us to love, to sympathize,
and to empathize. Values of spirituality, morality
and optimism, which were lost in the period of
transition, now return to Russian cinema.
I believe that this ìKinotavrî will serve as a fine
occasion for the expansion of creative contacts.
Our visitors will remember the time spent on the
fertile Kuban land for a long time.
From the bottom of my heart I wish the
participants of the 17th Open Russian festival
ìKinotavrî fruitful business, interesting
meetings and a pleasant stay!
Have a good journey, dear festival!
¿.Õ. “͇˜Â‚
A. N.Tkachiov
√·‚‡ ‡‰ÏËÌËÒÚ‡ˆËË
Head of the Krasnodar Regional Administration
ü‡ÒÌÓ‰‡ÒÍÓ„Ó Í‡ˇ
¿À≈ü—¿Õƒ– –ŒƒÕflÕ—ü»…
ALEXANDER RODNYANSKY
œÂÁˉÂÌÚ ıÓΉËÌ„‡ ´—“— ɡª
œ‰Ò‰‡ÚÂθ ÔÓÔ˜ËÚÂθÒÍÓ„Ó ÒÓ‚ÂÚ‡
ÙÂÒÚË‚‡Îˇ ´üËÌÓÚ‡‚ª:
President of the Media Holding CTC
Chairman of the Board of Trustees of the
Festival ìKinotavrî:
´...œÓËÁ‚Ó‰ÒÚ‚Ó ·ÓΠ100 ÙËθÏÓ‚ ‚ 2005 „Ó‰Û ‰Îˇ ÍËÌÓÚ‡Ú‡Î¸ÌÓ„Ó ÔÓ͇ڇ. ”‚Â΢ÂÌË ÍÓ΢ÂÒÚ‚‡ ÍËÌÓÚ‡ÚÓ‚, ÔÓ‰˛ÒÂÒÍËı
ÍÓÏÔ‡ÌËÈ, ÙË̇ÌÒÓ‚˚ı ËÌ‚ÂÒÚÓÓ‚, ËÌÚÂÂÒÛ˛˘ËıÒˇ ÍËÌÂχÚÓ„‡ÙÓÏ Í‡Í ÔË‚ÎÂ͇ÚÂθÌÓÈ ÁÓÌÓÈ ÔÓÚÂ̈ˇθÌÓ„Ó ÓÒÚ‡. üβ˜Â‚‡ˇ
Óθ ÚÂ΂ËÁËÓÌÌ˚ı ͇̇ÎÓ‚ ‚ ÔÓËÁ‚Ó‰ÒÚ‚Â Ë
ÔÓ‰‚ËÊÂÌËË ÓÚ˜ÂÒÚ‚ÂÌÌ˚ı ÙËθÏÓ‚. ¬Ò ˝ÚÓ
ÔÓÁ‚ÓΡÂÚ „Ó‚ÓËÚ¸ Ó ÚÓÏ, ˜ÚÓ ‚ ÓÒÒËÈÒÍÓÏ
ÍËÌÓ Ì‡ÒÚÛÔËÎË ËÌÚÂÂÒÌ˚ ‚ÂÏÂ̇. œÓÚÓÏÛ, ̇ ÏÓÈ ‚Á„Ρ‰, Ú‡Í ‚‡ÊÂÌ ´üËÌÓÚ‡‚ª, ÔÓÔÂÊÌÂÏÛ „·‚ÌÓ ÙÂÒÚË‚‡Î¸ÌÓ ÒÓ·˚ÚË ̇ˆËÓ̇θÌÓ„Ó ÍËÌÂχÚÓ„‡Ù‡. ›ÚËÏË ÔÂÂÏÂ̇ÏË Ë ÓÔ‰ÂΡÂÚÒˇ „·‚̇ˇ Á‡‰‡˜‡ ´üËÌÓÚ‡‚‡ª ó Ô‰ÓÒÚ‡‚ËÚ¸ ‚ÓÁÏÓÊÌÓÒÚ¸ ‚ÒÂÏ ·ÂÁ ËÒÍβ˜ÂÌˡ Û˜‡ÒÚÌËÍ‡Ï ÓÒÒËÈÒÍÓ„Ó ÍËÌÓÔÓˆÂÒÒ‡ ÔÓÒÏÓÚÂÚ¸ ̇ ÒÓ·ÒÚ‚ÂÌÌ˚È ´ÍÓÎÎÂÍÚË‚Ì˚È ÔÓÚÂÚª, Ó·ÂÒÔ˜˂ ÔÎÓ˘‡‰ÍÛ ÔÓÙÂÒÒËÓ̇θÌÓÈ ‰ËÒÍÛÒÒËË. ´üËÌÓÚ‡‚ª ÒÔÓÒÓ·ÂÌ ÓÚÂÙÎÂÍÚËÓ‚‡Ú¸ ÒÚÓθ ÏÌÓ„Óӷ¢‡˛˘ËÂ, ÌÓ Ë
Ú‚Óʇ˘Ë ÏÌÓ„Ëı ÚẨÂ̈ËË ‡Á‚ËÚˡ ÍËÌÓË̉ÛÒÚËË. ´üËÌÓÚ‡‚ª ÔÓÏÓÊÂÚ ‚˚‡·ÓÚ‡Ú¸ ÒËÒÚÂÏÛ ÍÓÓ‰ËÌ‡Ú Ë ÍËÚÂË‚, ÒÓÓÚ‚ÂÚÒÚ‚Û˛˘Ëı ÌÓ‚˚Ï ËÒÚÓ˘ÂÒÍËÏ ÍÓÌÚÂÍÒÚ‡Ï. ´üËÌÓÚ‡‚ª Ó·‡ÚËÚ ‚ÌËχÌË ÓÚ˜ÂÒÚ‚ÂÌÌ˚ı ÁËÚÂÎÂÈ Ì‡ ‡ÁÌÓÓ·‡ÁÌ˚Â Ë ‡ÁÌÓʇÌÓ‚˚ ÙËθÏ˚. —Ó‚ÂÏÂÌÌ˚ ÓÒÒËÈÒÍËÂ
ÙËθÏ˚ª.
´...The production of over 100 films in 2005 for
theatrical release; an increase in the number of
cinemas, production companies, and investors
with an interest in a cinema as an attractive
area with potential for growth; the key role of
television channels in the production and
promotion of Russian films ñ all this makes it
possible to say that interesting times have begun
for Russian cinema. In my opinion, therefore,
ìKinotavrî ñ as the main festival event of
national cinema ñ is so important. The above
changes also define the main task of ìKinotavrî:
to offer all participants of Russian cinema,
without exception, an opportunity to look at their
own collective self-portrait by providing a
platform for professional discussion. ìKinotavrî
can reflect both promising developments and
trends that give rise to concern. ìKinotavrî will
help develop a system of coordinates and criteria
that correspond to the new historical context.
ìKinotavrî will turn the attention of Russian
audiences to a variety of genres, to modern
Russian filmsª.
»√Œ–‹ “ŒÀ—“”ÕŒ¬
IGOR TOLSTUNOV
√ÂÌÂ‡Î¸Ì˚È ÔÓ‰˛ÒÂ ÙÂÒÚË‚‡Îˇ
General Producer
´üËÌÓÚ‡‚ª:
of the ´Kinotavrª Festival:
´«‡ Ôӯ‰¯ËÈ „Ó‰ ̇ÏË ÏÌÓ„Ó Ò‰Â·ÌÓ ‰Îˇ ÚÓ-
´Over the last year we have accomplished a
„Ó, ˜ÚÓ·˚ ÓÒÌÓ‚‡ÚÂθÌÓ ÔÓ‰„ÓÚÓ‚ËÚ¸ ÒÂÏ̇‰ˆ‡-
great deal to prepare thoroughly for the
Ú˚È ŒÚÍ˚Ú˚È ÓÒÒËÈÒÍËÈ ÍËÌÓÙÂÒÚË‚‡Î¸
seventeenth Open Russian Film Festival
´üËÌÓÚ‡‚ª. ›ÚËÏ ÎÂÚÓÏ ÓÌ Ô‰ÒÚ‡ÌÂÚ ÔÓÎÌÓ-
ìKinotavrî. This summer it will be completely
ÒÚ¸˛ Ó·ÌÓ‚ÎÂÌÌ˚Ï: ËÁÏÂÌËÎÒˇ ÙËÏÂÌÌ˚È
refreshed: the house style of the festival has
ÒÚËθ ÙÂÒÚË‚‡Îˇ, Ë̇˜Â ·Û‰ÛÚ ‚˚„Ρ‰ÂÚ¸ „Ó
changed, its logo and the prizes will look
ÎÓ„ÓÚËÔ Ë ÔËÁ˚. Ã˚ ÙÓÏËÛÂÏ ÌÓ‚ÓÂ ÊËÁÌÂÌ-
differently. We are creating a new living space
ÌÓ ÔÓÒÚ‡ÌÒÚ‚Ó ÙÂÒÚË‚‡Îˇ, ÍÓÚÓÓ ӷ˙‰Ë-
for the festival, which will unite all its
ÌËÚ ‚ÒÂı Â„Ó Û˜‡ÒÚÌËÍÓ‚ Ë „ÓÒÚÂÈ. ÕÓ‚˚È ÎÓ„Ó-
participants and visitors. Our designers have
ÚËÔ Ë ÌÓ‚˚È ÔËÁ ÒÓÁ‰‡Ì˚ ıÛ‰ÓÊÌË͇ÏË-‰ËÁ‡È-
created the new logo and the new prize in such a
ÌÂ‡ÏË Ú‡ÍËÏ Ó·‡ÁÓÏ, ˜ÚÓ·˚ ËÏÂÚ¸ ‚ÓÁÏÓÊ-
way that the entire festival space can be
ÌÓÒÚ¸ ̇ Ëı ÓÒÌÓ‚Â ÓÙÓÏËÚ¸ ‚Ò ÙÂÒÚË‚‡Î¸ÌÓÂ
organized accordingly: the coast, the beach, the
ÔÓÒÚ‡ÌÒÚ‚Ó: ·Â„ ÏÓˇ, ÔΡÊ, „ÓÒÚËÌËˆÛ Ë ÂÂ
hotel and its premises, the ìWinter Theatreî,
ÚÂËÚÓ˲, «ËÏÌËÈ Ú‡Ú, ÔÎÓ˘‡‰¸ ÔÂ‰
and the area in front of it. The designers have
ÌËÏ. Õ‡¯Ë ‰ËÁ‡ÈÌÂ˚ ÔˉÛχÎË Ë ‚ÓÔÎÓÚËÎË
developed and implemented a whole host of ideas
‚ ÊËÁ̸ χÒÒÛ Ë‰ÂÈ ‰Îˇ ÒÓÁ‰‡Ìˡ Ô‡Á‰Ì˘ÌÓ„Ó
to create a celebratory atmosphere. We want to
̇ÒÚÓÂÌˡ. Ã˚ ıÓÚËÏ Ô‚‡ÚËÚ¸ ÙÂÒÚË‚‡Î¸
transform the festival into a field of constant
‚ ÔÓΠÔÓÒÚÓˇÌÌÓ„Ó Ó·˘ÂÌˡ ÒÓ ÁËÚÂÎÂÏ.
dialogue with the audience.
œ‰ÏÂÚÓÏ Ì‡¯ÂÈ ÓÒÓ·ÓÈ „Ó‰ÓÒÚË ˇ‚ΡÂÚÒˇ
We are especially proud of the complete technical
ÔÓÎÌÓ ÚÂıÌ˘ÂÒÍÓ ÔÂÂÓÒ̇˘ÂÌË «ËÏÌ„Ó
refurbishment of the Winter Theatre. Through
Ú‡Ú‡. —Ó‚ÏÂÒÚÌ˚ÏË ÛÒËÎˡÏË ÙÂÒÚË‚‡Îˇ
joint efforts between the festival and the city
Ë ‡‰ÏËÌËÒÚ‡ˆËË „ÓÓ‰‡ —Ó˜Ë ‚ Á‡Î «ËÏÌ„Ó
administration of Sochi the auditorium in the
Ú‡Ú‡ ÛÒÚ‡ÌÓ‚ÎÂÌÓ ÒÓ‚ÂÏÂÌÌÓ ÍËÌÓÔÓÂÍ-
Winter Theatre has been fitted with modern film
ˆËÓÌÌÓ ӷÓÛ‰Ó‚‡ÌË ó ÎÛ˜¯Â ‚ —Ó˜Ë Ì‡ ÒÂ-
projection equipment, making it the best in Sochi
„Ó‰Ìˇ, ˜ÚÓ ÔÓÁ‚ÓΡÂÚ ÔÓÒÚ‡‚ËÚ¸ «ËÏÌËÈ ‚
today and allowing the Winter Theatre to be
Ó‰ËÌ ˇ‰ Ò ÎÛ˜¯ËÏË ÍËÌÓÚ‡Ú‡ÏË ÒÚ‡Ì˚.
ranked alongside the top cinemas of the country.
Õ‡˜Ë̇ˇ Ò ˝ÚÓ„Ó „Ó‰‡, ‚Ò ÔÓËÁ‚‰ÂÌˡ, Ô‰-
From this year onwards all films submitted to
ÒÚ‡‚ÎÂÌÌ˚ ̇ ´üËÌÓÚ‡‚ª, ·Û‰ÛÚ ÔÓ͇Á‡Ì˚
ìKinotavrî will be screened adequately in their
‡‰ÂÍ‚‡ÚÌÓ, ‚ ÚÓÏ ÓË„Ë̇θÌÓÏ ‚ˉÂ, ‚ ÍÓÚÓ-
original format.
ÓÏ ÓÌË ·˚ÎË ËÒÔÓÎÌÂÌ˚.
The year 2006 can certainly be called the year
2006 „Ó‰ ÏÓÊÌÓ ÒÏÂÎÓ Ì‡Á‚‡Ú¸ „Ó‰ÓÏ ÔÂϸÂ
of premieres for ìKinotavrî in every respect. The
ÙÂÒÚË‚‡Îˇ ´üËÌÓÚ‡‚ª, Ô˘ÂÏ ‚Ó ‚ÒÂı ÓÚÌÓ-
festivalís competition programme consists
¯ÂÌˡı. üÓÌÍÛÒ̇ˇ ÔÓ„‡Ïχ ÙÂÒÚË‚‡Îˇ
practically entirely of films unknown to
·Û‰ÂÚ Ô‡ÍÚ˘ÂÒÍË ÔÓÎÌÓÒÚ¸˛ ÒÓÒÚÓˇÚ¸ ËÁ
audiences and critics. Premieres of debut films
ÙËθÏÓ‚, ÌÂÁ̇ÍÓÏ˚ı ÁËÚÂÎˇÏ Ë ÍËÚË͇Ï.
will be screened in competition alongside films by
¬ ÍÓÌÍÛÒ ‚Ó¯ÎË ÔÂϸÂ˚ ͇ÚËÌ, ÒÌˇÚ˚ı
recognised and established masters. During the
Ì ÚÓθÍÓ ÂÊËÒÒÂ‡ÏË-‰Â·˛Ú‡ÌÚ‡ÏË, ÌÓ Ë
formation of the competition programme we also
ÔËÁ̇ÌÌ˚ÏË ËÏÂÌËÚ˚ÏË Ï‡ÒÚÂ‡ÏË. ¬ ÔÓ-
managed to observe a balance between
ˆÂÒÒ ÙÓÏËÓ‚‡Ìˡ ÍÓÌÍÛÒÌÓÈ ÔÓ„‡ÏÏ˚
mainstream and auteur cinema.
Ì‡Ï Û‰‡ÎÓÒ¸ ÒӷβÒÚË ·‡Î‡ÌÒ ÏÂÊ‰Û ÏÂÈÌ-
The business programme of the festival continues
ÒÚËÏÓÏ Ë ‡‚ÚÓÒÍËÏ ÍËÌÓ.
to develop energetically. Besides the traditional
œÓ‰ÓÎʇÂÚ ‡ÍÚË‚ÌÓ ‡Á‚Ë‚‡Ú¸Òˇ Ë ‰ÂÎÓ‚‡ˇ
round tables, screenings, master classes and
ÔÓ„‡Ïχ ÙÂÒÚË‚‡Îˇ. œÓÏËÏÓ Ú‡‰ËˆËÓÌÌ˚ı
ìfilm-ringsî, a session of the Club of European
ÍÛ„Î˚ı ÒÚÓÎÓ‚, ÒÍËÌËÌ„Ó‚, χÒÚÂ-Í·ÒÒÓ‚ Ë
Producers will be held in the context of
´ÍËÌÓËÌ„Ó‚ª, ‚ ‡Ï͇ı ´üËÌÓÚ‡‚‡ª ÒÓÒÚÓËÚ-
ìKinotavrî. We have invited 15 European
Òˇ Á‡Ò‰‡ÌË üÎÛ·‡ ‚ÓÔÂÈÒÍËı ÔÓ‰˛ÒÂÓ‚. Ã˚
producers to the festival, who are directly
Ô˄·ÒËÎË Ì‡ ÙÂÒÚË‚‡Î¸ 15 ‚ÓÔÂÈÒÍËı ÔÓ‰˛-
oriented towards cooperation with Russian
ÒÂÓ‚, ÌÂÔÓÒ‰ÒÚ‚ÂÌÌÓ ÓËÂÌÚËÓ‚‡ÌÌ˚ı ̇ ÒÓ-
cinematographers. The interest shown by western
ÚÛ‰Ì˘ÂÒÚ‚Ó Ò ÓÒÒËÈÒÍËÏË ÍËÌÂχÚÓ„‡ÙËÒ-
colleagues in ìKinotavrî is quite logical. For
Ú‡ÏË. »ÌÚÂÂÒ, ÔÓˇ‚ÎÂÌÌ˚È Á‡Ô‡‰Ì˚ÏË ÍÓÎÎÂ-
many reasons the Russian film-market has not
„‡ÏË Í ´üËÌÓÚ‡‚Ûª, ‡·ÒÓβÚÌÓ Á‡ÍÓÌÓÏÂÂÌ.
been of particular interest to our European
œÓ ÏÌÓ„ËÏ Ô˘ËÌ‡Ï ‰Ó‚ÓθÌÓ ÔÓ‰ÓÎÊËÚÂθ-
colleagues for a rather long time. But today,
ÌÓ ‚ÂÏˇ ÓÚ˜ÂÒÚ‚ÂÌÌ˚È ÍËÌÓ˚ÌÓÍ ·˚Î ÌÂËÌ-
with the national cinema revived, the Club of
ÚÂÂÒÂÌ Ì‡¯ËÏ Â‚ÓÔÂÈÒÍËÏ ÍÓÎ΄‡Ï. ¿ Ò„Ӊ-
European Producers perceives Russia as a zone
Ìˇ, ÍÓ„‰‡ ‚ÓÁÓʉ‡ÂÚÒˇ ̇ˆËÓ̇θÌ˚È ÍËÌÂχ-
of special interest, with ìKinotavrî as the
ÚÓ„‡Ù, –ÓÒÒˡ ˇ‚ΡÂÚÒˇ ‰Îˇ üÎÛ·‡ ‚ÓÔÂÈ-
countryís main national film festivalª.
ÒÍËı ÔÓ‰˛ÒÂÓ‚ ÁÓÌÓÈ ÓÒÓ·Ó„Ó ‚ÌËχÌˡ, ‚ ÍÓÚÓÛ˛ ÂÒÚÂÒÚ‚ÂÌÌ˚Ï Ó·‡ÁÓÏ ÔÓÔ‡‰‡ÂÚ Ë ´üËÌÓÚ‡‚ª Í‡Í „·‚Ì˚È Ì‡ˆËÓ̇θÌ˚È ÍËÌÓÙÂÒÚË‚‡Î¸ ÒÚ‡Ì˚ª.
3
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Õ‡˜‡ÎÓ Ë˛Ìˇ, Ë —Ó˜Ë ‚ÌÓ‚¸ ÓÍÍÛÔËÓ‚‡Ì ÏÌÓ„Ó˜ËÒÎÂÌÌÓÈ ‡ÏËÂÈ ÓÚ˜ÂÒÚ‚ÂÌÌ˚ı ÍËÌÂχÚÓ„‡ÙËÒÚÓ‚. ¬ ˝ÚÓÏ „Ó‰Û ´üËÌÓÚ‡‚Ûª ó ·ÂÁ ÔÂÛ‚Â΢ÂÌˡ Ò‡ÏÓÏÛ ÓÊˉ‡ÂÏÓÏÛ ÓÒÒËÈÒÍÓÏÛ
ÍËÌÓÙÂÒÚË‚‡Î˛ ËÒÔÓÎÌˇÂÚÒˇ ÒÂÏ̇‰ˆ‡Ú¸ ÎÂÚ. ¬ÓÁ‡ÒÚ ÛÊ ÌÂ
ÔÂÂıÓ‰Ì˚È. ŒÌ Ú·ÛÂÚ ÓÚ ÛÒÚÓËÚÂÎÂÈ ˜ÂÚÍÓ„Ó ÔÓÌËχÌˡ
ÚÓ„Ó, ̇ ˜ÚÓ Ì‡¯ ÙÂÒÚË‚‡Î¸ ‡θÌÓ ÒÔÓÒÓ·ÂÌ, ̇ ˜ÚÓ ÓÌ ÏÓÊÂÚ ‚Îˡڸ, ˜ÚÓ ÓÌ ÙËÍÒËÛÂÚ, ÙÓÏËÛÂÚ Ë ÔÓ„ÌÓÁËÛÂÚ, ‡
Ú‡ÍÊ ͇ÍÓ‚˚ Â„Ó ÏÂÒÚÓ Ë ÔÂÒÔÂÍÚË‚˚ ‚ Ó·ÌÓ‚ÎÂÌÌÓÏ ÍËÌÂχÚÓ„‡Ù˘ÂÒÍÓÏ ÔÓÒÚ‡ÌÒÚ‚Â. ¬Ó-ÔÂ‚˚ı, ̇ ÒÂ„Ó‰Ìˇ¯ÌËÈ
ÏÓÏÂÌÚ Ó˜Â‚Ë‰ÌÓ Ó‰ÌÓ: ˆÂÌÌÓÒÚ¸ ÙÂÒÚË‚‡Îˇ ÒÓÒÚÓËÚ ‚ ÚÓÏ, ˜ÚÓ
ÓÌ ‰‡ÂÚ ‚ÓÁÏÓÊÌÓÒÚ¸ ÒÓÒÚˇÁ‡Ú¸Òˇ ËÏÂÌÌÓ ÙËθχÏ, ‡ Ì ·˛‰ÊÂÚ‡Ï, χÍÂÚËÌ„Ó‚˚Ï ÒÚ‡ÚÂ„ËˇÏ Ë ÂÒÛÒ‡Ï ÚÂÎÂ͇̇ÎÓ‚,
ÍÓÌÍÛËÓ‚‡Ú¸ ڇ·ÌÚ‡Ï, ‡ Ì ‡Ï·ËˆËˇÏ. Œ˜Â‚ˉÌÓ, ˜ÚÓ ıÛ‰ÓÊÂÒÚ‚ÂÌ̇ˇ Á̇˜ËÏÓÒÚ¸ Ë ÔÓ͇ÚÌ˚È ÛÒÔÂı ñ Ì ‚Ò„‰‡ ÒËÌıÓÌÌ˚. ¬Ó-‚ÚÓ˚ı, ÙÂÒÚË‚‡Î¸ ·˚Î, ÂÒÚ¸ Ë ·Û‰ÂÚ Íβ˜Â‚ÓÈ
ÔÎÓ˘‡‰ÍÓÈ ‰Îˇ ÍÓÌÚ‡ÍÚ‡, ‚Á‡ËÏÓ‰ÂÈÒڂˡ, Ô‡ÚÌÂÒÚ‚‡ Ë ÒÓÔÂÌ˘ÂÒÚ‚‡, ˜ÚÓ Ó˜Â̸ ‚‡ÊÌÓ, Û˜ËÚ˚‚‡ˇ Ә‚ˉÌÛ˛ ‡Á‰Ó·ÎÂÌÌÓÒÚ¸ ÓÒÒËÈÒÍÓ„Ó ÍËÌÓÒÓÓ·˘ÂÒÚ‚‡. ¬-ÚÂÚ¸Ëı, Í‡Í Î˛·ÓÈ
ÍÓÌÍÛÒ, ´üËÌÓÚ‡‚ª ÓÒÚ‡ÂÚÒˇ ÁÓÌÓÈ Ôӷ‰ Ë ÔÓ‡ÊÂÌËÈ, ‡‰ÓÒÚÂÈ Ë Ó„Ó˜ÂÌËÈ. » ÔÓÒΉÌÂÂ, Û Î˛·Ó„Ó ÙÂÒÚË‚‡Îˇ ÂÒÚ¸ ˜ÂÚ˚ ·‡ÁÓ‚˚ ÒÓÒÚ‡‚Ρ˛˘ËÂ: ÔÓ„‡Ïχ, ÔÂÒÒ‡, ·ËÁÌÂÒ Ë Ò‚ÂÚÒ͇ˇ ÊËÁ̸. »ı „‡ÏÓÌ˘ÌÓ ÒÓ˜ÂÚ‡ÌË ñ ̇¯‡ ˆÂθ.
¬ÂÒ¸ Ôӯ‰¯ËÈ „Ó‰ Ï˚ ÒÚ‡‡ÚÂθÌÓ ‡·ÓÚ‡ÎË Ì‡‰ ÔÓ‰‚ËÊÂÌËÂÏ ÓÚ˜ÂÒÚ‚ÂÌÌÓ„Ó ÍËÌÓ, Í‡Í ‚ÌÛÚË –ÓÒÒËË, Ú‡Í Ë Á‡
Û·ÂÊÓÏ. œÓ¯ÎÓÈ ÓÒÂ̸˛ ÔÓ͇Á˚ ÙËθÏÓ‚-Ôӷ‰ËÚÂÎÂÈ
´üËÌÓÚ‡‚‡ª ÒÓÒÚÓˇÎËÒ¸ ‚ Ò‡Ï˚ı ÔÂÒÚËÊÌ˚ı ÍËÌÓÚ‡Ú‡ı
≈͇ÚÂËÌ·Û„‡, üË‚‡, —‡ÌÍÚ-œÂÚÂ·Û„‡, œÂÏË, —‡Ï‡˚ Ë
“ÓÏÒ͇ Ë ËÏÂÎË ÛÒÔÂı Û ÔÛ·ÎËÍË. Ã˚ ۷‰ËÎËÒ¸ ‚ ÚÓÏ, ˜ÚÓ
‚ ÒÚ‡Ì ÂÒÚ¸ ´ÌÂÍÓÏÏÂ˜ÂÒÍËȪ ÁËÚÂθ, ÍÓÚÓÓÏÛ ÌÛÊÌ˚
̇¯Ë ͇ÚËÌ˚.
üÓ΢ÂÒÚ‚Ó ‰ÌÂÈ ‰Îˇ ÍÓÌÍÛÒÌ˚ı ÔÓ͇ÁÓ‚ ̇ Ì˚̯ÌÂÏ ÙÂÒÚË‚‡Î ÒÓÍ‡˘ÂÌÓ ‰Ó ÒÂÏË. ¿ ÍÓ΢ÂÒÚ‚Ó ÔÓ„‡ÏÏ ÔË ˝ÚÓÏ
Û‚Â΢ËÎÓÒ¸ ‰Ó ‰‚Â̇‰ˆ‡ÚË. —Âϸ ËÁ ÌËı ñ ˝ÚÓ Ì‡¯Â ´ÒÂ„Ó‰Ìˇª Ë ´Á‡‚Ú‡ª, ‡ ÔˇÚ¸ ñ ̇¯Â ´‚˜Â‡ª. ¬ÒÂ„Ó Ì‡ ´üËÌÓÚ‡‚ª ·Û‰ÂÚ Ô‰ÒÚ‡‚ÎÂÌÓ 120 ͇ÚËÌ Ì‡ ÚÂı ÙÂÒÚË‚‡Î¸Ì˚ı
ÔÎÓ˘‡‰Í‡ı. «‡ÏÂÚÌÓ ‚ÓÁÓÒÎÓ ÍÓ΢ÂÒÚ‚Ó Á‡ˇ‚ÓÍ Ì‡ Û˜‡ÒÚËÂ:
ÔËÏÂÌÓ 70 ÙËθÏÓ‚ ÔÂÚẨӂ‡ÎÓ ‚ ÍÓÌÍÛÒ ÔÓÎÌÓÏÂÚ‡ÊÌÓ„Ó ÍËÌÓ Ë 130 ñ ‚ ÔÓ„‡ÏÏÛ ´üËÌÓÚ‡‚. üÓÓÚÍËÈ ÏÂÚª
(˝ÚÓ ÔÓ͇Á‡ÚÂθ Í‡Í Ì‡ÎË˜Ëˇ ‰ÂÌ„ ‚ ÍËÌÓ, Ú‡Í Ë ·˚ÒÚÓ„Ó
‡Á‚ËÚˡ ÍËÌÓÚÂıÌÓÎÓ„ËÈ). Õ‡ ÙÂÒÚË‚‡Î ÓÊˉ‡ÂÚÒˇ ÓÍÓÎÓ
1500 „ÓÒÚÂÈ, ·Óθ¯‡ˇ ˜‡ÒÚ¸ ÍÓÚÓ˚ı, ‡ÁÛÏÂÂÚÒˇ, ÍËÌÂχÚÓ„‡ÙËÒÚ˚, ÔËÏÂÌÓ 250 Ô‰ÒÚ‡‚ËÚÂÎÂÈ —û (·Û‰ÂÚ ‡ÍÍ‰ËÚÓ‚‡ÌÓ 15 ÚÂÎÂ͇̇ÎÓ‚ Ë 200 ÔÂËӉ˘ÂÒÍËı ËÁ‰‡ÌËÈ) Ë
ÍËÌÓÚÛËÒÚ˚, ÍÓÚÓ˚ı ‚ ˝ÚÓÏ „Ó‰Û ÔˉÂÚ ‚‰‚Ó ·Óθ¯Â.
¬ÚÓÓÈ „Ó‰ ÔÓ‰ˇ‰ ´üËÌÓÚ‡‚ª ÔÓ‚Ó‰ËÚ showcase ñ ÔÓ͇Á˚
ÓÒÒËÈÒÍËı ÙËθÏÓ‚ ‰Îˇ ËÌÓÒÚ‡ÌÌ˚ı „ÓÒÚÂÈ: ‰ËÂÍÚÓÓ‚ Ë
ÓÚ·Ó˘ËÍÓ‚ ÙÂÒÚË‚‡ÎÂÈ, ‰ËÒÚË·¸˛ÚÓÓ‚, ÊÛ̇ÎËÒÚÓ‚
ÍÛÔÌÂȯËı ÏËÓ‚˚ı ÍËÌÓËÁ‰‡ÌËÈ. »ÚÓ„ÓÏ ˝ÚÓÈ ÔÓ¯ÎÓ„Ó‰ÌÂÈ ËÌÌÓ‚‡ˆËË ÒÚ‡ÎÓ Û‚Â΢ÂÌË ‰ÓÎË Û˜‡ÒÚˡ ÓÒÒËÈÒÍÓ„Ó ÍËÌÓ Ì‡ ‡Á΢Ì˚ı Ãü‘. ¬ ˜ËÒΠ̇¯Ëı ÒÍÓÏÌ˚ı
Ôӷ‰ ÏÓÊÌÓ ÓÚÏÂÚËÚ¸ ÔÓ‚˚¯ÂÌÌ˚È ËÌÚÂÂÒ Á‡Ô‡‰ÌÓÈ ÍËÌÓÔÂÒÒ˚ Í ÙÂÒÚË‚‡Î˛, ·ÓΠÚÓ„Ó, Í Ì‡Ï Ì‡˜‡ÎË ÔÓÒÚÛÔ‡Ú¸ Á‡ÔÓÒ˚ ‡Úı‡ÛÒÌ˚ı ‰ËÒÚË·¸˛ÚÓÓ‚ ËÁ ≈‚ÓÔ˚, ¿ÏÂËÍË Ë
¿ÁËË. «‡Ï˜‡ÚÂθÌÓ, ˜ÚÓ Ï˚ ӷ·‰‡ÂÏ Ó„‡ÌËÁ‡ˆËÓÌÌ˚ÏË Ë
ÙË̇ÌÒÓ‚˚ÏË ÂÒÛÒ‡ÏË ‰Îˇ ÔÓ‰ÓÎÊÂÌˡ ˝ÚÓÈ ‡·ÓÚ˚ ó ‚
Ì˚̯ÌÂÏ „Ó‰Û Í Ì‡Ï ÔˉÂÚ ÛÊ ·ÓΠ100 ˜ÂÎÓ‚ÂÍ. ÕÓ
Ò‡ÏÓ „·‚ÌÓÂ, ˜ÚÓ ÙÂÒÚË‚‡Î¸ ÔÂÂÒÚ‡ÂÚ ‚‡ËÚ¸Òˇ ‚ ÒÓ·ÒÚ‚ÂÌÌÓÏ ÒÓÍÛ, ̇˜Ë̇ÂÚ ‡·ÓÚ‡Ú¸ ̇ ÔÂÒÔÂÍÚË‚Û Ë ‰Â·ÂÚ ‚ÒÂ
‰Îˇ ÚÓ„Ó, ˜ÚÓ·˚ ÒÓ‚ÂÏÂÌÌÓ ÓÒÒËÈÒÍÓ ÍËÌÓ ÛÍÂÔËÎÓ Ò‚ÓË
ÔÓÁˈËË Ì‡ ÏÂʉÛ̇Ó‰ÌÓÈ ‡ÂÌÂ, Í‡Í ˝ÚÓ ‚ Ò‚Ó ‚ÂÏˇ Û‰‡ÎÓÒ¸ ҉·ڸ üËÚ‡˛, »‡ÌÛ Ë fiÊÌÓÈ üÓÂÂ.
´üËÌÓÚ‡‚ª ÔÓ‰ÓÎÊËÚ ÒÓÚÛ‰Ì˘ÂÒÚ‚Ó Ò 67-Ï ÓÒÒËÈÒÍËÏ
ÍËÌÓ˚ÌÍÓÏ, ̇ ÍÓÚÓÓÏ ·Û‰ÛÚ Ô‰ÒÚ‡‚ÎÂÌ˚ 300 ÙËθÏÓ‚:
30% ó Á‡Û·ÂÊÌ˚ı, 30% ó ÓÒÒËÈÒÍËı, 10% ó ËÁ ÒÚ‡Ì
—Õ√ Ë ¡‡ÎÚËË Ë ÓÍÓÎÓ 20 % ó ÍÓÔÓ‰ÛÍˆËˇ. ›ÍÒÔÓÁˈËË
ÍËÌÓ˚Ì͇, ÒÓÒÚÓˇ˘Ë ËÁ 50 ÒÚẨӂ, ÔÓÒÂÚˇÚ ·ÓΠ600
Û˜‡ÒÚÌËÍÓ‚.
Õ‡ ÒÂ„Ó‰Ìˇ ·‡Á‡ ‰‡ÌÌ˚ı ´üËÌÓÚ‡‚‡ª ̇ҘËÚ˚‚‡ÂÚ 340 ͇ÚËÌ, ̇ıÓ‰ˇ˘ËıÒˇ ̇ ‡ÁÌ˚ı ÒÚ‡‰Ëˇı ÔÓËÁ‚Ó‰ÒÚ‚‡. œË
‚ÒÂÏ ÔÓÌËχÌËË ‚ËÚۇθÌÓ„Ó ı‡‡ÍÚÂ‡ ˝ÚÓÈ ËÌÙÓχˆËË,
‰‡Ì̇ˇ ˆËÙ‡ ‚Ô˜‡ÚΡÂÚ. 2005 „Ó‰ ÒڇΠ̇ÒÚÓˇ˘ËÏ ÍÓÏÏÂ˜ÂÒÍËÏ ÔÓ˚‚ÓÏ ÓÚ˜ÂÒÚ‚ÂÌÌÓ„Ó ÍËÌÓ: Ó·˘‡ˇ ÒÛÏχ
͇ÒÒÓ‚˚ı Ò·ÓÓ‚ ÒÓÒÚ‡‚Ë· 327 ÏËÎÎËÓÌÓ‚ ‰ÓηÓ‚, ËÁ ÌËı
101 ÏËÎÎËÓÌ ÔËıÓ‰ËÚÒˇ ̇ ‰Óβ 63 ÓÒÒËÈÒÍËı ͇ÚËÌ,
‰‚ ËÁ ÍÓÚÓ˚ı ˇ‚Ρ˛ÚÒˇ ‡·ÒÓβÚÌ˚ÏË ˜ÂÏÔËÓ̇ÏË. œÓ͇ÚÛ, ·ÂÁÛÒÎÓ‚ÌÓ, ÒÔÓÒÓ·ÒÚ‚ÛÂÚ ‡ÍÚË‚ÌÓ ‡Á‚ËÚË ÒÂÚË ÍËÌÓÚ‡ÚÓ‚: ̇ ÒÂ„Ó‰Ìˇ¯ÌËÈ ÏÓÏÂÌÚ Ëı ‚ –ÓÒÒËË 1036. ¡ÓÍÒÓÙËÒÌ˚È ÔÓ‰˙ÂÏ ÓÚ˜ÂÒÚ‚ÂÌÌÓ„Ó ÍËÌÂχÚÓ„‡Ù‡ ҂ˉÂÚÂθÒÚ‚ÛÂÚ Ó Ì‡¯ÂÈ ˚ÌÓ˜ÌÓÈ ÔË‚ÎÂ͇ÚÂθÌÓÒÚË, Ô·ÚÂÊÂÒÔÓÒÓ·ÌÓÒÚË ÓÒÒËÈÒÍÓ„Ó ÁËÚÂΡ, ‰Ë̇ÏËÍ ‡Á‚ËÚˡ ÍËÌÓË̉ÛÒÚËË, Ó Â ·Óθ¯ÓÏ ÔÓÚÂ̈ˇÎÂ Ë Ò‡ÏÓ‰ÓÒÚ‡ÚÓ˜ÌÓÒÚË, ‡
Ú‡ÍÊ ÓÚÍ˚‚‡ÂÚ ÔÂÒÔÂÍÚË‚Û ‚˚ıÓ‰‡ ̇ ÏËÓ‚ÓÈ ÍËÌÓ˚ÌÓÍ. ›ÚÓ Ó˜Â‚Ë‰Ì‡ˇ Ôӷ‰‡ ÓÒÒËÈÒÍÓ„Ó ÍËÌÓ Ì‡‰ ‡ÏÂË͇ÌÒÍËÏ Ì‡ ̇¯ÂÈ Ê ÚÂËÚÓËË. ÕÓ ÌÂθÁˇ Á‡·˚‚‡Ú¸, ˜ÚÓ Ï˚ ó
Ì ÔÂ‚˚Â: fiÊ̇ˇ üÓ¡ Ì‡Ò ÓÔÂ‰Ë·, ¿„ÂÌÚË̇ ҉··
˝ÚÓ Ô‡‡ÎÎÂθÌÓ Ò Ì‡ÏË.
‘≈—“»¬¿À‹Õ¿fl —Œ÷»ŒÀŒ√»fl
Õ‡ÒÚÛÔËÎ 2006 „Ó‰, ÍÓÚÓ˚È ÔÓ͇Á‡Î, ˜ÚÓ ‚ÂÏˇ ˝ÈÙÓËË ÔÓ¯ÎÓ. ƒ‚‡ „·‚Ì˚ı ÏËÓ‚˚ı ÍËÌÓÒÏÓÚ‡, ¡ÂÎËÌ Ë ü‡ÌÌ, ÌÂ
ÓÚÓ·‡ÎË ÓÒÒËÈÒÍË ÎÂÌÚ˚ ‚ Ò‚ÓË ÍÓÌÍÛÒÌ˚ ´‰‚‡‰ˆ‡ÚÍ˪, ‚
Ó˜Â‰ÌÓÈ ‡Á ‰‡‚ Ì‡Ï ÔÓÌˇÚ¸, ˜ÚÓ Ï˚ ÌÂÍÓÌÍÛÂÌÚÓÒÔÓÒÓ·Ì˚
̇ ıÛ‰ÓÊÂÒÚ‚ÂÌÌÓÏ ÛÓ‚ÌÂ. œÓ ÏÌÂÌ˲ ÓÚ·ÓÓ˜Ì˚ı ÍÓÏËÒÒËÈ
˝ÚËı ÙÂÒÚË‚‡ÎÂÈ, Û Ì‡Ò Ì ÒÛ˘ÂÒÚ‚ÛÂÚ ÒÓÓÚ‚ÂÚÒÚ‚Û˛˘Â„Ó Ëı Á‡ÔÓÒ‡Ï ‡‚ÚÓÒÍÓ„Ó ÍËÌÓ. » ̇¯Ë ÂÊËÒÒÂ˚, ‡ÒÒÛʉ‡ˇ Ó ÒÂ„Ó‰Ìˇ¯ÌÂÏ ÒÓÒÚÓˇÌËË ÏË‡, Â„Ó ÔÓ¯ÎÓÏ ËÎË ·Û‰Û˘ÂÏ, ÌÂ
ÒÔÓÒÓ·Ì˚ Ò‚Ó·Ó‰ÌÓ „Ó‚ÓËÚ¸ ̇ ˇÁ˚Í ÒÓ‚ÂÏÂÌÌÓ„Ó ÍËÌÓ. “‡Í‡ˇ ÔÓÁËˆËˇ ͇ÊÂÚÒˇ ÒÚ‡ÌÌÓÈ, Ú‡Í Í‡Í ËÏÂÌÌÓ ÒÂȘ‡Ò ‚ ÓÒÒËÈÒÍÓÏ ÍËÌÓ ÂÒÚ¸, ËÁ ˜Â„Ó ‚˚·Ë‡Ú¸: Û Ì‡Ò ÔÓˇ‚ËÎËÒ¸ ͇ÚËÌ˚ ‚ËÁۇθÌÓ ˝ÙÙÂÍÚÌ˚Â, ‡ÍÚۇθÌ˚ ÔÓ ÒÓ‰ÂʇÌ˲, ËÌÚÂ̇ˆËÓ̇θÌÓ ÓËÂÌÚËÓ‚‡ÌÌ˚Â. ÕÓ Ëı Ì ӈÂÌËÎËÖ Õ‡ ÒÂ„Ó‰Ìˇ
‰‡Ì̇ˇ ÚÂχ ˇ‚ΡÂÚÒˇ Ó‰ÌÓÈ ËÁ Ò‡Ï˚ı ÓÒÚ˚ı ‰Îˇ ÓÒÒËÈÒÍËı
ÍËÌÂχÚÓ„‡ÙËÒÚÓ‚. ¬ ˝ÚÓÈ Ò‚ˇÁË ´üËÌÓÚ‡‚ª ÒÓ‚ÏÂÒÚÌÓ Ò ÊÛ̇ÎÓÏ ´üËÌÓÔÓˆÂÒÒª ÔÓ‚ÂÎ ÓÔÓÒ: ´◊Â„Ó Ì ı‚‡Ú‡ÂÚ ÓÒÒËÈÒÍÓÏÛ ÍËÌÓ?ª. ¬ ÌÂÏ ÔËÌˇÎË Û˜‡ÒÚË 10 ÔÓ‰˛ÒÂÓ‚, 10 ÂÊËÒÒÂÓ‚, 10 ‰ËÒÚË·¸˛ÚÓÓ‚, 10 ÍËÌÓÍËÚËÍÓ‚ Ë ÍËÌӂ‰ӂ.
–ÂÁÛθڇÚ˚ ÓÔÓÒ‡:
»Ú‡Í, ˜Â„Ó Ê Ì ı‚‡Ú‡ÂÚ ÓÚ˜ÂÒÚ‚ÂÌÌÓÏÛ ÍËÌÓ Ò ÚÓ˜ÍË ÁÂÌˡ:
œ–Œƒfi—≈–Œ¬
1. ÕÓ‚˚ı ÍËÌÓÚ‡ÚÓ‚, ‰ÓÒÚÛÔÌ˚ı ÍËÌÓ·ËÎÂÚÓ‚, Ô·ÚÂÊÂÒÔÓÒÓ·Ì˚ı ÁËÚÂÎÂÈ
2. “‚Ó˜ÂÒÍÓÈ ÒÏÂÎÓÒÚË, Ò‡ÏÓ·˚ÚÌ˚ı, ÌÓ‚˚ı ˉÂÈ
3. ÕÓ‚˚ı ÂÊËÒÒÂÓ‚, ‡‰ÂÍ‚‡ÚÌÓ ‚ÓÒÔËÌËχ˛˘Ëı Á‡ÔÓÒ˚ ‡Û‰ËÚÓËË, Á̇˛˘Ëı ÒÓ‚ÂÏÂÌÌ˚ ÚẨÂ̈ËË ÏËÓ‚Ó„Ó ÍËÌÓ
–≈∆»——≈–Œ¬
1. “‚Ó˜ÂÒÍÓÈ ÒÏÂÎÓÒÚË, Ò‡ÏÓ·˚ÚÌ˚ı, ÌÓ‚˚ı ˉÂÈ
2. ∆‡ÌÓ‚Ó„Ó Ë ÚÂχÚ˘ÂÒÍÓ„Ó ‡ÁÌÓÓ·‡Áˡ ‚ ÂÔÂÚÛ‡Â,
´˜ÂÎӂ˜ÂÒÍËı ËÒÚÓËȪ
3. ƒ‡Î¸ÌӂˉÌ˚ı, ÒÓÒÚÓˇÚÂθÌ˚ı ÔÓ‰˛ÒÂÓ‚
ü–»“»üŒ¬ » ü»ÕŒ¬≈ƒŒ¬
1. “‚Ó˜ÂÒÍÓÈ ÒÏÂÎÓÒÚË, Ò‡ÏÓ·˚ÚÌ˚ı, ÌÓ‚˚ı ˉÂÈ
2. ÕÓ‚˚ı ÂÊËÒÒÂÓ‚, ‡‰ÂÍ‚‡ÚÌÓ ‚ÓÒÔËÌËχ˛˘Ëı Á‡ÔÓÒ˚ ‡Û‰ËÚÓËË, Á̇˛˘Ëı ÒÓ‚ÂÏÂÌÌ˚ ÚẨÂ̈ËË ÏËÓ‚Ó„Ó ÍËÌÓ
3. —Ήӂ‡Ìˡ ÎÛ˜¯ËÏ ÓÚ˜ÂÒÚ‚ÂÌÌ˚Ï ÍËÌÓÚ‡‰ËˆËˇÏ
ƒ»—“–»¡‹fi“Œ–Œ¬
1. ƒÂÌ„, ‚ ÚÓÏ ˜ËÒΠÔÓÚ‡˜ÂÌÌ˚ı ̇ ÂÍ·ÏÛ
2. ÕÓ‚˚ı ÂÊËÒÒÂÓ‚, ‡‰ÂÍ‚‡ÚÌÓ ‚ÓÒÔËÌËχ˛˘Ëı Á‡ÔÓÒ˚ ‡Û‰ËÚÓËË, Á̇˛˘Ëı ÒÓ‚ÂÏÂÌÌ˚ ÚẨÂ̈ËË ÏËÓ‚Ó„Ó ÍËÌÓ
3. “‚Ó˜ÂÒÍÓÈ ÒÏÂÎÓÒÚË, Ò‡ÏÓ·˚ÚÌ˚ı, ÌÓ‚˚ı ˉÂÈ
¬—≈’ Œœ–Œÿ≈ÕÕ¤’
1. “‚Ó˜ÂÒÍÓÈ ÒÏÂÎÓÒÚË, Ò‡ÏÓ·˚ÚÌ˚ı, ÌÓ‚˚ı ˉÂÈ
2. ÕÓ‚˚ı ÂÊËÒÒÂÓ‚, ‡‰ÂÍ‚‡ÚÌÓ ‚ÓÒÔËÌËχ˛˘Ëı Á‡ÔÓÒ˚ ‡Û‰ËÚÓËË, Á̇˛˘Ëı ÒÓ‚ÂÏÂÌÌ˚ ÚẨÂ̈ËË ÏËÓ‚Ó„Ó ÍËÌÓ
3. ÕÓ‚˚ı ÍËÌÓÚ‡ÚÓ‚, ‰ÓÒÚÛÔÌ˚ı ÍËÌÓ·ËÎÂÚÓ‚, Ô·ÚÂÊÂÒÔÓÒÓ·Ì˚ı ÁËÚÂÎÂÈ
œÓÎÌÓÒÚ¸˛ ÂÁÛθڇÚ˚ ÓÔÓÒ‡ ·Û‰ÛÚ ÓÔÛ·ÎËÍÓ‚‡Ì˚ ‚ ·ÎËʇȯËı ÌÓÏÂ‡ı ÊÛ̇· ´üËÌÓÔÓˆÂÒÒª.
—ËÚÓ‡ ¿ÎË‚‡,
‰ËÂÍÚÓ ÍËÌÓÔÓ„‡ÏÏ
FESTIVAL
STATISTICS
The beginning of June, and Sochi is again occupied by the
large army of national cinematographers. This year
ìKinotavrî ñ without exaggeration the most awaited Russian
film festival ñ is seventeen years old. Its age is no longer
transitional. It demands from the organizers a precise
understanding of what the festival is really capable of, what
it can influence, what it fixates, forms and predicts, and
what its place and prospects are in the new cinematic space.
Firstly, one thing is obvious today: the festivalís merit lies in
its ability to organize a competition of films, not budgets,
marketing strategies and resources of television channels, a
competition among talents rather than ambitions. It is
obvious that the artistic significance and success in
distribution are not always synonymous. Secondly, the
festival was, is and will be a key platform for contacts,
interactions, partnership and rivalries; and this is very
important, bearing in mind the obvious dissociation of the
Russian film community. Thirdly, as any competition,
ìKinotavrî remains an area for victories and defeats, for joy
and disappointment. And finally, any festival has four basic
components: the programme, the press, the business section,
and high life. Their harmonious combination is our purpose.
For the whole of last year we have diligently worked on the
promotion of Russian cinema, both within Russia and abroad.
Last autumn screenings of the winners of ìKinotavrî took
place in the most prestigious cinemas of Ekaterinburg, Kiev,
Saint Petersburg, Perm, Samara and Tomsk. They were a
success with the audiences. We convinced ourselves that
there is a ìnon-commercialî spectator in the country who
needs our films.
The number of days for the competition screenings at this
yearís festival has been reduced to seven. Yet the number of
programmes has increased to twelve. Seven programmes
concern our ìtodayî and ìtomorrowî; five concern our
ìyesterdayî. ìKinotavrî will screen a total of 120 films on
three festival arenas. The number of applications for
participation has increased noticeably: approximately 70
feature films were submitted to the competition programme,
and 130 shorts for the programme ìKinotavr. Shortsî (this is
an indicator of the availability of money in cinema and the
fast development of film technologies). About 1500 visitors
are expected at the festival, mostly cinematographers; about
250 representatives of mass-media (15 television channels and
200 periodicals will be accredited); and twice as many filmtourists than usual.
For the second year running ìKinotavrî conducts a showcase
of screenings of Russian films for foreign visitors: directors
and festivals selectors, distributors, journalists of the worldís
largest film publications. A result of this innovation
introduced last year, the share of Russian cinema at various
international film festivals increased. We may note among
our modest victories the heightened interest of the western
film press in the festival. Moreover, art-house distributors
from Europe, America and Asia are making enquiries. It is
splendid that we possess the organizational and financial
resources to continue this work: this year more than 100
people will be arriving for the showcase. But most
importantly the festival has stop to keep itself to itself: it is
beginning to work with perspective and is doing everything
to strengthen the position of modern Russian cinema on the
international scene, as this happened in its time for China,
Iran and South Korea.
ìKinotavrî will continue to co-operate with the 67th Russian
film-market, where 300 films will be presented: 30% foreign,
30% Russian, 10% from the CIS and the Baltic States, and
about 20% co-production. The exhibition of the film-market,
consisting of 50 stands, will be visited by over 600
participants.
At present the database of ìKinotavrî contains 340 films at
different production stages. Whilst fully understanding the
virtual character of this information, the figure is impressive.
The year 2005 became a genuine commercial breakthrough for
Russian cinema: the total box office grossing reached $327
million, of which $101 million were achieved by the 63
Russian films, among them two absolute champions. The
distribution is, no doubt, assisted by the vigorous development
of the cinema networks: today Russia has 1036 cinemas. The
rise of the box office in Russian cinema testifies to our
market appeal, the solvency of the Russian audience, the
dynamic development of the film industry, its huge potential
and self-sufficiency, as well as the prospect of entering the
world market. It is the obvious victory of Russian cinema over
American cinema in our territories. But we must not forget
that we are not the first: South Korea has outstripped us, and
Argentina runs in parallel with us.
FESTIVAL SOCIOLOGY
The year 2006 has shown that the time of euphoria has gone.
The two main film festivals of the world, Berlin and Cannes,
have not selected any Russian films among the twenty
competition films; once again they have let us know that we
are non-competitive on an artistic level. In the opinion of the
selection commissions of these festivals, we do not have an
auteur cinema that corresponds to their demands. Our
directors, arguing about todayís condition of the world, its
past or future, are not capable of speaking freely the language
of modern cinema. Such a position seems strange, because
right now there is a choice in Russian cinema: there are films
that are visually effective, topical in content, internationally
oriented. But they have not been valued Ö Today this is an
acute issue for Russian cinematographers. In this connection
ìKinotavrî, together with the magazine ìKino-Processî, has
carried out a survey: ìwhat is lacking in Russian cinema?î
Ten producers, ten directors, ten distributors, ten film critics
and scholars have taken part in this survey.
Survey Results:
What is lacking in national cinema from the point of view of:
PRODUCERS
1. New cinemas, affordable tickets, solvent spectators
2. Bold creativity, original and new ideas
3. New directors who are perceptive to audience demand and
know the current trends of world cinema
DIRECTORS
1. Bold creativity, original and new ideas
2. Genre and theme variety in the repertoire, ìhuman storiesî
3. Far-sighted, solvent producers
CRITICS AND FILM HISTORIANS
1. Bold creativity, original and new ideas
2. New directors who are perceptive to audience demand and
know the current trends of world cinema
3. Following the best traditions of Russian film
DISTRIBUTORS
1. Money, including money spent on advertising
2. New directors who are perceptive to audience demand and
know the current trends of world cinema
3. Bold creativity, original and new ideas
ALL SURVEY PARTICIPANTS
1. Bold creativity, original and new ideas
2. New directors who are perceptive to audience demand and
know the current trends of world cinema
3. New cinemas, affordable tickets, solvent spectators
The full results of the survey will be published in the next
issues of the magazine ìKino-Processî.
Sitora Alieva
Programme Director
5
6
œŒœ≈◊»“≈À‹—ü»…
—Œ¬≈“ ‘≈—“»¬¿Àfl
TUTORIAL COUNCIL
OF THE FESTIVAL
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ALEXANDER RODNYANSKY
œÂÁˉÂÌÚ ıÓΉËÌ„‡ ´—“— ɡª
President of the Media Holding CTC
œ‰Ò‰‡ÚÂθ ÔÓÔ˜ËÚÂθÒÍÓ„Ó ÒÓ‚ÂÚ‡
Chairman of the Board of Trustees of the
ÙÂÒÚË‚‡Îˇ ´üËÌÓÚ‡‚ª
Kinotavr Festival
œ≈“– ¿¬≈Õ
PETER AVEN
œÂÁˉÂÌÚ Œ¿Œ ´¿Î¸Ù‡-¡‡Ìͪ
President of ìAlpha Bankî
ŒÀ≈√ ƒ≈–»œ¿—ü¿
OLEG DERIPASKA
√ÂÌÂ‡Î¸Ì˚È ‰ËÂÍÚÓ Œ¿Œ ´–ÛÒÒÍËÈ ‡Î˛ÏËÌËȪ
General Director of ìRussian Aluminiumî
¬»“¿À»… »√Õ¿“≈ÕüŒ
VITALY IGNATENKO
√ÂÌÂ‡Î¸Ì˚È ‰ËÂÍÚÓ ´»“¿–-“¿——ª
General Director of ìITAR-TASSî
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ALEXANDER TKACHIOV
√·‚‡ ‡‰ÏËÌËÒÚ‡ˆËË ü‡ÒÌÓ‰‡ÒÍÓ„Ó Í‡ˇ
Governor of the Krasnodar Region
û’¿»À ÿ¬¤ƒüŒ…
MIKHAIL SHVYDKOI
–ÛÍÓ‚Ó‰ËÚÂθ ‘‰Â‡Î¸ÌÓ„Ó ¿„ÂÌÚÒÚ‚‡ ÔÓ
Head of the Federal Agency for Culture and
ÍÛθÚÛÂ Ë ÍËÌÂχÚÓ„‡ÙËË
Cinematography
üŒÕ—“¿Õ“»Õ ›–Õ—“
KONSTANTIN ERNST
√ÂÌÂ‡Î¸Ì˚È ‰ËÂÍÚÓ Œ¿Œ ´œÂ‚˚È Í‡Ì‡Îª
General Director of ìFirst Channelî
ƒ»–≈ü÷»fl
‘≈—“»¬¿Àfl
FESTIVAL
DIRECTORATE
»√Œ–‹ “ŒÀ—“”ÕŒ¬
√ÂÌÂ‡Î¸Ì˚È ÔÓ‰˛ÒÂ
IGOR TOLSTUNOV
General producer
—»“Œ–¿ ¿À»≈¬¿
œÓ„‡ÏÏÌ˚È ‰ËÂÍÚÓ
SITORA ALIEVA
Programme Director
≈À≈Õ¿ À¿œ»Õ¿
»ÒÔÓÎÌËÚÂθÌ˚È ‰ËÂÍÚÓ
ELENA LAPINA
Executive Director
œŒÀ»Õ¿ «”≈¬¿
üÓÏÏÂ˜ÂÒÍËÈ ‰ËÂÍÚÓ
POLINA ZUEVA
Commercial Director
Àfi¡Œ¬‹ œ¿—“”’Œ¬¿
‘Ë̇ÌÒÓ‚˚È ‰ËÂÍÚÓ
LIUBOV PASTUKHOVA
Financial Director
¿Õ¿—“¿—»fl ¡”À√¿üŒ¬¿
–ÛÍÓ‚Ó‰ËÚÂθ Óډ· promotion
ANASTASIA BULGAKOVA
Head of Promotion
≈À≈Õ¿ ü”œ–»flÕŒ¬¿
–ÛÍÓ‚Ó‰ËÚÂθ PR-Óډ·
ELENA KUPRIYANOVA
Head of PR
Õ¿“¿À‹fl flü”ÿü»Õ¿
–ÛÍÓ‚Ó‰ËÚÂθ ÒÎÛÊ·˚ ÔÓÚÓÍÓ·
NATALIA YAKUSHKINA
Head of Protocol
8
10
42
Œ“ü–¤“»≈
OPENING GALA
üŒÕü”–—
COMPETITION
ü»ÕŒ“¿¬–. üŒ–Œ“ü»… Ã≈“–
KINOTAVR. SHORTS
ÒÓ‰ÂʇÌËÂ
contents
76
91
113
125
136
148
152
170
181
182
183
–”——ü¿fl ›…‘Œ–»fl
RUSSIAN EUPHORIA
ü»ÕŒ Õ¿ œÀŒŸ¿ƒ»
CINEMA ON THE SQUARE
—œ≈÷»¿À‹Õ¤… œŒü¿«
SPECIAL SCREENING
¬ «≈–ü¿À≈ ƒŒü”Ã≈Õ“¿
IN THE MIRROR OF THE DOCUMENT
90-Â. ü»ÕŒ, üŒ“Œ–Œ≈ ä œŒ“≈–flÀ»
1990s. THE CINEMA THAT WE LOST
Õ¿◊¿À¿. À≈Õ»Õ√–¿ƒ—ü¿fl ÿüŒÀ¿
THE BEGINNINGS. THE LENINGRAD SCHOOL
‘≈—“»¬¿À‹Õ¤≈ À¿”–≈¿“¤
FESTIVAL WINNERS
9 œ¿À‹Ã
9 PALMS
»Ì‰ÂÍÒ ÙËθÏÓ‚
Index of films
»Ì‰ÂÍÒ ÂÊËÒÒÂÓ‚
Index of directors
Œ„‡ÌËÁ‡ˆËË/ üÓÌÚ‡ÍÚ˚
Companies/ Contacts
7
ÓÚÍ˚ÚËÂ
opening gala
Œ—“–Œ¬
THE ISLAND
8
2006, –ÓÒÒˡ, 112 ÏËÌ., ˆ‚., 1:2.35, Dolby Digital 5.1
2006, Russia, 112 min, colour, 1:2.35, Dolby Digital 5.1
–ÂÊËÒÒÂ œ‡‚ÂÎ ÀÛÌ„ËÌ
Director Pavel Lounguine
¿‚ÚÓ ÒˆÂ̇ˡ ƒÏËÚËÈ —Ó·Ó΂
Scriptwriter Dmitry Sobolev
ŒÔÂ‡ÚÓ ¿Ì‰ÂÈ ∆„‡ÎÓ‚
Camera Andrey Zhegalov
’Û‰ÓÊÌËÍË »„Ó¸ üÓˆ‡‚, ¿ÎÂÍ҇̉ “ÓÎ͇˜Â‚
Art Director Igor Kotsarev, Alexander Tolkachiov
üÓÒÚ˛Ï˚ ≈͇ÚÂË̇ ƒ˚ÏËÌÒ͇ˇ
Costumes Ekaterina Dyminskaya
üÓÏÔÓÁËÚÓ ¬Î‡‰ËÏË ÇÚ˚ÌÓ‚
Composer Vladimir Martynov
«‚ÛÍ —ÚÂÙ‡Ì ¿Î¸·ËÌÂ, ¬Î‡‰ËÏË ÀËÚÓ‚ÌËÍ
Sound Stephane Albinet, Vladimir Litrovnik
ÃÓÌÚ‡Ê ¿Î¸·Ë̇ ¿ÌÚËÔÂÌÍÓ
Editor Albina Antipenko
¬ ÓΡı: œÂÚ ÇÏÓÌÓ‚, ƒÏËÚËÈ ƒ˛Ê‚,
Cast: Pyotr Mamonov, Dmitry Dyuzhev, Victor Sukhorukov,
¬ËÍÚÓ —ÛıÓÛÍÓ‚, ÕË̇ ”Ò‡ÚÓ‚‡, ¬ËÍÚÓˡ »Ò‡ÍÓ‚‡,
Nina Usatova, Victoria Isakova, Yuri Kuznetsov
fiËÈ üÛÁ̈ӂ
Producers Sergei Shumakov, Pavel Lounguine, Olga Vasilieva
œÓ‰˛ÒÂ˚ —Â„ÂÈ ÿÛχÍÓ‚, œ‡‚ÂÎ ÀÛÌ„ËÌ,
ŒÎ¸„‡ ¬‡ÒË肇
œÓËÁ‚Ó‰ÒÚ‚Ó ´—ÚÛ‰Ëˇ œ‡‚· ÀÛÌ„Ë̇ª
Production Pavel Lounguine Studio
ÓÚÍ˚ÚËÂ
opening gala
œ‡‚ÂÎ ÀÛÌ„ËÌ
–ÂÊËÒÒÂ Ë„Ó‚Ó„Ó Ë ‰ÓÍÛÏÂÌڇθÌÓ„Ó ÍËÌÓ,
ÒˆÂ̇ËÒÚ, ÔÓ‰˛ÒÂ. œËÁÂ ÏÂʉÛ̇Ó‰Ì˚ı Ë ÓÒÒËÈÒÍËı ÍËÌÓÙÂÒÚË‚‡ÎÂÈ. –Ó‰ËÎÒˇ
12 ˲Ρ 1949 „Ó‰‡ ‚ ÃÓÒÍ‚Â. ŒÍÓ̘ËÎ ÓÚ‰ÂÎÂÌË χÚÂχÚ˘ÂÒÍÓÈ Ë ÔËÍ·‰ÌÓÈ ÎËÌ„‚ËÒÚËÍË ÙËÎÓÎӄ˘ÂÒÍÓ„Ó Ù‡ÍÛθÚÂÚ‡ Ã√”
(1971), ¬˚үˠÍÛÒ˚ ÒˆÂ̇ËÒÚÓ‚ Ë ÂÊËÒÒÂÓ‚ (1980, χÒÚÂÒ͇ˇ √.Õ.ƒ‡ÌÂÎËË,
Ã.√.À¸‚Ó‚ÒÍÓ„Ó). ¬ ÍËÌÓ ‰Â·˛ÚËÓ‚‡Î ͇Í
ÒˆÂ̇ËÒÚ ‚ 1976 „Ó‰Û (´¬Ò ‰ÂÎÓ ‚ ·‡Úª,
ÂÊ. ¬‡ÎÂÌÚËÌ √ÓÎÓ‚). œÓÁÊ ÔÓ Â„Ó ÒˆÂ̇ËˇÏ ·˚ÎË ÔÓÒÚ‡‚ÎÂÌ˚ ÙËθÏ˚ ´üÓ̈ ËÏÔÂ‡ÚÓ‡ ڇȄ˪, ´ü‡Ù‰‡ª, ´ÕÂÔӷ‰ËÏ˚Ȫ Ë ‰Û„ËÂ. œÂ‚˚È ÙËÎ¸Ï ÂÊËÒÒÂ‡ ñ
´“‡ÍÒË-·Î˛Áª (ÒÔˆˇθÌ˚È ÔËÁ Á‡ ÂÊËÒÒÛÛ Ãü‘ ‚ ü‡Ì̇ı) ó ÒڇΠÍÛθÚÓ‚˚Ï
ÙËθÏÓÏ. — ̇˜‡Î‡ 90-ı „Ó‰Ó‚ ÂÊËÒÒÂ ÊË‚ÂÚ ‚Ó ‘‡ÌˆËË, ÒÌËχÂÚ ÙËθÏ˚ ÔË Û˜‡ÒÚËË Ù‡ÌˆÛÁÒÍËı ÔÓ‰˛ÒÂÓ‚, ÌÓ ÔÓ-ÔÂÊÌÂÏÛ ó ‚ –ÓÒÒËË Ë Ó –ÓÒÒËË.
9
‘ËθÏÓ„‡Ùˡ ÂÊËÒÒÂ‡ (Ë„Ó‚Ó ÍËÌÓ):
1990 ....“‡ÍÒË-·Î˛Á
1992 ....ÀÛ̇-Ô‡Í
1996 ....ÀËÌˡ ÊËÁÌË
2000 ....—‚‡‰¸·‡
2002 ....ŒÎË„‡ı
2005 ....¡Â‰Ì˚ Ó‰ÒÚ‚ÂÌÌËÍË
2005 ....ƒÂÎÓ Ó ´ÃÂÚ‚˚ı ‰Û¯‡ıª (ÒÂˇÎ)
2006 ....ŒÒÚÓ‚
Pavel Lounguine
Director of feature and documentary films,
script-writer, producer. Award winner of
numerous international and Russian film
festivals. Born on 12 July 1949 in Moscow.
Graduated from the Department of
Mathematical and Applied Linguistics of
Moscow State University (MGU, 1971), the
Higher Courses for Scriptwriters and
Directors (1980, class of Georgi Daneliya and
Mikhail Lvovsky). Debut as scriptwriter in
1976 (ìBlame your brotherî, dir. Valentin
Gorlov). Later he scripted such films as ìThe
End of the Taigaís Emperorî, ìThe
Departmentî, ìInvincibleî and others.
Directorial debut with ìTaxi Bluesî (Special
Award for Best Director, Cannes IFF), which
became a cult film. Since the early 1990s
lives in France; makes films with
participation of French producers, but always
filmed in Russia, and about Russia.
ƒ‡Ï‡. ¬ÚÓ‡ˇ ÏËÓ‚‡ˇ ‚ÓÈ̇. ¡‡ÊÛ, ̇ ÍÓÚÓÓÈ ¿Ì‡ÚÓÎËÈ Ë Â„Ó ÒÚ‡¯ËÈ
ÚÓ‚‡ˢ “ËıÓÌ ÔÂ‚ÓÁˇÚ Û„Óθ, Á‡ı‚‡Ú˚‚‡ÂÚ ÌÂψÍËÈ ÒÚÓÓÊ‚ÓÈ ÍÓ‡·Î¸.
¬˚χÎË‚‡ˇ ÔÓ˘‡‰Û Û ÌÂψ‚, ¿Ì‡ÚÓÎËÈ ÒÓ‚Â¯‡ÂÚ Ô‰‡ÚÂθÒÚ‚Ó ñ
‡ÒÒÚÂÎË‚‡ÂÚ “ËıÓ̇. ÕÂψ˚ ÓÒÚ‡‚Ρ˛Ú ÚÛÒ‡ ̇ Á‡ÏËÌËÓ‚‡ÌÌÓÈ ·‡ÊÂ,
ÌÓ ·Î‡„Ó‰‡ˇ ÔÓÏÓ˘Ë ÏÓ̇ıÓ‚, ÔÓÊË‚‡˛˘Ëı ‚ ÓÒÚÓ‚ÌÓÏ ÏÓ̇ÒÚ˚Â, ÂÏÛ
Û‰‡ÂÚÒˇ ‚˚ÊËÚ¸... œÓıÓ‰ˇÚ „Ó‰˚. Õ‡ ÓÒÚÓ‚Â ÒÚ‡ˆ‡ ¿Ì‡ÚÓÎˡ ÔÓ˜ËÚ‡˛Ú Á‡
Ô‡‚‰ÌÛ˛ ÊËÁ̸ Ë ÔÓËÒÚËÌ ˜Û‰ÂÒÌÛ˛ ÔÓÏÓ˘¸, ÍÓÚÓÛ˛ ÓÌ Ó͇Á˚‚‡ÂÚ
ÔËÂı‡‚¯ËÏ Ò˛‰‡ β‰ˇÏ. Œ‰Ì‡ÍÓ ÒÚ‡¯Ì˚È „Âı Û·ËÈÒÚ‚‡, ÒÓ‚Â¯ÂÌÌ˚È
ËÏ ‚Ó ‚ÂÏˇ ‚ÓÈÌ˚, Ì ‰‡ÂÚ ÂÏÛ ÔÓÍÓˇ. ◊Û‚ÒÚ‚Ûˇ ÔË·ÎËÊÂÌË ҂ÓÂÈ
ÍÓ̘ËÌ˚, ¿Ì‡ÚÓÎËÈ „ÓÚÓ‚ËÚÒˇ Í ÒÏÂÚË Ë ÔÓ͇ Ì Á̇ÂÚ, ˜ÚÓ ÒÍÓÓ ·Û‰ÂÚ
ÔÓ˘ÂÌÖ
Drama. WWII. The barge, on which Anatoly and his senior comrade Tikhon
transport coal, is seized by a German patrol ship. Anatoly begs the Germans
for mercy, and in an act of disloyalty he shoots his captain. The Germans leave
Directorís filmography (features)
1990 ....Taxi Blues
1992 ....Luna Park
1996 ....Line of Life
2000 ....The Wedding
2002 ....The Tycoon
2005 ....Roots
2005 ....Gogolís Dead Souls (serial)
2006 ....The Island
the coward on the mined barge, but thanks to the help of the monks from a
nearby monastery on an island, Anatoly survives... Years go by. The Elder
Anatoly is respected for his just life and the really wonderful help which he
gives to the islandís visitors. However, the terrible sin of the murder he
committed during the war does not give him peace. When he feels his death
approach, Anatoly does not know yet that he will be soon forgiven Ö
10
ÍÓÌÍÛÒ
competition
∆fi–» / JURY
–ÛÒÚ‡Ï »·‡„ËÏ·ÂÍÓ‚
‰‡Ï‡ÚÛ„ Ú‡Ú‡ Ë ÍËÌÓ, ÔËÒ‡ÚÂθ, ÂÊËÒÒÂ, ÔÓ‰˛ÒÂ ñ Ô‰Ò‰‡ÚÂθ Ê˛Ë
Rustam Ibragimbekov
scriptwriter, playwright, writer, film director, producer ñ jury chairman
»„Ó¸ ü‡ÎÂÌÓ‚
ÔÓ‰˛ÒÂ
ŒÎ„ ÀÛ͢‚
ÍËÌÓÓÔÂ‡ÚÓ
Igor Kalionov
producer
Oleg Lukichiov
cinematographer
¿ÎÂÍ҇̉
œÓ¯ÍËÌ
ÍËÌÓÂÊËÒÒÂ,
ÒˆÂ̇ËÒÚ
Alexander
Proshkin
film director,
scriptwriter
À‡ËÒ‡
—‡‰ËÎÓ‚‡
ÍËÌÓÂÊËÒÒÂ,
ÒˆÂ̇ËÒÚ,
ÔÓ‰˛ÒÂ,
‡ÍÚËÒ‡
Larissa
Sadilova
film director,
scriptwriter,
producer,
actress
¿ÎÂÍ҇̉
“Ó¯ËÌ
ÍËÌӂ‰
ŒÍ҇̇
‘‡Ì‰Â‡
‡ÍÚËÒ‡
Alexander
Troshin
film historian
Oksana
Fandera
actress
‚ÓθÌ˚È ÔÂ‚Ӊ
FREE TRANSLATION
„‡‰Íˠη‰Ë
THE UGLY SWANS
ÊË‚ÓÈ
ALIVE
Á‡ˇˆ ̇‰ ·ÂÁÌÓÈ
RABBIT OVER THE VOID
ËÁÓ·‡Ê‡ˇ ÊÂÚ‚Û
PLAYING THE VICTIM
ÏÌ Ì ·ÓθÌÓ
IT DOESNíT HURT
̇ÌÍËÌÒÍËÈ ÔÂÈÁ‡Ê
NANKIN LANDSCAPE
Ô‡Í ÒÓ‚ÂÚÒÍÓ„Ó ÔÂËÓ‰‡
SOVIET PARK
ÔÂ„ÓÌ
TRANSIT
Ò‚Ó·Ó‰ÌÓ Ô·‚‡ÌËÂ
FREE FLOATING
Ò‚ˇÁ¸
RELATIONS
ÒÚ‡ÌÌËÍ
THE WANDERER
ÚӘ͇
THE SPOT
˜ÂÎÓ‚ÂÍ ·ÂÁ‚ÓÁ‚‡ÚÌ˚È
THE MAN OF NO RETURN
˝ÈÙÓˡ
EUPHORIA
11
ÍÓÌÍÛÒ
competition
¬ŒÀ‹Õ¤… œ≈–≈¬Œƒ
FREE TRANSLATION
12
2005, –ÓÒÒˡ/ ÿ‚ÂȈ‡ˡ, 105 ÏËÌ., ˆ‚., 1:1.85, Dolby SRD
2005, Russia/ Switzerland, 105 min, colour, Dolby SRD
–ÂÊËÒÒÂ ≈ÎÂ̇ ’‡Á‡ÌÓ‚‡
Director Elena Khazanova
¿‚ÚÓ˚ ÒˆÂ̇ˡ ≈ÎÂ̇ ’‡Á‡ÌÓ‚‡, √‡Èˇ √Û‡ÒÚË,
Scriptwriters Elena Khazanova, Gaia Guasti,
ÃËı‡ËÎ ¡‡¯ËÌÒÍËÈ
Mikhail Brashinsky
ŒÔÂ‡ÚÓ »„Ó¸ üÓÊ‚ÌËÍÓ‚
Camera Igor Kozhevnikov
’Û‰ÓÊÌËÍË Ã‡ˡ ÿÏˉÚ, ≈͇ÚÂË̇ «‡ÎÂڇ‚‡
Art Director Maria Shmidt, Ekaterina Zaletaeva
üÓÒÚ˛Ï˚ ÕËÍÓθ ‘Â‡Ë
Costumes Nicole Ferrari
üÓÏÔÓÁËÚÓ ≈‚„ÂÌËÈ √‡Î¸ÔÂËÌ
Composer Evgeny Galperin
¿‚ÚÓ ÔÂÒÌË ƒË‡Ì‡ ¿·ÂÌË̇
Song by Diana Arbenina
ÃÓÌÚ‡Ê Ã‡Ë̇ ¬‡ÒË肇
Editing Marina Vasilieva
¬ ÓΡı: fiÎˡ ¡‡ÚËÌÓ‚‡, —Â„ÂÈ √‡χ¯,
Cast: Yulia Batinova, Sergei Garmash, Alexander Baluev,
¿ÎÂÍ҇̉ ¡‡ÎÛ‚, ¡ÛÌÓ “Ó‰ÂÒÍËÌË, ≈ÎÂ̇ —‡ÙÓÌÓ‚‡,
Bruno Todescini, Elena Safonova, Nina Ruslanova
ÕË̇ –ÛÒ·ÌÓ‚‡
Producers Elena Yatsura, Elda Guidinetti, Andres Pfaffli
œÓ‰˛ÒÂ˚ ≈ÎÂ̇ flˆÛ‡, ›Î¸‰‡ √ÛˉËÌÂÚÚË,
Production Filmokom (Russia), Ventura Film S.A.
¿Ì‰ÂÒ œÙ‡ÈÙÎË
(Switzerland)
—ÓÔÓ‰˛ÒÂ —Â„ÂÈ ÃÂθÍÛÏÓ‚
œÓËÁ‚Ó‰ÒÚ‚Ó ´‘ËθÏÓÍÓϪ, Ventura Film S.A. (ÿ‚ÂȈ‡ˡ)
ÍÓÌÍÛÒ
competition
≈ÎÂ̇ ’‡Á‡ÌÓ‚‡
–ÂÊËÒÒÂ Ë ÒˆÂ̇ËÒÚ. –Ӊ˷Ҹ ‚ ÃÓÒÍ‚Â
1 Ë˛Ìˇ 1977 „Ó‰‡. ¬ 12-ÎÂÚÌÂÏ ‚ÓÁ‡ÒÚÂ
ÔÂÂÂı‡Î‡ Ò ÒÂϸÂÈ ‚ ∆ÂÌÂ‚Û (ÿ‚ÂȈ‡ˡ).
»„‡Î‡ ‚ Ì·Óθ¯ÓÈ Ú‡Ú‡Î¸ÌÓÈ ÚÛÔÔÂ,
Á‡ÚÂÏ Û˜Ë·Ҹ ‚ ÍËÌÓ¯ÍÓ·ı ‘‡ÌˆËË Ë
—ÿ¿ (ÍÛÒ˚ ÒˆÂ̇ËÒÚÓ‚ Ë Í‡ÒÚËÌ„‰ËÂÍÚÓÓ‚ ‚ Ã˝ÌÂ). ¿‚ÚÓ ÌÂÒÍÓθÍËı
ÍÓÓÚÍÓÏÂÚ‡ÊÌ˚ı Ë ‰ÓÍÛÏÂÌڇθÌ˚ı
13
ÙËθÏÓ‚. ¬ 2004 „Ó‰Û ÒÌˇÎ‡ ÔÂ‚˚È
ÔÓÎÌÓÏÂÚ‡ÊÌ˚È ÙËÎ¸Ï ñ ÍÓω˲
´À˛·Ó‚Ì˚È ˝ÍÒÔÂÒÒª/ Love Express
(ÿ‚ÂȈ‡ˡ). ´¬ÓθÌ˚È ÔÂ‚Ӊª ó ‚ÚÓÓÈ
ÔÓÎÌÓÏÂÚ‡ÊÌ˚È ÙËÎ¸Ï ÂÊËÒÒÂ‡.
Elena Khazanova
Director and script-writer. Born in Moscow
on 1 June 1977. Moved with her family to
Geneva (Switzerland) at the age of twelve.
Acted in a small theatre company, then
studied at film schools in France and the US
(courses for script-writers and casting
directors in Maine). Author of several short
üËÏË̇θ̇ˇ ÏÂÎÓ‰‡Ï‡.
√·‚̇ˇ „ÂÓËÌˇ, ÛÒÒ͇ˇ ‰Â‚ۯ͇ »Ë̇, ÊË‚ÂÚ ‚
∆ÂÌ‚Â, ÍÛ‰‡ Ó̇ ˝ÏË„ËÓ‚‡Î‡ ‚ ÒÂÏËÎÂÚÌÂÏ ‚ÓÁ‡ÒÚÂ
‚ÏÂÒÚ ÒÓ Ò‚ÓÂÈ Ï‡ÚÂ¸˛, ÇËÌÓÈ. —Ú‡ËÌÌ˚È ÔˡÚÂθ
ÇËÌ˚ Ô‰·„‡ÂÚ » ÔÓ‰‡·ÓÚ‡Ú¸ ÔÂ‚Ӊ˜ËˆÂÈ Û
̇ıÓ‰ˇ˘Â„ÓÒˇ ‚ Ú˛¸Ï »‚‡Ì‡ “‡¯ÍÓ‚‡. œÓ ‚ÂÒËË
¯‚ÂȈ‡ÒÍËı ‚·ÒÚÂÈ, “‡¯ÍÓ‚ ñ ÍËÏË̇θÌ˚È ‡‚ÚÓËÚÂÚ,
ÌÓ ÓÌ Ò·ˇ Ú‡ÍÓ‚˚Ï Ì ҘËÚ‡ÂÚÖ
and documentary films. In 2004 made her
first feature film, the comedy ìLove Expressî
(Switzerland). ìFree Translationî is her
second feature film.
Criminal melodrama.
The heroine, the Russian girl Irina, lives in Geneva since
emigrating at the age of seven with her mother, Marina.
Marinaís old friend suggests that Irina could earn some extra
money by translating for the prisoner Ivan Tashkov.
According to the Swiss authorities Tashkov is a criminal
authority, but he is of a different opinion Ö
ÍÓÌÍÛÒ
competition
√¿ƒü»≈ À≈¡≈ƒ»
THE UGLY SWANS
14
2006, –ÓÒÒˡ/ ‘‡ÌˆËˇ, 105 ÏËÌ., ˆ‚., 1:1.85, Dolby Digital S EX
2006, Russia/ France, 105 min, colour, 1:1.85, Dolby Digital S EX
–ÂÊËÒÒÂ üÓÌÒÚ‡ÌÚËÌ ÀÓÔÛ¯‡ÌÒÍËÈ
Director Konstantin Lopushansky
¿‚ÚÓ˚ ÒˆÂ̇ˡ üÓÌÒÚ‡ÌÚËÌ ÀÓÔÛ¯‡ÌÒÍËÈ,
Scriptwriters Konstantin Lopushansky, Viacheslav Rybakov
¬ˇ˜ÂÒ·‚ –˚·‡ÍÓ‚,
Story by Brothers Strugatsky
œÓ Ó‰ÌÓËÏÂÌÌÓÈ ÔÓ‚ÂÒÚË ·‡Ú¸Â‚ —ÚÛ„‡ˆÍËı
Camera Vladislav Gurchin
ŒÔÂ‡ÚÓ ¬Î‡‰ËÒ·‚ √Û˜ËÌ
Art Director Konstantin Pakhotin
’Û‰ÓÊÌËÍ üÓÌÒÚ‡ÌÚËÌ œ‡ıÓÚËÌ,
with participation of Victor Ivanov
ÔË Û˜‡ÒÚËË ¬ËÍÚÓ‡ »‚‡ÌÓ‚‡
Costumes Tamara Seferian
üÓÒÚ˛Ï˚ “‡Ï‡‡ —ÂÙÂˇÌ
Composer Andrei Sigle
üÓÏÔÓÁËÚÓ ¿Ì‰ÂÈ —Ë„ÎÂ
Sound Leonid Gavrichenko
«‚ÛÍ ÀÂÓÌˉ √‡‚˘ÂÌÍÓ
Editing Alexander Zaretsky, Maxim Kholodiuk,
ÃÓÌÚ‡Ê ¿ÎÂÍ҇̉ «‡ˆÍËÈ, ÇÍÒËÏ ’ÓÎÓ‰˛Í,
Sergei Obukhov
—Â„ÂÈ Œ·ÛıÓ‚
Cast: Gregory Hlady, Leonid Mozgovoy, Alexei Kortnev,
¬ ÓΡı: √Ë„ÓËÈ √·‰ËÈ, ÀÂÓÌˉ ÃÓÁ„Ó‚ÓÈ,
Rimma Sarkisian, Laura Pitskhelauri, Sergei Barkovsky,
¿ÎÂÍÒÂÈ üÓÚÌ‚, –ËÏχ —‡ÍËÒˇÌ, À‡Û‡ œËˆı·ÛË,
Dima Ispolatov, Olga Samoshina, Alexei Ingelevich,
—Â„ÂÈ ¡‡ÍÓ‚ÒÍËÈ, ƒËχ »ÒÔÓ·ÚÓ‚, ŒÎ¸„‡ —‡ÏÓ¯Ë̇,
Victor Mikhailov
¿ÎÂÍÒÂÈ »Ì„Â΂˘, ¬ËÍÚÓ ÃËı‡ÈÎÓ‚
Producer Andrei Sigle
œÓ‰˛ÒÂ ¿Ì‰ÂÈ —Ë„ÎÂ
Co-Producer Catherine Dussart
—ÓÔÓ‰˛ÒÂ ü‡ÚËÌ ƒ˛ÒÒ‡
Production Proline-film, CDP with participation of the
œÓËÁ‚Ó‰ÒÚ‚Ó Proline-film, CDP, ÔË Û˜‡ÒÚËË ‘‰Â‡Î¸ÌÓ„Ó
Federal Agency for Culture and Cinematography, CNC,
‡„ÂÌÚÒÚ‚‡ ÔÓ ÍÛθÚÛÂ Ë ÍËÌÂχÚÓ„‡ÙËË, CNC,
Gorbachev Foundation, International Green Cross
√Ó·‡˜Â‚-‘Ó̉‡, ÃÂʉÛ̇Ó‰ÌÓ„Ó «ÂÎÂÌÓ„Ó üÂÒÚ‡
ÍÓÌÍÛÒ
competition
üÓÌÒÚ‡ÌÚËÌ ÀÓÔÛ¯‡ÌÒÍËÈ
üËÌÓÂÊËÒÒÂ, ÒˆÂ̇ËÒÚ. «‡ÒÎÛÊÂÌÌ˚È
‰ÂˇÚÂθ ËÒÍÛÒÒÚ‚ –ÓÒÒËË, ·Û‡Ú
√ÓÒÛ‰‡ÒÚ‚ÂÌÌÓÈ ÔÂÏËË ËÏÂÌË ¡‡Ú¸Â‚
¬‡ÒËθ‚˚ı Ë ÔÂÏËË ‘»œ–≈——», ÔËÁÂ
ÏÂʉÛ̇Ó‰Ì˚ı Ë ÓÚ˜ÂÒÚ‚ÂÌÌ˚ı
ÍËÌÓÙÂÒÚË‚‡ÎÂÈ. –Ó‰ËÎÒˇ 12 Ë˛Ìˇ 1947 ‚
„ÓӉ ƒÌÂÔÓÔÂÚÓ‚ÒÍÂ, ”Í‡Ë̇. ŒÍÓ̘ËÎ
ü‡Á‡ÌÒÍÛ˛ ÍÓÌÒÂ‚‡ÚÓ˲ ÔÓ Í·ÒÒÛ
ÒÍËÔÍË, ‡ÒÔË‡ÌÚÛÛ ÀÂÌËÌ„‡‰ÒÍÓÈ
ÍÓÌÒÂ‚‡ÚÓËË (Í‡Í ËÒÍÛÒÒڂӂ‰), ¬ü—–
(1978, ÂÊËÒÒÂÒ͇ˇ χÒÚÂÒ͇ˇ ›ÏËΡ
ÀÓÚˇÌÛ). ¬ ÔÂËÓ‰ Ó·Û˜ÂÌˡ ÔÓıÓ‰ËÎ
Ô‡ÍÚËÍÛ Û ¿Ì‰¡ “‡ÍÓ‚ÒÍÓ„Ó Ì‡ ÙËθÏÂ
´—Ú‡ÎÍÂª, Ò 1980 ñ ÂÊËÒÒÂ-ÔÓÒÚ‡ÌÓ‚˘ËÍ
ÍËÌÓÒÚÛ‰ËË ´ÀÂÌÙËθϪ. ¬ 1991-1996
‚ÓÁ„·‚ΡΠ’ËÒÚˇÌÒÍÛ˛ ÍËÌÓ‡ÒÒӈˇˆË˛
—‡ÌÍÚ-œÂÚÂ·Û„‡. œÂ‰‡„Ó„ —‡ÌÍÚœÂÚÂ·Û„ÒÍÓ„Ó ÛÌË‚ÂÒËÚÂÚ‡ ÍËÌÓ Ë
ÚÂ΂ˉÂÌˡ ñ —œ·√”üË“.
15
‘ËθÏÓ„‡Ùˡ:
1980 ....—ÓÎÓ (Í/Ï, ‰ËÔÎÓÏ)
1986 ....œËҸχ ÏÂÚ‚Ó„Ó ˜ÂÎÓ‚Â͇
1989 ....œÓÒÂÚËÚÂθ ÏÛÁ¡
1994 ....–ÛÒÒ͇ˇ ÒËÏÙÓÌˡ
2001 ....üÓ̈ ‚Â͇
2006 ....√‡‰Íˠη‰Ë
Konstantin Lopushansky
Filmmaker, scriptwriter. Honored artist of
Russia, winner of the Vasiliev Brothers' State
Prize and a FIPRESCI award, prize-winner of
international and national film festivals.
Born on 12 June 1947 in Dnepropetrovsk,
Ukraine. Graduated from Kazan
Conservatory in violin, followed by
postgraduate study at the Leningrad
Conservatory (as critic), Higher Courses for
Scriptwriters and Directors (1978, directors'
workshop of Emil Lotianu). During his
studies he gained some work experience with
Andrei Tarkovsky on the film "Stalker"; since
1980 director at Lenfilm studio. From 19911996 headed the Christian Film Association
in Saint Petersburg. Teaches at St.Petersburg University of Cinema and
Television (SPbGUKiT).
‘ËÎÓÒÓÙÒ͇ˇ ÔËÚ˜‡/ ÃËÒÚ˘ÂÒÍËÈ ÚËÎÎÂ.
¬ ÓÒÌÓ‚Â ÒˆÂ̇ˡ ´√‡‰ÍËı η‰ÂȪ ÔÓ‚ÂÒÚ¸ Ó „ÓÓ‰Â-ÔËÁ‡Í Ò
ËÌÚÂ̇ÚÓÏ ‰Îˇ Ó‰‡ÂÌÌ˚ı ‰ÂÚÂÈ. “‡Ï ÔÓ‰‡ÒÚ‡ÂÚ ÔÎÂÏˇ ÏÓÎÓ‰ÓÂ Ë ÔÛ„‡˛˘Â
ÒÚ‡ÌÌÓÂ, ˜¸ËÏË Û˜ËÚÂΡÏË ˇ‚Ρ˛ÚÒˇ ÒÛ˘ÂÒÚ‚‡ ´ÏÓÍˆ˚ª ó ÚÓ ÎË
ÏÛÚ‡ÌÚ˚, ÚÓ ÎË Ô˯Âθˆ˚. ¬ „ÓӉ ÔÓËÒıÓ‰ËÚ ·ÂÒÔ˘ËÌÌÓ ËÁÏÂÌÂÌËÂ
ÍÎËχڇ, ̇ÔÓÏË̇˛˘Â ¬ÒÂÎÂÌÒÍËÈ ÔÓÚÓÔ. ›ÚÛ ‡ÌÓχÎ˲ ËÁÛ˜‡˛Ú
·ÂÒÍÓ̘Ì˚ ÍÓÏËÒÒËË, ‡ÒÒÎÂ‰Û˛Ú ÒÔˆÒÎÛÊ·˚ Ë ÒÔˆ‡„ÂÌÚ˚. √ÂÓÈ
ÙËθχ, ÔËÒ‡ÚÂθ ¬ËÍÚÓ ¡‡Ì‚, ‚˚ÌÛʉÂÌ ‚ÂÒÚË ÒÓ·ÒÚ‚ÂÌÌÓ ‡ÒÒΉӂ‡ÌËÂ
˝ÚÓÈ ÒËÚÛ‡ˆËË, Ú‡Í Í‡Í ÒÂ‰Ë ‰ÂÚÂÈ ËÌÚÂ̇ڇ ̇ıÓ‰ËÚÒˇ Â„Ó ‰Ó˜¸. ŒÌ
‚Íβ˜‡ÂÚÒˇ ‚ ·Ó¸·Û Ì ÚÓθÍÓ Á‡ ÒÛ‰¸·Û ‰ÂÚÂÈ, ÌÓ Ë Á‡ ÚÛ ÙÓÏÛ ¡Û‰Û˘Â„Ó,
ÍÓÚÓÓ ‚˚·ÂÂÚ ˜ÂÎӂ˜ÂÒÚ‚Ó.
Filmography:
1980 ....Solo
Philosophical Parable. Mystical Thriller.
1986 ....Letters of Dead Man
A story about a ghost town with a boarding school for gifted children lies at
1989 ....A Museum Visitor
the basis of the script for ìUgly Swansî. The young people who grow up there
1994 ....The Russia Symphony
are frightfully strange, taught by creatures called ìmokretsyî ñ mutants of
2001 ....The Turn of the Century
humans, the ìugly swansî of the title. In the city the climate changes without
2006 ....The Ugly Swans
any obvious reason and reminds of the deluge. Infinite commissions, special
services and agents investigate this anomaly. The filmís hero, the writer Victor
Banev, is compelled to conduct his own investigation of the situation, because
his daughter is among the children of the boarding school. He participates in
the struggle not only because of the childrenís fate, but also because mankind
will choose the form of the Future.
ÍÓÌÍÛÒ
competition
∆»¬Œ…
ALIVE
16
2006, –ÓÒÒˡ, 98 ÏËÌ., ˆ‚., 1:1.85, ÓÔÚ˘ÂÒ͇ˇ ÏÓÌÓ
2006, Russia, 98 min, colour, 1:1.85, optical mono
–ÂÊËÒÒÂ ¿ÎÂÍ҇̉ ¬ÂΉËÌÒÍËÈ
Director Alexander Veledinsky
¿‚ÚÓ˚ ÒˆÂ̇ˡ »„Ó¸ œÓ۷΂, ¿ÎÂÍ҇̉ ¬ÂΉËÌÒÍËÈ
Scriptwriters Igor Porubliov, Alexander Veledinsky
ŒÔÂ‡ÚÓ œ‡‚ÂÎ »„̇ÚÓ‚
Camera Pavel Ignatov
’Û‰ÓÊÌËÍË ›‰Û‡‰ √‡ÎÍËÌ, —Â„ÂÈ “˚ËÌ
Art Directors Eduard Galkin, Sergei Tyrin
üÓÒÚ˛Ï˚ ›‰Û‡‰ √‡ÎÍËÌ
Costumes Eduard Galkin
üÓÏÔÓÁËÚÓ ¿ÎÂÍÒÂÈ œ.«Û·‡‚
Composer Alexei P.Zubarev
«‚ÛÍ ¿Ì‰ÂÈ ’Û‰ˇÍÓ‚
Sound Andrey Khudiakov
¬ ÓΡı: ¿Ì‰ÂÈ ◊‡‰Ó‚, ÇÍÒËÏ À‡„‡¯ÍËÌ, ¬Î‡‰ËÏË
Cast: Andrey Chadov, Maxim Lagashkin, Vladimir Epifantsev,
≈ÔËه̈‚, ŒÎ¸„‡ ¿ÌÚ„Óθˆ, ¬ËÍÚÓˡ —ÏËÌÓ‚‡,
Olga Arntgolts, Victoria Smirnova, Alexei Chadov,
¿ÎÂÍÒÂÈ ◊‡‰Ó‚, ¿ÎÂÍ҇̉ –Ó·‡Í, ≈͇ÚÂË̇ ¬ÓÎÍÓ‚‡
Alexander Robak, Ekaterina Volkova
œÓ‰˛ÒÂ —Â„ÂÈ ◊ÎËˇÌˆ
Producer Sergei Chliyants
—ÓÔÓ‰˛ÒÂ ¬‡‰ËÏ √ÓˇËÌÓ‚
Co-producer Vadim Goriainov
œÓËÁ‚Ó‰ÒÚ‚Ó ÍËÌÓÒÚÛ‰Ëˇ ´œË„χÎËÓÌ œÓ‰‡Í¯Ìª,
Production Pygmalion Film Company with participation of the
ÔË Û˜‡ÒÚËË ‘‰Â‡Î¸ÌÓ„Ó ‡„ÂÌÚÒÚ‚‡ ÔÓ ÍÛθÚÛÂ
Federal Agency for Culture and Cinematography,
Ë ÍËÌÂχÚÓ„‡ÙËË, ÍËÌÓÍÓÏÔ‡ÌËË ´ü¬»ƒª
KVID Film Company
www.pgmfilm.ru
www.pgmfilm.ru
ÍÓÌÍÛÒ
competition
¿ÎÂÍ҇̉ ¬ÂΉËÌÒÍËÈ
–ÂÊËÒÒÂ Ë ÒˆÂ̇ËÒÚ. –Ó‰ËÎÒˇ 27 ˲Ρ
1959 „Ó‰‡, „. √Ó¸ÍËÈ (ÕËÊÌËÈ ÕÓ‚„ÓÓ‰).
ŒÍÓ̘ËÎ √Ó¸ÍÓ‚ÒÍËÈ ÔÓÎËÚÂıÌ˘ÂÒÍËÈ
ËÌÒÚËÚÛÚ (1981), ÂÊËÒÒÂÒÍÓ ÓÚ‰ÂÎÂÌËÂ
¬ü—– (1995, χÒÚÂÒ͇ˇ ¿.¿.œÓ¯ÍË̇ Ë
¬.Ã. œËÂÏ˚ıÓ‚‡), ‰ËÔÎÓÏ Á‡˘ËÚËÎ
ÍÓÓÚÍÓÏÂÚ‡ÊÌ˚Ï ÙËθÏÓÏ ´“˚ ‰‡ ˇ, ‰‡
Ï˚ Ò ÚÓ·ÓȪ (2001) ñ Û˜‡ÒÚË ‚ ÔÓ„‡ÏÏÂ
17
´ŒÒÓ·˚È ‚Á„Ρ‰ª Ãü‘ ‚ ü‡Ì̇ı, ÔËÁ˚
Ãü‘ Ë –ü‘. —Ó‡‚ÚÓ ÒˆÂ̇Ë‚ Ó‰ÌËı ËÁ
Ò‡Ï˚ı ÂÈÚËÌ„Ó‚˚ı ÒÂˇÎÓ‚:
´ƒ‡Î¸ÌÓ·ÓÈ˘ËÍË, ´¡Ë„‡‰‡ª, ´«‡ÍÓ̪.
‘ËθÏÓ„‡Ùˡ ÂÊËÒÒÂ‡:
1994 ....¿ÌÙ‡Ì “Â˷θ E.T.
(Í/Ï, ÍÛÒÓ‚‡ˇ)
2001 ....“˚ ‰‡ ˇ, ‰‡ Ï˚ Ò ÚÓ·ÓÈ
(Í/Ï, ‰ËÔÎÓÏ)
2002 ....«‡ÍÓÌ (ÒÂˇÎ)
2004 ....–ÛÒÒÍÓÂ
2006 ....∆Ë‚ÓÈ
Alexander Veledinsky
Director and script-writer. Born on 27 July
1959, Gorky (now Nizhny Novgorod).
Graduated from the Gorky Polytechnic (1981),
and the Directorsí section of the Higher
Courses for Script-writers and Directors
(1995, course of Alexander Proshkin and
Valery Priyomykhov); diploma work ìJust the
Two of Usî (short, 2001) participated in the
programme ìA Certain Viewî (Un Certain
üË, Ó·˚ÍÌÓ‚ÂÌÌ˚È ÏÓÎÓ‰ÓÈ Ô‡Â̸, ‚ÓÁ‚‡˘‡ÂÚÒˇ Í
ÌÓχθÌÓÈ ÊËÁÌË ÔÓÒΠ‡ÌÂÌˡ ‚ ◊˜ÌÂ. ƒÓχ Â„Ó Ê‰ÂÚ
Regard) at the IFF in Cannes, and received
χχ Ë ‰Â‚ۯ͇, ‡‰Ë Ò‚‡‰¸·˚ Ò ÍÓÚÓÓÈ ÓÌ Ë ÓÚÔ‡‚ËÎÒˇ
prizes at international and national film
ÒÎÛÊËÚ¸ ÔÓ ÍÓÌÚ‡ÍÚÛ. Œ‰Ì‡ÍÓ ÊËÁ̸ ̇ „‡Ê‰‡ÌÍÂ
festivals. Co-author of the script of some of
‰‡ÎÂ͇ ÓÚ Ë‰Â‡ÎÓ‚ ÒÔ‡‚‰ÎË‚ÓÒÚË. üË ÒÓ‚Â¯‡ÂÚ
the most popular television serials, ìThe
Truckersî, ìThe Brigadeî, ìThe Lawî.
‚ÓÓ‚ÒÚ‚Ó, Á‡ÚÂÏ ñ Ô‰‡ÚÂθÒÚ‚Ó. » Ӊ̇ʉ˚ ÓÌ ÔÓÈÏÂÚ,
˜ÚÓ Á‡ÔÛÚ‡ÎÒˇ. ¬ ˝ÚÓÚ ÏÓÏÂÌÚ ‚ Â„Ó ÊËÁÌË ÔÓˇ‚ˇÚÒˇ
Filmography (as director):
1994 ....Enfant Terrible (short, course work)
2001 ....Just the Two of Us (short, diploma)
2002 ....Law (serial)
ÔËÁ‡ÍË ‰‚Ûı ·Ó‚˚ı ÚÓ‚‡ˢÂÈ, ÍÓÚÓ˚ ·Û‰ÛÚ ıÓ‰ËÚ¸
Á‡ ÌËÏ ÔÓ ÔˇÚ‡Ï. ¡‡Î‡ÌÒËÛˇ ̇ „‡ÌË ÊËÁÌË Ë ÒÏÂÚË,
ÓÌ ·Û‰ÂÚ ËÒ͇ڸ ÓÚ‚ÂÚ˚ Ë ‚ÓÁÏÓÊÌÓÒÚ¸ ÔÓÒÚËÚ¸ Ò·ˇ.
2004 ....Russkoe (Russian)
2006 ....Alive
Kir is an ordinary young guy, who returns to normal life
after an injury in Chechnya. At home he is awaited by his
mum and by his girlfriend: in order to pay for the wedding
he had signed a contract to fight in Chechnya. However,
civil life is far from his ideals of justice. Kir steals, then
betrays. One day he understands that he got muddled, and at
this moment the phantoms of two fighting comrades appear
in his life and follow him on every step. On the verge of life
and death, Kir searches for answers and for an opportunity
to redeem himself.
ÍÓÌÍÛÒ
competition
«¿fl÷ Õ¿ƒ ¡≈«ÕŒ…
RABBIT OVER THE VOID
18
2006, –ÓÒÒˡ, 90 ÏËÌ., ˆ‚., Dolby Stereo 5.1+7.8 Prologic
2006, Russia, 90 min, colour, Dolby Stereo 5.1+7.8 Prologic
–ÂÊËÒÒÂ “Ë„‡Ì üÂÓÒ‡ˇÌ
Director Tigran Keosaian
¿‚ÚÓ ÒˆÂ̇ˡ ƒÏËÚËÈ »‚‡ÌÓ‚
Scriptwriter Dmitry Ivanov
ŒÔÂ‡ÚÓ »„Ó¸ üη‡ÌÓ‚
Camera Igor Klebanov
’Û‰ÓÊÌËÍ ÕËÍÓÎ‡È “ÂÂıÓ‚
Art Director Nikolai Terekhov
üÓÒÚ˛Ï˚ Շڇθˇ ¿ÎÂÍ҇̉Ó‚‡
Costumes Natalia Alexandrova
üÓÏÔÓÁËÚÓ ¿ÎÂÍÒÂÈ –˚·ÌËÍÓ‚
Composer Alexei Rybnikov
«‚ÛÍ –Ó·̉ ü‡Á‡ˇÌ
Sound Roland Kazarian
ÃÓÌÚ‡Ê »„Ó¸ ŒÚ‰ÂθÌÓ‚
Editor Igor Otdelnov
¬ „Î. ÓΡı: ¡Ó„‰‡Ì —ÚÛÔ͇, —Â„ÂÈ √‡Á‡Ó‚, ¬‡Ú‡Ì
Principal Cast: Bogdan Stupka, Sergei Gazarov, Vartan
ƒ‡‡Í˜ˇÌ, ¬‡ÎÂˡ À‡ÌÒ͇ˇ, fiËÈ —ÚÓˇÌÓ‚, ¬Î‡‰ËÏË
Darakchian, Valeria Lanskaya, Yury Stoyanov, Vladimir Ilyin,
»Î¸ËÌ, ÃËı‡ËÎ ≈ÙÂÏÓ‚, »„Ó¸ «ÓÎÓÚӂˈÍËÈ,
Mikhail Efremov, Igor Zolotovitsky, Elena Safonova
≈ÎÂ̇ —‡ÙÓÌÓ‚‡
Producer Ruben Dishdishian
œÓ‰˛ÒÂ –Û·ÂÌ ƒË¯‰Ë¯ˇÌ
Production Central Partnership, 2V Studio with participation
œÓËÁ‚Ó‰ÒÚ‚Ó —ÚÛ‰Ëˇ ´2¬ª ÔÓ Á‡Í‡ÁÛ ´÷ÂÌÚ‡Î
of the Federal Agency for Culture and Cinematography
œ‡ÚÌÂ¯ËÔª, ÔË Û˜‡ÒÚËË ‘‰Â‡Î¸ÌÓ„Ó ‡„ÂÌÚÒÚ‚‡ ÔÓ
Distribution Central Partnership
ÍÛθÚÛÂ Ë ÍËÌÂχÚÓ„‡ÙËË
www.centpart.ru
œÓÍ‡Ú ´÷ÂÌÚ‡Î œ‡ÚÌÂ¯ËÔª
www.centpart.ru
ÍÓÌÍÛÒ
competition
“Ë„‡Ì üÂÓÒ‡ˇÌ
–ÂÊËÒÒÂ Ë ÔÓ‰˛ÒÂ, ÔËÁÂ
ÓÚ˜ÂÒÚ‚ÂÌÌ˚ı ÙÂÒÚË‚‡ÎÂÈ. –Ó‰ËÎÒˇ
‚ ÃÓÒÍ‚Â (04.01.1966). ŒÍÓ̘ËÎ
ÂÊËÒÒÂÒÍËÈ Ù‡ÍÛθÚÂÚ ¬√»ü‡. ƒÓ΄ÓÂ
‚ÂÏˇ ‡·ÓڇΠ‚ ¯ÓÛ-·ËÁÌÂÒÂ. ¬ ÍËÌÓ
‰Â·˛ÚËÓ‚‡Î ‚ 1992 „Ó‰Û, ‡ÍÚË‚ÌÓ ‡·ÓÚ‡ÂÚ
‰Îˇ ÚÂ΂ˉÂÌˡ.
19
‘ËθÏÓ„‡Ùˡ ÂÊËÒÒÂ‡:
1992 ....ü‡Ú¸Í‡ Ë ÿËÁ
1996 ....ƒÂ· ÒϯÌ˚Â, ‰Â· ÒÂÏÂÈÌ˚Â
(ÒÂˇÎ)
1997 ....¡Â‰Ì‡ˇ —‡¯‡
1999 ....œÂÁˉÂÌÚ Ë Â„Ó ‚Ì͇ۘ
2000 ....À‡Ì‰˚¯ ÒÂ·ËÒÚ˚È
2001 ....ÃÛÊÒ͇ˇ ‡·ÓÚ‡ (ÒÂˇÎ)
2002 ....ÃÛÊÒ͇ˇ ‡·ÓÚ‡ ñ 2 (ÒÂˇÎ)
2004 ....À‡Ì‰˚¯ ÒÂ·ËÒÚ˚È (ÒÂˇÎ)
2006 ....«‡ˇˆ ̇‰ ·ÂÁ‰ÌÓÈ
Tigran Keosaian
Director and producer, prize winner of
national festivals. Born in Moscow
(04.01.1966). Graduated from the Directorsí
Faculty at the Film Institute VGIK. For a
long time worked in show business. His debut
in cinema came in 1992; he also works for
television.
Directorís Filmography:
1992 ....Katka and Shiz
1996 ....Funny Matters, Family Matters
ÀË˘ÂÒ͇ˇ ÍÓωˡ.
»ÌÓ„‰‡ Ë Ò ‚ÂÎËÍËÏË ÏË‡ ÒÂ„Ó ÔËÍβ˜‡˛ÚÒˇ ÒÚ‡ÌÌ˚Â
‚¢Ë. œÓÂı‡Î Ӊ̇ʉ˚ ıÓÁˇËÌ ‚ÒÂÈ ÒÓ‚ÂÚÒÍÓÈ ÁÂÏÎË,
ÍÓÚÓÓ„Ó ‚Òˇ ÒÚ‡Ì‡ Ë̇˜Â Í‡Í ´Ì‡¯ ‰ÓÓ„ÓÈ ÀÂÓÌˉ
»Î¸Ë˜ª Ë Ì ̇Á˚‚‡Î‡, Ò ‚ËÁËÚÓÏ ‚ ÃÓΉ‡‚˲, Ó‰ÌÛ ËÁ
Ò‚ÓËı β·ËÏ˚ı ÂÒÔÛ·ÎËÍ. » Ò‡ÁÛ ÔÓÒΠÓÙˈˇθÌÓ„Ó
ÔËÂχ ËÒ˜ÂÁ. ¿ ˜ÂÂÁ ÚË ‰Ìˇ ̇¯ÂÎÒˇ Ë ÛÎÂÚÂÎ Ò ‚ËÁËÚÓÏ
‚ »Ì‰Ë˛. ¿ Í‡Í ÔÓ‚ÂÎ ‚ÂÎËÍËÈ ˜ÂÎÓ‚ÂÍ ˝ÚË ÚË ‰Ìˇ ‚‰‡ÎË
ÓÚ Î˘ÌÓÈ Óı‡Ì˚, ÒÓÚÛ‰ÌËÍÓ‚ ÍÓÏÔÂÚÂÌÚÌ˚ı Ó„‡ÌÓ‚ Ë
ÏÌÓ„Ó˜ËÒÎÂÌÌ˚ı ÒÂÍÂÚ‡ÂÈ, ÂÒÚ¸ ‡ÁÌ˚ ‚ÂÒËË.
Õ‡ÔËÏÂ, ˜ÚÓ Ì‡¯ ‰ÓÓ„ÓÈ ÀÂÓÌˉ »Î¸Ë˜ Ó͇Á‡ÎÒˇ ‚
„ÓÒÚˇı Û Ó‰ÌÓ„Ó ˆ˚„‡ÌÒÍÓ„Ó ·‡Ó̇, ÒڇΠ҂‡ÚÓÏ Ì‡ ‚ÂÒÂÎÓÈ
Ò‚‡‰¸·Â, ˜ÛÚ¸ ·˚ÎÓ Ì ÔÂÂÒÂÎËÎ ˆÂÎ˚È Ì‡Ó‰ ‚ —Ë·Ë¸ Ë
ÒÏÓ„ ÔËÁÌ‡Ú¸Òˇ ‚ β·‚Ë Ò‡ÏÓÈ ‰ÓÓ„ÓÈ, ÌÓ Ì‰ÓÒÚËÊËÏÓÈ
‰‡Ê ‰Îˇ ÌÂ„Ó ÊÂÌ˘ËÌÂÖ
(serial)
1997 ....Poor Sasha
1999 ....The President and His
Granddaughter
2000 ....The Silvery Lily of the Valley
2001 ....Menís Work (serial)
2002 ....Menís Work 2 (serial)
2004 ....The Silvery Lily of the Valley (serial)
2006 ....Rabbit over the Void
Lyrical comedy.
Sometimes strange things happen even the great people of
this world. Once the ruler of all Soviet lands, whom all the
people used to call only ìour dear Leonid Ilyichî (Brezhnev),
went on a visit to Moldovia, one of his favourite republics.
Immediately after the formal reception he disappeared. Three
days later he was found, only to leave for a visit to India.
But how did the great man spend these three days, far away
from his bodyguards, from civil servants and numerous
secretaries? There are different versions. For example, that
ìour dear Leonid Ilyichî found himself the guest of a gipsy
baron, and was best man at a merry wedding, almost moved
the entire population to Siberia and declared his love to the
nicest, but even for him unattainable, womanÖ
ÍÓÌÍÛÒ
competition
»«Œ¡–¿∆¿fl ∆≈–“¬”
PLAYING THE VICTIM
20
2006, –ÓÒÒˡ, 100 ÏËÌ., ˆ‚., 1:1.66, Dolby SRD
2006, Russia, 100 min, colour, 1:1.66, Dolby SRD
–ÂÊËÒÒÂ üËËÎÎ —Â·ÂÌÌËÍÓ‚
Director Kirill Serebrennikov
¿‚ÚÓ˚ ÒˆÂ̇ˡ ·‡Ú¸ˇ œÂÒÌˇÍÓ‚˚
Scriptwriters Presnyakov Brothers
ŒÔÂ‡ÚÓ —Â„ÂÈ ÃÓÍˈÍËÈ
Camera Sergei Mokritsky
’Û‰ÓÊÌËÍ ¬‡ÎÂËÈ ¿ıËÔÓ‚
Art Director Valery Arkhipov
¿ÌËχˆËˇ –ÓÏ‡Ì —ÓÍÓÎÓ‚
Animator Roman Sokolov
üÓÏÔÓÁËÚÓ ¿ÎÂÍ҇̉ ÇÌÓˆÍÓ‚
Composer Alexander Manotskov
«‚ÛÍ ƒ‡ÎÂ ’‡Ò‡ÌÓ‚
Sound Daler Khasanov
ÃÓÌÚ‡Ê ŒÎ¸„‡ √Ë̯ÔÛÌ
Editing Olga Grinshpun
¬ ÓΡı: fiËÈ ◊ÛÒËÌ, ¬ËÚ‡ÎËÈ ’‡Â‚, ¿Ì̇ ÃËı‡ÎÍÓ‚‡,
Cast: Yuri Chursin, Vitaly Khaev, Anna Mikhalkova,
Àˡ ¿ı‰ʇÍÓ‚‡, Ç‡Ú ¡‡¯‡Ó‚, ÇË̇ √ÓÎÛ·, ¿Ì‰ÂÈ
Lia Akhedzhakova, Marat Basharov, Marina Golub, Andrey
‘ÓÏËÌ, ÇÍÒËÏ üÓÌÓ‚‡ÎÓ‚, »„Ó¸ √‡ÒÔ‡ˇÌ, ≈ÎÂ̇
Fomin, Maxim Konovalov, Igor Gasparian, Elena Morozova,
ÃÓÓÁÓ‚‡, ‘‰Ó ƒÓ·ÓÌ‡‚Ó‚
Fyodor Dobronravov
œÓ‰˛ÒÂ˚ Շڇθˇ ÃÓÍˈ͇ˇ, ”θˇÌ‡ —‡‚Â肇,
Producers Natalia Mokritskaya, Uliana Savelieva,
ÀÂÓÌˉ «‡„‡Î¸ÒÍËÈ
Leonid Zagalsky
œÓËÁ‚Ó‰ÒÚ‚Ó —ÚÛ‰Ëˇ ´ÕÓ‚˚ β‰Ëª, ´¬Â„‡ œÓ‰‡Í¯Ìª,
Production ìNovye Lyudiî, ìVega Productionî with
ÔË Û˜‡ÒÚËË ‘‰Â‡Î¸ÌÓ„Ó ‡„ÂÌÚÒÚ‚‡ ÔÓ ÍÛθÚÛ Ë
participation of the Federal Agency for Culture and
ÍËÌÂχÚÓ„‡ÙËË
Cinematography
œÓÍ‡Ú üÓÏÔ‡Ìˡ ´¬ÂÒÚª
Distribution West Company
ÍÓÌÍÛÒ
competition
üËËÎÎ —Â·ÂÌÌËÍÓ‚
–ÂÊËÒÒÂ Ú‡Ú‡ Ë ÍËÌÓ, ·ÛÂ‡Ú Ò‡Ï˚ı
ÔÂÒÚËÊÌ˚ı Ú‡Ú‡Î¸Ì˚ı ÔÂÏËÈ Ë ÔÂÏËË
“›‘» (1999, Á‡ ‰ÓÍÛÏÂÌڇθÌ˚È ÙËθÏ
´“‡ÈÌ˚ „ÓÁ˚ª). –Ó‰ËÎÒˇ ‚ –ÓÒÚÓ‚Â-̇-ƒÓÌÛ
(1969). ŒÍÓ̘ËÎ ÙËÁËÍÓ-χÚÂχÚ˘ÂÒÍËÈ
Ù‡ÍÛθÚÂÚ –ÓÒÚÓ‚ÒÍÓ„Ó ÛÌË‚ÂÒËÚÂÚ‡.
—Ú‡‚ËÎ ÒÔÂÍÚ‡ÍÎË ‚ –ÓÒÚÓ‚Â-̇-ƒÓÌÛ, ÒÌˇÎ
ÌÂÒÍÓθÍÓ ÚÂÎÂÙËθÏÓ‚ ‰Îˇ „ËÓ̇θÌÓ„Ó
21
ÚÂ΂ˉÂÌˡ, ‡·ÓڇΠ‚ ÂÍ·ÏÌÓÏ ·ËÁÌÂÒÂ.
— 1998 ÊË‚ÂÚ Ë ‡·ÓÚ‡ÂÚ ‚ ÃÓÒÍ‚Â, ÒÚ‡‚ËÚ
ÒÔÂÍÚ‡ÍÎË Ì‡ ÒˆÂ̇ı Ã’“ ËÏÂÌË ◊ÂıÓ‚‡,
“‡Ú‡ ËÏÂÌË œÛ¯ÍË̇, Ú‡Ú‡
´—Ó‚ÂÏÂÌÌËͪ Ë ‰Û„Ëı ÔÎÓ˘‡‰Í‡ı.
‘ËθÏÓ„‡Ùˡ ÂÊËÒÒÂ‡:
1998 ....“‡ÈÌ˚ „ÓÁ˚ (‰ÓÍ.)
1998 ....–‡Á‰ÂÚ˚Â
2000 ....–ÓÒÚÓ‚-Ô‡Ô‡ (ÒÂˇÎ)
2002 ....ƒÌ‚ÌËÍ Û·ËȈ˚ (ÒÂˇÎ)
2003 .... œÓÒÚÂθÌ˚ ҈ÂÌ˚
(ÙËÎ¸Ï ‡Î¸Ï‡Ì‡ı‡
´—ÔËÒÓÍ ‚β·ÎÂÌÌ˚ı –‘ª)
2004 ....–‡„ËÌ
2006 ....»ÁÓ·‡Ê‡ˇ ÊÂÚ‚Û
Kirill Serebrennikov
Director of theatre and cinema, winner of the
most prestigious theatre awards and the TEFI
television award (1999, for the documentary
film ìSecrets of a Thunderstormî). Born in
◊Â̇ˇ ÍÓωˡ, ˝Í‡ÌËÁ‡ˆËˇ Ó‰ÌÓËÏÂÌÌÓÈ Ô¸ÂÒ˚ ·‡Ú¸Â‚ œÂÒÌˇÍÓ‚˚ı.
Rostov-on-Don (1969). Graduated from the
¬˚ÔÛÒÍÌËÍ ÛÌË‚ÂÒËÚÂÚ‡ ¬‡Îˇ ÛÒÚ‡Ë‚‡ÂÚÒˇ ‡‰Ë Á‡‡·ÓÚ͇ ‚ ÏËÎËˆË˛, „‰Â ‚Ó
Faculty of Physics and Mathematics of
‚ÂÏˇ ÒΉÒÚ‚ÂÌÌ˚ı ˝ÍÒÔÂËÏÂÌÚÓ‚ ‰ÓÎÊÂÌ ËÁÓ·‡Ê‡Ú¸ ÊÂÚ‚ ÔÂÒÚÛÔÎÂÌËÈ.
Rostov University. Staged productions in
—ΉÒÚ‚ÂÌ̇ˇ „ÛÔÔ‡ ‚ ÒÓÒÚ‡‚ ı‡ËÁχÚ˘ÌÓ„Ó Í‡ÔËڇ̇, ‚ÓÓÛÊÂÌÌÓÈ
Rostov, made several television films for
‚ˉÂÓ͇ÏÂÓÈ Ô‡ÔÓ˘Ëˆ˚ À˛‰˚ Ë ÚÛÔÓ‚‡ÚÓ„Ó ÒÂʇÌÚ‡ Âʉ̂ÌÓ ‚˚‚ÓÁËÚ
regional television, worked in advertising.
ÔÓ‰ÒÛ‰ËÏ˚ı ̇ ÏÂÒÚ‡ ÔÂÒÚÛÔÎÂÌËÈ, „‰Â ÔÓÎÓÊÂÌÓ ‚ÓÒÒÚ‡ÌÓ‚ËÚ¸ ͇ÚËÌÛ
Since 1998 lives and works in Moscow, staged
Ú‡„‰ËË. ƒÓÔÓÎÌËÚÂθÌÓ ÒÛχүÂÒÚ‚Ë ‚ ÔÓËÒıÓ‰ˇ˘Â ÔË‚ÌÓÒˇÚ Ò‡ÏË
performances at the Chekhov Moscow Arts
ÔÂÒÚÛÔÌËÍË: Ó‰ËÌ ‚˚·ÓÒËÎ ËÁ ÓÍ̇ ÒÓ·ÒÚ‚ÂÌÌÛ˛ ÊÂÌÛ, ‚ÚÓÓÈ ÛÚÓÔËÎ
Theatre, the Pushkin Theatre, the
β·ËÏÛ˛ ‰Â‚Û¯ÍÛ ‚ ·‡ÒÒÂÈÌÂ, ÚÂÚËÈ ÌË Ò ÚÓ„Ó, ÌË Ò ÒÂ„Ó ‚ ˇÔÓÌÒÍÓÏ
Sovremennik Theatre and other theatres.
ÂÒÚÓ‡Ì ´ÔÛθÌÛÎ ËÁ ÔËÒÚÓÎÂÚ‡ª ‚ Ó‰ÌÓÍ·ÒÒÌË͇... œÓÌˇÚÌÓ ‰ÂÎÓ, ‚Ò ˝ÚË
´‡ÒÒΉӂ‡Ìˡª ÔÓ‚Ó‰ˇÚÒˇ ‰Îˇ „‡ÎÓ˜ÍË (ËÒıÓ‰ ‰Â· Ô‰¯ÂÌ, ÔÂÒÚÛÔÌËÍ
Filmography (as director):
·Û‰ÂÚ ÓÒÛʉÂÌ), ˜ÚÓ ÒÓÁ‰‡ÂÚ ÙÓÌ Î„ÍÓ„Ó ‡·ÒÛ‰‡.
1998 ....Secrets of a Thunderstorm (doc).
1998 ....Naked
A black comedy, screen version of the play of the same title by the Presnyakov
2000 ....Rostov-Papa (serial)
Brothers
2002 ....Diary of a Murderer (serial)
In order to earn money, the university graduate Valia takes up a job with the
2003 ....Bad Bed Scenes (film in the almanac
police, where he plays crime victims in reconstructions of events for the
ìList of those in Love in the Russian
investigation. Every day the team of investigators, including the charismatic
Federationî)
captain, the officer Liuda who is armed with a video-camera, and a dumb
2004 ....Ragin
sergeant, take defendants to crime scenes and reconstruct the tragedy that
2006 ....Playing the Victim
occurred. In each event additional madness comes into play from the criminals:
one has thrown his wife out of a window, the second has drowned his beloved
in a pool, the third ñ for no reason whatsoever ñ shot at his former
schoolmate in a Japanese restaurant... Clearly, all these ìinvestigationsî are
carried out only to adhere to the procedures, because the outcome of each case
is well known in advance: the criminal will be convicted. This premise creates a
slight absurdity.
ÍÓÌÍÛÒ
competition
ÃÕ≈ Õ≈ ¡ŒÀ‹ÕŒ
IT DOESNíT HURT
22
2006, –ÓÒÒˡ, 104 ÏËÌ., ˆ‚., 1:1.85, Dolby Digital 5.1
2006, Russia, 104 min, colour, 1:1.85, Dolby Digital 5.1
–ÂÊËÒÒÂ ¿ÎÂÍÒÂÈ ¡‡Î‡·‡ÌÓ‚
Director Alexei Balabanov
¿‚ÚÓ ÒˆÂ̇ˡ ¬‡ÎÂËÈ Ã̇ˆ‡Í‡ÌÓ‚
Scriptwriter Valery Mnatsakanov
ŒÔÂ‡ÚÓ —Â„ÂÈ ¿ÒÚ‡ıÓ‚
Camera Sergei Astakhov
’Û‰ÓÊÌËÍ œ‡‚ÂÎ œ‡ıÓÏÂÌÍÓ
Art Director Pavel Parkhomenko
üÓÒÚ˛Ï˚ “‡Ú¸ˇÌ‡ œ‡Ú‡ı‡Î¸ˆÂ‚‡
Costumes Tatiana Patrakhaltseva
üÓÏÔÓÁËÚÓ ¬‡‰ËÏ —‡ÏÓÈÎÓ‚
Composer Vadim Samoylov
«‚ÛÍ ÃËı‡ËÎ ÕËÍÓ·‚
Sound Mikhail Nikolaev
ÃÓÌÚ‡Ê “‡Ú¸ˇÌ‡ üÛÁ¸Ï˘‚‡
Editing Tatiana Kuzmichiova
¬ ÓΡı: –Â̇ڇ ÀËÚ‚ËÌÓ‚‡, ¿ÎÂÍ҇̉ flˆÂÌÍÓ,
Cast: Renata Litvinova, Alexander Yatsenko, Dmitry Dyuzhev,
ƒÏËÚËÈ ƒ˛Ê‚, ÕËÍËÚ‡ ÃËı‡ÎÍÓ‚, »Ì„‡ Œ·ÓΉË̇,
Nikita Mikhalkov, Inga Oboldina, Valentin Kuznetsov,
¬‡ÎÂÌÚËÌ üÛÁ̈ӂ, —Â„ÂÈ Ã‡ÍӂˆÍËÈ, ÇÍ –Û‰Ë̯ÚÂÈÌ
Sergei Makovetsky, Mark Rudinshtein
œÓ‰˛ÒÂ —Â„ÂÈ —ÂθˇÌÓ‚
Producer Sergei Selyanov
œÓËÁ‚Ó‰ÒÚ‚Ó —“¬
Production CTB Film Company
œÓÍ‡Ú ´Õ‡¯Â ÍËÌÓª, ´ü‡ÓÔÓ͇ڪ
Distribution Nashe Kino, Karoprokat
www.ctb.ru; www.nashekino.ctb.ru
www.ctb.ru; www.nashekino.ctb.ru
ÍÓÌÍÛÒ
competition
¿ÎÂÍÒÂÈ ¡‡Î‡·‡ÌÓ‚
–ÂÊËÒÒÂ, ÒˆÂ̇ËÒÚ, ÔÓ‰˛ÒÂ. œËÁÂ
ÏÂʉÛ̇Ó‰Ì˚ı Ë ÓÒÒËÈÒÍËı
ÍËÌÓÙÂÒÚË‚‡ÎÂÈ, ·ÛÂ‡Ú ÔÓÙÂÒÒËÓ̇θÌ˚ı
ÍËÌÓÔÂÏËÈ. –Ó‰ËÎÒˇ ‚ —‚Â‰ÎÓ‚ÒÍ 25
Ù‚‡Îˇ 1959„Ó‰‡. ŒÍÓ̘ËÎ ÔÂ‚Ӊ˜ÂÒÍËÈ
Ù‡ÍÛθÚÂÚ √Ó¸ÍÓ‚ÒÍÓ„Ó Ô‰‡„ӄ˘ÂÒÍÓ„Ó
ËÌÒÚËÚÛÚ‡ (1981), ¬ü—– ó ¬˚үˠÍÛÒ˚
ÒˆÂ̇ËÒÚÓ‚ Ë ÂÊËÒÒÂÓ‚ (1990,
23
˝ÍÒÔÂËÏÂÌڇθÌ˚È ÍÛÒ ´¿‚ÚÓÒÍÓÂ
ÍËÌÓª). ¬ 1992 „Ó‰Û ‚ÏÂÒÚÂ Ò —Â„ÂÂÏ
—ÂθˇÌÓ‚˚Ï Ë ¬‡ÒËÎËÂÏ √Ë„Ó¸Â‚˚Ï
ÓÒÌÓ‚‡Î üËÌÓÍÓÏÔ‡Ì˲ —“¬, ÔË Û˜‡ÒÚËË
ÍÓÚÓÓÈ ÓÌ ‚ ÓÒÌÓ‚ÌÓÏ Ë ÒÌËχÂÚ Ò‚ÓË
ÙËθÏ˚.
»Á·‡Ì̇ˇ ÙËθÏÓ„‡Ùˡ ÂÊËÒÒÂ‡:
1991 ....—˜‡ÒÚÎË‚˚ ‰ÌË
1994 ....«‡ÏÓÍ
1995 ....“ÓÙËÏ˙
(Í/Ï, ‡Î¸Ï‡Ì‡ı ´œË·˚ÚË ÔÓÂÁ‰‡ª)
1997 ....¡‡Ú
1998 ....œÓ ÛÓ‰Ó‚ Ë Î˛‰ÂÈ
2000 ....¡‡Ú-2
2000 ....–Â͇
2002 ....¬ÓÈ̇
2005 ....∆ÏÛÍË
Alexei Balabanov
Director, scriptwriter, producer. Prize-winner
of international and national film festivals,
ÃÂÎÓ‰‡Ï‡.
winner of professional film awards. Born 25
“Ó ‰ÛÁÂÈ ÒÚÓˇÚ Ì‡ ÔÓÓ„Â ¯Ë͇ÌÓ„Ó ‰Óχ ‚ ˆÂÌÚ ·Óθ¯Ó„Ó „ÓÓ‰‡.
February 1959 in Sverdlovsk. Graduated from
ŒÌË ÏÓÎÓ‰˚, ÔÓÎÌ˚ ˝ÌÂ„ËË, Û ÌËı ÂÒÚ¸ ڇ·ÌÚ, ÒÌÓӂ͇, ʇʉ‡ ÊËÁÌËÖ
the Translation Department of Gorky
¬ Ó·˘ÂÏ, Û ÌËı ÂÒÚ¸ ‚ÒÂ, ÍÓÏ ‰ÂÌ„. «‡ ˝ÚËÏ ÓÌË Ò˛‰‡ Ë Ô˯ÎË ñ
Pedagogical Institute (1981), and from the
Ô‰ÎÓÊËÚ¸ ÛÒÎÛ„Ë ‰ËÁ‡ÈÌÂ‡ ıÓÁˇÈÍ ‰Óχ. Õ‡Ú˝Î· ¿ÌÚÓÌӂ̇ ÚÓÊÂ
Higher Courses for Directors and
ÏÓÎÓ‰‡, ÌÓ Í‡ÊÂÚÒˇ, ÊËÁ̸ ÂÈ ÛÊ ÛÒÔ· ̇ÒÍÛ˜ËÚ¸. œÓ Í‡ÈÌÂÈ ÏÂ ڇÍ
Scriptwriters at the Film Institute (1990,
·˚ÎÓ ‰Ó ‚ÒÚÂ˜Ë Ò Ã˯ÂÈ. ŒÌ ÔÓÏÓ„ ÂÈ ÒÌÓ‚‡ ‚β·ËÚ¸Òˇ ‚ ÊËÁ̸, ‡ Ó̇
experimental course of ëdirectorís cinemaí). In
̇¯Î‡ ÂÏÛ Ë Â„Ó ‰ÛÁ¸ˇÏ ËÌÚÂÂÒÌÛ˛ ‡·ÓÚÛ.
1992 he founded, together with Sergei
¡Ó„‡Ú˚ ÍÎËÂÌÚ˚, ‰ÓÓ„Ë ӷ‰˚, Ó„ÓÏÌ˚ „ÓÌÓ‡˚ ñ ‰ÛÁ¸ˇ Ó· ˝ÚÓÏ Ë ÌÂ
Selianov and Vasily Grigoriev, the film
ϘڇÎË. » Ò‡ÏÓ „·‚ÌÓ ñ Ó̇ β·ËÚ Â„Ó! ÕÓ ÔË ˝ÚÓÏ ÒÍ˚‚‡ÂÚ ˜ÚÓ-ÚÓ
company —“¬, with whose participation he
Ó˜Â̸ ‚‡ÊÌÓÂ, ˜ÚÓ ÌÂËÁ·ÂÊÌÓ ÔÓ‚ÎˡÂÚ Ì‡ Ëı ·Û‰Û˘ÂÂÖ
subsequently made all his films.
Melodrama.
Selected Directorís Filmography:
Three friends stand on the threshold to a posh house in the center of a big
1991 ....Happy Days
city. They are young and full of energy; they have talent, skills, and a thirst
1994 ....The Castle
of life Ö broadly speaking they have everything, except for money. And for
1995 ....Trofim
that they have come here: to offer their services as designers to the landlady.
(short, almanac ìArrival of a trainî)
Natella Antonovna is also young, but her life seems to have turned into
1997 ....Brother
boredom already. At least this was the case until she met Misha. He helped her
1998 ....Of Freaks and Men
love her life once again; she found him and his friends an interesting job. Rich
2000 ....Brother 2
clients, expensive dinners, and huge fees: our friends could not have dreamt of
2001 ....The River
that. And, most important, she loves him! But she hides something crucial, and
2002 ....War
this will inevitably affect their futureÖ
2005 ....Dead Manís Bluff
ÍÓÌÍÛÒ
competition
Õ¿Õü»Õ—ü»… œ≈…«¿∆
NANKIN LANDSCAPE
24
2005, –ÓÒÒˡ, 101 ÏËÌ., ˆ‚., 1:1.85, Dolby Digital 5.1
2005, Russia, 101 min, colour, 1:1.85, Dolby Digital 5.1
–ÂÊËÒÒÂ ¬‡ÎÂËÈ –Û·Ë̘ËÍ
Director Valery Rubinchik
¿‚ÚÓ ÒˆÂ̇ˡ ¿Ì‰ÂÈ ¡˚˜ÍÓ‚
Scriptwriter Andrey Bychkov
ŒÔÂ‡ÚÓ ¬ËÍÚÓ ÿÂÒÚÓÔÂÓ‚
Camera Victor Shestopiorov
’Û‰ÓÊÌËÍ »Ë̇ ¿ÎÂÍÒ‚‡
Art Director Irina Alexeeva
üÓÒÚ˛Ï˚ ƒÏËÚËÈ ¿Ì‰‚
Costumes Dmitry Andreev
ÃÛÁ˚͇ À˛‰‚Ë„ ¬‡Ì ¡ÂÚıÓ‚ÂÌ, ¡ẨʇÏËÌ ¡‡¯‡È
Music Ludwig van Beethoven, Benjamin Barshai
«‚ÛÍ »„Ó¸ ”‚‡ÌˆÂ‚
Sound Igor Urvantsev
ÃÓÌÚ‡Ê »Ë̇ üÓÊÂÏˇÍË̇
Editing Irina Kozhemyakina
¬ „·‚Ì˚ı ÓΡı: ƒ‡¸ˇ ÃÓÓÁ, üÓÌÒÚ‡ÌÚËÌ À‡‚ÓÌÂÌÍÓ,
Principal Cast: Daria Moroz, Konstantin Lavronenko,
≈„Ó ¡‡ËÌÓ‚
Egor Barinov
œÓ‰˛ÒÂ ¿ÎÂÍ҇̉ œÓÚÂÏÍËÌ
Producer Alexander Potyomkin
œÓËÁ‚Ó‰ÒÚ‚Ó üËÌÓÒÚÛ‰Ëˇ ´¿–ü-ÙËθϪ, ÔË Û˜‡ÒÚËË
Production ARK-film, with participation of the Federal
‘‰Â‡Î¸ÌÓ„Ó ‡„ÂÌÚÒÚ‚‡ ÔÓ ÍÛθÚÛÂ Ë ÍËÌÂχÚÓ„‡ÙËË
Agency for Culture and Cinematography
ÍÓÌÍÛÒ
competition
¬‡ÎÂËÈ –Û·Ë̘ËÍ
–ÂÊËÒÒÂ Ë ÒˆÂ̇ËÒÚ. «‡ÒÎÛÊÂÌÌ˚È
‰ÂˇÚÂθ ËÒÍÛÒÒÚ‚ –ÓÒÒËË, ÔËÁÂ
ÏÂʉÛ̇Ó‰Ì˚ı Ë ÓÚ˜ÂÒÚ‚ÂÌÌ˚ı
ÍËÌÓÙÂÒÚË‚‡ÎÂÈ. –Ó‰ËÎÒˇ ‚ ÃËÌÒÍ 17
‡ÔÂΡ 1940 „Ó‰‡. ŒÍÓ̘ËÎ ÂÊËÒÒÂÒÍËÈ
Ù‡ÍÛθÚÂÚ ¡ÂÎÓÛÒÒÍÓ„Ó Ú‡Ú‡Î¸ÌÓ„Ó
ËÌÒÚËÚÛÚ‡ (1962), ÂÊËÒÒÂÒÍËÈ Ù‡ÍÛθÚÂÚ
¬√»ü‡ (1969, χÒÚÂÒ͇ˇ fl.¿.—„ÂΡ).
25
Õ‡˜Ë̇Π̇ ÒÚÛ‰ËË ´¡Â·ÛÒ¸ÙËθϪ.
— 1988 „Ó‰‡ ÊË‚ÂÚ Ë ‡·ÓÚ‡ÂÚ ‚ ÃÓÒÍ‚Â.
–ÛÍÓ‚Ó‰ËÚÂθ ÂÊËÒÒÂÒÍÓÈ Ï‡ÒÚÂÒÍÓÈ
¬√»ü‡ Ë ÂÊËÒÒÂÒÍÓÈ Ï‡ÒÚÂÒÍÓÈ
»ÌÒÚËÚÛÚ‡ ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡.
‘ËθÏÓ„‡Ùˡ (Ë„Ó‚Ó ÍËÌÓ):
1969 ......ü‡ÒÌ˚È ‡„ËÚ‡ÚÓ “ÓÙËÏ √ÎÛ¯ÍÓ‚ (Ú‚)
1971 ....ÃÓ„Ë· 肇
1974 ....œÓÒΉÌ ÎÂÚÓ ‰ÂÚÒÚ‚‡ (Ú‚)
1975 ....√‡ÏÎÂÚ ŸË„Ó‚ÒÍÓ„Ó ÛÂÁ‰‡ (Ú‚)
1976 ....¬ÂÌÓÍ ÒÓÌÂÚÓ‚
1979 ....ƒË͇ˇ ÓıÓÚ‡ ÍÓÓΡ —Ú‡ı‡
1982 ....üÛθÚÔÓıÓ‰ ‚ Ú‡Ú
1983 ....üÓÏ˘ÂÒÍËÈ Î˛·Ó‚ÌËÍ, ËÎË
À˛·Ó‚Ì˚ Á‡ÚÂË
Ò˝‡ ƒÊÓ̇ ‘‡Î¸ÒÚ‡Ù‡ (Ú‚)
1988 ....ŒÚÒÚÛÔÌËÍ
1989 ....üÓωˡ Ó ÀËÒËÒÚ‡ÚÂ
1991 ....ÕÂβ·Ó‚¸
1995 ....œÂÈÁ‡Ê Ò ÚÂÏˇ ÍÛԇθ˘Ëˆ‡ÏË
2002 ....üËÌÓ ÔÓ ÍËÌÓ
Valery Rubinchik
Director and scriptwriter. Honored Artist of
Russia, prize-winner of international and
national film festivals. Born in Minsk on 17
ÃÂÎÓ‰‡Ï‡.
April 1940. Graduated from the Directorsí
œËÚ˜‡ Ó· ‡Ï·Ë‚‡ÎÂÌÚÌÓÒÚË Ë ‡ÁÛ¯‡˛˘ÂÈ ‰‚ÓÈÒÚ‚ÂÌÌÓÒÚË ñ
Faculty of the Belarus Theatre Institute (1962),
the Directorsí Faculty of the Film Institute
·‡Î·‰‡ Ó· Ó‰ËÌÓ˜ÂÒÚ‚Â ˜ÂÎÓ‚Â͇, ÍÓÚÓ˚È ÍÓ„‰‡-ÚÓ Ô‰‡Î
VGIK (1969, class of Ya. Segel). Began at the
Ò‚Ó˛ β·Ó‚¸.
studio Belarusfilm. Since 1988 lives and works
in Moscow. Head of a Directorsí Course at the
Film Institute VGIK and a Directorsí Workshop
at the Institute of Contemporary Art.
Melodrama.
A parable about the ambivalence and destructive duplicity;
Filmography as director
1969......The Red Agitator Trofim Glushkov (TV)
1971 ....The Lionís Grave
1974 ....Last Summer of Childhood (TV)
1975 ....Hamlet of the Shchigrov County (TV)
1976 ....A Wreath of Sonnets
1979 ....Savage Hunt of King Stakh
1982 ....Cultural Venture to the Theatre
1983 ....Comic Lover, or Love Escapades
of Sir John Falstaff (TV)
1988 ....The Apostate
1989 ....Comedy about Lysistrata
1991 ....No Love
1995 ....Landscape with Three Bathers
2002 ....Cinema about Cinema
a ballad about the loneliness of a man, who sometime betrayed
his real love.
ÍÓÌÍÛÒ
competition
œ¿–ü —Œ¬≈“—üŒ√Œ œ≈–»Œƒ¿
SOVIET PARK
26
2006, –ÓÒÒˡ, 124 ÏËÌ., ˆ‚., 1:1.85, Dolby Digital S EX
2006, Russia, 124 min, colour, 1:1.85, Dolby Digital S EX
–ÂÊËÒÒÂ fiÎËÈ √ÛÒχÌ
Director Yuli Gusman
¿‚ÚÓ˚ ÒˆÂ̇ˡ ›‰Û‡‰ ¿ÍÓÔÓ‚, fiÎËÈ √ÛÒχÌ
Scriptwriters Eduard Akopov, Yuli Gusman
ŒÔÂ‡ÚÓ »„Ó¸ üη‡ÌÓ‚
Camera Igor Klebanov
’Û‰ÓÊÌËÍ ŒÎ¸„‡ ü‡‚˜ÂÌˇ
Art Director Olga Kravchenia
üÓÒÚ˛Ï˚ Õ‡Ú‡Îˡ —Ú˚ˆ˛Í
Costumes Natalia Stytsiuk
üÓÏÔÓÁËÚÓ ÇÍÒËÏ ƒÛ̇‚ÒÍËÈ
Composer Maxim Dunaevsky
üÓÏÔÓÁËÚÓ ÇÍÒËÏ ƒÛ̇‚ÒÍËÈ
Sound Oleg Tsygankov
«‚ÛÍ ŒÎ„ ÷˚„‡ÌÍÓ‚
Editor Irina Kozhemiakina
ÃÓÌÚ‡ÊÂ »Ë̇ üÓÊÂÏˇÍË̇
Cast: Alexander Lazarev-younger, Elizaveta Boiarskaya,
¬ ÓΡı: ¿ÎÂÍ҇̉ À‡Á‡‚-ÏÎ., ≈ÎËÁ‡‚ÂÚ‡ ¡ÓˇÒ͇ˇ,
Mikhail Efremov, Vladimir Dolinsky, Alexander Dziuba,
ÃËı‡ËÎ ≈ÙÂÏÓ‚, ¬Î‡‰ËÏË ƒÓÎËÌÒÍËÈ, ¿ÎÂÍ҇̉ ƒÁ˛·‡,
Alexander Pashutin, Sergei Nikonenko, Alexei Buldakov, Nina
¿ÎÂÍ҇̉ œ‡¯ÛÚËÌ, —Â„ÂÈ ÕËÍÓÌÂÌÍÓ, ¿ÎÂÍÒÂÈ ¡ÛΉ‡ÍÓ‚,
Usatova, Lidia Fedoseeva-Shukshina, Valery Barinov, Rafael
ÕË̇ ”Ò‡ÚÓ‚‡, Àˉˡ ‘‰ÓÒ‚‡-ÿÛͯË̇, ¬‡ÎÂËÈ
Mukaev, Polina Lazareva, Vladimir Zeldin
¡‡ËÌÓ‚, –‡Ù‡˝Î¸ ÃÛ͇‚, ¬Î‡‰ËÏË «Âθ‰ËÌ
œÓ‰˛ÒÂ˚ —Â„ÂÈ ÃÂθÍÛÏÓ‚, ¿͇‰ËÈ √‡È‰‡Ï‡Í,
Producers Sergei Melkumov, Arkadi Gaydamak, Yuli Gusman,
fiÎËÈ √ÛÒχÌ, “ËÏÛ ¬‡È̯ÚÂÈÌ
Timur Vainshtein
Production Slovo Production Company, YuG-TV, A.G.
œÓËÁ‚Ó‰ÒÚ‚Ó œü ´—ÎÓ‚Óª, fi√-“¬, ´¿.√. œË͘ÂÁª,
Pictures with participation of the Federal Agency for Culture
ÔË Û˜‡ÒÚËË ‘‰Â‡Î¸ÌÓ„Ó ‡„ÂÌÚÒÚ‚‡ ÔÓ ÍÛθÚÛÂ
and Cinematography
Ë ÍËÌÂχÚÓ„‡ÙËË
ÍÓÌÍÛÒ
competition
fiÎËÈ √ÛÒχÌ
–ÂÊËÒÒÂ, ‰‡Ï‡ÚÛ„, Ó„‡ÌËÁ‡ÚÓ
ÍËÌÓÔÓˆÂÒÒ‡, ÚÂÎÂ‚Â‰Û˘ËÈ. «‡ÒÎÛÊÂÌÌ˚È
‰ÂˇÚÂθ ËÒÍÛÒÒÚ‚ –ÓÒÒËË, Õ‡Ó‰Ì˚È ‡ÚËÒÚ
¿ÁÂ·‡È‰Ê‡Ì‡. –Ó‰ËÎÒˇ ‚ ¡‡ÍÛ 8 ‡‚„ÛÒÚ‡
1943 „Ó‰‡. ŒÍÓ̘ËÎ ¡‡ÍËÌÒÍËÈ
ωˈËÌÒÍËÈ ËÌÒÚËÚÛÚ (1966), ‡ÒÔË‡ÌÚÛÛ
»ÌÒÚËÚÛÚ‡ ÛÒÓ‚Â¯ÂÌÒÚ‚Ó‚‡Ìˡ ‚‡˜ÂÈ,
¬ü—– (1972). — 1964 ó ‡ÍÚË‚Ì˚È Û˜‡ÒÚÌËÍ
ü¬Õ, ‚ 1976-84 ñ ıÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È
ÛÍÓ‚Ó‰ËÚÂθ ¡‡ÍËÌÒÍÓ„Ó Ú‡Ú‡
ÏÛÁ˚͇θÌÓÈ ÍÓωËË, ÂÊËÒÒÂ
·‡ÍËÌÒÍÓ„Ó “fi«‡, ÂÊËÒÒÂ ÍËÌÓÒÚÛ‰ËË
´¿ÁÂ·‡È‰Ê‡ÌÙËθϪ. –ÛÍÓ‚Ó‰ËÎ
Ú‡Ú‡Î¸Ì˚ÏË ÔÓÒÚ‡Ìӂ͇ÏË ‚ —ÿ¿, üËÚ‡Â
Ë flÔÓÌËË, ÔÂÔÓ‰‡‚‡Î ‚ —ÿ¿. ¬ 2004
ÔÓÒÚ‡‚ËΠ̇ ÒˆÂÌ ÷¿“–¿ Ï˛ÁËÍÎ
´◊ÂÎÓ‚ÂÍ ËÁ À‡Ï‡Ì˜Ëª. ¬ 1993-95 ó
‰ÂÔÛÚ‡Ú √ÓÒÛ‰‡ÒÚ‚ÂÌÌÓÈ ‰ÛÏ˚ Ë
ıÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÛÍÓ‚Ó‰ËÚÂθ
÷ÂÌÚ‡Î¸ÌÓ„Ó ‰Óχ ÍËÌÂχÚÓ„‡ÙËÒÚÓ‚.
¿‚ÚÓ Ë ÓÒÌÓ‚‡ÚÂθ œÂÏËË ÍËÌӇ͇‰ÂÏËË
´ÕË͇ª, ‰Û„Ëı ÔÓÙÂÒÒËÓ̇θÌ˚ı ÔÂÏËÈ
Ë ÙÂÒÚË‚‡ÎÂÈ.
27
‘ËθÏÓ„‡Ùˡ ÂÊËÒÒÂ‡:
1977 ....¬ Ó‰ËÌ ÔÂÍ‡ÒÌ˚È ‰Â̸ (ÌÓ‚Âη
‚ Ó‰ÌÓËÏÂÌÌÓÏ ‡Î¸Ï‡Ì‡ıÂ)
1978 ....ƒ‡˜Ì˚È ‰ÓÏËÍ ‰Îˇ Ó‰ÌÓÈ ÒÂϸË
1981 ....ÕÂ ·ÓÈÒˇ, ˇ Ò ÚÓ·ÓÈ! (Ú‚)
1983 ....À¸‰Ë̇ ‚ ÚÂÔÎÓÏ ÏÓ (Ú‚)
1985 ....◊ÚÓ Ú‡ÍÓ ´≈‡Î‡¯ª? (Ú‚)
2006 ....œ‡Í ÒÓ‚ÂÚÒÍÓ„Ó ÔÂËÓ‰‡
Yuli Gusman
Director, playwright, organizer of the
cinematic process, television presenter.
Honoured Artist of Russia, National Actor of
Azerbaijan. Born in Baku on 8 August 1943.
Graduated from Baku Medical Institute
(1966), postgraduate study at the Institute of
Higher Medical Qualifications, Higher
Courses for Scriptwriters and Directors
(1972). Since 1964 participant in KVN (Club
of the Cheerful and Inventive), from 1976-84
art director of the Baku Theatre of Musical
Comedy, director at Bakuís Theatre of the
Young Spectator, director of the film studio
ìAzerbaijanfilmî. Supervised theatre
productions in the US, China and Japan, and
taught in the US. In 2004 directed at the
Central Russian Army Theatre the musical
ìMan from LaMancheî. From 1993-95 deputy
of the State Duma and art director of the
Central House of Cinematographers. Author
and founder of the Film Academy award
NIKA, other professional and awards and
festivals.
Filmography as director:
1977 ....One Fine Day (short story in the
almanac of the same title)
1978 ....A Small Country House for One
Family
1981 ....Donít be Afraid, I am with You! (TV)
1983 ....An Ice Floe in the Warm Sea (TV)
1985 ....Whatís a Jumble? (TV)
2006 ....Soviet Park
ÕË ·ÂÁ ÔÓÏÓ˘Ë Á‡Ô‡‰Ì˚ı ËÌ‚ÂÒÚÓÓ‚ ÓÒÒËÈÒÍË ·ËÁÌÂÒÏÂÌ˚ ÂÍÓÌÒÚÛËÓ‚‡ÎË
´ÓÒÚÓ‚ÓÍ ÒÓ‚ÂÚÒÍÓÈ ÊËÁÌ˪ Ë Ì‡Á‚‡ÎË Ò‚Ó ‰ÂÚˢ ´œ‡ÍÓÏ Ï˜Ú˚ª. » ÏÓÂ
Á‰ÂÒ¸ ÂÒÚ¸, Ë ÔÓ˜ÚË Ì‡ÒÚÓˇ˘ËÈ üÂÏθ ˇ‰ÓÏ, Ë ÂÍË, Ë „Ó˚, Ë ÔÛÒÚ˚Ìˇ ñ ‚ÒÂ
‚ Ó‰ÌÓÏ Ô‡ÍÂ. » ÓÍÛʇڸ „ÓÒÚÂÈ ·Û‰ÛÚ Ò‡Ï˚ ËÁ‚ÂÒÚÌ˚ β‰Ë ÚÂı ÎÂÚ:
‡ÍÚÂ˚, Ô‚ˆ˚, ¯‡ıχÚËÒÚ˚Ö œÓÔÛΡÌ˚È ÚÂÎÂÊÛ̇ÎËÒÚ ŒÎ„ «ËÏËÌ,
ÍÓÚÓ˚È ‰ÓÎÊÂÌ ‰‡Ú¸ ÂÍ·ÏÛ ˝ÚÓ„Ó Ô‡͇ ‚ Ò‚ÓÂÈ ÔÓ„‡ÏÏÂ, ÒÚ‡ÌÓ‚ËÚÒˇ
Ó‰ÌËÏ ËÁ ÔÂ‚˚ı Â„Ó ÔÓÒÂÚËÚÂÎÂÈ. ”ÒÚ‡‚¯ËÈ ÓÚ ÏÓÒÍÓ‚ÒÍËı ÌÂÔˡÚÌÓÒÚÂÈ,
ÍÓÚÓ˚ ӷÛ¯ËÎËÒ¸ ̇ ÌÂ„Ó ÒÓ ‚ÒÂı ÒÚÓÓÌ, ÓÌ ¯‡ÂÚ Á‡Ó‰ÌÓ Ë ÓÚ‰ÓıÌÛÚ¸.
—̇˜‡Î‡ ‚Ò ‚˚Á˚‚‡ÂÚ Û ŒÎ„‡ ËÒÍÂÌÌËÈ ‚ÓÒÚÓ„ Ë ‚Ò ̇ÔÓÏË̇ÂÚ Ó ˛ÌÓÒÚË.
ŒÎ„ ‚β·ÎˇÂÚÒˇ ‚ ¿ÎÂÌÛ ¬ÓÎÍÓ‚Û, Ó‰ÌÛ ËÁ ÎÛ˜¯Ëı ‡·ÓÚÌˈ Ô‡͇. ÕÓ ‚ÒÍÓÂ
ÂÏÛ ‰‡˛Ú ÔÓÌˇÚ¸, ˜ÚÓ ÍÓÌÚ‡ÍÚ˚ ÏÂÊ‰Û ÒÓÚÛ‰ÌË͇ÏË Ô‡͇ Ë ÓÚ‰˚ı‡˛˘ËÏË
Á‡Ô¢ÂÌ˚ Ë ˜ÚÓ Û ¿ÎÂÌ˚ ÂÒÚ¸ ÔÓÍÎÓÌÌËÍ ñ χÒÒÓ‚ËÍ-Á‡ÚÂÈÌËÍ –Ó·ÂÚ, Ë ˜ÚÓ
ÚÓ‚‡ˢ –Ó·ÂÚ ó Ó‰ËÌ ËÁ „·‚Ì˚ı β‰ÂÈ ‚ ‡‰ÏËÌËÒÚ‡ˆËË Ô‡͇Ö
Without the help of western investors, Russian businessmen have
reconstructed an ìisland of Soviet lifeî and called their child ìDream Parkî. In
one park they have the sea, and an almost real Kremlin, rivers, mountains and
the desert. The visitors are surrounded by the most popular actors, singers,
chess-players of those timesÖ The popular TV reporter Oleg Zimin, who is
supposed to advertise this park on his programme, is one of the first visitors.
Tired from the troubles that have descended upon him from different
directions in the busy Moscow, he decides to rest at the same time as visiting
the park. At first he is genuinely delighted and everything reminds him of his
youth. Then Oleg falls in love with Aliona Volkova, one of the best workers in
the Park. But soon he is told that contacts between employees and visitors are
forbidden, and that Aliona already has an admirer: the entrepreneur Robert.
And comrade Robert is one of top people in the Parkís administrationÖ
ÍÓÌÍÛÒ
competition
œ≈–≈√ŒÕ
TRANSIT
28
2006, –ÓÒÒˡ, 127 ÏËÌ., ˆ‚., 1:2.35, Dolby Digital 5.1
2006, Russia, 127 min, colour, 1:2.35, Dolby Digital 5.1
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ ¿ÎÂÍ҇̉ –Ó„ÓÊÍËÌ
Scriptwriter and Director Alexander Rogozhkin
√·‚Ì˚È ÓÔÂ‡ÚÓ ¿Ì‰ÂÈ ∆„‡ÎÓ‚
Camera Andrey Zhegalov
’Û‰ÓÊÌËÍ ¬Î‡‰ËÏË ƒˇÚÎÂÌÍÓ
Art Director Vladimir Dyatlenko
üÓÒÚ˛Ï˚ ¬‡ÎÂÌÚË̇ ü‡ÏÂÌ‚‡
Costumes Valentina Kameneva
üÓÏÔÓÁËÚÓ ƒÏËÚËÈ œ‡‚ÎÓ‚
Composer Dmitry Pavlov
«‚ÛÍ ¿Ì‡ÚÓÎËÈ √Û‰ÍÓ‚ÒÍËÈ
Sound Anatoly Gudkovsky
ÃÓÌÚ‡Ê fiÎˡ –ÛÏˇÌˆÂ‚‡
Editor Yulia Rumyantseva
¬ ÓΡı: ƒ‡ÌËËÎ —Ú‡ıÓ‚, ¿ÎÂÍÒÂÈ —Â·ˇÍÓ‚, ¿Ì‡ÒÚ‡Òˡ
Cast: Daniil Strakhov, Alexei Serebryakov, Anastasia
ÕÂÏÓΡ‚‡, üËËÎÎ ”θˇÌÓ‚, —‡‡ ¡ÛÎÎË, ü˝ÚËÌ
Nemolyaeva, Kirill Ulianov, Sarah Bulley, Caterina Innocente,
»ÌÌÓ˜ÂÌÚÂ, —‡‡ –‡ÚÎË, ¿Ì̇-ÇË̇ ¡ÂÌÒ‡Û‰, ¿ÎÂÍÒÂÈ
Sarah Rutley, Anna Marina Bensaud, Alexei Petrov, Andrey
œÂÚÓ‚, ¿Ì‰ÂÈ ÿË·‡¯ËÌ, »‚‡Ì œËÎθ, ¿ÚÂÏ ¬ÓÎÓ·Û‚,
Shibarshin, Ivan Prill, Artyom Volobuev, Yuri Itskov, Oleg
fiËÈ »ˆÍÓ‚, ŒÎ„ ÇÎÍËÌ, ¿Ì̇ –Û‰¸, fiËÈ ŒÎÓ‚
Malkin, Anna Rudí, Yuri Orlov
œÓ‰˛ÒÂ —Â„ÂÈ —ÂθˇÌÓ‚
Producer Sergei Selyanov
œÓËÁ‚Ó‰ÒÚ‚Ó üËÌÓÍÓÏÔ‡Ìˡ —“¬, ÔË Û˜‡ÒÚËË
Production CTB Film Company with the participation of the
‘‰Â‡Î¸ÌÓ„Ó ‡„ÂÌÚÒÚ‚‡ ÔÓ ÍÛθÚÛÂ Ë ÍËÌÂχÚÓ„‡ÙËË
Federal Agency for Culture and Cinematography
œÓÍ‡Ú ´Õ‡¯Â ÍËÌÓª, ´ü‡ÓÔÓ͇ڪ
Distribution Nashe Kino, Karoprokat
www.ctb.ru; www.nashekino.ctb.ru
www.ctb.ru; www.nashekino.ctb.ru
ÍÓÌÍÛÒ
competition
¿ÎÂÍ҇̉ –Ó„ÓÊÍËÌ
ó ÂÊËÒÒÂ, ÒˆÂ̇ËÒÚ, ıÛ‰ÓÊÌËÍ. Õ‡Ó‰Ì˚È ‡ÚËÒÚ –ÓÒÒËË, ÔËÁÂ ÏÂʉÛ̇Ó‰Ì˚ı
Ë ÓÚ˜ÂÒÚ‚ÂÌÌ˚ı ÍËÌÓÙÂÒÚË‚‡ÎÂÈ, ·Û‡Ú
ÔÓÙÂÒÒËÓ̇θÌ˚ı ÍËÌÓÔÂÏËÈ. –Ó‰ËÎÒˇ ‚
ÀÂÌËÌ„‡‰Â 3 ÓÍÚˇ·ˇ 1949 „Ó‰‡. ŒÍÓ̘ËÎ
ËÒÚÓ˘ÂÒÍËÈ Ù‡ÍÛθÚÂÚ À√”, Û˜ËÎÒˇ ̇ ıÛ‰ÓÊÂÒÚ‚ÂÌÌÓ-„‡Ù˘ÂÒÍÓÏ Ù‡ÍÛθÚÂÚ ÀÂÌËÌ„‡‰ÒÍÓ„Ó Ô‰‡„ӄ˘ÂÒÍÓ„Ó ËÌÒÚËÚÛÚ‡ ËÏ.
√ÂˆÂ̇. –‡·ÓڇΠıÛ‰ÓÊÌËÍÓÏ Ì‡ ÀÂÌËÌ„‡‰ÒÍÓÏ ÚÂ΂ˉÂÌËË, ıÛ‰ÓÊÌËÍÓÏ-‰ÂÍÓ‡ÚÓÓÏ Ì‡ ÍËÌÓÒÚÛ‰ËË ´ÀÂÌÙËθϪ. ¬ 1981
ÓÍÓ̘ËÎ ÂÊËÒÒÂÒÍËÈ Ù‡ÍÛθÚÂÚ ¬√»ü‡
(χÒÚÂÒ͇ˇ —.¿. √Â‡ÒËÏÓ‚‡) Ë ÒڇΠÂÊËÒÒÂÓÏ-ÔÓÒÚ‡ÌÓ‚˘ËÍÓÏ ÍËÌÓÒÚÛ‰ËË ´ÀÂÌÙËθϪ. —ÓÚÛ‰Ì˘‡ÂÚ Ò üËÌÓÍÓÏÔ‡ÌËÂÈ
—“¬ Ë ‰Û„ËÏË ÒÚÛ‰ËˇÏË, Û˜‡ÒÚ‚ÛÂÚ ‚ ÚÂ΂ËÁËÓÌÌ˚ı ÔÓÂÍÚ‡ı, ÔÓÒΉÌËÈ ËÁ ÍÓÚÓ˚ı ñ
ÚÂÎÂÙËÎ¸Ï ´—‚Óˇ ˜Ûʇˇ ÊËÁ̸ª (2004).
»Á·‡Ì̇ˇ ÙËθÏÓ„‡Ùˡ (ÍËÌÓ):
1985 ....–‡‰Ë ÌÂÒÍÓθÍËı ÒÚÓ˜ÂÍ
1988 ....ÃËÒÒ ÏËÎÎËÓÌÂ¯‡
1989 ....ü‡‡ÛÎ
1990 ....“ÂÚ¸ˇ Ô·ÌÂÚ‡
1991 ....◊ÂÍËÒÚ
1993 ....¿ÍÚ; ∆ËÁ̸ Ò Ë‰ËÓÚÓÏ
1995 ....ŒÒÓ·ÂÌÌÓÒÚË Ì‡ˆËÓ̇θÌÓÈ ÓıÓÚ˚
1996 ....ŒÔÂ‡ˆËˇ ´— ÕÓ‚˚Ï „Ó‰ÓϪ
1997 ....ƒ‡ (Í/Ï)
1998 ....¡ÎÓÍÔÓÒÚ
1998 ....ŒÒÓ·ÂÌÌÓÒÚË Ì‡ˆËÓ̇θÌÓÈ ˚·‡ÎÍË
1999 ....¡ÓΉËÌÒ͇ˇ ÓÒÂ̸ (Í/Ï)
2000 ....ŒÒÓ·ÂÌÌÓÒÚË Ì‡ˆËÓ̇θÌÓÈ ÓıÓÚ˚
‚ ÁËÏÌËÈ ÔÂËÓ‰
2002 ....üÛÍۯ͇
29
¬ÓÂÌ̇ˇ ‰‡Ï‡.
1942 „Ó‰, ◊ÛÍÓÚ͇, Ú‡ÌÁËÚÌ˚È ‡˝Ó‰ÓÏ. ¿ÏÂË͇̈˚ÒÓ˛ÁÌËÍË ˜ÂÂÁ ÓÍÂ‡Ì ÔÂ„ÓÌˇ˛Ú ËÒÚ·ËÚÂÎË
´¿˝ÓÍÓ·‡ª, ‡ ̇¯Ë ÔËÎÓÚ˚ ÓÚ„ÓÌˇ˛Ú Ëı ̇ ÙÓÌÚ. –ˇ‰ÓÏ
ÒÛ˘ÂÒÚ‚ÛÂÚ Ë ‰Û„ÓÈ ÏË ñ ÏË ÏÂÒÚÌ˚ı ˝ÒÍËÏÓÒÓ‚,
ÊË‚Û˘Ëı ‰‡ÎÂÍÓÈ ÓÚ ‚ÓÈÌ˚ ÊËÁ̸˛. –‡ÁÏÂÂÌÌ˚È ıÓ‰
ÒÓ·˚ÚËÈ Ì‡Û¯‡ÂÚÒˇ, ÍÓ„‰‡ ÒÚ‡ÌÓ‚ËÚÒˇ ˇÒÌÓ, ˜ÚÓ
‡ÏÂË͇ÌÒÍË ÎÂÚ˜ËÍË Ì‡ Ò‡ÏÓÏ ‰ÂΠñ ÔË‚ÎÂ͇ÚÂθÌ˚ Ë
Ó·‡ˇÚÂθÌ˚ ‰Â‚Û¯ÍË. ◊Û‚ÒÚ‚‡ ̉‡‚ÌËı χθ˜Ë¯ÂÍ,
ÒÂ„Ó‰Ìˇ Ï·‰¯Ëı ÎÂÈÚÂ̇ÌÚÓ‚, ÒÚ‡ÎÍË‚‡˛ÚÒˇ Ò ˇÁ˚ÍÓ‚˚ÏË
Ë ÍÛθÚÛÌ˚ÏË ·‡¸Â‡ÏË. »Á-Á‡ ˜Â„Ó ‚ÓÁÌË͇ÂÚ ÏÌÓÊÂÒÚ‚Ó
ÍÛ¸ÂÁÌ˚ı, ÌÂÎÂÔ˚ı Ë Ú‡„˘ÂÒÍËı ÒËÚÛ‡ˆËÈÖ
Alexander Rogozhkin
Director, scriptwriter, artist. Peopleís Artist of
Russia, prize-winner of international and
national film festivals, winner of professional
awards. Born 3 October 1949 in Leningrad. In
1972 graduated from the Faculty of History of
Leningrad State University, studied at the Art
and Graphics Section of Leningradís Herzen
Pedagogical Institute. Worked as artist at
Leningrad Television, then as designer at
Lenfilm Studio. In 1981 completed the Course
of Directors at the Moscow Film Institute
under S.A. Gerasimov. Since 1981 he has
worked as director at Lenfilm; cooperated with
the film company —“¬ and participated in
television projects (five-part television series
ìMy Own Strange Lifeî, 2004, and others).
Selected Filmography:
1985 ....For the Sake of a Few Lines
1988 ....Miss Millionaire
1989 ....The Guard
1990 ....The Third Planet
1991 ....The Chekist
1993 ....The Act; Life with an Idiot
1995 ....Peculiarities
of the National Hunt in Autumn
1996 ....Operation ìHappy New Year!ª
1998 ....Checkpoint
1998 ....Peculiarities of National Fishing
1999 ....Boldino Autumn (short)
2000 ....Peculiarities
of the National Hunt in Winter
2002 ....The Cuckoo
2006 ....Transit
Military drama.
1942, Chukotka. A transit airport. The Allied Forces, the
Americans, are moving the destroyer ëAerocobraí across the
ocean, while Russian pilots drive them to the front. But there
is another world: the world of the local eskimos, who lead a
life far away from war. The moderated course of events is
broken up when it emerges that the American pilots are
actually attractive and charming girls. The feelings of the
recent teenagers, who are now junior lieutenants, collide with
language and culture barriers. Therefore a range of funny,
ridiculous and tragic situations arisesÖ
ÍÓÌÍÛÒ
competition
—¬Œ¡ŒƒÕŒ≈ œÀ¿¬¿Õ»≈
FREE FLOATING
30
2006, –ÓÒÒˡ, 105 ÏËÌ., ˆ‚., 1:1.37, Dolby SRD
2006, Russia, 105 min, colour, 1:1.37, Dolby SRD
–ÂÊËÒÒÂ ¡ÓËÒ ’ηÌËÍÓ‚
Director Boris Khlebnikov
¿‚ÚÓ˚ ÒˆÂ̇ˡ ¡ÓËÒ ’ηÌËÍÓ‚, ¿ÎÂÍ҇̉ –Ó‰ËÓÌÓ‚
Scriptwriters Boris Khlebnikov, Alexander Rodionov
ŒÔÂ‡ÚÓ ÿ‡Ì‰Ó ¡ÂͯË
Camera Sandor Berkesi
’Û‰ÓÊÌËÍ ŒÎ¸„‡ ’ηÌËÍÓ‚‡
Art Director Olga Khlebnikova
üÓÒÚ˛Ï˚ —‚ÂÚ·̇ ÃËı‡ÈÎÓ‚‡
Costumes Svetlana Mikhaylova
«‚ÛÍ Ã‡ÍÒËÏ ¡ÂÎÓ‚ÓÎÓ‚
Sound Maxim Belovolov
ÃÓÌÚ‡Ê »‚‡Ì À·‰‚
Editor Ivan Lebedev
¬ ÓΡı: ¿ÎÂÍ҇̉ flˆÂÌÍÓ, ƒ‡¸ˇ ≈͇χÒÓ‚‡, ≈‚„ÂÌËÈ
Cast: Alexander Yatsenko, Daria Ekamasova, Evgeny Syty,
—˚Ú˚È, œÂÚ «‡È˜ÂÌÍÓ, ¡ÓËÒ œÂÚÓ‚, “‡„Ë –‡ıËÏÓ‚,
Pyotr Zaychenko, Boris Petrov, Tagir Rakhimov, Nina
ÕË̇ —ÂÏÂÌÓ‚‡, ¿ÎÂÍÒÂÈ Œ¯ÛÍÓ‚, “‡Ú¸ˇÌ‡ –‡ÒÒ͇ÁÓ‚‡,
Semyonova, Alexei Oshurkov, Tatiana Rasskazova, Andrian
¿‰Ë‡Ì –ÓÒÚÓ‚ÒÍËÈ, —Â„ÂÈ œÂÒÚËÍÓ‚, —Â„ÂÈ Õ‡Ò‰ÍËÌ,
Rostovsky, Sergei Pestrikov, Sergei Nasedkin, Vladimir
¬Î‡‰ËÏË “Â¢ÂÌÍÓ
Tereshchenko
œÓ‰˛ÒÂ –ÓÏ‡Ì ¡ÓËÒ‚˘
Producer Roman Borisevich
œÓËÁ‚Ó‰ÒÚ‚Ó üËÌÓÍÓÏÔ‡Ìˡ ´üÓÍÚ·Âθª, ÔË Û˜‡ÒÚËË
Production Koktebel Film Company with participation of the
‘‰Â‡Î¸ÌÓ„Ó ‡„ÂÌÚÒÚ‚‡ ÔÓ ÍÛθÚÛÂ Ë ÍËÌÂχÚÓ„‡ÙËË
Federal Agency for Culture and Cinematography
ÍÓÌÍÛÒ
competition
¡ÓËÒ ’ηÌËÍÓ‚
—ˆÂ̇ËÒÚ Ë ÂÊËÒÒÂ. –Ó‰ËÎÒˇ 28 ‡‚„ÛÒÚ‡
1972 „Ó‰‡. ŒÍÓ̘ËÎ ÍËÌӂ‰˜ÂÒÍËÈ
Ù‡ÍÛθÚÂÚ ¬√»ü‡ (1997).
¡˚Î ‰‡ÍÚÓÓÏ Ì‡ ÔÓÂÍÚ‡ı ÒÚÛ‰ËË
´“Ë“˝ª. ¬ 2003 „Ó‰Û ÒÓ‚ÏÂÒÚÌÓ Ò ¿ÎÂÍÒÂÂÏ
œÓÔÓ„·ÒÍËÏ ÒÌˇÎ ÔÂ‚˚È
ÔÓÎÌÓÏÂÚ‡ÊÌ˚È Ë„Ó‚ÓÈ ÙËθÏ
´üÓÍÚ·Âθª, ÒÚ‡‚¯ËÈ ÒÓ·˚ÚËÂÏ
31
ÍËÌÂχÚÓ„‡Ù˘ÂÒÍÓ„Ó „Ó‰‡ (—Â·ˇÌ˚È
´—‚ˇÚÓÈ √ÂÓ„ËȪ ÃÓÒÍÓ‚ÒÍÓ„Ó Ãü‘,
ÒÔˆ.ÔËÁ Ê˛Ë Ãü‘ ‚ ü‡ÎÓ‚˚ı ¬‡‡ı,
ÒÔˆ.ÔËÁ Ê˛Ë ‘ÂÒÚË‚‡Îˇ ‚ÓÔÂÈÒÍÓ„Ó
ÍËÌÓ ‚ ¡˛ÒÒÂÎÂ Ë ‰.).
‘ËθÏÓ„‡Ùˡ:
1994 ....ÃËÏÓıÓ‰
(‰ÓÍ., Ò ¿ÎÂÍÒÂÂÏ œÓÔÓ„·ÒÍËÏ)
2001 ....’ËÚ‡ˇ Ρ„ۯ͇ (Í/Ï)
2002 ....ÃËı‡ËÎ ¡Û΄‡ÍÓ‚. ◊ÂÌ˚È ÒÌ„
(‰ÓÍ., ÒÂˇÎ)
2003 ....üÓÍÚ·Âθ
(Ò ¿ÎÂÍÒÂÂÏ œÓÔÓ„·ÒÍËÏ)
2006 ....—‚Ó·Ó‰ÌÓ Ô·‚‡ÌËÂ
Boris Khlebnikov
Scriptwriter and director. Born on 28 August
1972. Graduated in cinema studies from the
Film Institute VGIK (1997). Editor on
projects of the studio ìTriTeî. In 2003,
together with Alexei Popogrebsky, he made
ÇÎÂ̸ÍËÈ „ÓÓ‰ÓÍ Ì‡ ·ÂÂ„Û ¬Ó΄Ë, „‰Â ͇ʉ˚È ‰Â̸ ÌÂÓÚ΢ËÏÓ ÔÓıÓÊ Ì‡
his first full-length feature film ìKoktebelî,
Ô‰˚‰Û˘ËÈ. ÕÓ ‰‚‡‰ˆ‡ÚËÎÂÚÌËÈ ÀÂÌˇ ÔÓÒÚÓˇÌÌÓ ÓÚÍ˚‚‡ÂÚ ‚ Ò‚ÓÂÈ ÊËÁÌË
which became a major event in the film
˜ÚÓ-ÚÓ, Ó ˜ÂÏ Â˘Â Ì Á̇Π‚˜Â‡. œÓÒΠÁ‡Í˚Úˡ Á‡‚Ó‰‡, ̇ ÍÓÚÓ˚È ÀÂÌˇ
calendar (Silver Saint George, Moscow IFF;
ÚÓθÍÓ-ÚÓθÍÓ ÛÒÚÓËÎÒˇ ‡·ÓÚ‡Ú¸, ÓÌ Ë‰ÂÚ ‚ ÔÓÏÓ˘ÌËÍË Í ÔÓ‰‡‚ˆÛ Ó·Û‚Ë
Special Prize at the Karlovy Vary IFF;
̇ ÏÂÒÚÌ˚È ˚ÌÓÍ, ÔÓÚÓÏ Ô˚Ú‡ÂÚÒˇ ÒÚ‡Ú¸ ¯ÚÛ͇ÚÛÓÏ. » ‚ÒˇÍËÈ ‡Á ÌÓ‚‡ˇ
Special Jury Prize of the Festival of
‡·ÓÚ‡ Ì ËÌÚÂÂÒÛÂÚ Â„Ó ‰Óθ¯Â Ô‡˚ ‰ÌÂÈ, ÔÓ˝ÚÓÏÛ ÓÌ ˜‡ÒÚ˚È „ÓÒÚ¸ ̇
European Cinema in Brussels, etc.).
ÏÂÒÚÌÓÈ ·ËÊ ÚÛ‰‡. Œ‰Ì‡Ê‰˚ ÀÂÌˇ ÔÓÔ‡‰‡ÂÚ ‚ ·Ë„‡‰Û, ÂÏÓÌÚËÛ˛˘Û˛
‰ÓÓ„Û Ì‰‡ÎÂÍÓ ÓÚ Â„Ó ‰Óχ. ÕÓ ÓÌ ÒÎ˯ÍÓÏ ÏÓÎÓ‰, ˜ÚÓ·˚ Òӷβ‰‡Ú¸
Filmography:
Á‡ÍÓÌ˚ β‰ÂÈ, Ò ÍÓÚÓ˚ÏË Ò‚ˇÁ‡ÎÒˇÖ
1994 ....Passing By (ìMimokhodî)
(doc., with Alexei Popogrebsky)
A small town on the Volga, where each day is like the previous one. But
2001 ....Tricky Frog (short)
twenty-year-old Lionya constantly discovers something in life that he did not
2002 ....Michael Bulgakov. Black Snow
know the previous day. After the closure of the factory where Lionya had only
(doc., serial)
2003 ....Roads to Koktebel
(with Alexei Popogrebsky)
2006 ....Free Floating
just found work, he works as sales assistant for footwear on the local market;
then he tries to become a plasterer. And every time the new work does not
interest him for longer than a couple of days, so that he becomes a frequent
visitor at the local job centre. Then Lionya joins a brigade that repairs the
road near his house. But he is too young to follow the laws of the people whom
he has joined Ö
ÍÓÌÍÛÒ
competition
—¬fl«‹
RELATIONS
32
2006, –ÓÒÒˡ, 80 ÏËÌ., ˆ‚., 1:2.35, Dolby Digital 5.1
2006, Russia, 80 min, colour, 1:2.35, Dolby Digital 5.1
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ ¿‚‰ÓÚ¸ˇ —ÏËÌÓ‚‡
Director and Scriptwriter Avdotia Smirnova
ŒÔÂ‡ÚÓ —Â„ÂÈ Ã‡˜ËθÒÍËÈ
Camera Sergei Machilsky
’Û‰ÓÊÌËÍ ¿Ì‰ÂÈ ¬‡ÒËÌ
Art Director Andrey Vasin
üÓÒÚ˛Ï˚ ŒÍ҇̇ flÏÓθÌËÍ
Costumes Oksana Yarmolnik
ÃÛÁ˚͇ ¡ÓËÒ √·ÂÌ˘ËÍÓ‚, ¿ÎÂÍÒÂÈ —ڷ΂,
Music Boris Grebenshchikov, Alexei Steblev, Pyotr Klimov
œÂÚ üÎËÏÓ‚
Sound Lev Ezhov
«‚ÛÍ À‚ ≈ÊÓ‚
Editing Elena Andreeva, Gleb Nikulsky
ÃÓÌÚ‡Ê ≈ÎÂ̇ ¿Ì‰‚‡, √η ÕËÍÛθÒÍËÈ
Cast: Mikhail Porechenkov, Anna Mikhalkova, Nastia Seglia,
¬ ÓΡı: ÃËı‡ËÎ œÓ˜ÂÌÍÓ‚, ¿Ì̇ ÃËı‡ÎÍÓ‚‡, Õ‡ÒÚˇ
Dmitry Shevchenko, Irina Rozanova, Musia Shapovalova,
—„Ρ, ƒÏËÚËÈ ÿ‚˜ÂÌÍÓ, »Ë̇ –ÓÁ‡ÌÓ‚‡, ÃÛÒˇ
Yaroslav Pershakov, Gennady Smirnov, Natalia Rudnaya,
ÿ‡ÔÓ‚‡ÎÓ‚‡, flÓÒ·‚ œÂ¯‡ÍÓ‚, √ÂÌ̇‰ËÈ —ÏËÌÓ‚,
Leonid Yarmolnik
Շڇθˇ –ۉ̇ˇ, ÀÂÓÌˉ flÏÓθÌËÍ
Producer Alexei Uchitel
œÓ‰˛ÒÂ ¿ÎÂÍÒÂÈ ”˜ËÚÂθ
Production Rock Film Studio with participation of the
œÓËÁ‚Ó‰ÒÚ‚Ó “œŒ ´–Óͪ
Federal Agency for Culture and Cinematography
œÓÍ‡Ú ÷ÂÌÚ‡Î œ‡ÚÌÂ¯ËÔ
Distribution Central Partnership
ÍÓÌÍÛÒ
competition
¿‚‰ÓÚ¸ˇ —ÏËÌÓ‚‡
üËÌÓ‰‡Ï‡ÚÛ„. –Ӊ˷Ҹ ‚ ÃÓÒÍ‚Â 28 Ë˛Ìˇ
1969 „Ó‰‡. ŒÍÓ̘Ë· ÙËÎÓÎӄ˘ÂÒÍËÈ
Ù‡ÍÛθÚÂÚ Ã√”. –‡·Óڇ· ÊÛ̇ÎËÒÚÓÏ ‚
´üÓÏÏÂÒ‡ÌÚª, Á‡ÚÂÏ ÍÌËÊÌ˚Ï
Ó·ÓÁ‚‡ÚÂÎÂÏ ÊÛ̇· ´¿Ù˯‡ª,
Ô˜‡Ú‡ÂÚÒˇ ‚ ÍËÌÓËÁ‰‡Ìˡı (ÊÛ̇Î
´»ÒÍÛÒÒÚ‚Ó ÍËÌÓª Ë ‰.). ¬Â‰Û˘‡ˇ (Ò
“‡Ú¸ˇÌÓÈ “ÓÎÒÚÓÈ) ÔÓ„‡ÏÏ˚ ´ÿÍÓ·
33
ÁÎÓÒÎӂˡª (͇̇Π´üÛθÚÛ‡ª, Õ“¬). ¿‚ÚÓ
ÒˆÂ̇Ë‚ ‰ÓÍÛÏÂÌڇθÌ˚ı ÙËθÏÓ‚
´¡‡ÚÚÂÙÎˇÈª, ´œÓÒΉÌËÈ „ÂÓȪ, ‡ Ú‡ÍÊÂ
Ë„Ó‚˚ı ÙËθÏÓ‚ ´Ã‡Ìˡ ∆ËÁÂÎ˪ (1995),
´ƒÌ‚ÌËÍ Â„Ó ÊÂÌ˚ª (2000; ‚ÚÓÓÈ ÔËÁ
ÍÓÌÍÛÒ‡ ÒˆÂ̇Ë‚ Hartley Merrill Prize,
—ÿ¿), ´œÓ„ÛÎ͇ª (2003) ÂÊËÒÒÂ‡
¿ÎÂÍÒ¡ ”˜ËÚÂΡ, Ò ÍÓÚÓ˚Ï Ó̇ ÔÓÒÚÓˇÌÌÓ
ÒÓÚÛ‰Ì˘‡ÂÚ Ò 1995 „Ó‰‡. ´—‚ˇÁ¸ª ó
ÂÊËÒÒÂÒÍËÈ ‰Â·˛Ú.
Avdotia Smirnova
Script writer. Born in Moscow on 28 June
1969. Graduated from the Faculty of
Philology of Moscow State University.
Worked as journalist for "Kommersant"
newspaper, then as book reviewer for the
magazine "Afisha"; writes for film journals
(magazine "Film Art", etc.). Presenter (with
Tatiana Tolstaya) of the programme "School
of Scandal" (channel "Kultura", NTV). Author
of scripts for documentary films: "Butterfly",
Love story. »Î¸ˇ ÊË‚ÂÚ ‚ ÃÓÒÍ‚Â, ÕË̇ ó ‚ œÂÚÂ·Û„Â. ŒÌ ó ÛÒÔ¯Ì˚È
"The Last Hero", and for fiction films:
·ËÁÌÂÒÏÂÌ, ‚·‰ÂΈ ÓıÓÚÌ˘¸Ëı χ„‡ÁËÌÓ‚. ≈„Ó ÊÂ̇ ó Í‡Ò‡‚ˈ‡,
"Giselle's Mania" (1995), "His Wife's Diary"
ÛÏÌˈ‡, ‚ÂÎËÍÓÎÂÔ̇ˇ ıÓÁˇÈ͇, ‰Ó˜¸ ‰‚Â̇‰ˆ‡ÚË ÎÂÚ. ÕË̇ ó ÂÍ·ÏÌ˚È
(2000; second prize in the scriptwriters'
‡„ÂÌÚ. ≈ ÏÛÊ ó ËÌÚÂÎÎË„ÂÌÚÌ˚È Ë Ó˜Â̸ β·ˇ˘ËÈ ˜ÂÎÓ‚ÂÍ, ‚Áˇ‚¯ËÈ Ì‡
competition of "The Harley-Merrill
Ò·ˇ ‚Ò ÒÂÏÂÈÌ˚ Á‡·ÓÚ˚, Ò˚Ì ‚Ó ‚ÚÓÓÏ Í·ÒÒÂ. √‰Â-ÚÓ ÏÂÊ‰Û —‡ÌÍÚ-
International Screening Competition", USA),
œÂÚÂ·Û„ÓÏ Ë ÃÓÒÍ‚ÓÈ ÓÌË ‚ÒÚÂÚËÎËÒ¸ Ë ‚β·ËÎËÒ¸. » ÔÓÚˇÌÛ·Ҹ
"The Stroll" (2003) all directed by Alexei
‚ÂÂÌˈ‡ ‚ÒÚ˜ ó „ÓÒÚËÌˈ˚, Ô‡ÌÒËÓ̇Ú, ÓχÌÚ˘ÂÒÍË ÔÓ„ÛÎÍË.
Uchitel, with whom she has worked since
œÓÒÚÂÔÂÌÌÓ Î„ÍÓÒÚ¸ ÍÛ‰‡-ÚÓ ËÒ˜ÂÁ·, ÓÒڇ·Ҹ ˘ÂÏˇ˘‡ˇ ÔÓÚ·ÌÓÒÚ¸ ‚ˉÂÚ¸
1995. "Relations" is her directorial debut.
‰Û„ ‰Û„‡. ¬ÁÓÒÎ˚ ÒÂÏÂÈÌ˚ β‰Ë, ÓÌË Ò Ò‡ÏÓ„Ó Ì‡˜‡Î‡ ‰Ó„Ó‚ÓËÎËÒ¸,
˜ÚÓ Ì ÒÓ·Ë‡˛ÚÒˇ ÌË ‡Á‚Ó‰ËÚ¸Òˇ, ÌË Ú‚ÓÊËÚ¸ Ò‚ÓËı ÒÛÔÛ„Ó‚
ÔÓ‰ÓÁÂÌˡÏË. ÕÓ Ú‡Í, ÍÓ̘ÌÓ, Ì ÔÓÎÛ˜‡ÂÚÒˇÖ
Love story.
Ilya lives in Moscow, Nina in Petersburg. He is a successful businessman,
owner of hunting shops. His wife is beautiful and intelligent, a good
housewife, and they have a twelve-year old daughter. Nina is an advertising
agent.. Her husband is intelligent and caring, having taken on all family
business; their son is in the second grade at school. Somewhere between St
Petersburg and Moscow they meet Ö and fall in love with each other. A series
of meetings followsÖ hotels, inns, romantic walksÖ Gradually the sense of
lightness disappears, but the pressing need to see each other remains. As they
are grown-up family people, they had agreed from the start that they would
not to divorce, nor disturb their spouses with suspicion. But this is clearly
impossible Ö
ÍÓÌÍÛÒ
competition
—“–¿ÕÕ»ü
THE WANDERER
34
2005, –ÓÒÒˡ, 90 ÏËÌ., ˆ‚., 1:1.66, Dolby SRD
2005, Russia, 90 min, colour, 1:1.66, Dolby SRD
–ÂÊËÒÒÂ —Â„ÂÈ ü‡‡Ì‰‡¯Ó‚
Director Sergei Karandashov
¿‚ÚÓ˚ ÒˆÂ̇ˡ –ËÚ‡ Ç„Ó, ÃËı‡ËÎ üÓÌÓ‚‡Î¸˜ÛÍ,
Scriptwriters Rita Margo, Mikhail Konovalchuk
—Â„ÂÈ ü‡‡Ì‰‡¯Ó‚, ÔË Û˜‡ÒÚËË ›‰„‡ ¡‡ÚÂÌ‚‡,
with participation of Edgar Bartenev, Alexei Tyurikov
¿ÎÂÍÒ¡ “˛ËÍÓ‚‡
Camera Alexander Kuznetsov
ŒÔÂ‡ÚÓ ¿ÎÂÍ҇̉ üÛÁ̈ӂ
Art Director Leonid Karpov
’Û‰ÓÊÌËÍ ÀÂÓÌˉ ü‡ÔÓ‚
Costumes Sofia Azarkhi, Tatiana Ilyina
üÓÒÚ˛Ï˚ —ÓÙ¸ˇ ¿Á‡ıË, “‡Ú¸ˇÌ‡ »Î¸Ë̇
Composers Alexei P.Zubarev, Alexander Zhuravliov,
üÓÏÔÓÁËÚÓ˚ ¿ÎÂÍÒÂÈ œ.«Û·‡‚, ¿ÎÂÍ҇̉ ∆Û‡‚΂,
Gavriil Lubnin
√‡‚ËËÎ ÀÛ·ÌËÌ
Sound Alexander Dudarev, Vitaly Sorokin
«‚ÛÍ ¿ÎÂÍ҇̉ ƒÛ‰‡‚, ¬ËÚ‡ÎËÈ —ÓÓÍËÌ
Editing Raisa Lisova
ÃÓÌÚ‡Ê –‡ËÒ‡ ÀËÒÓ‚‡
Cast: Vitaly Pichik, Ekaterina Gorokhovskaya, Tolia Klochiev,
¬ ÓΡı: ¬ËÚ‡ÎËÈ œË˜ËÍ, ≈͇ÚÂË̇ √ÓÓıÓ‚Ò͇ˇ, “ÓΡ
Pyotr Kozhevnikov, Anatoly Dubinkin, Maxim Krivoborodov,
üÎÓ˜¸Â‚, œÂÚ üÓÊ‚ÌËÍÓ‚, ¿Ì‡ÚÓÎËÈ ƒÛ·ËÌÍËÌ, ÇÍÒËÏ
Alexander Yuminov, Konstantin Bykov, Anatoly Buldakov,
üË‚Ó·ÓÓ‰Ó‚, ¿ÎÂÍ҇̉ fiÏËÌÓ‚, üÓÌÒÚ‡ÌÚËÌ ¡˚ÍÓ‚,
Sergei Sveshnikov, Alexander Kamyshentsev
¿Ì‡ÚÓÎËÈ ¡ÛΉ‡ÍÓ‚, —Â„ÂÈ —‚¯ÌËÍÓ‚, ¿ÎÂÍ҇̉
ü‡Ï˚¯Â̈‚
Producer Viacheslav Telnov
Production SDF (Studio of Documentary Films, St.
œÓ‰˛ÒÂ ¬ˇ˜ÂÒ·‚ “ÂθÌÓ‚
Petersburg) with participation of the Federal Agency for
œÓËÁ‚Ó‰ÒÚ‚Ó —ƒ‘, ÔË Û˜‡ÒÚËË ‘‰Â‡Î¸ÌÓ„Ó ‡„ÂÌÚÒÚ‚‡ ÔÓ
Culture and Cinematography
ÍÛθÚÛÂ Ë ÍËÌÂχÚÓ„‡ÙËË
ÍÓÌÍÛÒ
competition
—Â„ÂÈ ü‡‡Ì‰‡¯Ó‚
üËÌÓÂÊËÒÒÂ, ÔËÁÂ ÍÓÌÍÛÒÓ‚
‰ÓÍÛÏÂÌڇθÌÓ„Ó ÍËÌÓ. –Ó‰ËÎÒˇ ‚ 1964 „Ó‰Û
‚ „ÓӉ ◊ÂΡ·ËÌÒÍÂ. ü‡Í ‡ÍÚÂ Ë ÂÊËÒÒÂ
‡·ÓڇΠ‚ Ò‡ÏӉ¡ÚÂθÌÓÏ Ú‡ÚÂ, ÒÌËχÎ
ÍÓÓÚÍÓÏÂÚ‡ÊÌ˚ ÙËθÏ˚ ̇ ˜ÂΡ·ËÌÒÍÓÈ
ÒÚÛ‰ËË ´ÃÓÚË‚ª. ¬ 1988-91 Û˜ËÎÒˇ ̇
35
ËÒÍÛÒÒڂӂ‰˜ÂÒÍÓÏ Ù‡ÍÛθÚÂÚ –ÓÒÒËÈÒÍÓ„Ó
ıËÒÚˇÌÒÍÓ„Ó „ÛχÌËÚ‡ÌÓ„Ó ËÌÒÚËÚÛÚ‡
(—œ·), Ò 1991 ó ‚ ÂÊËÒÒÂÒÍÓÈ Ï‡ÒÚÂÒÍÓÈ
¿ÎÂÍÒ¡ √Âχ̇ (—ÚÛ‰Ëˇ ÔÂ‚Ó„Ó Ë
˝ÍÒÔÂËÏÂÌڇθÌÓ„Ó ÙËθχ, ´ÀÂÌÙËθϪ).
ÃËÒÚ˘ÂÒ͇ˇ ‰‡Ï‡/ œËÚ˜‡.
üÓ„‰‡-ÚÓ ñ ˝ÚÓ ·˚ÎÓ ‰‡‚Ì˚Ï-‰‡‚ÌÓ ó ÌÂ·Ó ·˚ÎÓ ÌËÊÂ, Ë ¡Ó„
¬ 1993-97 ó ÂÊËÒÒÂ-ÒÚ‡ÊÂ ̇ ÙËθÏÂ
‡Á„Ó‚‡Ë‚‡Î Ò Î˛‰¸ÏË ˇÁ˚ÍÓÏ ˜Û‰ÂÒ Ë Á̇ÏÂÌËÈ. ∆‡Ê‰‡
´’ÛÒڇ΂, χ¯ËÌÛ!ª ¿ÎÂÍÒ¡ √Âχ̇.
˜Û‰‡ Ë ÚÂÔÂ¸ ÔÓ‰ÒÔÛ‰ÌÓ ÊË‚ÂÚ ‚ ͇ʉÓÏ ˜ÂÎÓ‚ÂÍÂ. √ÂÓÈ
— 2000 ‡·ÓÚ‡ÂÚ Ì‡ ÏÌÓ„ÓÒÂËÈÌÓÏ
‰ÓÍÛÏÂÌڇθÌÓÏ ÚÂÎÂÔÓÂÍÚ ´Œ·‡Ú̇ˇ
ÙËθχ ‘∏‰Ó ÒÚ‡ÌÓ‚ËÚÒˇ ҂ˉÂÚÂÎÂÏ ÌÂÒ˜‡ÒÚÌÓ„Ó ÒÎÛ˜‡ˇ, ‚
ÒÚÓÓ̇ «ÂÏÎ˪ (ÔÂ‚˚ ÙËθÏ˚:
ÂÁÛθڇÚ ÍÓÚÓÓ„Ó „Ë·ÌÛÚ ·ÎËÁÍË ÂÏÛ Î˛‰Ë. ŒÌ ¯‡ÂÚ,
´œË·ÂÊË˘Âª ó ÔÂÏˡ ´À‡‚Ó‚‡ˇ ‚ÂÚ‚¸ª
˜ÚÓ ÒÔ‡ÒÒˇ Ì ÒÎÛ˜‡ÈÌÓ, Ë ˜ÚÓ ÚÂÔÂ¸ ‰ÓÎÊÂÌ ËÁÏÂÌËÚ¸ Ò‚Ó˛
Á‡ ËÁÓ·‡ÁËÚÂθÌÓ ¯ÂÌË ÙËθχ, 2001);
ÊËÁ̸. ∆Ë‚ˇ Ó‰ËÌ ‚ ÎÂÒÛ, ‚ ÓÒÚ‡‚¯ÂÏÒˇ ÓÚ ‚ÓÈÌ˚
´œÓÔ Ë ÔËıÓ‰ª ñ 2003). ”˜‡ÒÚÌËÍ ÔÓÂÍÚ‡
´œÂÚÂ·Û„-300ª (—ƒ‘), ‚ ‡Ï͇ı ÍÓÚÓÓ„Ó
Á‡·Ó¯ÂÌÌÓÏ ƒŒ“Â, ÓÌ Ô˚Ú‡ÂÚÒˇ ÊËÚ¸ Ú‡Í, Í‡Í ÊËÎË
ÒÌˇÎ ÌÂË„Ó‚ÓÈ ÙËÎ¸Ï ´ƒ‡ª (2002).
Ô‡‚ÓÒ·‚Ì˚ ÓÚ¯ÂθÌËÍË, ËÁ‚Ó‰ˇ Ò·ˇ ÏÓÎËÚ‚‡ÏË Ë
´—Ú‡ÌÌËͪ ñ ‰Â·˛Ú ‚ Ë„Ó‚ÓÏ ÍËÌÓ..
ÔÓÒÚ‡ÏË. ¬ ˝ÚÓÏ ÌÓ‚ÓÏ ÏË ‘‰Ó ̇ıÓ‰ËÚ ÔÓ‚Ó‰ÌË͇ ñ
Sergei Karandashov
ÓÚˆ‡ »Î·ËÓ̇. ” ÓÚ¯ÂθÌË͇, ̇ÍÓ̈, ÔÓˇ‚ΡÂÚÒˇ
Film director, prize-winner of documentary
̇‰Âʉ‡ ̇ ÚÓ, ˜ÚÓ ÒÍÓÓ ÓÌ ÒÚ‡ÌÂÚ Ó˜Â‚Ë‰ˆÂÏ ŒÚÍÓ‚ÂÌˡ.
film competitions. Born in 1964 in
ÕÓ ÓÚˆ‡ »Î·ËÓ̇ ÌÂÎÂÔÓ Ë ·ÂÒÒÏ˚ÒÎÂÌÌÓ Û·Ë‚‡˛Ú.
Chelyabinsk. Acted and directed at an
amateur theatre, made shorts at the
œÂÂÊË‚ „ÎÛ·ÓÍÓ ÓÚ˜‡ˇÌËÂ, ‘‰Ó ‚ÂÌÂÚÒˇ Í Î˛‰ˇÏ,
Chelyabinsk studio ìMotiveî. From 1988-91
ËÒÔ˚Ú‡ÂÚ Î˛·Ó‚¸ Ë ‚ÌÓÒÚ¸, ÌÂ̇‚ËÒÚ¸ Ë ÒÚ‡ı. » Î˯¸
studied at the Faculty of Art History of the
‰Óȉˇ ‰Ó Í‡ˇ ó ¯˂¯ËÒ¸ ̇ Û·ËÈÒÚ‚Ó ó ÒÚ‡ÌÂÚ
Russian Christian Humanities Institute (St..
҂ˉÂÚÂÎÂÏ ˜Û‰‡Ö
Petersburg); from 1991 studied under Alexei
German in his directorsí workshop (Studio of
First Experimental Film, Lenfilm). From
Mystical drama. Parable.
1993-97 trainee director on Germanís film
A long time ago the heavens were lower and God spoke to the
ìKhrustalev, my Car!î. Since 2000 works on
the multi-serial documentary television
people through miracles and signs. The thirst for a miracle
project ìThe Other Side of the Earthî (first
remains latent in every man. The filmís hero Fiodor witnesses
films: ìShelterî, Laurel Award for graphic
an accident, as a result of which those close to him perish.
design, 2001; ìThe Priest and the Parishî,
2003). Participated in the project ìPetersburg ñ
He decides that he was saved for a reason and that he must
300î (SDF) where he made the documentary
now change his life. Living alone in the forest, in a deserted
film ìThe Giftî (2002). ìThe Wandererî is
pill-box from the war, he tries to live in the manner of
his debut in fiction feature films.
orthodox eremites, exhausting himself in prayers and fasting,
without experiencing a revelation. At last Fiodor finds a
companion in this new world: father Illarion. The eremite
finds hope. But father Illarion is killed in a ridiculous and
senseless way. After deep despair Fiodor returns to the world
and experiences love and jealousy, hatred and fear. Only
when he goes right to the brink of the abyss, deciding to kill
himself, he witnesses a miracleÖ
ÍÓÌÍÛÒ
competition
“Œ◊ü¿
THE SPOT
36
2006, –ÓÒÒˡ, 85 ÏËÌ., ˆ‚., 1:1.85, Dolby Digital 5.1
2006, Russia, 85 min, colour, 1:1.85, Dolby Digital 5.1
–ÂÊËÒÒÂ fiËÈ ÃÓÓÁ
Director Yuri Moroz
¿‚ÚÓ˚ ÒˆÂ̇ˡ √Ë„ÓËÈ –ˇÊÒÍËÈ, fiËÈ ÃÓÓÁ
Scriptwriters Grigory Ryazhsky, Yuri Moroz
œÓ ÔÓ‚ÂÒÚË √Ë„Óˡ –ˇÊÒÍÓ„Ó
Novel by Grigory Ryazhsky
ŒÔÂ‡ÚÓ ÕËÍÓÎ‡È »‚‡ÒË‚
Camera Nikolai Ivasiv
’Û‰ÓÊÌËÍ ≈͇ÚÂË̇ üÓÊ‚ÌËÍÓ‚‡
Art Director Ekaterina Kozhevnikova
üÓÏÔÓÁËÚÓ ƒ‡ËÌ —˚ÒÓ‚
Composer Darin Sysoev
üÓÒÚ˛Ï˚ ¿ÎÂÍ҇̉ ŒÒËÔÓ‚
Costumes Alexander Osipov
«‚ÛÍ Ã‡Ë̇ Õ˄χÚÛÎË̇
Sound Marina Nigmatulina
¬ ÓΡı: ƒ‡¸ˇ ÃÓÓÁ, ¬ËÍÚÓˡ »Ò‡ÍÓ‚‡, ¿Ì̇ ”ÍÓÎÓ‚‡,
Cast: Darya Moroz, Victoria Isakova, Anna Ukolova, Elena
≈ÎÂ̇ flÍӂ΂‡, ÃËı‡ËÎ ≈ÙÂÏÓ‚, ÃËı‡ËÎ √Ó‚ÓÈ
Yakovleva, Mikhail Efremov, Mikhail Gorevoy
œÓËÁ‚Ó‰ÒÚ‚Ó —ÚÛ‰Ëˇ ´üÓÎË·˪ ÔÓ Á‡Í‡ÁÛ ´÷ÂÌÚ‡Î
Production Central Partnership, Colibri Studio with the
œ‡ÚÌÂ¯ËÔª, ÔË Û˜‡ÒÚËË ‘‰Â‡Î¸ÌÓ„Ó ¿„ÂÌÚÒÚ‚‡ ÔÓ
participation of the Federal Agency for Culture and
ÍÛθÚÛÂ Ë ÍËÌÂχÚÓ„‡ÙËË
Cinematography
œÓÍ‡Ú ´÷ÂÌÚ‡Î œ‡ÚÌÂ¯ËÔª
Distribution Central Partnership
www.centpart.ru
www.centpart.ru
ÍÓÌÍÛÒ
competition
fiËÈ ÃÓÓÁ
–ÂÊËÒÒÂ, ÔÓ‰˛ÒÂ, ‡ÍÚÂ. –Ó‰ËÎÒˇ ‚
ü‡ÒÌÓ‰ÓÌ (29.09.1956). ŒÍÓ̘ËÎ ÿÍÓÎÛÒÚÛ‰Ë˛ Ã’¿“ (1979, ÍÛÒ ¬.ü. ÃÓÌ˛ÍÓ‚‡),
ÂÊËÒÒÂÒÍËÈ Ù‡ÍÛθÚÂÚ ¬√»ü‡ (1988,
χÒÚÂÒ͇ˇ —.¿. √Â‡ÒËÏÓ‚‡ Ë
“.‘. Ç͇Ó‚ÓÈ). ¬ 1979-87 ñ ‡ÍÚÂ Ú‡Ú‡
ËÏÂÌË ÀÂÌËÌÒÍÓ„Ó ÍÓÏÒÓÏÓ·. ¬ ÍËÌÓ
‰Â·˛ÚËÓ‚‡Î Í‡Í ‡ÍÚÂ ‚ 1980 „Ó‰Û. ¬
37
̇ÒÚÓˇ˘Â ‚ÂÏˇ ñ ıÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È
ÛÍÓ‚Ó‰ËÚÂθ ÔÓËÁ‚Ó‰ÒÚ‚ÂÌÌÓÈ ÒÚÛÍÚÛ˚
üËÌÓÍÓÏÔ‡ÌËË ´÷ÂÌÚ‡Î œ‡ÚÌÂ¯ËÔª.
‘ËθÏÓ„‡Ùˡ ÂÊËÒÒÂ‡:
1990 ....œÓ‰ÁÂÏÂθ ‚‰¸Ï
1992 ....◊ÂÌ˚È Í‚‡‰‡Ú
2000 ....ü‡ÏÂÌÒ͇ˇ (ÒÂˇÎ)
2002 ....ü‡ÏÂÌÒ͇ˇ ñ 2 (ÒÂˇÎ)
2003 ....ü‡ÏÂÌÒ͇ˇ ñ 3 (ÒÂˇÎ)
2004 ....∆ÂÌ˘Ë̇ ‚ Ë„ ·ÂÁ Ô‡‚ËÎ (ÒÂˇÎ)
2005 ....ƒÂÚË ¬‡Ì˛ıË̇ (ÒÂˇÎ)
2006 ....“Ә͇
Yuri Moroz
Director, producer, and actor. Born in
Krasnodon (29.09.1956). Graduated from the
Moscow Art Theatre Studio School (1979,
course of V. Monyukov), and from the
Directorsí Faculty of the Film Institute VGIK
(1988, class of S. Gerasimov and
T. Makarova). From 1979-87 actor at the
ƒ‡Ï‡Ú˘ÂÒ͇ˇ ËÒÚÓˡ ÏÓÎÓ‰˚ı ‰Â‚Û¯ÂÍ, ‡·ÓÚ‡˛˘Ëı ̇
Lenkom Theatre, Moscow. His debut as film
actor was in 1980. At present he is art
´ÚӘͪ. ü‡Ê‰‡ˇ ËÁ „ÂÓË̸ ÓÚ˜‡ˇÌÌÓ ˆÂÔΡÂÚÒˇ Á‡
director in the production department of the
̇‰ÂÊ‰Û Ì‡ ´ÌÓχθÌÛ˛ª ÊËÁ̸. ÕÓ ÂÒÎË ÍÓÏÛ-ÚÓ Û‰‡ÒÚÒˇ
film company ìCentral Partnershipî.
‚˚‚‡Ú¸Òˇ ËÁ ÔÓÓ˜ÌÓ„Ó ÍÛ„‡, ÚÓ ÍÚÓ-ÚÓ Ó·˜ÂÌ ÓÒÚ‡Ú¸Òˇ ‚
Directorís Filmography:
ÌÂÏ Ì‡‚Ò„‰‡Ö
1990 ....The Underworld of Witches
1992 ....Black Square
2000 ....Kamenskaya (serial)
The dramatic story of young girls working on the ëspotí. The
2002 ....Kamenskaya 2 (serial)
2003 ....Kamenskaya 3 (serial)
girls desperately cling to the hope for a ënormalí life. But
2004 ....A Woman in a Game without Rules
while some manage to escape from the vicious circle, others
(serial)
2005 ....Vaniukhinís Children (serial)
2006 ....The Spot
are doomed to remain trapped forever Ö
ÍÓÌÍÛÒ
competition
◊≈ÀŒ¬≈ü ¡≈«¬Œ«¬–¿“Õ¤…
THE MAN OF NO RETURN
38
2006, –ÓÒÒˡ, 104 ÏËÌ., ˆ‚., 1: 1.85, Dolby Digital 5.1
2006, Russia, 104 min, colour, 1: 1.85, Dolby Digital 5.1
–ÂÊËÒÒÂ ≈͇ÚÂË̇ √ÓıÓ‚Ò͇ˇ
Director Ekaterina Grokhovskaia
¿‚ÚÓ ÒˆÂ̇ˡ œÂÚ —ÚÂÔËÌ
Scriptwriter Pyotr Styopin
ŒÔÂ‡ÚÓ ¿ÎÂÍÒÂÈ ¿Ì‰ˇÌÓ‚
Camera Alexei Andrianov
’Û‰ÓÊÌËÍ ¿ÌÚÓÌË̇ Ç‚Ë̇
Art Director Antonina Mavrina
üÓÏÔÓÁËÚÓ ≈‚„ÂÌËÈ √‡Î¸ÔÂËÌ
Composer Evgeny Galperin
«‚ÛÍ ¿ÎÂÍÒÂÈ œÛÁËÍÓ‚
Sound Alexei Puzikov
–ÂÊËÒÒÂ ÏÓÌڇʇ ≈͇ÚÂË̇ √ÓıÓ‚Ò͇ˇ
Directorís Cut Ekaterina Grokhovskaia
¬ ÓΡı: √‡ÎË̇ …ӂӂ˘ (ÀÓ„ËÌÓ‚‡), ≈͇ÚÂË̇ –‰ÌËÍÓ‚‡,
Cast: Galina Jovovich (Loginova), Ekaterina Rednikova, Sergei
—Â„ÂÈ ü‡ÔË‚‡, ¿Ì̇ ◊ÛË̇, ¿Ì‰ÂÈ ≈„ÓÓ‚, ¿ÎÂ̇
Krapiva, Anna Churina, Andrey Egorov, Alyona Yakovleva,
flÍӂ΂‡, —Â„ÂÈ ◊ÓÌ˯‚ËÎË, ¿Ì̇ ’ËθÍ‚˘, ≈ÎÂ̇
Sergei Chonishvili, Anna Khilkevich, Elena Valyushkina,
¬‡Î˛¯ÍË̇, ÃËı‡ËÎ –ÂÏËÁÓ‚, ¬ËÚ‡ÎËÈ √Ó„ÛÌÒÍËÈ, ŒÎ¸„‡
Mikhail Remizov, Vitaly Gogunsky, Olga Zaitseva
«‡ÈˆÂ‚‡
Producers Igor Zadorin, Dmitry Rubin
œÓ‰˛ÒÂ˚ »„Ó¸ «‡‰ÓËÌ, ƒÏËÚËÈ –Û·ËÌ
Production and Sales ZGfilm, Cineline Studio
œÓËÁ‚Ó‰ÒÚ‚Ó Ë Ô‡‚‡ ZGfilm, Cineline Studio
www.zgfilm.com
www.zgfilm.com
ÍÓÌÍÛÒ
competition
≈͇ÚÂË̇ √ÓıÓ‚Ò͇ˇ
- ÂÊËÒÒÂ, ÒˆÂ̇ËÒÚ. –Ӊ˷Ҹ ‚ ÃÓÒÍ‚Â.
¬ ̇ÒÚÓˇ˘Â ‚ÂÏˇ ñ ÒÚÛ‰ÂÌÚ͇ ÔÓÒΉ̄Ó
ÍÛÒ‡ ÂÊËÒÒÂÒÍÓ„Ó Ù‡ÍÛθÚÂÚ‡ ¬√»ü‡
(χÒÚÂÒ͇ˇ ≈.».“‡¯ÍÓ‚‡). ƒÓ ÔÓÒÚÛÔÎÂÌˡ
‚Ó ¬√»ü Ë ‚Ó ‚ÂÏˇ ۘ·˚ ÒÌËχ· ÍÎËÔ˚
Ë ˝ÍÒÔÂËÏÂÌڇθÌ˚ ÍÓÓÚÍË ÙËθÏ˚.
”˜Â·Ì‡ˇ ‡·ÓÚ‡ ñ ´ƒ‚Óª - Û˜‡ÒÚ‚Ó‚‡Î‡ ̇
ÏÌÓ„Ëı ÏÂʉÛ̇Ó‰Ì˚ı ÒÚÛ‰Â̘ÂÒÍËı
39
ÙÓÛχı, ÔÓÎۘ˷ „·‚Ì˚È ÔËÁ ‚
ÔÓ„‡ÏÏ ´ƒÂ·˛Ú-üËÌÓÚ‡‚. üÓÓÚÍËÈ
ÏÂÚª Œ–ü‘ ‚ —Ó˜Ë, 2005. ´◊ÂÎÓ‚ÂÍ
·ÂÁ‚ÓÁ‚‡ÚÌ˚Ȫ - ÔÂ‚‡ˇ ÔÓÎÌÓÏÂÚ‡Ê̇ˇ
͇ÚË̇.
Ekaterina Grokhovskaia
Director and scriptwriter. Born in Moscow.
Currently graduating from the Directorsí
Faculty at the Film Institute VGIK (class of
Evgeny Tashkov). Before and during her
study, she made clips and experimental short
films. Her course work ìTwoî took part in
many international student forums and
received the main prize of the programme
ìKinotavr Debuts: Shortsî at the Film
Festival in Sochi in 2005. ìThe Man of No
Returnî is her first full-length feature film.
ƒ‡Ï‡.
—Û‰¸·˚ ÌÂÒÍÓθÍËı ÒÂÏÂÈ Ó·Î‡ÒÚÌÓ„Ó ÔË‚ÓÎÊÒÍÓ„Ó „ÓÓ‰‡, ÍÓÚÓ˚Â
ÌÂÁ̇ÍÓÏ˚ ‰Û„ Ò ‰Û„ÓÏ, ÌÓ Ëı ÊËÁÌË Ó͇Á˚‚‡˛ÚÒˇ ÌÂ‡Á˚‚ÌÓ
Ò‚ˇÁ‡ÌÌ˚ÏË Ë ‚Á‡ËÏÓÁ‡‚ËÒËÏ˚ÏË. ƒ‚Â̇‰ˆ‡Ú¸ „·‚Ì˚ı „ÂÓ‚, Ë Í‡Ê‰˚È
·ÓÂÚÒˇ ÒÓ Ò‚ÓËÏË ‰ÂÏÓ̇ÏË ÔÓ-Ò‚ÓÂÏÛ. » Î˯¸ Ó‰ÌÓ Ëı Ó·˙‰ËÌˇÂÚ ñ
β·Ó‚¸ Í Ò‚ÓÂÏÛ „ÓÓ‰Û, ÒÚÂÏÎÂÌËÂ Í Ò˜‡ÒÚ¸˛, β·‚Ë Ë ÔÓÍÓ˛.
Drama.
The destinies of several families from a provincial town on the Volga, who do
not know each other, but whose lives seem to be inextricably linked and
mutually dependent on each other. Twelve protagonists, who all struggle with
their inner devils in their own way. Only one thing bonds them: the love for
their town, the aspiration for happiness, love and peace.
ÍÓÌÍÛÒ
competition
›…‘Œ–»fl
EUPHORIA
40
2006, –ÓÒÒˡ, 74 ÏËÌ., ˆ‚., 1:1.85, Dolby Digital 5.1
2006, Russia, 74 min, colour, 1:1.85, Dolby Digital 5.1
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ »‚‡Ì ¬˚˚ԇ‚
Scriptwriter and Director Ivan Vyrypaev
ŒÔÂ‡ÚÓ ¿Ì‰ÂÈ Õ‡È‰ÂÌÓ‚
Camera Andrey Naydionov
’Û‰ÓÊÌËÍ (ÔÓÒÚ‡Ìӂ͇ Ë ÍÓÒÚ˛Ï˚) fiËÈ ’‡ËÍÓ‚
Art Director, Costum Designer Yuri Kharikov
üÓÏÔÓÁËÚÓ ¿È‰‡ √‡ÈÌÛÎÎËÌ
Composer Aydar Gaynullin
«‚ÛÍ üËËÎÎ ¬‡ÒËÎÂÌÍÓ
Sound Kirill Vasilenko
ÃÓÌÚ‡Ê »„Ó¸ Ç·ıÓ‚
Editor Igor Malakhov
¬ ÓΡı: œÓÎË̇ ¿„Û‚‡, ÇÍÒËÏ ”¯‡ÍÓ‚, ÃËı‡ËÎ
Cast: Polina Agureeva, Maxim Ushakov, Mikhail Okunev,
ŒÍÛÌ‚, ljÎÂÌ ƒÊ‡·‡ËÎÓ‚‡, ÇÍÒËÏ ÀËÚÓ‚˜ÂÌÍÓ,
Madlen Dzhabrailova, Maxim Litovchenko, Evgenia Dmitrieva,
≈‚„ÂÌˡ ƒÏËÚË‚‡, ¬ˇ˜ÂÒ·‚ üÓÍÓËÌ, «Óˇ «‡‰ÓÓÊ̇ˇ
Viacheslav Kokorin, Zoia Zadorozhnaia
œÓ‰˛ÒÂ˚ ¿ÎÂÍ҇̉ ÿÂÈÌ, √ÂÓ„ËÈ ÀÓ‰ÍËÔ‡ÌˉÁÂ
Producers Alexander Shein, Georgy Lordkipanidze
œÓËÁ‚Ó‰ÒÚ‚Ó ´œÂ‚Ó üËÌÓÔ‡ÚÌÂÒÚ‚Óª, ´2 ÔÎ‡Ì 2ª
Production Pervoe Kinopartnerstvo, 2 plan 2
www.euphoria-film.com
www.euphoria-film.com
ÍÓÌÍÛÒ
competition
»‚‡Ì ¬˚˚ԇ‚
ƒ‡Ï‡ÚÛ„, ‡ÍÚÂ, ÂÊËÒÒÂ. À‡ÛÂ‡Ú Ò‡Ï˚ı
ÔÂÒÚËÊÌ˚ı Ú‡Ú‡Î¸Ì˚ı ÔÂÏËÈ Ë ÔÂÏËË
œÂÁˉÂÌÚÒÍÓ„Ó ÒÓ‚ÂÚ‡ ´«‡ ‚Í·‰ ‚
ÓÚ˜ÂÒÚ‚ÂÌÌÛ˛ ÎËÚÂ‡ÚÛÛª.
–Ó‰ËÎÒˇ 3 ‡‚„ÛÒÚ‡ 1974 „Ó‰‡. ŒÍÓ̘ËÎ
»ÍÛÚÒÍÓ Ú‡Ú‡Î¸ÌÓ ۘËÎˢ (1995).
¿‚ÚÓ ÍËÌÓÒˆÂ̇Ë‚: ´ƒÛ„ÓÈ ‡ÈÓ̪,
´¡ÛÌÍÂª, ´¿ÌÚÓÌË̇ ӄΡÌÛ·Ҹª,
41
´¡Ûı‡ÂÒÚ 68ª, ´¡ÛÏÂ-2ª (ÒÓ‡‚ÚÓ). ¿‚ÚÓ
Ô¸ÂÒ: ´»˛Î¸ª, ´¡˚ÚË π 2ª, ´üËÒÎÓÓ‰ª,
´¬‡ÎÂÌÚËÌÓ‚ ‰Â̸ª, ´√ÓÓ‰, „‰Â ˇª, ´—Ì˚ª.
œÓ Ô¸ÂÒ‡Ï »‚‡Ì‡ ¬˚˚ԇ‚‡ ÔÓÒÚ‡‚ÎÂÌ˚
Love story/ ƒ‡Ï‡.
ÒÔÂÍÚ‡ÍÎË ‚Ó ÏÌÓ„Ëı Ú‡Ú‡ı ÏË‡. ¿‚ÚÓ
»ÒÚÓˡ β·‚Ë ÏÛʘËÌ˚ Ë ÊÂÌ˘ËÌ˚ ó ÌÂʉ‡ÌÌÓÈ,
ÍÌË„Ë ´13 ÚÂÍÒÚÓ‚, ̇ÔËÒ‡ÌÌ˚ı ÓÒÂ̸˛ª
̇ÒÚÓˇ˘ÂÈ, ·ÂÒÔÓ˘‡‰ÌÓÈ. ›Ú‡ ËÒÚÓˡ Ó ÚÓ„‡ÚÂθÌ˚ı Ë
(ËÁ‰-‚Ó ´¬ÂÏˇª, 2005).
´›ÈÙÓˡª ñ ÂÊËÒÒÂÒÍËÈ ‰Â·˛Ú ‚ ÍËÌÓ.
Ivan Vyrypaev
ÊÂÒÚÓÍËı β‰ˇı, Ë ·ÂÁÏÓ΂ÌÓÏ Ò‚Ë‰ÂÚÂΠËı ÒÚ‡ÒÚÂÈ ñ
–ÂÍÂ, ‚Â΢ÂÒÚ‚ÂÌÌÓ ÌÂÒÛ˘ÂÈ Ò‚ÓË ‚Ó‰˚ ˜ÂÂÁ ‚Â͇. ÕÂ
Playwright, actor, director. Winner of the
̇ۘÂÌÌ˚ β·ËÚ¸ Ë ·˚Ú¸ β·ËÏ˚ÏË, ÓÌË, Í‡Í ‰ÂÚË, ÌÂ
most prestigious theatre awards and the prize
ÏÓ„ÛÚ ÒÔ‡‚ËÚ¸Òˇ Ò Óı‚‡ÚË‚¯ÂÈ Ëı ˝ÈÙÓËÂÈ. Õ‡ ÙÓÌÂ
of the Presidential Council "For the
Contribution to Russian Literature".
‰ËÍÓÈ ÔËÓ‰˚ ÓÌË Î˯¸ χÎÂ̸ÍË ·ÂÒÔÓÏÓ˘Ì˚Â
Born on 3 August 1974. Graduated from
ÙË„ÛÍË, ̇ıÓ‰ˇ˘ËÂÒˇ ÔÓ‰ ‚·ÒÚ¸˛ ƒÛı‡ ÒÚÂÔË ó
Irkutsk Theatre School (1995). Writer of film
scripts: "Another District", "Bunker",
ÒÚ‡¯ÌÓ„Ó Ë ÔÂÍ‡ÒÌÓ„ÓÖ
"Antonina Looks Back", "Bucharest 68",
"Bimmer 2" (co-author).
Author of plays: "July", "Genesis No. 2",
Love story/ Drama.
"Oxygen", "Valentine's Day", "The City, where
The love story of a man and a woman; a story of unexpected,
I am", "Dreams". Ivan Vyrypaev's plays have
true, and ruthless love. This story is about moving and harsh
been staged at many theatres worldwide.
He is the author of the book "Thirteen Texts
people, and the silent witness of their passion: the River that
Written in the Autumn" (published by
majestically carries its waters through centuries. Without
"Vremya", 2005).
"Euphoria" is his directorial debut.
having learnt to love and to be loved, they are like children;
they cannot cope with the euphoria that has taken hold of
them. Against the backdrop of untamed nature, they are just
small and helpless figures, standing under the power of the
terrible and beautiful Spirit of the steppeÖ
42
ÍËÌÓÚ‡‚
ÍÓÓÚÍËÈ ÏÂÚ
kinotavr
shorts
∆fi–» / JURY
¬ËÚ‡ÎËÈ Ã‡ÌÒÍËÈ
ÂÊËÒÒÂ-‰ÓÍÛÏÂÌÚ‡ÎËÒÚ, ÔÓ‰˛ÒÂ ñ Ô‰Ò‰‡ÚÂθ Ê˛Ë
Vitaly Mansky
director of documentary cinema, producer ñ jury chairman
«‡‡ ¿·‰Û炇
ÍËÚËÍ, ‚Â‰Û˘‡ˇ
´üËÌÓÓ·ÓÁÂÌˡª
̇ ‡‰ËÓ
´üÛθÚÛ‡ª
Zara Abdullaeva
critic, presenter
of the programme
ìCinema Surveyî
on radio
ìKulturaî
≈„Ó ¿Ì‡¯ÍËÌ
ÍËÌÓÂÊËÒÒÂ
Egor Anashkin
film director
¿Ì‰ÂÈ
’‡ÎÔ‡ı˜Ë
„ÂÌÂ‡Î¸Ì˚È
‰ËÂÍÚÓ Ãü‘
´ÃÓÎÓ‰ÓÒÚ¸ª,
‡Ú-‰ËÂÍÚÓ
Ãü‘ ´üÓÌÚ‡ÍÚª,
üË‚, ”Í‡Ë̇
Andrei
Khalpakhchi
general director
of the IFF
ìMolodistî, artdirector of the
IFF ìContactî,
Kiev, Ukraine
1919
hard
‡ÙË͇ÌÒ͇ˇ ÍÓÎ˚·Âθ̇ˇ
·ÂÒ·Ì. ҂ˉÂÚÂÎË
‚ ÒÎÓχÌÌ˚È ÏËÍÓÒÍÓÔ Ï˚ ۂˉËÏ Í‡Á‡Ì¸
‚ÓÓÌ-Ó·Ï‡Ì˘ËÍ
‚˚‰Óı
„‡‰˛¯ÓÌÓÍ
„‰Â Á‡ı‡?
‰Â‚Ó˜ÍË
ÊÂÒÚ˚Ö ÔËÏËÂÌËÂ
ÁËÏÌË ͇ÌËÍÛÎ˚
ÁÎ˚‰ÌË
͇Úӯ͇ ̇ Ò‡ÎÂ
ÎËχÌ
ÎÛ̇ÚÌ˚ ۯ‡ÒÚËÍË
χÒÂθÂÁ‡
ÏÓÈ ÍÂÒ΂ÒÍËÈ
ÏÓÂÖ Í‡ÏÌËÖ Ë Î˛·Ó‚¸
̇‚‡Ê‰ÂÌË Á‡Ô‡ı‡
ÌÂÔˡÚ̇ˇ ËÒÚÓˡ
ÔÓ͇ ÓÌ ÎÂÚ‡Î
ÔÓ·ÛʉÂÌËÂ
Óχ¯ÍË
Ò‚‡ÚÓ‚ÒÚ‚Ó
Ò‚ÓÈ, ˜ÛÊÓÈ
ÒÂÌÚÂ̈ËË Ô‡ÌÚÂΡ ͇χÌÓ‚‡
ÒÓÒ‰͇ ‚‡ÈÒχ̇
ÒÔ‡ÒË·Ó Á‡ ˚·Û
ÒÚ‡‡ˇ ‰‡˜‡
ÚÓÔÓˢÂ
Ú‡„ËÚÛ„ˡ
1919
HARD
AN AFRICAN LULLABY
BESLAN. WITNESSES
WE WILL SEE KAZAN IN THE BROKEN MICROSCOPE
THE RAVEN CHEAT
EXHALE
GADYUSHONOK [NASTY BOY]
WHERE IS ZAKHAR?
GIRLS
GESTURESÖ RECONCILIATION
THE WINTER VACATION
WICKED CREATURES
FRIED POTATOES
ESTUARY
BIG-EARED SLEEPWALKERS
MARSEILLAISE
MY KIESLOWSKI
SEAÖ STONESÖ AND LOVE
SCENT OBSESSION
UNPLEASANT STORY
WHILE HE WAS FLYING
AWAKENING
CAMOMILES
COURTSHIP
OURS, THEIRS
THE MAXIMS OF PANTELEI KARMANOV
WEISSMANíS NEIGHBOUR
THANKS FOR THE FISH
THE OLD DACHA
THE AXE HELVE
TRAGITURGIA
43
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
1919
44
2005, –ÓÒÒˡ, 14 ÏËÌ., ˆ‚., 35 ÏÏ
2005, Russia, 14 min, colour, 35 mm
–ÂÊËÒÒÂ Ë ÔÓ‰˛ÒÂ
Director and Producer Leila Nedorosleva
ÀÂÈ· Õ‰ÓÓÒ΂‡
Camera Denis Alarcon Ramires
ŒÔÂ‡ÚÓ ƒÂÌËÒ ¿Î‡ÍÓÌ –‡ÏËÂÒ
Production HCSF ñ High Courses of
œÓËÁ‚Ó‰ÒÚ‚Ó ¬ü—– ñ ¬˚үˠÍÛÒ˚
Scriptwriters and Film Directors
ÒˆÂ̇ËÒÚÓ‚ Ë ÂÊËÒÒÂÓ‚
(Moscow)
ÀÂÈ· Õ‰ÓÓÒ΂‡
–Ӊ˷Ҹ ‚ ¡‡̇ÛÎÂ. »ÏÂÂÚ
ÏÛÁ˚͇θÌÓ ӷ‡ÁÓ‚‡ÌËÂ
(ÙÓÚÂÔˇÌÓ). –‡·Óڇ·
ÍÓ̈ÂÚÏÂÈÒÚÂÓÏ Ë ‰ËËÊÂÓÏ
ÓÍÂÒÚ‡. ŒÍÓ̘Ë· ¿ÎÚ‡ÈÒÍËÈ
ÛÌË‚ÂÒËÚÂÚ ÍÛθÚÛ˚ ÔÓ
ÒÔˆˇθÌÓÒÚË ´ÍÛθÚÛÌÓÔÓÒ‚ÂÚËÚÂθÒ͇ˇ ‡·ÓÚ‡ª, Ò 1999 „Ó‰‡
‡·ÓÚ‡ÂÚ ‚ ‘Ó̉ ËÏÂÌË √ÂÌËı‡
ÕÂÈ„‡ÛÁ‡. ¬ ̇ÒÚÓˇ˘Â ‚ÂÏˇ Û˜ËÚÒˇ
̇ ¬˚Ò¯Ëı ÍÛÒ‡ı ÒˆÂ̇ËÒÚÓ‚ Ë
ÂÊËÒÒÂÓ‚ (χÒÚÂÒ͇ˇ
¬.». ’ÓÚËÌÂÌÍÓ, œ.ü. ‘ËÌ̇, ¬.¿.
‘Â̘ÂÌÍÓ). ´1919ª ó ÍÛÒÓ‚‡ˇ ‡·ÓÚ‡.
¿Î΄Óˡ.
Allegory.
1919 „Ó‰ ñ √‡Ê‰‡ÌÒ͇ˇ ‚ÓÈ̇,
The year is 1919, during the Civil War
ÔÓÓʉÂÌ̇ˇ ÍÓ‚‡‚ÓÈ ‚ÓβˆËÂÈ ‚
that followed the bloody Revolution in
–ÓÒÒËË. œ‡ÚËÁ‡ÌÒÍËÈ Ó·ÓÁ, „ÓÌËÏ˚È
Russia. A guerrilla unit transport,
ÒËÎÓÈ Ó·ÒÚÓˇÚÂθÒÚ‚, ÛıÓ‰ËÚ ‚
driven by the force of circumstances,
Á‡ÒÌÂÊÂÌÌÛ˛ ‰‡Î¸, ‡ ‚ÏÂÒÚÂ Ò ÌËÏ,
disappears into a remote snow-covered
Ê·ˇ ÔË·ÎËÁËÚ¸Òˇ Í Ò‚ÓÂÈ Ï˜ÚÂ,
area. With the unit is a man who
ˉÂÚ ˜ÂÎÓ‚ÂÍ ñ Ó‰ËÌ Ì‡ Ó‰ËÌ ÒÓ
wishes to come closer to his dream he is
Ò‚ÓËÏË ÒÚ‡ı‡ÏË, ÒÚ‡‰‡ÌˡÏË Ë
alone with his fears, sufferings and
ÔÂÂÊË‚‡ÌˡÏËÖ
worriesÖ
Leila Nedorosleva
Born in Barnaul. Musical School
(specialized in piano). Worked as
conductor. Graduated from Altai
University of Culture in ìCultural and
Educational Workî. Since 1999 works
in the Heinrich Neuhaus Fund. At
present enrolled on the Higher Courses
for Scriptwriters and Directors (class of
Vladimir Khotinenko, Pavel Finn,
Vladimir Fenchenko). ì1919î is her
course work.
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
HARD
45
2005, –ÓÒÒˡ, 8 ÏËÌ., ˆ‚.,
2006, Russia, 8 min, colour,
Betacam SP/ DVD, ‡ÌËχˆËˇ
Betacam SP, animation
ÛÌË‚ÂÒËÚÂÚ ÔÓ ÒÔˆˇθÌÓÒÚË
¿‚ÚÓ Ë ËÒÔÓÎÌËÚÂθ ÔÓÂÍÚ‡
Author and Project Director
´ÏÂÊÍÛθÚÛÌ˚ ÍÓÏÏÛÌË͇ˆË˪,
¿ÚÂÏ »Ò‡‡ÍˇÌ
Artiom Isaakian
ÎËÌ„‚ËÒÚ-ÔÂ‚Ӊ˜ËÍ. ¬ ̇ÒÚÓˇ˘ÂÂ
»ÒÔÓθÁÛÂχˇ ÏÛÁ˚͇ Bill Brown
Music Bill Brown
‚ÂÏˇ ó ÒÚÛ‰ÂÌÚ ¬˚Ò¯Ëı ÍÛÒÓ‚
œÓËÁ‚Ó‰ÒÚ‚Ó ¬ü—–
Production Higher Courses of
ÒˆÂ̇ËÒÚÓ‚ Ë ÂÊËÒÒÂÓ‚ (χÒÚÂÒ͇ˇ
œ‡‚‡ ¿ÚÂÏ »Ò‡‡ÍˇÌ
Scriptwriters and Directors
¿ÚÂÏ »Ò‡‡ÍˇÌ
(. 1983, „. –ˇÁ‡Ì¸).
ŒÍÓ̘ËÎ –ˇÁ‡ÌÒÍËÈ Ô‰‡„ӄ˘ÂÒÍËÈ
Sales Artiom Isaakian
¬.». ’ÓÚËÌÂÌÍÓ, œ.ü. ‘ËÌ̇,
¬.¿. ‘Â̘ÂÌÍÓ),
Artiom Isaakian
(b. 1983, Ryazan).
Graduated from Ryazan Pedagogical
University in ìintercultural
communicationsî, linguist and
translator. Currently a student of the
Higher Courses for Scriptwriters and
Directors (course of V. Khotinenko,
P. Finn, V. Fenchenko).
√ÂÓ˘ÂÒ͇ˇ ‰‡Ï‡ Ò ´ËÒÚËÌÓÈ ‚
Heroic drama with ìtruth in the finaleî
ÙË̇Ϊ Ó ÒÎÓÊÌ˚ı ÓÚÌÓ¯ÂÌˡı ‚
about complex relationships in difficult
ÌÂÔÓÒÚ˚ı ÛÒÎӂˡı ·˚Úˡ ñ ËÒÚÓˡ,
circumstances. A story that cannot be
ÍÓÚÓÛ˛ ÌÂθÁˇ ‡ÒÒ͇Á‡Ú¸ Ë̇˜Â.
told differently.
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
¿‘–»ü¿Õ—ü¿fl üŒÀ¤¡≈À‹Õ¿fl
AN AFRICAN LULLABY
46
2005, –ÓÒÒˡ, 3 ÏËÌ., ˆ‚., ‡ÌËχˆËˇ
2005, Russia, 3 min, colour, animation
¿‚ÚÓ ÒˆÂ̇ˡ, ÂÊËÒÒÂ, ıÛ‰ÓÊÌËÍ
Scriptwriter, Director, Art Director
≈ÎËÁ‡‚ÂÚ‡ —Í‚ÓˆÓ‚‡
Elizaveta Skvortsova
»ÒÔÓÎÌËÚÂθ ÔÂÒÌË
Performance Ladysmith Black Mambazo
Ladysmith Black Mambazo
Sound Sergei Kurbatov
«‚ÛÍ —Â„ÂÈ üÛ·‡ÚÓ‚
Animators Anna Samoilovich, Natalia
¿ÌËχÚÓ˚ ¿Ì̇ —‡ÏÓÈÎӂ˘,
Naumova, Veronika Fiodorova, Natalia
Շڇθˇ Õ‡ÛÏÓ‚‡, ¬ÂÓÌË͇ ‘‰ÓÓ‚‡,
Antipova, Maria Bystrova
Շڇθˇ ¿ÌÚËÔÓ‚‡, Çˡ ¡˚ÒÚÓ‚‡
Producer Arsen Gotlib
œÓ‰˛ÒÂ ¿ÒÂÌ √ÓÚÎË·
Production Metronome Film
≈ÎËÁ‡‚ÂÚ‡ —Í‚ÓˆÓ‚‡
(. 1978, ÃÓÒÍ‚‡).
œÓËÁ‚Ó‰ÒÚ‚Ó ´ÃÂÚÓÌÓÏ ÙËθϪ
ŒÍÓ̘Ë· ıÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È Ù‡ÍÛθÚÂÚ
¬√»ü‡ (χÒÚÂÒ͇ˇ ÍÓÏÔ¸˛ÚÂÌÓÈ
„‡ÙËÍË Ë ‡ÌËχˆËË ¿.Ã.√ÓÎÂÌÍÓ Ë
¬.œ.üÓÎÂÒÌËÍÓ‚ÓÈ). ”˜‡ÒÚÌËÍ Ë
ÔËÁÂ ‡ÌËχˆËÓÌÌ˚ı ÙÂÒÚË‚‡ÎÂÈ.
‘ËθÏ˚ (Í/Ï, ‡ÌËχˆËˇ): ´ƒÓʉ¸ª
(1999, ۘ·̇ˇ), ´ÒÂϸҌÓ˜Âͪ (1999,
ÍÛÒÓ‚‡ˇ), ´œÓ‰ÓÊ‰Ë ÔÓʇÎÛȪ (2002,
‰ËÔÎÓÏ; ÔÂ‚‡ˇ ÔÂÏˡ ÙÂÒÚË‚‡Îˇ
PIXEL).
¬ ¿ÙËÍ ÂÒÚ¸ Ú‡ÍË ÏÛ¯ÍË ó ÍÓ„‰‡
In Africa there are huge flies and when
ÓÌË ÔÓ˛Ú, ‚Ò Á‡Ò˚Ô‡˛Ú. œÓ˝ÚÓÏÛ Ú‡Ï,
they hum, everyone fall asleep. Therefore
‚ ¿ÙËÍÂ, ‚Ò ӘÂ̸ ÍÂÔÍÓ ÒÔˇÚÖ
in Africa everybody sleeps so well Ö
Elizaveta Skvortsova
(b. 1978, Moscow).
Graduated from the Arts Faculty of the
Film Institute VGIK (course of
computer graphics and animation of
Alexander Gorlenko and Violetta
Kolesnikova). Participant and prizewinner of animation festivals. Films
(shorts, animation): ìRainî (1999,
practical), ìSevenShirtsî (1999,
coursework, ìWait Perhapsî (2002,
diploma; first prize of the festival
PIXEL).
BESLAN. WITNESSES
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
¡≈—À¿Õ. —¬»ƒ≈“≈À»
47
2004, –ÓÒÒˡ, 10 ÏËÌ., ˆ‚., Betacam
2004, Russia, 10 min, colour, Betacam
—ÚÛ‰ÂÌÚ͇ ÚÂÚ¸Â„Ó ÍÛÒ‡ ¬√»ü‡
¿‚ÚÓ-ÂÊËÒÒÂ, ÓÔÂ‡ÚÓ
Scriptwriter, Director, Cinematographer
(χÒÚÂÒ͇ˇ ÂÊËÒÒÛ˚ ÌÂË„Ó‚Ó„Ó
¬‡‚‡‡ üÛÁ̈ӂ‡
Varvara Kuznetsova
ÍËÌÓ —. ¬. ÃËÓ¯Ì˘ÂÌÍÓ). ´¡ÂÒ·Ì.
œÓËÁ‚Ó‰ÒÚ‚Ó ¬√»ü
Production VGIK
ƒ‚‡ χθ˜Ë͇, ·˚‚¯Ë Á‡ÎÓÊÌËÍË
Two boys, former hostages of the school
¯ÍÓÎ˚ ‚ ¡ÂÒ·ÌÂ, ‡ÒÒ͇Á˚‚‡˛Ú Ó ÚÓÏ,
in Beslan, talk about the role of these
˜ÂÏ ÒÚ‡ÎË ‚ Ëı ÊËÁÌË ˝ÚË ÚË ‰Ìˇ.
three days for their lives
¬‡‚‡‡ üÛÁ̈ӂ‡
(. 1980, „. ÀÂÌËÌ„‡‰).
—‚ˉÂÚÂÎ˪ - ۘ·̇ˇ ‡·ÓÚ‡ (‚ÚÓÓÈ
ÍÛÒ). ‘ËθÏ˚ (‰ÓÍ., Í/Ï): ´¡ÂÒ·Ì.
—‚ˉÂÚÂÎ˪ (2004), ´¬ÌÛÚ˪ (2005),
´Õ‡ÔˇÏËͪ (2006).
Varvara Kuznetsova
(b. 1980, Leningrad).
Currently third-year student of the Film
Institute VGIK (course of film directing
of Sergei Miroshnichenko). ìBeslan.
Witnessesî is her second-year course
work. Films (doc., shorts): Beslan.
Witnesses (2004), Inside (2005),
Straight (2006).
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
¬Œ–ŒÕ-Œ¡Ã¿ÕŸ»ü
THE RAVEN CHEAT
(‡ÌËχˆËÓÌÌ˚È ˆËÍÎ ´√Ó‡ Ò‡ÏÓˆ‚ÂÚÓ‚ª)
(animation cycle ìThe Mountain of Gemsî)
48
2005, –ÓÒÒˡ, 13í10î, ˆ‚., DVD,
2005, Russia, 13í10î, colour., DVD,
‡ÌËχˆËˇ, ËÒÓ‚‡ÌÌ˚È
animation, drawn
–ÂÊËÒÒÂ Ë ıÛ‰ÓÊÌËÍ-ÔÓÒÚ‡ÌÓ‚˘ËÍ
Director, Art Director
¿Ì‰ÂÈ üÛÁ̈ӂ
Andrei Kuznetsov
¿‚ÚÓ˚ ÒˆÂ̇ˡ
Scriptwriters Alexander Tatarsky,
¿ÎÂÍ҇̉ “‡Ú‡ÒÍËÈ,
Georgy Zakolodiazhny
√ÂÓ„ËÈ «‡ÍÓÎÓ‰ˇÊÌ˚È
Projectís Chief Alexander Tatarsky
–ÛÍÓ‚Ó‰ËÚÂθ ÔÓÂÍÚ‡
Artists Andrey Kuznetsov, Sviatoslav
¿ÎÂÍ҇̉ “‡Ú‡ÒÍËÈ
Ushakov
’Û‰ÓÊÌËÍË ¿Ì‰ÂÈ üÛÁ̈ӂ,
Narrator Alexander Pozharov
—‚ˇÚÓÒ·‚ ”¯‡ÍÓ‚
Composer Georgy Andriyanov
“ÂÍÒÚ ˜ËÚ‡ÂÚ ¿ÎÂÍ҇̉ œÓʇÓ‚
Sound Vladislav Tarasov
üÓÏÔÓÁËÚÓ √ÂÓ„ËÈ ¿Ì‰ˡÌÓ‚
Producer Irina Kaplichnaya
«‚ÛÍ ¬Î‡‰ËÒ·‚ “‡‡ÒÓ‚
General Producer of Project
œÓ‰˛ÒÂ »Ë̇ ü‡Ô΢̇ˇ
Igor Gelashvili
√ÂÌÂ‡Î¸Ì˚È ÔÓ‰˛ÒÂ ÔÓÂÍÚ‡
Production Pilot, Eeroplan with
»„Ó¸ √·¯‚ËÎË
participation of the Federal Agency for
œÓËÁ‚Ó‰ÒÚ‚Ó ´œËÎÓÚª, ´¿˝ÓÔ·̪,
Culture and Cinematography
¿Ì‰ÂÈ üÛÁ̈ӂ
(. 1966, „. fiÊÌÓ-—‡ı‡ÎËÌÒÍ).
ŒÍÓ̘ËÎ ıÛ‰ÓÊÂÒÚ‚ÂÌÌÓ-„‡Ù˘ÂÒÍËÈ
Ù‡ÍÛθÚÂÚ Ã√œ», Ò 1990 „Ó‰‡ ‡·ÓÚ‡ÂÚ
̇ ‡ÌËχˆËÓÌÌÓÈ ÒÚÛ‰ËË ´œËÎÓÚª.
–ÂÊËÒÒÂÒÍËÈ ‰Â·˛Ú ó ´ü‡Í
ӷχÌÛÎË «Ï¡ª (ˆËÍÎ ´√Ó‡
Ò‡ÏÓˆ‚ÂÚÓ‚ª).
ÔË Û˜‡ÒÚËË ‘‰Â‡Î¸ÌÓ„Ó ‡„ÂÌÚÒÚ‚‡
ÔÓ ÍÛθÚÛÂ Ë ÍËÌÂχÚÓ„‡ÙËË
»ÒÚÓˡ Ó ÚÓÏ, Í‡Í ‚ÓÓÌÛ-Ó·Ï‡Ì˘ËÍÛ
On motives of an Itelmen fairytale.
ÓÚÔ·ÚËÎË ÚÓÈ Ê ÏÓÌÂÚÓÈ, Ë ÓÌ
A story about a raven, who cheats and
ÔÓÒÚ‡‰‡Î ÓÚ ÒÓ·ÒÚ‚ÂÌÌÓÈ Ê‡‰ÌÓÒÚË.
is repaid with the same coin, and thus
œÓ ÏÓÚË‚‡Ï ËÚÂθÏÂÌÒÍÓÈ Ò͇ÁÍË.
suffers from his own greed.
Andrei Kuznetsov
(b. 1966, Yuzhno-Sakhalinsk).
Graduated from the arts and graphics
department of Moscow State
Polytechnic, since 1990 works at the
animation studio ìPilotî. His directorial
debut is ìHow the Snake was Deceivedî
(cycle ìThe Mountain of Gemsî).
WE WILL SEE KAZAN IN THE BROKEN MICROSCOPE
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
¬ —ÀŒÃ¿ÕÕ¤… ûü–Œ—üŒœ ä ”¬»ƒ»Ã ü¿«¿Õ‹
49
2006, –ÂÒÔÛ·ÎË͇ “‡Ú‡ÒÚ‡Ì (–‘),
2006, Tatarstan Republic (RF),
20 ÏËÌ., ˆ‚.
20 min, colour
ÒÚÛ‰ËË. œËÁÂ ÏÂʉÛ̇Ó‰Ì˚ı Ë
–ÂÊËÒÒÂ Ë ÓÔÂ‡ÚÓ —Â„ÂÈ ÀËÚӂˆ
Director and Cinematographer
ÓÚ˜ÂÒÚ‚ÂÌÌ˚ı ÍËÌÓÙÂÒÚË‚‡ÎÂÈ.
¿‚ÚÓ ÒˆÂ̇ˡ ƒÂÌËÒ ŒÒÓÍËÌ
Sergei Litovets
ŒÍÓ̘ËÎ ÓÔÂ‡ÚÓÒÍËÈ Ù‡ÍÛθÚÂÚ
üÓÏÔÓÁËÚÓ “‡Ú¸ˇÌ‡ ÀËÚӂˆ
Scriptwriter Denis Osokin
¬√»ü‡ (1989, χÒÚÂÒ͇ˇ ¬‡‰Ëχ
«‚ÛÍ œ‡‚ÂÎ —ÓÍÓÎÓ‚ÒÍËÈ,
Composer Tatiana Litovets
fiÒÓ‚‡). ¬ ͇˜ÂÒÚ‚Â ÓÔÂ‡ÚÓ‡ ÒÌˇÎ
¬ËÍÚÓ üΡ˜ÍËÌ, ¬ˇ˜ÂÒ·‚ ¬ÓÓ·¸Â‚
Sound Pavel Sokolovsky,
·ÓΠ20-ÚË ‰ÓÍÛÏÂÌڇθÌ˚ı ÙËθÏÓ‚,
¬ ÙËθÏ ÒÌËχÎËÒ¸: ŒÎ„ —Ë·ıËÌ,
Victor Klyachkin, Vyacheslav Vorobiov
Û˜‡ÒÚ‚Ó‚‡Î ‚ Ò˙ÂÏ͇ı Ë„Ó‚Ó„Ó ÙËθχ
ÇË̇ œÓÔÓ‚‡, ¬‡ÒËÎËÈ ¡‡È„Û¯ÍËÌ,
Characters: Oleg Silakhin,
´üÓÚÂÌÓͪ »‚‡Ì‡ œÓÔÓ‚‡ (1996).
«ÛÙ‡ ’‡ÙËÁÓ‚, ¬‡ÎÂËÈ ÀËÚӂˆ
Marina Popova, Vasily Baygushkin,
ƒÂ·˛Ú ‚ ͇˜ÂÒÚ‚Â ÂÊËÒÒÂ‡ -
œÓ‰˛ÒÂ ÃËı‡ËÎ ÃËı‡ÈÎÓ‚
Zufar Khafizov, Valery Litovets
´ƒË‡ÎÓ„Ë ‚ ˝ÎÂÍÚ˘Íª (2004, ‰ÓÍ.,
œÓËÁ‚Ó‰ÒÚ‚Ó ü‡Á‡ÌÒ͇ˇ ÍËÌÓÒÚÛ‰Ëˇ,
Producer Mikhail Mikhaylov
Í/Ï). ´¬ ÒÎÓχÌÌ˚È ÏËÍÓÒÍÓÔ Ï˚
ÔË Û˜‡ÒÚËË ‘‰Â‡Î¸ÌÓ„Ó ‡„ÂÌÚÒÚ‚‡
Production Kazan Film Studio with
ۂˉËÏ ü‡Á‡Ì¸ª - ‚ÚÓÓÈ ÙËθÏ
ÔÓ ÍÛθÚÛÂ Ë ÍËÌÂχÚÓ„‡ÙËË
participation Federal Agency for
—Â„ÂÈ ÀËÚӂˆ
(. 1961).
ŒÔÂ‡ÚÓ Ë ÂÊËÒÒÂ ü‡Á‡ÌÒÍÓÈ
Culture and Cinematography
ÂÊËÒÒÂ‡.
Sergei Litovets
(b. 1961).
Director of photography and filmmaker
at Kazan Film Studio. Prize winner of
national and international festivals.
Graduated from the Film Institute
VGIK, Faculty of Cinematography
(1989, course of Vadim Yusov). As DoP
he made more than 20 documentaries
and took part in the making of Ivan
Popoví feature film ìThe Kittenî
(1996). His directorial debut was
ìElectric Train Dialoguesî (2004, doc.,
short). ìWe will see Kazan in the
Broken Microscopeî is his second film.
√ÓÓ‰ÒÍÓ ÔÓÒÚ‡ÌÒÚ‚Ó ËÒÔÓÎÌÂÌÓ
The city space is full of secrets and
Ú‡ÈÌ Ë ˜Û‰ÂÒÌ˚ı ‚ÓÁÏÓÊÌÓÒÚÂÈ.
wonderful opportunities.
À˛·Ó‚¸ Í „ÓÓ‰Û ñ Íβ˜ Í ÌËÏ.
The love for the city is the key to these
›Ú‡ β·Ó‚¸, ÂÒÎË Ó˜Â̸ ÒËθ̇ˇ,
secrets.
Ô‚‡˘‡ÂÚÒˇ ‚ ‚Óί·ÒÚ‚Ó.
This love turns magic if it is very
¬ÓÁÏÓÊÌÓÒÚË Ô‚‡˘‡˛ÚÒˇ ‚
strong.
ÒÔÓÒÓ·ÌÓÒÚË.
Opportunities turn into abilities.
√ÂÓË ÙËθχ ñ „ÓÓ‰ÒÍËÂ
The heroes of the film are city wizards,
‚Óί·ÌËÍË, ÊË‚Û˘Ë ‚ ‡ÁÛ¯‡ÂÏÓÏ
who live in the destroyed heart of
ÒÂ‰ˆÂ ü‡Á‡ÌË.
Kazan.
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
¬¤ƒŒ’
EXHALE
50
2006, –ÓÒÒˡ, 27 ÏËÌ., ˆ‚., 4:3, miniDV
2006, Russia, 27 min, colour, video
¿‚ÚÓ ˉÂË, ÂÊËÒÒÂ Ë ÓÔÂ‡ÚÓ
Directing, Concept and Camera
—‡¯‡ ÇÎËÌËÌ
Sasha Malinin
ÃÓÌÚ‡Ê ü‡ÂÌ ¿ÛÚ˛ÌˇÌ
Editing Karen Arutiunian
œÓ‰˛ÒÂ ÃËı‡ËÎ —ËÌ‚
Producer Mikhail Siniov
œÓËÁ‚Ó‰ÒÚ‚Ó Ë ÔÓ͇Ú
Production and Distribution
´üËÌÓÚ‡Ú.docª
Kinoteatr.doc
—‡¯‡ ÇÎËÌËÌ
(. 1980, „. ÕÓ‚ÓÒË·ËÒÍ).
”˜ËÎÒˇ ‚ ¿Í‡‰ÂÏËË ÔÛÚÂÈ ÒÓÓ·˘ÂÌˡ.
¬ 1997 ÒÓÁ‰‡Î ÏÛÁ˚͇θÌÛ˛ „ÛÔÔÛ,
‚˚ÒÚÛԇΠ‚ „ÓÓ‰ÒÍËı ÍÎÛ·‡ı Ò
ÏÛÁ˚͇θÌÓ-˝ÎÂÍÚÓÌÌ˚ÏË
ÔÂÙÓχÌÒ‡ÏË. ¬ 2000 „Ó‰Û
ÔÓÒÚÛÔËΠ̇ Ù‡ÍÛθÚÂÚ ÍËÌÓ- Ë
ÚÂÎÂÂÊËÒÒÛ˚ »ÌÒÚËÚÛÚ‡
ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡ (χÒÚÂÒ͇ˇ
À.¿. œ˜ÂÎÍË̇, –.». ÀË·ÎË͇).
‘ËθÏ˚: ´œÂ‚˚È ÔÓˆÂÎÛȪ (2004,
Í/Ï, ‚ˉÂÓÍÓηÊ), ´¿ Ò ‰ÂÚ¸ÏË ñ
¯ÂÒÚÂÓª (2005, ‰ÓÍ.).
Œ ˜ÂÏ ˝ÚÓÚ ÙËθÏ? Œ ÚÂÌˇı ËÎË
What is this film about? About shadows
ÊË‚˚ı? »ÎË Ó ÚÓÏ, ˜ÚÓ ÏÓÊÌÓ
or life? What do we see when we stay
ۂˉÂÚ¸, ÍÓ„‰‡ ÓÒڇ̯¸Òˇ ̇‰ËÌ Ò
alone with a mirror?...
ÁÂ͇ÎÓÏ?..
Sasha Malinin
(b. 1980, Novosibirsk).
Studied at the Transport Academy.
In 1997 founded a musical band, gave
performances of electronic music in
clubs. In 2000 enrolled at the Faculty of
Cinema and Television Directing at the
Institute of Contemporary Art
(workshop Leonid Pchiolkin, Rein
Liblik). Films: ìFirst Kissî (2004,
short, video collage), ìSix with the
childrenî (2005, doc.).
GADYUSHONOK [Nasty Boy]
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
√¿ƒfiÿŒÕŒü
51
2005, –ÓÒÒˡ, 30 ÏËÌ., ˆ‚., 1:1.37,
2005, Russia, 30 min, colour, 1:1.37,
ÓÔÚ˘ÂÒ͇ˇ ÏÓÌÓ
optical mono
ÔËÁÂ ÓÚ˜ÂÒÚ‚ÂÌÌ˚ı Ë ÏÂʉÛ̇Ó‰Ì˚ı
–ÂÊËÒÒÂ —Â„ÂÈ ¡ÓÒÂÌÍÓ
Director Sergei Bosenko
ÍËÌÓÙÂÒÚË‚‡ÎÂÈ. ŒÍÓ̘ËÎ ¬√»ü (1998,
¿‚ÚÓ ÒˆÂ̇ˡ »Ë̇ —Âχ¯ÍÓ
Scriptwriters Irina Semashko with
χÒÚÂÒ͇ˇ ¿.—.üÓ˜ÂÚÍÓ‚‡). ¬
ÔË Û˜‡ÒÚËË —Â„¡ ¡ÓÒÂÌÍÓ
participation of Sergei Bosenko
̇ÒÚÓˇ˘Â ‚ÂÏˇ ‡·ÓÚ‡ÂÚ Ì‡
ŒÔÂ‡ÚÓ –ÛÒÎ‡Ì √Â‡ÒËÏÂÌÍÓ‚
Camera Ruslan Gerasimenkov
ÍËÌӂˉÂÓÒÚÛ‰ËË ´–ËÒͪ (ÃÓÒÍ‚‡).
’Û‰ÓÊÌËÍ ¬.ƒÓ̈ӂ
Art Director V.Dontsov
üÓÏÔÓÁËÚÓ ¿ÎÂÍ҇̉ ¿·‡ÏÓ‚
Composer Alexander Abramov
»Á·‡Ì̇ˇ ÙËθÏÓ„‡Ùˡ (‰ÓÍ.):
«‚ÛÍ ¿ÎÂÍ҇̉ ¿·‡ÏÓ‚,
Sound Alexander Abramov,
2000 ....◊˜ÂÌÒÍËÈ „‡Ï·ËÚ
ƒÏËÚËÈ üÓÌ˛¯ÂÌÍÓ
Dmitry Konyushenko
2001 ....¬˚ÏÔÂÎ; ¿‚„ÛÒÚ
œÓ‰˛ÒÂ Շڇθˇ ∆ÂÎÚÛıË̇
Producer Natalia Zheltukhina
2002 ....—‡„‡ Ó„ÌÂÌÌÓÈ ÒÂϸË; ƒÂÁÂÚË
œÓËÁ‚Ó‰ÒÚ‚Ó –ËÒÍ
Production Risk
ÀË˘ÂÒÍËÈ ˝Ú˛‰ Ó ‰ÂÚÒÚ‚Â Ë ÔÂ‚ÓÏ
A lyrical etude about childhood and the
‚ÓÒÔˡÚËË ÏË‡. œˇÚËÎÂÚÌËÈ
first perception of the world. A five-
Ú‡‰ÊËÍÒÍËÈ Ï‡Î¸˜ËÍ ÔÓ ÔÓÁ‚ˢÛ
year-old Tajik boy with the nickname
√‡‰˛¯ÓÌÓÍ, ÌÂËÁ‚ÂÒÚÌÓ Í‡Í Ë ÔÓ ˜¸ÂÈ
Gadyushonok, who for some unknown
ÁÎÓÈ ‚ÓΠÓ͇Á‡‚¯ËÈÒˇ ‚ ÃÓÒÍ‚Â,
reason by some malicious intent ends up
‚ÒÚ˜‡ÂÚ Ì‡ ÛÎˈ ÊÂÌ˘ËÌÛ, ÍÓÚÓ‡ˇ
in Moscow, meets a woman who sells
ÔÓ‰‡ÂÚ ÁÏÂÈÍÛ. — ˝ÚÓ„Ó ÏÓÏÂÌÚ‡ Û
vipers on the street. From this moment
√‡‰˛¯ÓÌ͇ ÔÓˇ‚ΡÂÚÒˇ Ϙڇ ñ
onwards Gadyushonok has one dream:
ÍÛÔËÚ¸ Áϲ Ë ‚˚ÔÛÒÚËÚ¸ ÂÂÖ
to buy the snake and release it Ö
—Â„ÂÈ ¡ÓÒÂÌÍÓ
(. 1967, Œ‰ÂÒÒ‡, ”Í‡Ë̇).
ñ ÂÊËÒÒÂ ‰ÓÍÛÏÂÌڇθÌÓ„Ó ÍËÌÓ,
2003 ....“Û‰ÌÓ ÒÚ‡Ú¸ ·Ó„ÓÏ
2004 ....∆‰Ë
Sergei Bosenko
(b. 1967, Odessa, Ukraine).
Director of documentary cinema, prizewinner of national and international
film festivals. Graduated from the Film
Institute VGIK (1998, class of
Alexander Kochetkov). Currently works
at the film and video studio ìRiskî
(Moscow).
Selected Filmography (doc.):
2000 ....Chechen Gambit
2001 ....The Pennant; August
2002 ....The Saga of a Fiery Family;
The Deserter
2003 ....It is Hard to Become God
2004 ....Wait
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
√ƒ≈ «¿’¿–?
WHERE IS ZAKHAR?
52
2005, –ÓÒÒˡ, 26 ÏËÌ., ˆ‚., ‚ˉÂÓ, ‰ÓÍ.
2005, Russia, 26 min, colour, video, doc.
¿‚ÚÓ ÒˆÂ̇ˡ, ÂÊËÒÒÂ, ÓÔÂ‡ÚÓ
Scriptwriter, Director, Cinematographer
¿Ì‰ÂÈ —Ú‚ÓÎËÌÒÍËÈ
Andrei Stvolinsky
œÓËÁ‚Ó‰ÒÚ‚Ó ¬√»ü
Production VGIK
¿Ì‰ÂÈ —Ú‚ÓÎËÌÒÍËÈ
(. 1974, ÃÓÒÍ‚‡).
”˜ËÎÒˇ ̇ ÁÓÓËÌÊÂÌÂ‡ ‚ “ËÏËˇÁ‚ÒÍÓÈ ÒÂθÒÍÓıÓÁˇÈÒÚ‚ÂÌÌÓÈ ‡Í‡‰ÂÏËË.
— 1994 „Ó‰‡ ‡·ÓڇΠ̇ ÚÂ΂ˉÂÌËË ‚
‡Á΢Ì˚ı ͇˜ÂÒÚ‚‡ı, ‚Íβ˜‡ˇ ÂÊËÒÒÂ‡ Ò˛ÊÂÚÓ‚ ÔÓ„‡ÏÏ˚ ´¬ÂÏˇª.
¬ 2002 „Ó‰Û ÔÓÒÚÛÔËÎ ‚Ó ¬√»ü (χÒÚÂÒ͇ˇ ÌÂË„Ó‚Ó„Ó ÙËθχ ¡.fl.ü‡‡‰Ê‚‡, ≈.».–ÂÁÌËÍÓ‚‡). ‘ËθÏ˚: ´Õ‡ÔˇÊÂÌ˪ (2003, ۘ·̇ˇ), ´’ËÏˡ Ë
ÊËÁ̸ ¡ÓËÒ‡ œÓÍˉ¸ÍÓª (2004, ۘ·̇ˇ), ´√‰Â «‡ı‡?ª (2005, ۘ·̇ˇ;
ÒÔˆˇθÌÓ ÛÔÓÏË̇ÌËÂ Ê˛Ë ´«‡
ÔÓËÒÍË „ÂÓˇ ̇¯Â„Ó ‚ÂÏÂÌ˪ ñ ‘ÂÒÚË‚‡Î¸ ´üËÌÓÚ‡Ú.docª, 2006).
ƒÓÍÛÏÂÌڇθ̇ˇ Ú‡„ËÍÓωˡ.
Documentary tragicomedy.
∆Û̇ÎËÒÚ «‡ı‡ ÃÛıËÌ ñ ¯ËÓÍÓ
The journalist Zakhar Mukhin is
ËÁ‚ÂÒÚÌ˚È ˜ÂÎÓ‚ÂÍ ‚ ÛÁÍËı ÍÛ„‡ı.
ìwidely known in narrow circlesî. He
ü‡¸ÂÛ Ì‡˜‡Î ‚Â‰Û˘ËÏ ´œËÓÌÂÒÍÓÈ
began his career as leader of ìPioneersí
ÁÓ¸Í˪, ÔÓ‰ÓÎÊËÎ ‚Â‰Û˘ËÏ
Dawnî and continued as presenter of
ÔÓ„‡ÏÏ˚ ´ƒÓ 16 Ë ÒÚ‡¯Âª. ¬ ˝ÚÓÈ
the program ìUp to 16 and overî. In
ÓÎË Ë ÒڇΠËÁ‚ÂÒÚÂÌ ÒÚ‡ÌÂ. œÓÒÎÂ
this role he became known all across the
‡Á‚‡Î‡ ÔÓ„‡ÏÏ˚ ‡·ÓÚ‡Î
country. After the programme was
ÂÔÓÚÂÓÏ Ì‡ ‡Á΢Ì˚ı ÚÂÎÂ͇̇·ı
discontinued, he worked as reporter for
Ë ‚ „ÎˇÌˆÂ‚˚ı ËÁ‰‡Ìˡı. ÕÓ
various television channels and glossy
ÔÓÙÂÒÒËÓ̇θ̇ˇ ‰ÂˇÚÂθÌÓÒÚ¸ ñ ÌÂ
journals. But work is not the main
„·‚̇ˇ ÒÓÒÚ‡‚Ρ˛˘‡ˇ ‚ ÊËÁÌË ˝ÚÓ„Ó
component of his life. Zakharís main
˜ÂÎÓ‚Â͇. √·‚ÌÓ ҂ÓÈÒÚ‚Ó «‡ı‡‡ ñ
character trait lies in his skill to
˝ÚÓ ÛÏÂÌË ËÒ˜ÂÁ‡Ú¸.
disappear. In the filmís finale he
¬ ÙË̇Π͇ÚËÌ˚ ÓÌ ËÒ˜ÂÁÌÂÚ Ò
disappears from his own, third wedding.
ÚÓÊÂÒÚ‚‡ ÔÓ ÒÎÛ˜‡˛ ÒÓ·ÒÚ‚ÂÌÌÓÈ
And nobody can answer the question
ÚÂÚ¸ÂÈ Ò‚‡‰¸·˚. » ÌËÍÚÓ Ì ÒÏÓÊÂÚ
ìWhere is Zakhar?î.
ÓÚ‚ÂÚËÚ¸ ̇ ‚ÓÔÓÒ ´√‰Â «‡ı‡?ª.
Andrei Stvolinsky
(b. 1974, Moscow).
Studied zoology at the Timiryazev
Agricultural Academy. Since 1994
worked on television in various
functions, including briefly as director
of the news programme ìVremiaî. In
2002 enrolled at the Film Institute
VGIK (course of documentary film of B.
Karadzhev, E. Reznikov).
Films: ìTensionî (2003, practical),
ìChemistry and Boris Pokidkoís Lifeî
(2004, practical), ìWhere is Zakhar?î
(2005, practical; special mention of the
jury ìfor the search of a hero of our
timeî, Kinoteatr.doc Festival, 2006).
GIRLS
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
ƒ≈¬Œ◊ü»
53
2005, –ÓÒÒˡ, 46 ÏËÌ., ˆ‚., mini-DV, ‰ÓÍ.
2005, Russia, 46 min, colour, mini-DV, doc.
(. 1984, ÃÓÒÍ‚‡).
¿‚ÚÓ ÒˆÂ̇ˡ, ÂÊËÒÒÂ, ÓÔÂ‡ÚÓ,
Scriptwriter, Director,
ŒÍÓ̘Ë· ÕÂÁ‡‚ËÒËÏÛ˛ ¯ÍÓÎÛ ÍËÌÓ Ë
ÂÊËÒÒÂ Á‚Û͇ Ë ÏÓÌڇʇ
Cinematographer,
ÚÂ΂ˉÂÌˡ ´Internewsª (2005).
¬‡ÎÂˡ √‡È √ÂχÌË͇
Sound Director and Directorís Cut
¬ ÙËθÏ ÒÌËχÎËÒ¸: —‚ÂÚ·̇
Valeria Gai Germanika
—‡ÏÓÈÎÓ‚‡, ≈͇ÚÂË̇ œÓÎÚ‡‚ˆÂ‚‡,
Characters: Svetlana Samoylova,
¿ÎÂÍ҇̉‡ ÿÛ„‡Â‚‡, ≈ÎÂ̇ ŒÎÓ‚‡
Ekaterina Poltavtseva, Alexandra
œÓ‰˛ÒÂ ÃËı‡ËÎ —ËÌ∏‚
Shugaeva, Elena Orlova
œÓËÁ‚Ó‰ÒÚ‚Ó üËÌÓÚ‡Ú.doc
Producer Mikhail Siniov
¬‡ÎÂˡ
√‡È √ÂχÌË͇
Production Kinoteatr.doc
Valeria
Gai Germanika
(b. 1984, Moscow).
Graduated from the Independent School
of Cinema and Television ìInternewsî
(2005).
ÕÂÒÍÓθÍÓ ÎÂÚÌËı ‰ÌÂÈ ËÁ ÊËÁÌË ÚÂı
A few days in the lives of three Moscow
Ó·˚˜Ì˚ı ÏÓÒÍÓ‚ÒÍËı ‰Â‚˜ÓÌÓÍ,
girls, who are on the threshold of
ÒÚÓˇ˘Ëı ̇ ÔÓÓ„Â ‚ÁÓÒÎÓÈ ÊËÁÌË.
adulthood. They are saying farewell to a
œÓ˘‡ÌËÂ Ò ‰ÂÚÒÚ‚ÓÏ ‚ ¯ÍÓθÌ˚ı
childhood spent in school yards and
‰‚Ó‡ı Ë ÔÓ‰˙ÂÁ‰‡ı ÒԇθÌÓ„Ó ‡ÈÓ̇,
house corridors, where everything is
„‰Â ‚Ò ‚ÔÂ‚˚Â Ë ÏË ÚÓθÍÓ
happening for the first time: from
̇˜Ë̇ÂÚÒˇ: Ú‡ÈÌÓ ÍÛÔÎÂÌÌ˚Â
secretly bought cigarettes and cans of
ÒË„‡ÂÚ˚ Ë ·‡ÌÍË Ò ‰ÊËÌ-ÚÓÌËÍÓÏ,
gin-tonic, to receiving a passport,
ÔÓÎÛ˜ÂÌË ԇÒÔÓÚ‡, ÔÂ‚‡ˇ β·Ó‚¸ Ë
experiencing first love, and taking part
ÔÂ‚‡ˇ ñ ÔÓ˜ÚË Ì‡ÒÚÓˇ˘‡ˇ ñ Ú‡„‰ˡ.
in almost real tragedies...
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
∆≈—“¤Ö œ–»Ã»–≈Õ»≈
GESTURESÖ RECONCILIATION
54
2005, –ÓÒÒˡ, 10 ÏËÌ., ˆ‚., 4:3,
2005, Russia, 10 min, colour, 4:3,
ÏÓÌÓ, 16 ÏÏ, ‰ÓÍ.
mono, 16 mm, doc.
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ
Scriptwriter and Director
◊ËÌ„ËÁ –‡ÒÛÎÁ‡‰Â
Chingiz Rasulzade
ŒÔÂ‡ÚÓ —Â„ÂÈ —ÓÎÓ‚¸Â‚
Camera Sergei Soloviov
–ÂÊËÒÒÛ‡ Á‚Û͇ Ë ÏÓÌڇʇ
Sound Director and Cuter
◊ËÌ„ËÁ –‡ÒÛÎÁ‡‰Â
Chingiz Rasulzade
œÓËÁ‚Ó‰ÒÚ‚Ó Absheron Artists
Production Absheron Artists
◊ËÌ„ËÁ –‡ÒÛÎÁ‡‰Â
(. 1972, ¡‡ÍÛ, ¿ÁÂ·‡È‰Ê‡Ì).
ŒÍÓ̘ËÎ ¿ÁÂ·‡È‰Ê‡ÌÒÍËÈ ËÌÒÚËÚÛÚ
ËÒÍÛÒÒÚ‚ (1998), ÂÊËÒÒÂÒÍËÈ
Ù‡ÍÛθÚÂÚ ¬√»ü‡ (2005, χÒÚÂÒ͇ˇ
¿.¿.›¯Ô‡ˇ). ‘ËθÏ˚: ´ÃËÏŒÊËÁÌ˪
(2002), ´∆ÂÒÚ˚Ö œËÏËÂÌ˪
(ÔÂ‚˚È ÔËÁ ÃÂʉÛ̇Ó‰ÌÓ„Ó
ÙÂÒÚË‚‡Îˇ ÍËÌÓ¯ÍÓÎ ‚ Ã˛ÌıÂÌÂ,
2005).
¿ÎÂÍ҇̉ ÕËÍÓ·‚˘ Ó˜Â̸ ÒÚ‡.
Alexander Nikolaevich is very old. The
¬ÓÈ̇ ÔÂ‚ÂÌÛ· ‚Ò˛ Â„Ó ÊËÁ̸. ÕÓ
war turned his life upside down. But he
ÓÌ ÌÂ ÔÓÏÌËÚ ‚ÓÈÌ˚, Ë ÌÂ ÔÓÏÌËÚ
does not remember the war, nor the
ӷˉ, ÓÌ ÔÓÏÌËÚ ÚÓθÍÓ ÊÂÒÚ˚ Ë
insults, but only the gestures and
‰‚ËÊÂÌˡ Ò‚ÓËı ÛÍ. ŒÌ ‰‡‚ÌÓ ‚ÒÂÏ
movements of his hands. For a long
‚Ò ÔÓÒÚËÎ Ë „ÓÚÓ‚ ÔÓʇڸ ÛÍË
time now he has forgiven everybody
·˚‚¯ËÏ ‚‡„‡Ï, ÌÓ Ì ÏÓÊÂÚ. ” Ì„Ó
everything and is ready to shake hands
ÌÂÚ ÛÍ ñ ÓÌ ÔÓÚÂˇÎ Ëı ̇ ‚ÓÈÌÂ.
with the former enemy, but he canít. He
has no hands: he lost them in the war.
Chingiz Rasulzade
(b. 1972, Baku, Azerbaijan).
Graduated from Azerbaijan State
Institute of Arts (1998), and the
Directorsí Faculty of the Film Institute
VGIK (2005, course of Andrey A.
Eshpai). Films: ìLives-Amissî (2002),
ìGesturesÖ Reconciliationî (First Prize
of the International Festival of FilmSchools in Munich, 2005).
THE WINTER VACATION
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
«»ÃÕ»≈ ü¿Õ»ü”À¤
55
ƒÏËÚËÈ “ËıÓÏËÓ‚
(. 1966, ÃÓÒÍ‚‡).
ŒÍÓ̘ËÎ ÃÓÒÍÓ‚ÒÍËÈ ËÌÒÚËÚÛÚ ËÌÓÒÚ‡ÌÌ˚ı ˇÁ˚ÍÓ‚ ËÏÂÌË ÃÓËÒ‡ “ÓÂÁ‡
(1988). –‡·ÓڇΠÔÂ‚Ӊ˜ËÍÓÏ ÙËθÏÓ‚, ‡ÍÚÂÓÏ ‚ ÚÂÎÂÔÂ‰‡˜Â ´”ÓÍË
ËڇθˇÌÒÍÓ„Ó ˇÁ˚͇ª. — 1993 Û˜ËÎÒˇ
̇ ¬˚Ò¯Ëı ÍÛÒ‡ı ÒˆÂ̇ËÒÚÓ‚ Ë ÂÊËÒÒÂÓ‚ ñ ¬ü—– (χÒÚÂÒ͇ˇ
¬.¬.ÃÂ̸¯Ó‚‡), Á‡˘ËÚËÎ ‰ËÔÎÓÏ ‚
1998. ¬1999 ‡·ÓڇΠ̇ ‰ÓÍÛÏÂÌڇθÌÓ-Ë„Ó‚ÓÏ ÒÂˇÎ ¿ÎÂÍ҇̉‡ √Ó‰Ó̇ ´—Ó·‡ÌË Á‡·ÎÛʉÂÌËȪ (Œ–“) ‡ÒÒËÒÚÂÌÚÓÏ ÂÊËÒÒÂ‡ Ë ÂÊËÒÒÂÓÏ
ÏÓÌڇʇ. ‘ËθÏ˚ (Í/Ï): ´üÓÎÓÍÓθ̇ˇª (1994), ´7 ÏËÌÛÚª (1995), ´–˜ÌÓÈ ÙËθϪ (1997), ´—‚ˉ‡Ì˪
(2000), ´¬ÂÎÓÒËÔ‰ª, ´œÓÚÂˇÌÌ˚È
‰ÓϪ (2003, ‰ÓÍ.), ´À˘̇ˇ Ô‡‚‰‡ Ó
‚ÓÈ̪ (2005, ‰ÓÍ.).
Dmitry Tikhomirov
(b. 1966, Moscow).
Graduated from the Moscow Maurice
Thorez Institute of Foreign Languages
(1988). Worked as translator on films,
and actor in the television programme
ìItalian Lessonsî. Since 1993 has
studied on the Higher Courses for
Scriptwriters and Directors (course of
Vladimir Meníshov), and received his
diploma in 1998. In 1999 worked on
Alexander Gordonís documentary serial
ìAssembly of Errorsî (ORT) as assistant
director and editing director. Films
(shorts): ìThe Belltowerî (1994), ìSeven
Minutesî (1995); ìA River Filmî
(1997); ìThe Dateî (2000), ìThe
Bicycleî (2003); ìThe Lost Houseî
(2003, doc.); ìThe Personal Truth about
Warî (2005, doc.).
2005, –ÓÒÒˡ, 43 ÏËÌ., ˜/·, 35 ÏÏ.
2005, Russia, 43 min,
black and white, 35 mm
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ
ƒÏËÚËÈ “ËıÓÏËÓ‚
Scriptwriter and Director
ŒÔÂ‡ÚÓ ¿ÎÂÍ҇̉ —ÏËÌÓ‚
Dmitry Tikhomirov
’Û‰ÓÊÌËÍ ÕËÍÓÎ‡È œÓÍ·‰
Camera Alexander Smirnov
üÓÏÔÓÁËÚÓ ¬Î‡‰ËÏË ¡‡‡ÌÓ‚
Art Director Nikolai Poklad
¬ ÓΡı: ¬ËÚ‡ÎËÈ ≈χ¯Ó‚,
Composer Vladimir Baranov
Õ‡‰Âʉ‡ ¡ÓËÒÓ‚‡, ¿ÌÚÓÌ —ÂÏÍËÌ,
Cast: Vitaly Ermashov, Nadezhda
fiÎˡ √ÓÏ‡Ì˛Í
Borisova, Anton Siomkin,
œÓ‰˛ÒÂ »‚‡Ì “‚Â‰Ó‚ÒÍËÈ
Yulia Gomanyuk
œÓËÁ‚Ó‰ÒÚ‚Ó ´“Ә͇ ÁÂÌˡª, ÔË
Producer Ivan Tverdovsky
ÔÓ‰‰ÂÊÍ ‘‰Â‡Î¸ÌÓ„Ó ‡„ÂÌÚÒÚ‚‡ ÔÓ
Production Tochka Zrenia with
ÍÛθÚÛÂ Ë ÍËÌÂχÚÓ„‡ÙËË
participation Federal Agency for
Culture and Cinematography
1960-È „Ó‰. Õ‡ ÔÓıÓÓ̇ı ¡ÓËÒ‡
1960. At Boris Pasternakís funeral
œ‡ÒÚÂ͇̇ ÒÎÛ˜‡ÈÌÓ ‚ÒÚ˜‡˛ÚÒˇ
Shura and Vadim meet by chance; they
ÿÛ‡ Ë ¬‡‰ËÏ ñ ÒÚÛ‰ÂÌÚ˚-
are both students. They got acquainted
ÒÚ‡¯ÂÍÛÒÌËÍË. ŒÌË ÔÓÁ̇ÍÓÏËÎËÒ¸
with each other several months earlier,
‰Û„ Ò ‰Û„ÓÏ ÌÂÒÍÓθÍÓ ÏÂÒˇˆÂ‚
during the winter vacation Ö
̇Á‡‰, ‚Ó ‚ÂÏˇ ÁËÏÌËı ͇ÌËÍÛÎÖ
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
«À¤ƒÕ»
(‡ÌËχˆËÓÌÌ˚È ˆËÍÎ ´√Ó‡ Ò‡ÏÓˆ‚ÂÚÓ‚ª)
WICKED CREATURES (animation cycle ìThe Mountain of Gemsî)
56
2005, –ÓÒÒˡ, 13í12î, ˆ‚., DVD,
2005, Russia, 13í12î, colour, DVD,
‡ÌËχˆËˇ, Ô·ÒÚËÎËÌ
animation, plasticine
–ÂÊËÒÒÂ —ÚÂÔ‡Ì üÓ‚‡Î¸
Director Stepan Koval
¿‚ÚÓ ÒˆÂ̇ˡ ¿ÎÂÍ҇̉ “‡Ú‡ÒÍËÈ
Scriptwriter Alexander Tatarsky
’Û‰ÓÊÌËÍ-ÔÓÒÚ‡ÌÓ‚˘ËÍ
Art Director Marina Pashkovskaya
ÇË̇ œ‡¯ÍÓ‚Ò͇ˇ
Art Chiefs Eduard Nazarov,
’Û‰. ÛÍÓ‚Ó‰ËÚÂÎË ›‰Û‡‰ Õ‡Á‡Ó‚,
Alexander Tatarsky
¿ÎÂÍ҇̉ “‡Ú‡ÒÍËÈ
Projectís Chief Alexander Tatarsky
–ÛÍÓ‚Ó‰ËÚÂθ ÔÓÂÍÚ‡
Camera Vladimir Galitsky
¿ÎÂÍ҇̉ “‡Ú‡ÒÍËÈ
Composer Lev Zemlinsky
ŒÔÂ‡ÚÓ ¬Î‡‰ËÏË √‡ÎˈÍËÈ
Sound Dmitry Grabko, Iliko Chitashvili
üÓÏÔÓÁËÚÓ À‚ «ÂÏÎËÌÒÍËÈ
Cast (voices): Yuri Kovalenko,
«‚ÛÍ ƒÏËÚËÈ √‡·ÍÓ,
Evgeny Shakh, Irma Vitovskaya
»ÎËÍÓ ◊ËÚ‡¯‚ËÎË
Producer Irina Kaplichnaya
–ÓÎË ÓÁ‚Û˜ËÎË: fiËÈ üÓ‚‡ÎÂÌÍÓ,
General Producer of project
≈‚„ÂÌËÈ ÿ‡ı, »χ ¬ËÚÓ‚Ò͇ˇ
Igor Gelashvili
œÓ‰˛ÒÂ »Ë̇ ü‡Ô΢̇ˇ
Production Pilot Studio, Krok IFF with
√ÂÌÂ‡Î¸Ì˚È ÔÓ‰˛ÒÂ ÔÓÂÍÚ‡
participation of the Federal Agency for
»„Ó¸ √·¯‚ËÎË
Culture and Cinematography
—ÚÂÔ‡Ì üÓ‚‡Î¸
(. 1965, „. ÕÓ‚ÓÏÓÒÍÓ‚ÒÍ,
ƒÌÂÔÓÔÂÚÓ‚Ò͇ˇ Ó·Î.).
ŒÍÓ̘ËÎ ‡ıËÚÂÍÚÛÌ˚È Ù‡ÍÛθÚÂÚ
üË‚ÒÍÓÈ ‡Í‡‰ÂÏËË ËÒÍÛÒÒÚ‚ (1993),
üË‚ÒÍËÈ Ú‡Ú‡Î¸Ì˚È ËÌÒÚËÚÛÚ
ËÏÂÌË ».ü. ü‡ÔÂÌÍÓ-ü‡Ó„Ó (1998)
ÔÓ ÒÔˆˇθÌÓÒÚË ´ÂÊËÒÒÂ
‡ÌËχˆËÓÌÌÓ„Ó ÍËÌÓª. ‘ËθÏ˚: ´›ÚÓ ó
Ï˚ª (1995, ۘ·Ì˚È), ´Z-Z-Zª (1998,
‰ËÔÎÓÏ), ´ÿÂÎ Ú‡Ï‚‡È π9ª (2002).
œÓËÁ‚Ó‰ÒÚ‚Ó —ÚÛ‰Ëˇ ´œËÎÓÚª, Ãü‘
´üÓͪ, ÔË Û˜‡ÒÚËË ‘‰Â‡Î¸ÌÓ„Ó
‡„ÂÌÚÒÚ‚‡ ÔÓ ÍÛθÚÛÂ Ë ÍËÌÂχÚÓ„‡ÙËË
œÓ ÏÓÚË‚‡Ï „ÛˆÛθÒÍÓÈ Ì‡Ó‰ÌÓÈ
On motives of a Hutsul national
Ò͇ÁÍË.
fairytale.
¬ ‰ÓÏ œÂÚ‡ Ë Ã‡Ù˚ ÔÓÒÂÎËÎËÒ¸
Some small, wicked creatures have
χÎÂ̸ÍË ‚‰ËÚÂÎË-ÁÎ˚‰ÌË. —Âϸˇ
settled in Peterís and Marfaís house.
ÒÔ‡‚Ë·Ҹ Ò Ì‡Ô‡ÒÚ¸˛, ‡ Ëı
The family copes with the misfortune,
Á‡‚ËÒÚÎË‚˚ ÒÓÒÂ‰Ë Ì‡ÊËÎË Ò· ·Â‰Ö
but their envious neighbours got
themselves into troubleÖ
Stepan Koval
(b. 1965, Novomoskovsk,
Dnepropetrovsk region).
Graduated from the architecture faculty
of the Kiev Academy of Arts (1993),
Karpenko-Karo Kiev Theatre Institute
(1998), specializing as ìdirector of
animationî. Films: ìThis is Usî (1995,
coursework), ìZ-Z-Zî (1998, diploma),
ìHere goes tram No. 9î (2002).
FRIED POTATOES
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
ü¿–“Œÿü¿ Õ¿ —¿À≈
57
2005, –ÓÒÒˡ, 40 ÏËÌ., ˆ‚., 1:1.85,
2005, Russia, 40 min, colour, 1:1.85,
ÏÓÌÓ, 35 ÏÏ
mono, 35 mm
˝ÍÓÌÓÏ˘ÂÒÍÓÂ. ŒÍÓ̘Ë· ‘‡ÍÛθÚÂÚ
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ
Scriptwriter and Director
‰ÓÔÓÎÌËÚÂθÌÓ„Ó ÔÓÙÂÒÒËÓ̇θÌÓ„Ó
üÒÂÌˡ üÓ̉‡¯Ë̇
Ksenia Kondrashina
Ó·‡ÁÓ‚‡Ìˡ ñ ‘ƒœŒ ¬√»ü‡ (2004,
ŒÔÂ‡ÚÓ ÃËı‡ËÎ ŒÌËÔÂÌÍÓ
Camera Mikhail Onipenko
ÂÊËÒÒÂÒ͇ˇ χÒÚÂÒ͇ˇ
’Û‰ÓÊÌËÍ ≈ÎÂ̇ »„̇ÚÂÌÍÓ
Art Director Elena Ignatenko
¬.fl. ÀÓÌÒÍÓ„Ó). «‡ ‚ÂÏˇ ۘ·˚ ÒÌˇÎ‡
üÓÒÚ˛Ï˚ »Ë̇ √‡Ê‰‡ÌÍË̇
Costumes Irina Grazhdankina
ÚË ÙËθχ (Í/Ï), ‚ ÚÓÏ ˜ËÒÎÂ:
üÓÏÔÓÁËÚÓ üËËÎÎ ÀÛÍËÌ
Composer Kirill Lukin
´œÓÒÚÒÍËÔÚÛϪ (ۘ·̇ˇ) Ë
«‚ÛÍ œ‡‚ÂÎ «ËÏËÌ
Sound Pavel Zimin
´Õ‡·Î˛‰‡ÚÂθª (ÍÛÒÓ‚‡ˇ).
¬ ÓΡı: ¿Ì‡ÚÓÎËÈ ¿‰ÓÒÍËÌ, fiËÈ
Cast: Anatoly Adoskin,
üÛÁ¸ÏÂÌÍÓ‚, ŒÎ¸„‡ ¡‡ÌÂÚ,
Yuri Kuzmenkov, Olga Barnet,
¿Ì‰ÂÈ –‡ÔÓÔÓÚ
Andrey Rapoport
œÓ‰˛ÒÂ˚ ÃËı‡ËÎ ü‡Î‡ÚÓÁ˯‚ËÎË,
Producers Mikhail Kalatozishvili,
¬Î‡‰ËÒ·‚ –ÓÁËÌ
Vladislav Rozin
œÓËÁ‚Ó‰ÒÚ‚Ó
Production Mikhail Kalatozovís Fund
üÒÂÌˡ üÓ̉‡¯Ë̇
Ӊ˷Ҹ ‚ ÃÓÒÍ‚Â. »ÏÂÂÚ ‰‚‡ ‚˚Ò¯Ëı
Ó·‡ÁÓ‚‡Ìˡ: ÙËÎÓÎӄ˘ÂÒÍÓ Ë
‘Ó̉ ÃËı‡Ë· ü‡Î‡ÚÓÁÓ‚‡
Ksenia Kondrashina
was born in Moscow. Higher education
in philology and economics. Graduated
from the Faculty of Additional
Vocational Training of the Film
Institute VGIK (2004, course of Valery
Lonskoy). During her study she made
three films (shorts), including:
ìPostscriptî (practical) and ìThe
Observerî (course work).
ƒ‚‡ ÒÚ‡Ë͇ ÔÓ ‚ÓΠÒÛ‰¸·˚ ÔÓÊËÎË
By some stroke of fate two old men
‚Ò˛ ÊËÁ̸ ‚ Ó‰ÌÓÈ Í‚‡ÚËÂ. ü‡Í
have lived all their lives in one
‡·ÒÓβÚÌ˚ ‡ÌÚËÔÓ‰˚, ÓÌË ÔÓ ÒÛÚË
apartment. Deep down, they are
ËÒÔÓÚËÎË ‰Û„ ‰Û„Û ÊËÁ̸.
absolute antipodes and have ruined each
Õ‡ÍÓ̈ ËÏ Ô‰ÓÒÚ‡‚ΡÂÚÒˇ
otherís lives. Now, at last, under the
‚ÓÁÏÓÊÌÓÒÚ¸ ‡Á˙Âı‡Ú¸Òˇ Ë ‰ÓÊËÚ¸
conditions of modern life, they have the
ÓÒÚ‡ÚÓÍ ‰ÌÂÈ ‚ ÔÓÍÓÂ Ë ÍÓÏÙÓÚÂ. ÕÓ
opportunity to part and live the rest of
‚ÓÁÏÓÊÌÓ ÎË ˝ÚÓ?..
their days in peace and comfort. But is
that possible?
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
À»Ã¿Õ
ESTUARY
58
2006, –ÓÒÒˡ, 9 ÏËÌ., ˆ‚., 1:1.66, 35 ÏÏ
2006, Russia, 9 min, colour, 1:1.66, 35 mm
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÒÚËıÓ‚, ÂÊËÒÒÂ,
Scriptwriter, Director, Cinematographer
ÓÔÂ‡ÚÓ “ËÏÓÙÂÈ œ‡˘ËÍÓ‚
Timofei Parshchikov
«‚ÛÍ ÕÂÎÎË »‚‡ÌÓ‚‡
Poems by Timofei Parshchikov
œÓËÁ‚Ó‰ÒÚ‚Ó Ë Ô‡‚‡ ¬√»ü
Sound Nelli Ivanova
“ËÏÓÙÂÈ œ‡˘ËÍÓ‚
(. 1983, ÃÓÒÍ‚‡).
”˜ËÎÒˇ ÓÔÂ‡ÚÓÒÍÓÏÛ Ï‡ÒÚÂÒÚ‚Û ‚Ó
¬√»üÂ. ´ÀËχ̪ ñ ÔÂ‚‡ˇ
ÂÊËÒÒÂÒ͇ˇ ‡·ÓÚ‡.
Production and Sales VGIK
¿Î΄Óˡ. œÓÒΠÏËÓ‚Ó„Ó
Allegory. After a global apocalypse the
‡ÔÓ͇ÎËÔÒËÒ‡ ‚ ÏË ‰ËÌÒÚ‚ÂÌÌ˚Ï
only living creature on earth is a poet.
ÊË‚˚Ï ÒÛ˘ÂÒÚ‚ÓÏ ÓÒÚ‡ÂÚÒˇ ÔÓ˝Ú.
Wandering among ruins he finds words
¡ÎÛʉ‡ˇ ÒÂ‰Ë ÛËÌ, ÓÌ Ì‡ıÓ‰ËÚ ÒÎÓ‚‡
and rhymes which form a poetic text.
Ë ËÚÏ, Ó·‡ÁÛ˛˘Ë ÔÓ˝Ú˘ÂÒÍËÈ
Death breathes down his neck, but
ÚÂÍÒÚ. —ÏÂÚ¸ ‰˚¯ËÚ ÂÏÛ ‚ ÒÔËÌÛ. ÕÓ
cannot seize him while his verses
ÔÓ͇ Á‚Û˜‡Ú ÒÚËıË, Ó̇ Ì ÏÓÊÂÚ Â„Ó
resound.
Ôӷ‰ËÚ¸.
Timofei Parshchikov
(b. 1983, Moscow).
Studied photography at the Film
Institute VGIK. ìEstuaryî is his
directorial debut.
BIG-EARED SLEEPWALKERS
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
À”Õ¿“Õ¤≈ ”ÿ¿—“»ü»
59
2005, –ÓÒÒˡ, 2í45î, ˆ‚., Betacam SP,
2005, Russia, 2í45î, colour, Betacam SP,
‡ÌËχˆËˇ
animation
—ÚÛ‰ÂÌÚ͇ ÔˇÚÓ„Ó ÍÛÒ‡ ¬√»ü‡
¿‚ÚÓ ÒˆÂ̇ˡ, ÂÊËÒÒÂ,
Scriptwriter, Director, Atr Director,
(χÒÚÂÒ͇ˇ ‡ÌËχˆËË Ë
ıÛ‰ÓÊÌËÍ, ‡ÌËχÚÓ
Animator
ÍÓÏÔ¸˛ÚÂÌÓÈ „‡ÙËÍË, ÛÍÓ‚Ó‰ËÚÂθ ó
≈ÎÂ̇ ¡ÓËÒÓ‚‡
Elena Borisova
¿.Ã. √ÓÎÂÌÍÓ). œËÁÂ ÒÚÛ‰Â̘ÂÒÍËı
œÓËÁ‚Ó‰ÒÚ‚Ó ¬√»ü
Poem by Irina Pivovarova
≈ÎÂ̇ ¡ÓËÒÓ‚‡
(. 1980, „. ¡Ó„ÓÓ‰ÒÍ,
ÕËÊ„ÓÓ‰Ò͇ˇ Ó·Î.).
(Two Very Bold Rabbits)
Ë ‡ÌËχˆËÓÌÌ˚ı ÍËÌÓÙÓÛÏÓ‚.
Production VGIK
Elena Borisova
(b. 1980, Bogorodsk,
Nizhny Novgorod Region).
Fifth-year student of the Film Institute
VGIK (course of animation and
computer graphics of Alexander
Gorlenko). Prize-winner of student and
animation film forums.
ÇÎÂ̸ÍËÈ ÎËÒÂÌÓÍ Ï˜ڇÂÚ ÔÓÔ‡ÒÚ¸
A little fox is reading a book about two
̇ ÀÛÌÛ, ÔÓÚÓÏÛ ˜ÚÓ ÍÓÎËÍË ÛÊ ڇÏ.
courageous rabbits, who travelled to the
œÓ ÏÓÚË‚‡Ï ÒÚËıÓÚ‚ÓÂÌˡ »ËÌ˚
Moon Ö
œË‚Ó‚‡Ó‚ÓÈ ´ƒ‚‡ Ó˜Â̸ ÒÏÂÎ˚ı
ÍÓÎË͇ª.
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
ÿ–—≈À‹≈«¿
MARSEILLAISE
¿ÎÂÍ҇̉ Õ‡ÛÏÓ‚
(. 1969).
ŒÍÓ̘ËÎ ‡ÍÚÂÒÍËÈ Ù‡ÍÛθÚÂÚ ¬√»ü‡
(1995, χÒÚÂÒ͇ˇ Ã.¿. √ÎÛÁÒÍÓ„Ó),
‡ÒÔË‡ÌÚÛÛ (1997). ¿‚ÚÓ Ô¸ÂÒ˚, ÔÓ‰˛ÒÂ Ú‡Ú‡Î¸ÌÓ„Ó ÔÓÂÍÚ‡ ´◊‡Ô‡Â‚ Ë
œÛÒÚÓÚ‡ª (2000). ¬ 2001-2005 ñ ÔÓ‰˛ÒÂ ƒÂÔ‡Ú‡ÏÂÌÚ‡ χÍÂÚËÌ„‡ ÚÂÎÂ͇̇· —“—. ‘ËÎ¸Ï ´Ã‡ÒÂθÂÁ‡ª ñ
ÂÊËÒÒÂÒÍËÈ ‰Â·˛Ú ‚ ÍËÌÓ.
60
2005, –ÓÒÒˡ, 12 ÏËÌ.,
2005, Russia, 12 min,
˜/·, ÏÓÌÓ, 1:1.66, 35 ÏÏ
b/w, 1:1.66, 35 mm
–ÂÊËÒÒÂ˚ ¿ÎÂÍ҇̉ Õ‡ÛÏÓ‚,
Directors Alexander Naumov,
¬‡‰ËÏ “Ûı‚‡ÚÛÎÎËÌ
Vadim Tukhvatullin
ŒÔÂ‡ÚÓ ≈ÎËÁ‡‚ÂÚ‡ √ÓÎÓ‚Ë̇
Camera Elisaveta Golovina
¬ ÓΡı: œ‡‚ÂÎ —·Ó˘ËÍÓ‚,
Cast: Pavel Sborshchikov, Oleg
ŒÎ„ œ˚¯ÌÂÌÍÓ, ƒÏËÚËÈ œÂÒËÌ,
Pyshnenko, Dmiry Persin, Victor
¬ËÍÚÓ —ÛÔÛÌ, ŒÎ„ ’˚˜Â‚, —Â„ÂÈ
Suprun, Oleg Khrychiov, Sergei Stepin,
—ÚÂÔËÌ, ÃËı‡ËÎ ü˚ÎÓ‚, ÃËı‡ËÎ
Mikhail Krylov, Mikhail Yakushin,
flÍÛ¯ËÌ, œÂÚ œÓÔÓ‚, “ËÏÓÙÂÈ ¡‡ÈÂ,
Pyotr Popov, Timofei Baier,
ƒÏËÚËÈ ü‡ÚÓÁˡ
Dmitry Katrozia
“ÂÍÒÚ ˜ËÚ‡ÂÚ —Â„ÂÈ ◊ÓÌ˯‚ËÎË
Narrator Sergei Chonishvili
œÓ‰˛ÒÂ ¿ÎÂÍ҇̉ Õ‡ÛÏÓ‚
Producer Alexander Naumov
œÓËÁ‚Ó‰ÒÚ‚Ó VT Cinema
Production VT Cinema
Alexander Naumov
(b. 1969).
Graduated from the Acting Faculty of
the Film Institute VGIK (1995, course of
M. Gluzsky), and postgraduate study
(1997). Author of a play, producer of the
theatre project ìChapaev and Pustotaî
(2000). From 2001-2005 producer in the
Marketing Department of the television
channel —“—. The film ìMarseillaiseî is
his directorial debut in cinema.
¬‡‰ËÏ “Ûı‚‡ÚÛÎÎËÌ
œÓ ÏÓÚË‚‡Ï ‡ÒÒ͇Á‡ ÀÂÓÌˉ‡
Based on the motives of Leonid
¿Ì‰‚‡ (1905). Œ ‚Â΢ËË
Andreevís story (1905). About the
˜ÂÎӂ˜ÂÒÍÓ„Ó ‰Ûı‡ Ë ÌËÁÏÂÌÌÓÒÚË
magnitude of the human soul and the
‡θÌ˚ı ÔÓÒÚÛÔÍÓ‚, ÍÓÚÓ˚Â
lowliness of actual deeds, which emerge
ÒÍ·‰˚‚‡˛ÚÒˇ ‚ Á‡ÚÛχÌÂÌÌÓÏ
in the mind of a prison runaway,
‚ÓβˆËÓÌÌÓÈ ÓχÌÚËÍÓÈ ÏÓÁ„Û
obscured by revolutionary romanticism.
Ó‰ÌÓ„Ó ËÁ Û˜‡ÒÚÌËÍÓ‚ Ôӷ„‡ ËÁ
The subjective evaluation of the event is
Ú˛¸Ï˚. —Û·˙ÂÍÚ˂̇ˇ ÓˆÂÌ͇
strikingly different from the true
ÔÓËÒıÓ‰ˇ˘Â„Ó ‡ÁËÚÂθÌÓ ÓÚ΢‡ÂÚÒˇ
motives for the escape.
ÓÚ ËÒÚËÌÌ˚ı ÏÓÚË‚Ó‚ Ôӷ„‡.
(. 1958).
“‡Ú‡Î¸Ì˚È ÂÊËÒÒÂ, ÒˆÂÌÓ„‡Ù.
ƒÂ‚ˇÚ¸ ÎÂÚ ÒÎÛÊËÎ ‚ ¬¬—, Á‡ÚÂÏ
‡·ÓڇΠ„ÛÁ˜ËÍÓÏ, ‰‚ÓÌËÍÓÏ,
‡ÍÚÂÓÏ ‚ ‡ÌÚÂÔËÁ‡ı. ŒÍÓ̘ËÎ ¬“”
ËÏÂÌË ¡.¬.ŸÛÍË̇ (1994,
ÂÊËÒÒÂÒ͇ˇ χÒÚÂÒ͇ˇ
fi.œ.À˛·ËÏÓ‚‡), Û˜‡ÒÚ‚Ó‚‡Î ‚ ͇˜ÂÒÚ‚Â
ıÛ‰ÓÊÌË͇-ÔÓÒÚ‡ÌÓ‚˘Ë͇ ÔÓ˜ÚË ‚ 40
ÒÔÂÍÚ‡ÍΡı. ’Û‰ÓÊÂÒÚ‚ÂÌÌ˚È
ÛÍÓ‚Ó‰ËÚÂθ Ú‡Ú‡ ´¿Ú ’‡ÛÒª
(ÃÓÒÍ‚‡). “‡Ú‡Î¸ÌÛ˛ ‰ÂˇÚÂθÌÓÒÚ¸
ÛÒÔ¯ÌÓ ÒÓ‚Ï¢‡ÂÚ Ò ·ËÁÌÂÒÓÏ.
‘ËÎ¸Ï ´Ã‡ÒÂθÂÁ‡ª - ‰Â·˛Ú ‚ ÍËÌÓ.
Vadim Tukhvatullin
(b. 1958).
Theatre director, set designer. Served in
the Air Force for nine years, then worked
as loader, caretaker, and actor in small
studio theatres; designer for some 40
theatre productions. In 1994 graduated
from the Shchukin Theatre School (course
of Yuri Lyubimov). Artistic director of
the theatre ìArt Houseî (Moscow).
Successfully combines his work in the
theatre with business. The film
ìMarseillaiseî is his debut in cinema.
MY KIESLOWSKI
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
ÃŒ… ü≈—À≈¬—ü»…
61
2005, –ÓÒÒˡ/ œÓθ¯‡, 22 ÏËÌ., ˆ‚.,
2005, Russia/ Poland, 22 min, colour,
ÒÚÂÂÓ, DVCam, ‰ÓÍ.
stereo, DVCam, doc.
ŒÍÓ̘Ë· Ù‡ÍÛθÚÂÚ ÙËÎÓÎÓ„ËË Ë
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ
Director, Scriptwriter Irina Volkova
ÊÛ̇ÎËÒÚËÍË ü‡ÒÌÓˇÒÍÓ„Ó
»Ë̇ ¬ÓÎÍÓ‚‡
Master Vladimir Fenchenko
ÛÌË‚ÂÒËÚÂÚ‡ (2000), ¬˚үˠÍÛÒ˚
’Û‰. ÛÍ. ¬Î‡‰ËÏË ‘Â̘ÂÌÍÓ
Camera Michal Szljusarczik,
ÒˆÂ̇ËÒÚÓ‚ Ë ÂÊËÒÒÂÓ‚ (2004,
ŒÔÂ‡ÚÓ˚ ÃËı‡Î ÿÎ˛Ò‡˜ËÍ,
Tomasz Novak, Erik Childebrandt
χÒÚÂÒ͇ˇ ÂÊËÒÒÂÓ‚ Ë„Ó‚Ó„Ó Ë
“Óχ¯ ÕÓ‚‡Í, ›ËÍ ’Ëθ‰Â·‡Ì‰Ú
Composer Alexei Aigi
ÌÂË„Ó‚Ó„Ó ÍËÌÓ).
üÓÏÔÓÁËÚÓ ¿ÎÂÍÒÂÈ ¿È„Ë
Sound El beta Jakubowska,
‘ËθÏ˚ (Í/Ï): ´◊ ·˚ÎÓ, ÚÓ ·˚ÎÓª
«‚ÛÍ ›Î¸Ê·ÂÚ‡ flÍÛ·Ó‚Ò͇ˇ,
Teresa StempeÒ
(2003, ‰ÓÍ., ۘ·Ì˚È), ´∆Ë‚ÓÂ
“ÂÂÒ‡ —ÚÂÏÔÂ̸
Editor Irina Volkova
ÔÓÒÚ‡ÌÒÚ‚Óª (2004, ‰ÓÍ., ÍÛÒÓ‚‡ˇ),
ÃÓÌÚ‡Ê »Ë̇ ¬ÓÎÍÓ‚‡
Producer Krzysztof Kopczinsky
´–‡ÒÒÚÓˇÌ˪ (2005, Ë„Ó‚ÓÈ, ‰ËÔÎÓÏ),
œÓ‰˛ÒÂ ü¯Ë¯ÚÓÙ üÓÔ˜ËÌÒÍËÈ
Production Eurekamedia, HCSF
´ÃÓÈ üÂÒ΂ÒÍËȪ (2005, ‰ÓÍ.), ´≈ÒÚ¸
œÓËÁ‚Ó‰ÒÚ‚Ó Eurekamedia,
ÓÍÌÓ Ú‡ÍÓª (2005, ‰ÓÍ.).
ÔË Û˜‡ÒÚËË ¬ü—–
Irina Volkova
Œ ÚÓÏ, Í‡Í ÊË‚ÂÚ ‚ ̇¯ÂÈ Ô‡ÏˇÚË
The directorís daughter and people who
Á̇ÏÂÌËÚ˚È ÔÓθÒÍËÈ ÂÊËÒÒÂ
worked on the casting for a remake of
ü¯Ë¯ÚÓÙ üÂÒ΂ÒÍËÈ, ÒÔÛÒÚˇ ‰ÂÒˇÚ¸
film ìThe Incidentî speak about how the
ÎÂÚ ÒÓ ‰Ìˇ Â„Ó ÒÏÂÚË ‡ÒÒ͇Á˚‚‡˛Ú
well-known Polish director Krzisztof
‰Ó˜¸ ÂÊËÒÒÂ‡ Ë Î˛‰Ë, ÍÓÚÓ˚Â
Kieslowski lives in our memory ten
Ô˯ÎË Ì‡ ͇ÒÚËÌ„ ËÏÂÈ͇ ÙËθχ
years after his death.
»Ë̇ ¬ÓÎÍÓ‚‡
(. 1977, ÔÓÒÂÎÓÍ ’‡Ú‡Ì„‡, “‡ÈÏ˚,
ü‡ÒÌÓˇÒÍËÈ Í‡È).
(b. 1977, Khatanga, Taimyr,
Krasnoyarsk Region).
Graduated from the faculty of philology
and journalism of Krasnoyarsk
University (2000), and from the Higher
Courses for Scriptwriters and Directors
(2004, course of directing fiction and
non-fiction film).
Films (shorts): ìWhat happened,
happenedî (2003, doc., practical), ìLive
Spaceî (2004, doc., coursework),
ìDistanceî (2005, feature, diploma),
ìMy Kieslowskiî (2005, doc.), ìThere is
such a Window suchî (2005, doc.).
´—ÎÛ˜‡Èª.
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
ÃŒ–≈Ö ü¿ÃÕ»Ö » Àfi¡Œ¬‹
SEAÖ STONESÖ AND LOVE
62
2005, –ÓÒÒˡ, 23 ÏËÌ., ˆ‚., ÒÚÂÂÓ,
2005, Russia, 23 min., colour, stereo,
Betacam SP
Betacam SP
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ
Scriptwriter and Director
ŒÍ҇̇ ÕÂÂÁÂÌÍÓ
Oksana Nerezenko
ŒÔÂ‡ÚÓ˚ ŒÍ҇̇ ÕÂÂÁÂÌÍÓ,
Camera Oksana Nerezenko,
¬‡ÒËÎËÈ “˚˜ËÌÒÍËÈ
Vasily Tychinsky
«‚ÛÍ œ‡ÔÛ̇ œËÔˡ
Sound Papuna Pipia
œÓËÁ‚Ó‰ÒÚ‚Ó ´Nerezenko&Coª
Production Nerezenko&Co
ÔË ÔÓ‰‰ÂÊÍ ÒÚÛ‰ËË ´ŒÒÚÓ‚ª
with the participation Ostrov Studio
ŒÍ҇̇ ÕÂÂÁÂÌÍÓ
(. 1976, „. —Ó˜Ë, ü‡ÒÌÓ‰‡ÒÍËÈ Í‡È).
ŒÍÓ̘Ë· —Ó˜ËÌÒÍÓ ıÛ‰ÓÊÂÒÚ‚ÂÌÌÓÂ
Û˜ËÎˢÂ, ÃÓÒÍÓ‚ÒÍËÈ „ÛχÌËÚ‡Ì˚È
ËÌÒÚËÚÛÚ ËÏÂÌË ƒ‡¯ÍÓ‚ÓÈ (1997),
Ù‡ÍÛθÚÂÚ ÍËÌÓÂÊËÒÒÛ˚ ¬√»ü‡
(2005, χÒÚÂÒ͇ˇ ¿.¿.›¯Ô‡ˇ,
—.¬.ÃËÓ¯Ì˘ÂÌÍÓ, ¬.¿.‘Â̘ÂÌÍÓ).
‘ËθÏ˚ (Í/Ï): ´–˚·‡Î͇ª (2002),
´—ÎË‚˚ª (2003), ´ÃÓÂÖ Í‡ÏÌËÖ Ë
β·Ó‚¸ª (2005).
70-ÎÂÚÌËÈ ÏÓˇÍ —Â„ÂÈ ¬‡ÒËθ‚˘,
The 70-year-old seaman Sergei
·˚‚¯ËÈ ÓÙˈÂ, ÍÓ„‰‡-ÚÓ Ï˜ڇΠÓ
Vasilievich, a former officer, once
Ò·‚ ÔÓ˝Ú‡. —Â„Ó‰Ìˇ ÓÌ ‚‰ÂÚ
dreamt of poetic glory. Today he leads a
·ÂÁÁ‡·ÓÚÌÛ˛ ÊËÁ̸: ÒÓ·Ë‡ÂÚ Í‡ÏÌË,
carefree life: he collects stones, on
̇ ÍÓÚÓ˚ı ÏÓ Ô˯ÂÚ Í‡ÚËÌ˚,
which the sea paints its pictures, and
ÔÓÒÚÓˇÌÌÓ ‚β·ÎˇÂÚÒˇ ‚ ÏÓÎÓ‰˚ı
constantly falls in love with young
ÊÂÌ˘ËÌ Ë ÔÓÒ‚ˇ˘‡ÂÚ ËÏ Ò‚ÓË ÒÚËıË.
women to whom he dedicates his poems.
Oksana Nerezenko
(b. 1976, Sochi, Krasnodar Region).
Graduated from Sochi Art School;
Dashkova Institute of Humanities,
Moscow (1997); Faculty of Directing,
Film Institute VGIK (2005, course of A.
Eshpai, S. Miroshnichenko, V.
Fenchenko). Films (shorts): ìFishingî
(2002), ìPlumsî (2003), ìSea Ö Stones
Ö and Loveî (2005).
SCENT OBSESSION
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
Õ¿¬¿∆ƒ≈Õ»≈ «¿œ¿’¿
63
2005, –ÓÒÒˡ, 3 ÏËÌ., ˆ‚., ‡ÌËχˆËˇ
2005, Russia, 3 min, colour, animation
—ÚÛ‰ÂÌÚ͇ ¬√»ü‡, Ù‡ÍÛθÚÂÚ‡
–ÂÊËÒÒÂ ¬Â‡ ÃˇÍ˯‚‡
Director Vera Miakisheva
ÂÊËÒÒÛ˚ ‡ÌËχˆËË. ´Õ‡‚‡Ê‰ÂÌËÂ
«‚ÛÍ ¿Ì‡ÒÚ‡Òˡ œ‡ÒÂ̘ÛÍ
Sound Anastasia Pasenchuk
Á‡Ô‡ı‡ª ñ ÔÂ‚˚È ÙËθÏ.
—ÚËıË ˜ËÚ‡ÂÚ –˘‡‰ ¡Ó̉‡‚
Poems read by Richard Bondarev
œÓ‰˛ÒÂ ¬Â‡ ÃˇÍ˯‚‡
Producer Vera Miakisheva
œÓËÁ‚Ó‰ÒÚ‚Ó ¬√»ü
Production VGIK
ÀË˘ÂÒÍÓ ‚ÓÒÔÓÏË̇ÌË ÔÓ ÒÚËı‡Ï
Lyrical memoirs based on poems by
œ‡·ÎÓ ÕÂÛ‰˚.
Pablo Neruda.
¬Â‡ ÃˇÍ˯‚‡
(. 1986, ÃÓÒÍ‚‡).
Vera Miakisheva
(b. 1986, Moscow).
Student of the Film Institute VGIK,
Faculty of Direction in Animation.
ìScent Obsessionî is her first film.
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
Õ≈œ–»fl“Õ¿fl »—“Œ–»fl
UNPLEASANT STORY
64
2005, –ÓÒÒˡ, 16 ÏËÌ., ˆ‚., 35 ÏÏ
2005, Russia, 16 min, colour, 35 mm
–ÂÊËÒÒÂ fiÎˡ œ‡˛ÒÓ‚‡
Director Julia Paiusova
¬˚ÔÛÒÍÌˈ‡ ÂÊËÒÒÂÒÍÓ„Ó
¿‚ÚÓ ÒˆÂ̇ˡ √ÂÏ‡Ì ÃÓΘ‡ÌÓ‚
Scriptwriter German Molchanov
Ù‡ÍÛθÚÂÚ‡ ¬√»ü‡ (χÒÚÂÒ͇ˇ
ŒÔÂ‡ÚÓ ≈͇ÚÂË̇ ƒÛ·Ó‚Ò͇ˇ
Camera Ekaterina Dubrovskaya
¬.». ’ÓÚËÌÂÌÍÓ Ë ¬.¿. ‘Â̘ÂÌÍÓ).
’Û‰ÓÊÌËÍ ¿Ì‰ÂÈ ∆ÂÎÛ‰ÍÓ‚
Art Director Andrey Zheludkov
‘ËθÏ˚ (Í/Ï): ´—ÍËÔ‡˜ª (2005,
üÓÒÚ˛Ï˚ Շڇθˇ ŒÒÏÓÎÓ‚Ò͇ˇ
Costumes Natalia Osmolovskaya
ÍÛÒÓ‚‡ˇ), ´ÕÂÔˡÚ̇ˇ ËÒÚÓˡª
«‚ÛÍ Ã‡ˡ ¬ÓÎÓ‰Ë̇
Sound Maria Volodina
(2005, ‰ËÔÎÓÏ̇ˇ ‡·ÓÚ‡).
¬ ÓΡı: ≈ÎÂ̇ ÃÓÓÁÓ‚‡,
Cast: Elena Morozova, Pyotr Smidovich,
œÂÚ —Ïˉӂ˘, √ÂÏ‡Ì ÃÓΘ‡ÌÓ‚
German Molchanov
œÓËÁ‚Ó‰ÒÚ‚Ó ¬√»ü
Production VGIK
œ‡‚‡ ¬√»ü, fiÎˡ œ‡˛ÒÓ‚‡
Sales VGIK, Julia Payusova
œÓ ÏÓÚË‚‡Ï Ó‰ÌÓËÏÂÌÌÓ„Ó ‡ÒÒ͇Á‡
Based on the motives of Anton
Julia Paiusova
¿.œ. ◊ÂıÓ‚‡. ´¡‡ËÌ —ÚÂÔ‡Ì
Chekhovís story of the same title. ìThe
(b. 1977).
¿Ì‰‚˘ ∆ËÍÓ‚ ÔÓÒ¢‡ÂÚ Ò‚Ó˛
Landlord Stepan Andreevich Zhirkov
Graduated from the Directorsí Faculty
β·Ó‚ÌËˆÛ Õ‡‰Â̸ÍÛ, ÊË‚Û˘Û˛ ÎÂÚÓÏ
visits his mistress Nadia, who lives
of the Film Institute VGIK (course of
ÛʇÒÌÓ ‰‡ÎÂÍÓ ÓÚ „ÓÓ‰‡, ̇ ‰Û„ÓÈ
terribly far away from the city during
Vladimir Khotinenko and Vladimir
ÒÚÓÓÌÂ ÂÍË ÓÚ ÊÂÎÂÁÌÓ‰ÓÓÊÌÓÈ
the summer: on the other side of the
Fenchenko). Films (shorts): ìThe
Òڇ̈ËË. ŒÌ ÔË‚ÂÁ ÂÈ ÓÁ˚ Ë
river from the railway station. He
Violinistî (2005, course work),
·Óθ¯Û˛ ÍÓÓ·ÍÛ Ò Ô·ڸÂÏ. ÕÓ ÂÏÛ
brought her roses and a large box with
ìUnpleasant Storyî (2005, diploma work).
Ì ÔÓÒ˜‡ÒÚÎË‚ËÎÓÒ¸, Â„Ó ÓÚ͇Á‡ÌÓ
a dress. But luck is not on his side: he
ÔËÌˇÚ¸, Ú‡Í Í‡Í ‚ÂÌÛÎÒˇ ËÁ-Á‡
cannot be received at the house, because
„‡Ìˈ˚ ÏÛÊ Õ‡‰Â̸ÍË ñ ∆‡Í.
Nadiaís husband Jacques has returned
ƒÓ·‡Ú¸Òˇ ‰Ó Òڇ̈ËË ÌÂÚ ÌË͇ÍÓÈ
from abroad. There is no chance to get
‚ÓÁÏÓÊÌÓÒÚË: ÎÓ‰Ó˜ÌËÍ ÛÔÎ˚Î,
back to the station: the ferryman has
ÒÚÂÏÌÂÎÓ Ë ÔÓ¯ÂÎ ‰Óʉ¸. —ÚÂÔ‡Ì
returned, darkness is falling, and it
¿Ì‰‚˘, ÔÓ͇ Ì Á‡ÏÂÁ, ÒˉÂÎ ‚
starts to rain. Stepan Andreevich sits in
·ÂÒ‰ÍÂ. œÓÒΠÔ˯ÎÓÒ¸ ÔÓÒËÚ¸Òˇ ‚
the garden pavilion. Later he has to ask
‰ÓÏ Ì‡ ÌӘ΄, ̇Á‚‡ÎÒˇ ÏÛÊÛ
for lodgings for the night in the house,
ÔÓÒ˚θÌ˚Ï ÓÚ ÏÓ‰ËÒÚÍË. —ˉÂÎË Ò
pretending to be the husband sent by
ÏÛÊÂÏ ‚ Á‡ÎÂ...ª
the fashion designer. He sits with the
fiÎˡ œ‡˛ÒÓ‚‡
(. 1977).
husband in the hall...î
WHILE HE WAS FLYING
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
œŒü¿ ŒÕ À≈“¿À
65
2006, –ÓÒÒˡ, 35 ÏËÌ., ˆ‚., 1:1.85, 35 ÏÏ
2006, Russia, 35 min, colour, 1:1.85, 35 mm
œÓÒΠÓÍÓ̘‡Ìˡ ÃÓÒÍÓ‚ÒÍÓ„Ó
–ÂÊËÒÒÂ Ë ÔÓ‰˛ÒÂ
Director and Producer Alexander Kessel
ÒÛ‚ÓÓ‚ÒÍÓ„Ó ‚ÓÂÌÌÓ„Ó Û˜ËÎˢ‡ (1987)
¿ÎÂÍ҇̉ üÂÒÒÂθ
Scriptwriters Sergei Vereikin,
ÔÓÒÚÛÔËÎ ‚ ÃÓÒÍÓ‚ÒÍËÈ ‡‚ˇˆËÓÌÌ˚È
¿‚ÚÓ˚ ÒˆÂ̇ˡ CÂ„ÂÈ ¬ÂÂÈÍËÌ,
Alexander Kessel
ËÌÒÚËÚÛÚ ñ ÿ» (Ù‡ÍÛθÚÂÚ
¿ÎÂÍ҇̉ üÂÒÒÂθ
Camera Dmitry Kuvshinov,
ÍÓÒÏÓ̇‚ÚËÍË), ÓÚÍÛ‰‡ ·˚Î ÔËÁ‚‡Ì ̇
ŒÔÂ‡ÚÓ˚ ƒÏËÚËÈ üÛ‚¯ËÌÓ‚,
Maxim Ayrapetov
ÒÎÛÊ·Û ‚ —¿. ŒÍÓ̘ËÎ Ù‡ÍÛθÚÂÚ
ÇÍÒËÏ ¿È‡ÔÂÚÓ‚
Art Directors Maria Zaikina,
ÏÂʉÛ̇Ó‰ÌÓÈ ÊÛ̇ÎËÒÚËÍË
’Û‰ÓÊÌËÍË
Maria Sugak
Ã√»ÃŒ (1996). –‡·ÓڇΠ‚ ӷ·ÒÚË
Çˡ «‡ËÍË̇, Çˡ —Û„‡Í
Composer Sergei Kovalsky
χÍÂÚËÌ„Ó‚˚ı ÍÓÏÏÛÌË͇ˆËÈ, ‚ ÚÓÏ
üÓÏÔÓÁËÚÓ —Â„ÂÈ üÓ‚‡Î¸ÒÍËÈ
Cast: Maria Ranenko-Ilyina, Era
˜ËÒÎÂ Ë Á‡ Û·ÂÊÓÏ. ¬ 2004 ÔÓÒÚÛÔËÎ
¬ ÓΡı: Çˡ –‡ÌÂÌÍÓ-»Î¸Ë̇,
Ziganshina, Vitaly Kudryavtsev, Mark
̇ ¬˚үˠÍÛÒ˚ ÒˆÂ̇ËÒÚÓ‚ Ë
›‡ «Ë„‡Ì¯Ë̇, ¬ËÚ‡ÎËÈ üÛ‰ˇ‚ˆÂ‚,
Balmyshev, Elena Denisenko, Gennady
ÂÊËÒÒÂÓ‚ (χÒÚÂÒ͇ˇ
ÇÍ ¡‡ÎÏ˚¯Â‚, ›ÎÂ̇ ƒÂÌËÒÂÌÍÓ,
Rogankov, Alexei Silkin, Andrey
¬.».’ÓÚËÌÂÌÍÓ, œ.ü.‘ËÌ̇,
√ÂÌ̇‰ËÈ –Ó„‡ÌÍÓ‚, ¿ÎÂÍÒÂÈ —ËÎÍËÌ,
Filippak, Mikhail Vodolazhsky, Simon
¬.¿.‘Â̘ÂÌÍÓ). «‡˘ËÚËÎ ‰ËÔÎÓÏ
¿Ì‰ÂÈ ‘ËÎËÔÔ‡Í, ÃËı‡ËÎ
Kortes, Tatiana Ufimtseva,
ÙËθÏÓÏ ´œÓ͇ ÓÌ ÎÂÚ‡ÎÖª.
¬Ó‰Ó·ÊÒÍËÈ, —ËÏÓÌ üÓÚÂÒ, “‡Ú¸ˇÌ‡
Sergei Laptev
”ÙËψ‚‡, —Â„ÂÈ À‡ÔÚ‚
Production HCSF
œÓËÁ‚Ó‰ÒÚ‚Ó ¬ü—–
Sales Alexander Kessel
¿ÎÂÍ҇̉ üÂÒÒÂθ
(. 1970, „. ∆ËÚÓÏË, ”Í‡Ë̇).
œ‡‚‡ ¿ÎÂÍ҇̉ üÂÒÒÂθ
Alexander Kessel
—ÂÏËÎÂÚÌˇˇ ‰Â‚Ә͇ ËÒÍÂÌÌ ‚ÂËÚ ‚
A seven-year old girl genuinely believes
(b. 1970, Zhitomir, Ukraine).
‡ÒÒ͇Á˚ ‚ÁÓÒÎ˚ı Ó ÚÓÏ, ˜ÚÓ ÂÂ
in adultsí stories that her absent father
After graduating from Moscowís
ÓÚÒÛÚÒÚ‚Û˛˘ËÈ ÓÚˆ ñ „ÂÓÈ-ÎÂÚ˜ËÍ.
is a pilot hero. Sometimes, hoping for a
Suvorov Military School (1987) he
»ÌÓ„‰‡ ó ‚ Ì‡‰Âʉ ̇ ˜Û‰Ó ó Ï˚
miracle, we look to heaven. Sometimes
enrolled at the Moscow Aviation
ÒÏÓÚËÏ ‚ Ì·ÂÒ‡. »ÌÓ„‰‡ ˜Û‰ÂÒ‡
miracles happen Ö
Institute (MAI, faculty of astronauts),
ÒÎÛ˜‡˛ÚÒˇÖ
whence he was drafted into the Soviet
Army. Graduated from the faculty of
international journalism MGIMO (1996).
Worked in marketing communications,
also worked abroad. In 2004 enrolled
for the Higher Courses of Scriptwriters
and Directors (course of Vladimir
Khotinenko, Pavel Finn, Vladimir
Fenchenko). Defended his the diploma
with the film ìWhile he was Flyingî.
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
œ–Œ¡”∆ƒ≈Õ»≈
AWAKENING
66
2005, –ÓÒÒˡ, 26 ÏËÌ., ˆ‚., 1:1.66,
2005, Russia, 26 min, colour, 1:1.66,
ÓÔÚ˘ÂÒ͇ˇ ÏÓÌÓ, 35 ÏÏ
optical mono, 35 mm
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ
Scriptwriter and Director
¡ÓËÒ √ۘχÁÓ‚
Boris Guchmazov
ŒÔÂ‡ÚÓ˚ ≈„Ó –ˇ·˜ËÍÓ‚,
Camera Egor Riabchikov,
¬‡ÎÂÌÚËÌ ›¯Ô‡È, ¿ÚÂÏ ‘ÛχÌ
Valentin Eshpay, Artyom Furman
«‚ÛÍ œ.ƒÛ‰ËÌ, ¬.œÓÎÚ‡‚ˆ
Sound P.Dudin, V.Poltavets
¬ ÓΡı: üÓÌÒÚ‡ÌÚËÌ ’‡·ӂ,
Cast: Konstantin Kharebov,
«‡Û —‡Ì‡ÍÓ‚
Zaur Sanakoev
œÓËÁ‚Ó‰ÒÚ‚Ó ¬√»ü
Production VGIK
üÓ„‰‡-ÚÓ üÓÒÚˇ ϘڇΠÒÚ‡Ú¸
Kostia has lived in Moscow for seven
ÎÂÚ˜ËÍÓÏ. “ÂÔÂ¸ ñ ÔÓ˜ÚË ÛÊ ÒÂϸ
years. What he does here for a living is
ÎÂÚ ó üÓÒÚˇ ÊË‚ÂÚ ‚ ÃÓÒÍ‚Â. ◊ÂÏ ÓÌ
unknown to his father who arrives on a
ÚÛÚ Á‡ÌËχÂÚÒˇ ñ ˝ÚÓ„Ó Ì Á̇ÂÚ
surprise visit. And Kostia can hardly
ÌÂÓÊˉ‡ÌÌÓ ÔËÂı‡‚¯ËÈ Í ÌÂÏÛ ÓÚˆ.
tell him anything about himselfÖ
¡ÓËÒ √ۘχÁÓ‚
(.1978, „. œÂÚÓÔ‡‚ÎÓ‚ÒÍ-ü‡Ï˜‡ÚÒÍËÈ).
”˜ËÎÒˇ ̇ ˝ÍÓÌÓÏ˘ÂÒÍÓÏ Ù‡ÍÛθÚÂÚÂ
ƒ‡ Ë üÓÒÚˇ ÔÓ˜ÚË ÌË˜Â„Ó Ó Ò·Â
‡ÒÒ͇Á‡Ú¸ ÂÏÛ Ì ÏÓÊÂÚÖ
fiÊÌÓ-ŒÒÂÚËÌÒÍÓ„Ó ÛÌË‚ÂÒËÚÂÚ‡. ¬
̇ÒÚÓˇ˘Â ‚ÂÏˇ ñ ÒÚÛ‰ÂÌÚ-‰ËÔÎÓÏÌËÍ
¬√»ü‡ (χÒÚÂÒ͇ˇ ¬.».’ÓÚËÌÂÌÍÓ Ë
¬.¿.‘Â̘ÂÌÍÓ). ‘ËθÏ˚: ´«Ëχª
(2003, ÍÛÒÓ‚‡ˇ), ´œÓ·ÛʉÂÌ˪
(‰ËÔÎÓÏ; ‚ÚÓ‡ˇ ÔÂÏˡ ÍÓÌÍÛÒ‡ ´—‚.
¿Ì̇ª, ÃÓÒÍ‚‡, 2006)
Boris Guchmazov
(b.1978, Petropavlovsk-Kamchatsky).
Studied at the Faculty of Economics of
the University of Southern Ossetia.
Currently a diploma student at the
Film Institute VGIK (course of
Vladimir Khotinenko and Vladimir
Fenchenko). Films: ìWinterî (2003,
coursework), ìAwakeningî (diploma;
second prize of the competition ìSt.
Annaî, Moscow, 2006)
CAMOMILES
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
–ŒÃ¿ÿü»
67
2006, –ÓÒÒˡ/ ÿ‚ÂˆËˇ, 16 ÏËÌ.,
2006, Russia/Sweden, 16 min,
ˆ‚., miniDV
colour, miniDV
ÚÂ΂ˉÂÌËË. ¬ 1996 ÔÂÂÂı‡Î ‚
–ÂÊËÒÒÂ, ‡‚ÚÓ ÒˆÂ̇ˡ,
Director, Scriptwriter, Sound
ÿ‚ÂˆË˛, „‰Â ‡·ÓڇΠÏÓÌÚ‡ÊÂÓÏ, ‡
Á‚ÛÍÓÂÊËÒÒÂ ‘ËÎËÔÔ üÓ¯ÛÌÓ‚
Director, Editor Filipp Korshunov
ÔÓÁÊ ó ËÒÔÓÎÌËÚÂθÌ˚Ï
—˙ÂÏÍË: ÇÚÒ ›‚‡ÌÒÓÌ, ¿ÌÌÂ-ÀË
Camera Mats Evenson, AnneLi Gelbard,
ÔÓ‰˛ÒÂÓÏ. — 2004 ó ÒÚÛ‰ÂÌÚ
√Âη‡‰, À‡c ÕÛ‰Â, ¿Ì̇
Lars Norder, ¿Ì̇ üÓ¯ÛÌÓ‚‡, Michael
ÂÊËÒÒÂÒÍÓ„Ó Ù‡ÍÛθÚÂÚ‡ ¬√»ü‡
üÓ¯ÛÌÓ‚‡, ÃËı‡ËÎ ÃË·‡ı
Mirbach
(χÒÚÂÒ͇ˇ ¬.». ’ÓÚËÌÂÌÍÓ Ë ¬.¿.
¬ ÓΡı: ÇÚÒ ›‚‡ÌÒÓÌ, ¿ÌÌÂ-ÀË
Cast: Mats Evenson, AnneLi Gelbard,
‘Â̘ÂÌÍÓ). ´–Óχ¯Í˪ ó ÍÛÒÓ‚‡ˇ
√Âη‡‰, À‡c ÕÛ‰Â, ¿Ì̇
Lars Norder, ¿Ì̇ üÓ¯ÛÌÓ‚‡, Michael
‡·ÓÚ‡.
üÓ¯ÛÌÓ‚‡, ÃËı‡ËÎ ÃË·‡ı
Mirbach, Roman Sviridenko (voice)
ŒÁ‚Û˜‡ÌË –ÓÏ‡Ì —‚ËˉÂÌÍÓ
Producer Filipp Korshunov
œÓ‰˛ÒÂ ‘ËÎËÔÔ üÓ¯ÛÌÓ‚
Production Filipp Korshunov, VGIK
‘ËÎËÔÔ üÓ¯ÛÌÓ‚
(. 1973, „. üË‚ÓÈ –Ó„, ”Í‡Ë̇).
–‡·ÓڇΠÍÓÂÒÔÓ̉ÂÌÚÓÏ Ì‡
œÓËÁ‚Ó‰ÒÚ‚Ó ‘ËÎËÔÔ üÓ¯ÛÌÓ‚,
¬√»ü
Fillip Korshunov
(b. 1973, Krivoi Rog, Ukraine).
Worked as correspondent for television.
In 1996 moved to Sweden, where he
worked as editor and later as executive
producer. Since 2004 he is a student of
the Directorsí Faculty at the Film
Institute VGIK (workshop of V.
Khotinenko and V. Fenchenko).
ìCamomilesî is his course work.
ÃÂÎÓ‰‡Ï‡.
Melodrama.
«‡‚Â¯Ë‚ Ó·‡ÁÓ‚‡ÌË ‚ ¿ÏÂËÍÂ,
Having finished his education in
ÏÓÎÓ‰ÓÈ ˜ÂÎÓ‚ÂÍ ÔËÂÁʇÂÚ ‰ÓÏÓÈ.
America, a young man returns home. In
◊ÂÂÁ ‰‚ Ì‰ÂÎË ÓÌ ‰ÓÎÊÂÌ ‚ÂÌÛÚ¸Òˇ
two weeks he has to go back to New
‚ Õ¸˛-…ÓÍ ó Â„Ó Ê‰ÂÚ ‡·ÓÚ‡ ̇
York, where a job on Wall Street is
”ÓÎÎ-ÒÚËÚ. ƒÛÁ¸ˇ, Ó‰Ì˚Â, β·Ëχˇ
waiting for him. His friends, his relatives
Ô˚Ú‡˛ÚÒˇ Â„Ó ÓÒÚ‡‚ËÚ¸ ‰ÓχÖ
and his girl try to make him stayÖ
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
—¬¿“Œ¬—“¬Œ
COURTSHIP
68
2005, –ÓÒÒˡ, 27 ÏËÌ., ˆ‚., 35 ÏÏ
2005, Russia, 27 min, colour, 35 mm
–ÂÊËÒÒÂ ¿Ì̇ ‘Â̘ÂÌÍÓ
Director Anna Fenchenko
¿‚ÚÓ ÒˆÂ̇ˡ À‡ËÒ‡ —ÚÂÔ‡ÌÓ‚‡
Scriptwriter Larisa Stepanova
ŒÔÂ‡ÚÓ »„Ó¸ ¡ÛˇÍ
Camera Igor Buryak
’Û‰ÓÊÌËÍ —Â„ÂÈ ∆‡ÍÛÎËÌ
Art Director Sergei Zhakulin
üÓÒÚ˛Ï˚ Çˡ –Úˢ‚‡
Costumes Maria Rtishcheva
üÓÏÔÓÁËÚÓ —Â„ÂÈ —Ú‡ÓÒÚËÌ
Composer Sergei Starostin
¬ „·‚Ì˚ı ÓΡı: ŒÎ¸„‡ À‡Ô¯Ë̇,
Principal cast: Olga Lapshina,
œÂÚ «‡È˜ÂÌÍÓ
Pyotr Zaichenko
œÓ‰˛ÒÂ œÂÚ ¿ÌÛÓ‚
Producer Pyotr Anurov
œÓËÁ‚Ó‰ÒÚ‚Ó üËÌÓÒÚÛ‰Ëˇ ´—ÎÓ‚Óª,
Production Slovo Film Studio with
ÔË Û˜‡ÒÚËË ‘‰Â‡Î¸ÌÓ„Ó ‡„ÂÌÚÒÚ‚‡
participation of the Federal Agency for
ÔÓ ÍÛθÚÛÂ Ë ÍËÌÂχÚÓ„‡ÙËË
Culture and Cinematography
¿Ì̇ ‘Â̘ÂÌÍÓ
ŒÍÓ̘Ë· ÂÊËÒÒÂÒÍËÈ Ù‡ÍÛθÚÂÚ
¬√»ü‡ (2000, χÒÚÂÒ͇ˇ
¬.».’ÓÚËÌÂÌÍÓ). ƒÓ ۘ·˚ ‚Ó ¬√»üÂ
‡·Óڇ· „ËÏÂÓÏ, ÍÓÒÚ˛ÏÂÓÏ,
‰ËÁ‡ÈÌÂÓÏ ÔÓ ËÌÚÂ¸ÂÛ,
ÔÛ·ÎËÍÓ‚‡Î‡Ò¸ ‚ ÊÛ̇Π´›Í‡Ìª. ¬
2001-2003 ñ ÂÊËÒÒÂ ÔÓ„‡ÏÏ˚
´üÛÍÎ˚ª (Õ“¬). ‘ËθÏ˚ (Í/Ï): ´—Ì˚ª
(1998, ۘ·̇ˇ), ´œÓ‰ÎËÌÌËÍ ÿ‡„‡Î‡ª
(ÍÛÒÓ‚‡ˇ), ´—‚ˉ‡Ì˪ (2000,
ÍÛÒÓ‚‡ˇ), ´“‡Ú ÓÚ üÛÚ˛ª (2003,
‰ÓÍ.), ´“‡Î‡ÌÚ˚ Ë ÔÓÍÎÓÌÌËÍ˪ (2004,
Ú·θχ̇ı ´œÓÁ‰ÌËÈ ÛÊË̪),
´—‚‡ÚÓ‚ÒÚ‚Óª (2005).
œÂ‰ ÚÂÏ, Í‡Í Î˜¸ ‚ „ÓÓ‰ÒÍÛ˛
Before being admitted to the local
ÓÌÍÓÎӄ˘ÂÒÍÛ˛ ÍÎËÌËÍÛ, ≈‚‰ÓÍˡ
oncology clinic, Evdokia Fedotova has
‘‰ÓÚÓ‚‡ Á‡Í‡Á‡Î‡ „Ó·, ÔÓ‰‡Î‡ ‰ÓÏ,
ordered a coffin, sold the house, the
Ï·Âθ, ÒÍÓÚËÌÛ ñ ˜ÚÓ·˚ Û ‰Ó˜ÍË
furniture, the cattle so that her
‰Â̸„Ë ·˚ÎË. ÕÓ ÓÒڇ·Ҹ Û Ì Ӊ̇
daughter would have money. But she
ÒÂ¸ÂÁ̇ˇ ÔÓ·ÎÂχ: Í‡Í ÌÂÔÛÚ‚˚È
has one serious problem left: how is her
ÏÛÊ ‘‰Ó ·ÂÁ Ì ÚÂÔÂ¸ ÊËÚ¸ ·Û‰ÂÚ?
useless husband Fiodor going to get by
—ÏÂÚ¸ ó ÒÏÂÚ¸˛, ‡ ÓÚ‰‡‚‡Ú¸ ´‡·˚
without her? Death is one thing, but
ÍÓÏÛª ÏÛʇ, ıÓÚ¸ Ë ÔÎÓıÓ̸ÍÓ„Ó,
she does not want to leave her husband
ÊÂ̇ Ì ıÓ˜ÂÚ. œËı‚‡ÚË‚ Ò ÒÓ·ÓÈ
to the next best woman. With her last
ÌÂÔÓ‰‡ÌÌÓ„Ó Í‡·‡Ì˜Ë͇, Ôӂ·
remaining unsold cattle, a boar, Evdokia
≈‚‰ÓÍˡ ÏÛʇ ÔÓ ‰Â‚Ì ҂‡Ú‡Ú¸Ö
goes round the village to marry off her
husbandÖ
Anna Fenchenko
Graduated from the Directorsí Faculty
of the Film Institute VGIK (2000,
course of Vladimir Khotinenko).
Before studying at VGIK worked as
make-up artist, costume assistant, and
interior designer; published in the
magazine ìEkranî. From 2001-2003 the
director of the programme ìPuppetsî
(Kukly, NTV). Films (shorts): Dreams
(1998, practical), The Chagall Original
(1999, coursework), The Date (2000,
coursework), Theatre haute couture
(2003, doc), Talents and Admirers
(2004, television almanac ìLate
Supperî), Courtship (2005).
OURS, THEIRS
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
—¬Œ…, ◊”∆Œ…
69
2006, –ÓÒÒˡ, 21 ÏËÌ., ˆ‚., 35 ÏÏ
2006, Russia, 21 min, colour, 35 mm
ŒÍÓ̘Ë· ÂÊËÒÒÂÒÍËÈ Ù‡ÍÛθÚÂÚ
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ
Scriptwriter and Director
¬√»ü‡ (2005, χÒÚÂÒ͇ˇ
¿ÎÂÍ҇̉‡ ≈ÓÙ‚‡
Alexandra Erofeeva
Ã.Ã. ’ۈ˂‡). ‘ËθÏ˚: ´»Á ÊËÁÌË
ŒÔÂ‡ÚÓ »„Ó¸ –ÛÍËÌ
Camera Igor Rukin
ÍÓ¯Âͪ (2003, ۘ·̇ˇ), ´üÛÍ·ª
’Û‰ÓÊÌËÍ ¿Ì‡ÒÚ‡Òˡ √‡‚ËÎÓ‚‡
Art Director Anastasia Gavrilova
(2004, ÍÛÒÓ‚‡ˇ), ´—‚ÓÈ, ˜ÛÊÓȪ
«‚ÛÍ flÓÒ·‚ —‡ÔÓÊÌËÍÓ‚
Sound Yaroslav Sapozhnikov
(2006, ‰ËÔÎÓÏ)
¬ ÓΡı: —Â„ÂÈ ∆‡ÍÓ‚,
Cast: Sergei Zharkov,
üÓÌÒÚ‡ÌÚËÌ fi‰‡Â‚
Konstantin Yudaev
œÓËÁ‚Ó‰ÒÚ‚Ó ¬√»ü
Production VGIK
ƒ‡Ï‡.
Drama.
¬ÚÓ‡ˇ ÏËÓ‚‡ˇ ‚ÓÈ̇. –ÛÒÒÍËÈ Ë
The Second World War. Russian and
ÌÂψÍËÈ ÒÓΉ‡Ú˚ Ó͇Á˚‚‡˛ÚÒˇ ‚
German soldiers are in the same shell-
Ó‰ÌÓÈ ‚ÓÓÌÍÂ. ‘ÓÌÚ Û¯ÂÎ ‰‡ÎÂÍÓ,
hole. The front has moved far away,
ÍÛ‰‡ ñ ÓÌË Ì Á̇˛Ú. Õ ÔÓÌËχ˛˘ËÂ
they do not know where. Not
‰Û„ ‰Û„‡, ËÁÏÛ˜ÂÌÌ˚Â, ÓÌË Á̇˛Ú
understanding each other and
Ó‰ÌÓ: ËÏ Ì‡‰Ó ‰ÓÈÚË ‰Ó β‰ÂÈ. Œ ÚÓÏ,
exhausted, they know one thing: they
ÍÚÓ ˝ÚÓ ·Û‰ÂÚ ñ ´Ò‚Ó˪ ËÎË ´˜ÛÊ˪,
must find people. Whether these people
ÓÌË ÒÚ‡‡˛ÚÒˇ ÔÓ͇ Ì ‰ÛχڸÖ
will be ìoursî or ìtheirsî is something
¿ÎÂÍ҇̉‡ ≈ÓÙ‚‡
(. 1976, “‡¯ÍÂÌÚ, ”Á·ÂÍËÒÚ‡Ì).
Alexandra Erofeeva
(b. 1976, Tashkent, Uzbekistan).
Graduated from the Directorsí Faculty
of the Film Institute VGIK (2005,
course of Marlen Khutsiev). Films:
ìFrom the Life of Catsî (2003,
practical), ìThe Dollî (2004,
coursework), ìOurs, Theirsî (2006,
diploma)
they try to not think about for the
momentÖ
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
—≈Õ“≈Õ÷»» œ¿Õ“≈À≈fl ü¿–ÿՌ¬¿
THE MAXIMS OF PANTELEI KARMANOV
70
2005, –ÓÒÒˡ, 18 ÏËÌ., ˆ‚., 1:1.66,
2005, Russia, 18 min, colour, 1:1.66,
35 ÏÏ
35 mm
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ
Scriptwriter and Director
üÓÌÒÚ‡ÌÚËÌ —ÂÓ‚
Konstantin Serov
¿‚ÚÓ ÚÂÍÒÚ‡ »‚‡Ì ¬˚˚ԇ‚
Text by Ivan Vyrypaev
ŒÔÂ‡ÚÓ˚ ¿ÎÂÍ҇̉ ≈ÎıÓ‚,
Camera Alexander Elkhov,
¿ÎÂÍÒÂÈ Ã‡Í‚
Alexei Makeev
’Û‰ÓÊÌËÍ Ã‡ÍÒËÏ ”¯‡ÍÓ‚
Art Director Maxim Ushakov
üÓÒÚ˛Ï˚ Շڇθˇ “ÂÙËÎÓ‚‡
Costumes Natalia Trefilova
«‚ÛÍ ¿Ì‡ÒÚ‡Òˡ ¿ÌÓÒÓ‚‡
Sound Anastasia Anosova
¬ ÓΡı: ¿Ì‰ÂÈ ‘ÓÎÓ‚, —‚ÂÚ·̇
Cast: Andrei Frolov, Svetlana Ivanova,
»‚‡ÌÓ‚‡, ¬Î‡‰ËÏË »‚΂, ÇÍÒËÏ
Vladimir Ivlev, Maxim Ushakov, Anton
”¯‡ÍÓ‚, ¿ÌÚÓÌ “ËıÓÌÓ‚, ¿ÎÂÍ҇̉
Tikhonov, Alexander Nikitin, Valery
ÕËÍËÚËÌ, ¬‡ÎÂËÈ ƒÂ‚ˇÚËÎÓ‚,
Devyatilov, Denis Bauer
ƒÂÌËÒ ¡‡Û˝
Production VGIK
üÓÌÒÚ‡ÌÚËÌ —ÂÓ‚
(. 1973, ’‡·‡Ó‚ÒÍ).
ŒÍÓ̘ËÎ ÂÊËÒÒÂÒÍËÈ Ù‡ÍÛθÚÂÚ
¬√»ü‡ (2005, χÒÚÂÒ͇ˇ Ã.Ã.
’ۈ˂‡). ¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ
ÔˇÚË ÂÍ·ÏÌ˚ı ÓÎËÍÓ‚ ‰Îˇ
Ô‰ÔˡÚˡ ´›üŒœÓÏ ñ ÀËÔˆͪ.
‘ËθÏ˚ (Í/Ï): ´üÎÓÛ̪ (ۘ·̇ˇ,
2002), ´—ÂÌÚÂ̈ËË œ‡ÌÚÂΡ
ü‡χÌÓ‚‡ª (ÍÛÒÓ‚‡ˇ, 2005),
´√‡‚ËÎË̪ (2006).
œÓËÁ‚Ó‰ÒÚ‚Ó ¬√»ü
´...» ÚÛÚ ÏÓÂ„Ó ÔˡÚÂΡ ÔÓÒÚÓ
ì... And here my friend just could not
ÔÓ‚‡ÎÓ, ÓÌ Ì‡˜‡Î ‚˚ÒÚÛÔ‡Ú¸:
contain himself any more and he spoke:
—͇̉‡ÎËÚ¸! ¬ÓÚ ‚ ˜ÂÏ ÒÏ˚ÒÎ ·˚Úˡ.
Scandals! That is the sense of life.
¬ÂÁ‰Â Ë ÔÓ‚Ò˛‰Û Ò͇̉‡ÎËÚ¸! ¬‡Ú¸
Arguments everywhere! Lie to your
‰ÛÁ¸ˇÏ Ë Ô‰‡‚‡Ú¸ Û˜ËÚÂÎÂÈ.
friends and cheat your teachers. Betray
»ÁÏÂÌˇÚ¸ ÊÂÌÂ Ë ÍΡÒÚ¸Òˇ ‚ β·‚Ë
your wife and swear love to an unloved
ÌÂβ·ËÏÓÈ ÊÂÌ˘ËÌÂ. »Òˆ‡‡Ô‡Ú¸
woman. Scratch the varnished surface
·ÍËÓ‚‡ÌÌÓ ÔÓÍ˚ÚË ÔËÒ¸ÏÂÌÌÓ„Ó
of the desk in your parentsí house.
ÒÚÓ· ‚ ‰ÓÏ Ó‰ËÚÂÎÂÈ. –‡Á·ËÚ¸
Break the window display of a sports
‚ËÚËÌÛ ÒÔÓÚË‚ÌÓ„Ó Ï‡„‡ÁË̇ Ë
shop and slap your belovedís face. Live
̇‰‡‚‡Ú¸ ÔÓ˘Â˜ËÌ Ò‚ÓÂÈ Î˛·ËÏÓÈ.
only for yourself and envy the husbands
∆ËÚ¸ ÚÓθÍÓ ‰Îˇ Ò·ˇ Ë ‚ÌÓ‚‡Ú¸
of other women. Drink alcohol and
˜ÛÊËı ÊÂÌ Í Ëı ÏÛʸˇÏ. œËÚ¸
swear in the presence of children. Be
‡ÎÍÓ„Óθ Ë ÒÍ‚ÂÌÓÒÎÓ‚ËÚ¸ ÔË ‰ÂÚˇı.
rude to old people and consider yourself
’‡ÏËÚ¸ ÒÚ‡ËÍ‡Ï Ë Ò˜ËÚ‡Ú¸ Ò·ˇ ÛÏÌÂÂ
brighter than others. Offend skinheads
‰Û„Ëı. ŒÒÍÓ·ÎˇÚ¸ ·ËÚÓ„ÓÎÓ‚˚ı
in the street and get beaten up by them
Ô‡ÌÂÈ Ì‡ ÛÎËˆÂ Ë ·˚Ú¸ ËÁ·ËÚ˚Ï ËÏË
until you die. Die and continue the
‰Ó ÒÏÂÚË. ”ÏÂÂÚ¸ Ë ÔÓ‰ÓÎʇڸ
scandal!î
Ò͇̉‡Î!..ª
Konstantin Serov
(b. 1973, Khabarovsk).
Graduated from the Directors Faculty of
the Film Institute VGIK (2005, course
of Marlen Khutsiev). Scriptwriter and
director of five advertising clips for the
company ìECOProm-Lipetskî. Films
(shorts): ìThe Clownî (practical, 2002),
ìThe Maxims of Pantelei Karmanovî
(coursework, 2005), ìGavrilinî (2006).
WEISSMANíS NEIGHBOUR
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
—Œ—≈ƒü¿ ¬¿…—ÿտ
71
2006, –ÓÒÒˡ, 6í40î, ˆ‚., DVD,
2006, Russia, 6í40î, colour, DVD,
‡ÌËχˆËˇ, ÍÓÏÔ¸˛ÚÂ̇ˇ „‡ÙË͇
animation, computer graphics
ÒÔˆˇθÌÓÒÚË ıÛ‰ÓÊÌËÍ-ÓÙÓÏËÚÂθ
¿‚ÚÓ ÒˆÂ̇ˡ, ÂÊËÒÒÂ Ë ıÛ‰ÓÊÌËÍ
Scriptwriter, Director and Art Director
(1988, „. Õ‡·ÂÂÊÌ˚ ◊ÂÎÌ˚).
–ÓÁ‡ √ËχډËÌÓ‚‡
Roza Gimatdinova
–‡·Óڇ· ıÛ‰ÓÊÌËÍÓÏ-ÔÓÒÚ‡ÌÓ‚˘ËÍÓÏ
œÓËÁ‚Ó‰ÒÚ‚Ó ¬√»ü
Production VGIK
‚ Ú‡Ú ÍÛÍÓÎ ´ƒÓÏ ƒÂÚÂÈ Ë œÚˈª
œ‡‚‡ –ÓÁ‡ √ËχډËÌÓ‚‡
Sales Roza Gimatdinova
üÓ„‰‡-ÚÓ „ÓÒÔÓ‰ËÌÛ ¬‡ÈÒχÌÛ ÌÂ
Once, in 1968, Mister Weissman was
ÔÓ‚ÂÁÎÓ ñ ˝ÚÓ ·˚ÎÓ ‚ 1968 „Ó‰Û.
unlucky. In 2006 his neighbour is a
¬ 2006-Ï Â„Ó ÒÓÒ‰͇ Ó͇Á‡Î‡Ò¸
victim of the same phenomena. How
ÊÂÚ‚ÓÈ ÚÂı Ê ˇ‚ÎÂÌËÈ. ü‡Í ÂÈ
could she change the course of events?
Û‰‡ÎÓÒ¸ ËÁÏÂÌËÚ¸ ıÓ‰ ÒÓ·˚ÚËÈ? ÃÓÊÂÚ
Perhaps it all depends on the times?
–ÓÁ‡ √ËχډËÌÓ‚‡
(. 1969, „. ¿Î¸ÏÂڸ‚ÒÍ, “‡Ú‡ÒÚ‡Ì).
ŒÍÓ̘Ë· ”˜ËÎˢ ËÒÍÛÒÒÚ‚ ÔÓ
(Õ‡·ÂÂÊÌ˚ ◊ÂÎÌ˚), ‚ ÃÓÒÍÓ‚ÒÍÓÏ
ӷ·ÒÚÌÓÏ Ú‡Ú ÍÛÍÓÎ Ë ‰Û„Ëı
Ú‡Ú‡ı. — 2005 ñ ÒÚÛ‰ÂÌÚ͇ ¬√»ü‡
(χÒÚÂÒ͇ˇ ÂÊËÒÒÛ˚ ÏÛθÚËωˇ,
Ô‰‡„Ó„Ë ñ ≈.¿. ü‡ÎË·Â‰‡ Ë
Œ.—. √ÓÌÓÒڇ‚‡).
Rosa Gimatdinova
(b. 1969, Almetyevsk, Tatarstan).
Graduated from the School of Arts in
Naberezhnye Chelny, specializing in art
design (1988). Worked as art director at
the puppet theatre ìHouse of Children
and Birdsî (Naberezhnye Chelny), in
Moscowís Regional Puppet Theatre and
other theatres. Since 2005 she is a
student at the Film Institute VGIK
(direction workshop in multimedia,
teachers E. Kaliberda and
O. Gornostaeva).
·˚Ú¸, ‚Ò ‰ÂÎÓ ‚Ó ‚ÂÏÂÌË?
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
—œ¿—»¡Œ «¿ –¤¡”
THANKS FOR THE FISH
72
2005, –ÓÒÒˡ, 3í50î, ˆ‚., ‡ÌËχˆËˇ
2005, Russia, 3í50î, colour, animation
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ
Scriptwriter and Director
À˛‰ÏË· ÀËÔӂ͇
Lyudmila Lipovka
üÓÏÔÓÁËÚÓ ¿ÎÂÍÒÂÈ œ‡ÔÂÌ˚È
Composer Alexei Paperny
«‚ÛÍ flÓÒ·‚ —‡ÔÓÊÌËÍÓ‚
Sound Yaroslav Sapozhnikov
œÓ‰˛ÒÂ À˛‰ÏË· ÀËÔӂ͇
Producer Lyudmila Lipovka
œÓËÁ‚Ó‰ÒÚ‚Ó ¬√»ü
Production VGIK
–˚·‡ ñ ÙÂÚ˯, ‚ÓÍÛ„ ÍÓÚÓÓ„Ó Ë
Fish is a fetish around which events
‡Á‚Ó‡˜Ë‚‡˛ÚÒˇ ÒÓ·˚ÚˡÖ
happen.
À˛‰ÏË· ÀËÔӂ͇
(. 1984, „. ¬ËÚ·ÒÍ, ¡Â·ÛÒ¸).
ŒÍÓ̘Ë· ‡ÌËχˆËÓÌÌ˚È ÎˈÂÈ
´¿„ÛÒª, ‚ ̇ÒÚÓˇ˘Â ‚ÂÏˇ ñ
ÒÚÛ‰ÂÌÚ͇ ¬√»ü‡ (Ù‡ÍÛθÚÂÚ
ÂÊËÒÒÛ˚ ‡ÌËχˆËË). ‘ËθÏ˚:
´“ˇ„ÛÎÂÔª (2005), ´—Ô‡ÒË·Ó Á‡ ˚·Ûª
(2005).
Lyudmila Lipovka
(b. 1984, Vitebsk, Belarus).
Graduated from the animation school
ARGUS and currently is a student of
the Film Institute VGIK (Faculty of
Direction in Animation). Films:
ìTyagulepî (2005), ìThanks for a Fishî
(2005).
THE OLD DACHA
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
—“¿–¿fl ƒ¿◊¿
73
2005, –ÓÒÒˡ, 10 ÏËÌ., ˆ‚.+˜/·,
2005, Russia, 10 min, colour+b/w,
ÏÓÌÓ, 35 ÏÏ
mono, 35 mm
„Ó ÛÌË‚ÂÒËÚÂÚ‡, ‡·Óڇ· ̇ ‡‰ËÓ Ë
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ
Scriptwriter and Director
ÚÂ΂ˉÂÌËË ”‡Î¸ÒÍÓ„Ó „ËÓ̇, ‚
¿Ì‡ÒÚ‡Òˡ “‡‡ÒÓ‚‡
Anastasia Tarasova
2002-04 ó ‡ÍÚËÒ‡ ´“‡Ú‡.docª. ¬ ̇-
ŒÔÂ‡ÚÓ »Ë̇ ÿ‡Ú‡ÎÓ‚‡
Camera Irina Shatalova
ÒÚÓˇ˘Â ‚ÂÏˇ ó ÒÚÛ‰ÂÌÚ͇ ÔˇÚÓ„Ó ÍÛ-
œÓËÁ‚Ó‰ÒÚ‚Ó ¬√»ü
Production VGIK
ƒÓÍÛÏÂÌڇθ̇ˇ Ù‡ÌÚ‡Áˡ. ÀÂÚÌËÈ
Documentary fantasy. A summer day in
‰Â̸ 1964 „Ó‰‡, ÔÓ‰ÏÓÒÍӂ̇ˇ ‰‡˜‡,
1964, a dacha near Moscow, a playing
¯‡ÎËÚ ·ÂÌÓÍ, ‚ÁÓÒÎ˚ ÒÓ·Ë‡˛ÚÒˇ
child, adults who are about to go to the
̇ ˜ÍÛÖ ˜ÂÂÁ Ô‡ÒÚÓ‡Î¸Ì˚Â
river. Through this pastoral images
͇ÚËÌÍË Ì‡ÁÓÈÎË‚Ó ÔÓ·Ë‚‡ÂÚÒˇ Á‚ÛÍ
pierces the sound of a typewriter
Ô˜‡ÚÌÓÈ Ï‡¯ËÌÍË ó ̇ ˝ÚÓÈ ‰‡˜Â
importunately: in this dacha a
‡·ÓÚ‡ÂÚ Ò‡ÏËÁ‰‡ÚÓ‚Ò͇ˇ
ìsamizdatî (self-publishing) typography
´ÚËÔÓ„‡Ùˡª. ¬Â˜ÂÓÏ, ÍÓ„‰‡
is at work. In the evening when the
Ó˜Â‰ÌÓÈ ÌÓÏÂ ÊÛ̇· ·Û‰ÂÚ „ÓÚÓ‚,
next issue of the magazine is ready, a
Í ‰ÓÏÛ ÔÓ‰˙‰ÂÚ ˜Â̇ˇ χ¯Ë̇Ö
black car drives up to the house Ö
Œ‰Ì‡ÍÓ Ì‡ Ò‡ÏÓÏ ‰ÂΠÒÂȘ‡Ò ÁËχ.
However, it is winter now, and near the
Ã˚ ‚ˉËÏ, Í‡Í ‚˚ÒÓÍÓÏÂÂÌ
deserted dacha a large cottage has been
Á‡„ÓÓ‰Ì˚È ÍÓÚÚÂ‰Ê Ë Í‡Í ‰˚ÏËÚÒˇ
built, and on the desk of a well-known
ÍÓÙ ̇ ‡·Ó˜ÂÏ ÒÚÓΠËÁ‚ÂÒÚÌÓ„Ó
journalist the coffee is steaming and a
ÊÛ̇ÎËÒÚ‡, Ë Í‡Í Ú‚ÓÊÌÓ ÏÂˆ‡ÂÚ
Christmas Tree shines in the roomÖ
Ó„ÌˇÏË ÌÓ‚Ó„Ó‰Ìˇˇ ÂÎ͇ ñ ‚Ò ˝ÚÓ
- Grand Prix IFF ìOff Cinemaî, Poznan,
¿Ì‡ÒÚ‡Òˡ “‡‡ÒÓ‚‡
(. 1979, „. œÓ΂ÒÍÓÈ, —‚Â‰ÎÓ‚Ò͇ˇ Ó·Î.).
ŒÍÓ̘Ë· Ù-Ú ÊÛ̇ÎËÒÚËÍË ”‡Î¸ÒÍÓ-
Ò‡ ÂÊËÒÒÂÒÍÓ„Ó Ù‡ÍÛθÚÂÚ‡ ¬√»ü‡
(χÒÚÂÒ͇ˇ ÌÂË„Ó‚Ó„Ó ÍËÌÓ ».».√ÂÎÂÈ̇). ¬ 2004 ÓÒÌÓ‚‡Î‡ ÒÚÛ‰Ë˛ ´√‡Ï‡˛Ìª (ÃÓÒÍ‚‡). ‘ËθÏ˚ (Í/Ï, ‰ÓÍ): ´–Ó·ËÌÁÓÌ ‚ ÓÚÔÛÒͪ (2003, ۘ·̇ˇ),
´ÃÂÊÒÂÁÓ̸ª (2003), ´ÿ‡„ÌÛ‚¯Ë ‚
‚ÓÈÌÛª (2004), ´—‚ÂÚ ¡ÂÎÓ„Ó ÏÓˇª
(2005), ´—Ú‡‡ˇ ‰‡˜‡ª (2005, ÍÛÒÓ‚‡ˇ),
´ƒÂÚË ‚ÂÎËÍÓ„Ó ÓÁÂ‡ª (2006).
Anastasia Tarasova
(b. 1979, Polevskoy, Sverdlovsk Region).
Graduated from the Faculty of
Journalism of Ural State University,
worked for radio and television of the
Ural region; from 2002-04 actress at
ìteatr.docî. Currently fifth-year student
at the Directorsí Faculty of the Film
Institute VGIK (course of documentary
film of Igor Gelein). In 2004 founded
the studio ìGamayunî (Moscow). Films
(shorts, doc): Robinson on Holiday
(2003, practical), Mid-Season (2003),
Marching in the War (2004), Light of
the White Sea (2005), The Old Dacha
(2005, coursework), Children of the
Great Lake (2006).
Ó˜Â̸ ıÓÓ¯Ó ÔÓÒχÚË‚‡ÂÚÒˇ ËÁ
ÚÂÏÌÓÚ˚ ÒÚ‡ÓÈ Á‡ÔÛ˘ÂÌÌÓÈ ‰‡˜ËÖ
- √‡Ì-ÔË Ãü‘ ´Off Cinemaª,
œÓÁ̸̇, œÓθ¯‡.
Poland.
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
“ŒœŒ–»Ÿ≈
THE AXE HELVE
74
2005, –ÓÒÒˡ, 23 ÏËÌ., ˆ‚., miniDV
2005, Russia, 23 min, color, miniDV
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ
Scriptwriter and Director
ÕËÍÓÎ‡È ¡Óˆ
Nikolai Borts
ŒÔÂ‡ÚÓ ¬ˇ˜ÂÒ·‚ ÀÓÊÍÓ‚ÓÈ
Camera Viacheslav Lozhkovoy
«‚ÛÍ √Ë„ÓËÈ ƒÓηË‚
Sound Grigory Dolbiev
¬ ÓΡı: ŒÍ҇̇ —͇ÍÛÌ, ¿ÚÂÏ
Cast: Oksana Skakun, Artiom Mikheev,
ÃËı‚, ¬ËÍÚÓ “ÂÂıÓ‚, »Ë̇
Victor Terekhov, Irina Balai,
¡‡Î‡È, ¿ÎÂÍ҇̉ ≈Ò‡ÛÎÓ‚
Alexander Esaulov
œÓ‰˛ÒÒÂ ¿ÎÂÍ҇̉ ¡ÂÎÓÛÒÓ‚
Producer Alexander Belousov
œÓËÁ‚Ó‰ÒÚ‚Ó —œ·√”üË“ ñ —‡ÌÍÚ-
Production St. Petersburg University of
œÂÚÂ·Û„ÒÍËÈ „ÓÒÛ‰‡ÒÚ‚ÂÌÌ˚È
Cinema and Television
ÕËÍÓÎ‡È ¡Óˆ
(. 1980, ÀÂÌËÌ„‡‰).
—ÚÛ‰ÂÌÚ —‡ÌÍÚ-œÂÚÂ·Û„ÒÍÓ„Ó
ÛÌË‚ÂÒËÚÂÚ‡ ÍËÌÓ Ë ÚÂ΂ˉÂÌˡ
(χÒÚÂÒ͇ˇ ÂÊËÒÒÛ˚ Ë„Ó‚Ó„Ó ÍËÌÓ
ü.—. ÀÓÔÛ¯‡ÌÒÍÓ„Ó Ë ¬.¬. —ÏËÌÓ‚‡),
2 ÍÛÒ.
ÛÌË‚ÂÒËÚÂÚ ÍËÌÓ Ë ÚÂ΂ˉÂÌˡ
ŒÌ‡ β·ËÚ Â„Ó, ÓÌ Î˛·ËÚ ÂÂ, ÏÂʉÛ
She loves him, he loves her, between
ÌËÏË ‚ÒÚ‡ÂÚ ÚÓÔÓˢÂ...
them stand an axe helve...
Nikolai Borts
(b. 1980, Leningrad).
Second-year student of the St.
Petersburg University of Cinema and
Television (workshop of directing
feature films of K. Lopushansky and
V. Smirnov).
TRAGITURGIA
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
“–¿√»“”–√»fl
75
2006, –ÓÒÒˡ, 40 ÏËÌ., 35 ÏÏ/
2006, Russia, 40 min, 35 mm/
Betacam SP
Betacam SP
‡·ÓڇΠ‡ÒÒËÒÚÂÌÚÓÏ ÂÊËÒÒÂ‡
–ÂÊËÒÒÂ Ë ‡‚ÚÓ ÒˆÂ̇ˡ
Scriptwriter and Director
“Â΂ˉÂÌˡ „ÓÓ‰‡ —ÛÏ˚, ÓÍÓ̘ËÎ
¿Ì‰ÂÈ Ã‡„‰Ë˜
Andrei Magdich
ÂÊËÒÒÂÒÍËÈ Ù‡ÍÛθÚÂÚ ¬√»ü‡
œÓ‰˛ÒÂ ›ÏËÎˡ Ç„‰Ë˜
Producer Emilia Magdich
(1996, χÒÚÂÒ͇ˇ Ú˛ÍÓ‚Ó„Ó ÍËÌÓ Ë
œÓËÁ‚Ó‰ÒÚ‚Ó ¬Œ«
Production VOZ
ÕÂË„Ó‚ÓÈ ˝ÍÒÔÂËÏÂÌڇθÌ˚È ÙËθÏ-
Experimental non-fiction film, an
‡Î΄Óˡ Ó ·ÂÒÍÓ̘ÌÓÏ ÔÓËÒÍÂ
allegory on the never-ending search for
˜ÂÎÓ‚Â͇. ›ÚÓÚ ˜ÂÎÓ‚ÂÍ ñ ͇ʉ˚È ËÁ
a person. This person is each of us, man
̇Ò, ÏÛʘË̇ Ë ÊÂÌ˘Ë̇. ŒÌ ˢÂÚ
and woman. He searches love, kindness,
β·Ó‚¸, ‰Ó·Ó, Ò‚Ó˛ ÔÓÎÓ‚ËÌÛ. » ÌÂ
his other half. Unable to find it in
̇ȉˇ ˝ÚÓ„Ó ‚ ‡θÌÓÒÚË, ÔÓ‰ÓÎʇÂÚ
reality, he continues to search in his
ËÒ͇ڸ ‚ Ò‚ÓËı Ò̇ı ËÎË ‚ ‰Û„ÓÏ,
dreams and in another, parallel world.
¿Ì‰ÂÈ Ã‡„‰Ë˜
(. 1963, „. ’‡¸ÍÓ‚, ”Í‡Ë̇).
”˜ËÎÒˇ ‚ œÂ‰‡„ӄ˘ÂÒÍÓÏ ËÌÒÚËÚÛÚÂ,
ÍÓÏÔ¸˛ÚÂÌÓÈ „‡ÙËÍË, χÒÚÂ ñ
¬Î‡‰ËÏË üÓ·ËÌ). –‡·ÓÚ‡ÂÚ
ÂÊËÒÒÂÓÏ ‡‚ÚÓÒÍËı ÔÓ„‡ÏÏ Ì‡
ÚÂ΂ˉÂÌËË (´üÛθÚÛ‡ª, Œ–“).
Andrei Magdich
(b. 1963, Kharkov, Ukraine).
Studied at the Pedagogical Institute,
worked as assistant director of Suma
Television and graduated from the
Directorsí Faculty of the Film Institute
VGIK (1996, workshop of trick-film and
computer graphics, course of Vladimir
Kobrin). Works as director on central
television channels (ìKulturaî and ORT).
Ô‡‡ÎÎÂθÌÓÏ ÏËÂ.
76
Õ‡Ò·ʉ‡Ú¸Òˇ
ÔÓ-ÛÒÒÍË
Enjoy,
Russian style!
´–ÛÒÒ͇ˇ ˝ÈÙÓˡª ó ÌÓ‚˚È ÓÔ˚Ú
"Russian Euphoria" is a new programme
ÔÓ„‡ÏÏËÓ‚‡Ìˡ ̇ ´üËÌÓÚ‡‚ª.
for "Kinotavr". It has been brought to
ŒÌ ‚˚Á‚‡Ì Í ÊËÁÌË ·ÛÌ˚Ï ‡Á‚ËÚËÂÏ
life by the rapid development of our
̇¯ÂÈ ÍËÌÓË̉ÛÒÚËË, ÍÓÚÓ‡ˇ ÛÊÂ
film industry, which no longer fits into
ÌËÍ‡Í Ì ÛÍ·‰˚‚‡ÂÚÒˇ ‚ Ó‰ËÌ ËÎË ‰‚‡
one or two basic programme sections.
ÓÒÌÓ‚Ì˚ı ÙÓχڇ. üÓÌÍÛÒ ñ ˝ÚÓ ÔÂ-
The competition is largely festival
ËÏÛ˘ÂÒÚ‚ÂÌÌÓ ÙÂÒÚË‚‡Î¸Ì˚È ÏÂÈÌ-
mainstream. "Russian Euphoria"
ÒÚËÏ. ´–ÛÒÒ͇ˇ ˝ÈÙÓˡª ó ÚÓ, ˜ÚÓ
represents what in festival jargon is
̇ ÙÂÒÚË‚‡Î¸ÌÓÏ Ê‡„ÓÌ ̇Á˚‚‡˛Ú
called "side-bar": a separate,
҇ȉ-·‡: ÓÚ‰Âθ̇ˇ ÌÂÁ‡‚ËÒËχˇ ÒÂÍ-
independent section that reveals the
ˆËˇ, ÔÓˇ‚Ρ˛˘‡ˇ ÔÓ‰‚Ó‰Ì˚ Ú˜ÂÌˡ
undercurrents of the cinematic process.
ÍËÌÓÔÓˆÂÒÒ‡.
The title for the "side bar" has been
Õ‡Á‚‡ÌË ‰Îˇ ҇ȉ-·‡‡ Ï˚ ÔÓÁ‡ËÏ-
borrowed from a programme which we
ÒÚ‚Ó‚‡ÎË ÓÚ ÔÓ„‡ÏÏ˚, ÍÓÚÓÛ˛ ÛÊÂ
have been running in Moscow for
Ì ÔÂ‚˚È „Ó‰ Ó„‡ÌËÁÛÂÏ ‚ ÃÓÒÍ‚Â
several years, and which mainly consists
ÔÂËÏÛ˘ÂÒÚ‚ÂÌÌÓ ËÁ Á‡Û·ÂÊÌ˚ı
of foreign films. The selection principle
ÙËθÏÓ‚. œË̈ËÔ ‚Ò„‰‡ Ó‰ËÌ Ë ÚÓÚ
is always the same: the films should be
ÊÂ: ÒÓ·‡ÌÌ˚ ͇ÚËÌ˚ ‰ÓÎÊÌ˚ ‰Ó-
enjoyable for great mastery, for
ÒÚ‡‚Ρڸ Û‰Ó‚ÓθÒÚ‚Ë ‚˚ÒÓÍËÏ Ï‡Ò-
refinement, and for visual imagination.
ÚÂÒÚ‚ÓÏ, ËÁÓ˘ÂÌÌ˚Ï ËÒÍÛÒÒÚ‚ÓÏ, ‚Ë-
It is cinema as a legal and relatively
ÁۇθÌÓÈ Ù‡ÌÚ‡ÁËÂÈ. üËÌÓ Í‡Í Î„‡Î¸-
safe addiction. The time has come to
̇ˇ Ë Ò‡‚ÌËÚÂθÌÓ ·ÂÁÓÔ‡Ò̇ˇ ÙÓχ
test "Euphoria" for the first time on a
̇ÍÓχÌËË. œ˯ÎÓ ‚ÂÏˇ ‚ÔÂ‚˚Â
range of Russian films.
ËÒÔ˚Ú‡Ú¸ ´›ÈÙÓ˲ª ̇ ÓÚ˜ÂÒÚ‚ÂÌÌÓÏ
The programme presents both veterans
ÍËÌÓχÚÂˇÎÂ.
of auteur cinema (such as Ivan
¬ ÔÓ„‡ÏÏ Ô‰ÒÚ‡‚ÎÂÌ˚ ‚ÂÚÂ‡Ì˚
Dykhovichny) and talented young
‡‚ÚÓÒÍÓ„Ó ÍËÌÓ (»‚‡Ì ƒ˚ıӂ˘Ì˚È),
directors with a successful festival
ڇ·ÌÚÎË‚˚ ÏÓÎÓ‰˚ ÂÊËÒÒÂ˚ Ò ÛÒ-
history (Alexei German Jr., Alexei
Ô¯ÌÓ ÒÍ·‰˚‚‡˛˘ÂÈÒˇ ÙÂÒÚË‚‡Î¸ÌÓÈ
Fedorchenko, Nikolai Khomeriki), as
ÒÛ‰¸·ÓÈ (¿ÎÂÍÒÂÈ √ÂχÌ-Ï·‰¯ËÈ,
well as Peter Shepotinnik and Alexander
¿ÎÂÍÒÂÈ ‘‰Ó˜ÂÌÍÓ, ÕËÍÓÎ‡È ’ÓÏÂ-
Rastorguev with their interesting work
ËÍË), ‡ Ú‡ÍÊ œÂÚ ÿÂÔÓÚËÌÌËÍ Ë
in the field of unconventional
¿ÎÂÍ҇̉ –‡ÒÚÓ„Û‚, ÍÓÚÓ˚ ËÌÚÂ-
documentary film. The mixture of
ÂÒÌÓ ‡·ÓÚ‡˛Ú ‚ ÔÓΠÌÂÚ‡‰ËˆËÓÌÌÓÈ
genres and types of film-spectacles (as
‰ÓÍÛÏÂÌÚ‡ÎËÒÚËÍË. —ϯÂÌË ʇÌÓ‚
seen last year in the amazing example
Ë ÚËÔÓ‚ ÍËÌÓÁÂÎˢ (ÔÓ‡ÁËÚÂθÌ˚È
of Fedorchenko's "First on the Moon")
ÔËÏÂ ˝ÚÓ„Ó Ï˚ ۂˉÂÎË Â˘Â ‚ ÔÓ-
allows us to see clearer those hidden
¯ÎÓÏ „Ó‰Û ‚ ‡Ï͇ı Ó‰ÌÓ„Ó ÙËθχ ó
springs that move the cinematic
´œÂ‚˚ ̇ ÀÛ̪ ‘‰Ó˜ÂÌÍÓ) ÔÓÁ‚Ó-
process.
ΡÂÚ Î˯¸ ÎÛ˜¯Â ‡Á„Ρ‰ÂÚ¸ Ú ÒÍ˚Ú˚ ÔÛÊËÌ˚, ÍÓÚÓ˚ ÛÔ‡‚Ρ˛Ú
‰‚ËÊÂÌËÂÏ ÍËÌÓÔÓˆÂÒÒ‡.
¿Ì‰ÂÈ œÎ‡ıÓ‚,
ÍÛ‡ÚÓ ÔÓ„‡ÏÏ˚
Andrei Plakhov,
Programme Curator
More information on the history and
current events of the programme
"Euphoria" can be found on the website
— ËÒÚÓËÂÈ Ë ‡ÍÚۇθÌ˚ÏË ÌÓ‚ÓÒÚˇÏË
ÔÓ„‡ÏÏ˚ ´›ÈÙÓˡª
ÏÓÊÌÓ ÓÁ̇ÍÓÏËÚ¸Òˇ ̇ Ò‡ÈÚÂ
www.plakhov.com
www.plakhov.com
ÛÒÒ͇ˇ ˝ÈÙÓˡ
russian euphoria
977
77
977
garpastum
GARPASTUM
‚‰Óı ‚˚‰Óı
INHALE EXHALE
‰ËÍËÈ, ‰ËÍËÈ ÔΡÊ. ʇ ÌÂÊÌ˚ı
WILD, WILD BEACH. THE HEAT OF THE GENTLE
Ë„ÓÍË, ËÎË ÒÂȘ‡Ò ‚˚ȉÂÚ Ó΄
OLEG WILL APPEAR NOW
¯Ó¯Ó
SHOSHO
ÛÒÒ͇ˇ ˝ÈÙÓˡ
russian euphoria
977
78
2006, –ÓÒÒˡ, 87 ÏËÌ., ˆ‚., 1:1.85, Dolby Digital 5.1
2006, Russia, 87 min, colour, 1:1.85, Dolby Digital 5.1
–ÂÊËÒÒÂ ÕËÍÓÎ‡È ’ÓÏÂËÍË
Director Nikolai Khomeriki
¿‚ÚÓ˚ ÒˆÂ̇ˡ fiÌËÈ ƒ‡‚˚‰Ó‚, ÕËÍÓÎ‡È ’ÓÏÂËÍË
Scriptwriters Yuni Davydov, Nikolai Khomeriki
ŒÔÂ‡ÚÓ ¿Î˯Â ’‡ÏˉıӉʇ‚
Camera Alisher Khamidkhodzhaev
’Û‰ÓÊÌËÍ ƒÂÌËÒ ÿË·‡ÌÓ‚
Art Director Denis Shibanov
üÓÒÚ˛Ï˚ —‚ÂÚ·̇ √‡ÔË̘ÂÌÍÓ
Costumes Svetlana Garpinchenko
üÓÏÔÓÁËÚÓ ‘‰Ó À‡‚Ó‚
Composer Fiodor Lavrov
«‚ÛÍ ŒÎ¸„‡ ¬ËÌÓ„‡‰Ó‚‡, ¬ËÌÒÂÌÚ ¬Â‰Û, ∆ÛθÂÌ –Û‡„
Sound Olga Vinogradova, Vincent Verdoux, Julien Roig
ÃÓÌÚ‡Ê »„Ó¸ üË‚, üËËÎÎ üÓÁÎÓ‚
Editing Igor Kireev, Kirill Kozlov
¬ ÓΡı: ‘‰Ó À‡‚Ó‚, ü·‚‰Ëˇ üÓ¯ÛÌÓ‚‡,
Cast: Fiodor Lavrov, Klavdia Korshunova, Alisa Khazanova,
¿ÎËÒ‡ ’‡Á‡ÌÓ‚‡, ü‡ÚÂË̇ √ÓÎ۷‚‡, ÀÂÓ ü‡‡ÍÒ,
Katerina Golubeva, Leos Carax, Pavel Liubimtsev, Andrei
œ‡‚ÂÎ À˛·Ëψ‚, ¿Ì‰ÂÈ ü‡Á‡ÍÓ‚
Kazakov
œÓ‰˛ÒÂ ¿ÒÂÌ √ÓÚÎË·
Producer Arsen Gotlib
œÓËÁ‚Ó‰ÒÚ‚Ó ´“ÂÎÂÍËÌÓª, ´ÃÂÚÓÌÓÏ-ÙËθϪ, ÔË Û˜‡ÒÚËË
Production Telekino, Metronome Films with participation of
‘‰Â‡Î¸ÌÓ„Ó ‡„ÂÌÚÒÚ‚‡ ÔÓ ÍÛθÚÛÂ Ë ÍËÌÂχÚÓ„‡ÙËË
the Federal Agency for Culture and Cinematography
ÛÒÒ͇ˇ ˝ÈÙÓˡ
russian euphoria
ÕËÍÓÎ‡È ’ÓÏÂËÍË
üËÌÓÂÊËÒÒÂ. –Ó‰ËÎÒˇ 17 ‡ÔÂΡ 1975
„Ó‰‡ ‚ ÃÓÒÍ‚Â. ŒÍÓ̘ËÎ ˝ÍÓÌÓÏ˘ÂÒÍËÈ
Ù‡ÍÛθÚÂÚ Ã√” (1996), ¬ü—– (2002,
χÒÚÂÒ͇ˇ ¬.». ’ÓÚËÌÂÌÍÓ, œ.ü. ‘ËÌ̇,
¬.¿. ‘Â̘ÂÌÍÓ), ÒÚ‡ÊËÓ‚‡ÎÒˇ ‚
Õ‡ˆËÓ̇θÌÓÈ ÍËÌÓ¯ÍÓΠ‘‡ÌˆËË La
FEMIS (2001-05). ¡˚Î ‡ÒÒËÒÚÂÌÚÓÏ Û
‘ËÎËÔÔ‡ √‡ÂΡ (´œÓÒÚÓˇÌÌ˚Â
79
β·Ó‚ÌËÍ˪) Ë ÀÂÓ ü‡‡ÍÒ‡ (´ÿ‡Ï˚ª,
2006). œËÁÂ Ãü‘ Ë –ü‘. ‘ËθÏ
´¬‰‚ÓÂϪ ñ Û˜‡ÒÚÌËÍ Ãü‘ ‚ ü‡Ì̇ı-2005:
ÔÓ„‡Ïχ Cinefondation. ´977ª (ÔÓ„‡Ïχ
´ŒÒÓ·˚È ‚Á„Ρ‰ª Ãü‘ ‚ ü‡Ì̇ı, 2006) ñ
ÔÂ‚‡ˇ ÔÓÎÌÓÏÂÚ‡Ê̇ˇ ͇ÚË̇ ÂÊËÒÒÂ‡.
‘ËθÏÓ„‡Ùˡ:
1998 ....ü‡ÔΡ (Í/Ï)
2002 ....“ÂÁ͇ (Í/Ï)
2003 ....◊Â‚ˇÍ (Í/Ï)
2004 ....ÿÚÓÏ (Í/Ï)
2005 ....¬‰‚ÓÂÏ (Í/Ï)
2006 ....977
Nikolai Khomeriki
Filmmaker. Born in Moscow on 17 April
1975. Graduated from Moscow State
University, Faculty of Economics (1996); and
from the Higher Courses for Scriptwriters
and Directors (2000, course of
V. Khotinenko, P. Finn and V. Fenchenko).
From 2001-2005 he studied at the National
Film School "La FEMIS" in France. Worked
as assistant for Philippe Garrel on "Regular
Lovers" ("Les Amants Reguliers", 2005 ) and
for Leos Carax on "Scars", 2006. Received
awards at numerous international and
Russian festivals. "The Two of Us"
participated in the Cinefondation Programme
at Cannes IFF 2005. "977" is the director's
full-length debut film and has been selected
ÃËÒÚ˘ÂÒ͇ˇ ‰‡Ï‡.
977 ñ ˝ÚÓ ÍÓ‰Ó‚Ó ˜ËÒÎÓ Ò‚ˇÁ‡ÌÓ Ò ÔÓÔ˚ÚÍÓÈ ´ÔÓ‚ÂËÚ¸ ‡Î„·ÓÈ
„‡ÏÓÌ˲ª, ̇ÈÚË Ï‡ÚÂχÚ˘ÂÒÍË Á‡ÍÓÌÓÏÂÌÓÒÚË ‚ ˝ÏÓˆËÓ̇θÌÓÈ Ë
‰ÛıÓ‚ÌÓÈ ÒÙÂ ˜ÂÎÓ‚Â͇. √ÂÓË ÙËθχ ñ ‰Ó·Ó‚ÓθÌ˚ ۘ‡ÒÚÌËÍË
˝ÍÒÔÂËÏÂÌÚ‡ ñ ÔÓıÓ‰ˇÚ Ì ÚÓθÍÓ ˜ÂÂÁ ÒÔˆˇθÌÛ˛ ͇ÏÂÛ, ‚ ÍÓÚÓÓÈ
Ëı Ó·ÒÎÂ‰Û˛Ú, ÌÓ Ë ˜ÂÂÁ ˇ‰ ‚ÔÓÎÌ ÊËÚÂÈÒÍËı ËÒÔ˚Ú‡ÌËÈ ‰ÛÊ·ÓÈ,
β·Ó‚¸˛, ‚ΘÂÌËÂÏ, Á‡‚ËÒÚ¸˛ Ë ´ÒËθÌÂȯËÏ ËÁ ‡ÙÙÂÍÚÓ‚ª ñ
β·ÓÔ˚ÚÒÚ‚ÓÏ. ¬ ËÚӄ ̇ۘÌ˚È ÓÔ˚Ú Ô‚‡˘‡ÂÚÒˇ ‚ ˜ÂÎӂ˜ÂÒÍËÈ, Ô˘ÂÏ
Í‡Í ÚÓÚ, Ú‡Í Ë ‰Û„ÓÈ Ú‡„˘Ì˚.
for the "Certain Regard" programme at
Cannes IFF 2006.
Mystical Drama.
977 is a code relating the attempt to "test harmony with algebra", to figure out
Filmography:
1998 ....A Drop (short)
2001 ....Namesake (short)
2004 ....Storm (short)
2005 ....The Two of Us (short)
2006 ....977
the mathematical laws of the emotional and spiritual realms of a human being.
The characters are volunteers in an experiment that puts to the test not only
scientific research, but also the everyday trials of friendship, love, attraction,
envy and "the strongest of affects" ñ curiosity. Thus, the scientific experience
becomes a human one, and the result is unpredictableÖ
ÛÒÒ͇ˇ ˝ÈÙÓˡ
russian euphoria
GARPASTUM
80
2005, –ÓÒÒˡ, 117 ÏËÌ., ˜/·, 1:2.35, Dollby SRD
2005, Russia, 117 min, colour, 1:2.35, Dollby SRD
–ÂÊËÒÒÂ ¿ÎÂÍÒÂÈ ¿.√ÂχÌ
Director Alexei A.German
¿‚ÚÓ˚ ÒˆÂ̇ˡ ŒÎ„ ¿ÌÚÓÌÓ‚, ¿ÎÂÍ҇̉ ¬‡È̯ÚÂÈÌ,
Scriptwriters Oleg Antonov, Alexander Vainshtein
ÔË Û˜‡ÒÚËË ¿ÎÂÍÒ¡ ¿.√Âχ̇
with participation of Alexei A.German
ŒÔÂ‡ÚÓ ŒÎ„ ÀÛ͢‚
Camera Oleg Lukichiov
’Û‰ÓÊÌËÍË —Â„ÂÈ –‡ÍÛÚÓ‚, √ÂÓ„ËÈ üÓÔ‡˜Â‚,
Art Directors Sergei Rakutov, Georgy Kropachyov
ÔË Û˜‡ÒÚËË ¬Î‡‰ËÏË‡ ÃÛÁË̇, —Â„¡ Œ‚˜ËÌÌËÍÓ‚‡
with participation of Vladimir Murzin, Sergei Ovchinnikov
üÓÒÚ˛Ï˚ ≈ÎÂ̇ Ç΢
Costumes Elena Malich
üÓÏÔÓÁËÚÓ »„Ó¸ ¬‰Ó‚ËÌ
Composer Igor Vdovin
«‚ÛÍ —Â„ÂÈ —ÓÍÓÎÓ‚, ¬Î‡‰ËÏË ≈„ÓÓ‚
Sound Sergei Sokolov, Vladimir Egorov
ÃÓÌÚ‡Ê »‚‡Ì À·‰‚
Editor Ivan Lebedev
¬ ÓΡı: ≈‚„ÂÌËÈ œÓÌËÌ, ƒ‡ÌË· üÓÁÎÓ‚ÒÍËÈ, ƒÏËÚËÈ
Cast: Evgeny Pronin, Danila Kozlovsky, Dmitry Vladimirov,
¬Î‡‰ËÏËÓ‚, ¿ÎÂÍ҇̉ ¡˚ÍÓ‚ÒÍËÈ, ◊ÛÎÔ‡Ì ’‡Ï‡ÚÓ‚‡,
Alexander Bykovsky, Chulpan Khamatova, Iamze
»‡ÏÁ —ÛıËÚ‡¯‚ËÎË, œ‡‚ÂÎ –ÓχÌÓ‚, ŒÎ¸„‡ —‡ÏÓ¯Ë̇,
Sukhitashvili, Pavel Romanov, Olga Samoshina, Leonid
ÀÂÓÌˉ ÃÓÁ„Ó‚ÓÈ, √Ó¯‡ üÛˆÂÌÍÓ, –ÛÒÎ‡Ì »·‡„ËÏÓ‚,
Mozgovoy, Gosha Kutsenko, Ruslan Ibragimov, Dana Agisheva
ƒ‡Ì‡ ¿„˯‚‡
Producer Alexander Vainshtein
œÓ‰˛ÒÂ ¿ÎÂÍ҇̉ ¬‡È̯ÚÂÈÌ
Production V.K. ñ Campaign, with the participation of the
œÓËÁ‚Ó‰ÒÚ‚Ó ´V.ü ñ ü‡ÏÔ‡Ìˡª, ÔË Û˜‡ÒÚËË
Federal Agency for Culture and Cinematography of Russian
‘‰Â‡Î¸ÌÓ„Ó ‡„ÂÌÚÒÚ‚‡ ÔÓ ÍÛθÚÛÂ Ë ÍËÌÂχÚÓ„‡ÙËË
Federation
œÓÍ‡Ú ´»ÌÚÂÒËÌÂχ ¿Úª
Distribution Intercinema Art
www.garpastum.ru
www.garpastum.ru
ÛÒÒ͇ˇ ˝ÈÙÓˡ
russian euphoria
¿ÎÂÍÒÂÈ ¿.√ÂχÌ
(. 1976, ÃÓÒÍ‚‡).
üËÌÓÂÊËÒÒÂ, ·ÛÂ‡Ú ÔÓÙÂÒÒËÓ̇θÌ˚ı
ÍËÌÓÔÂÏËÈ, ÔËÁÂ Ãü‘. ”˜ËÎÒˇ ̇
Ú‡Úӂ‰˜ÂÒÍÓÏ Ù‡ÍÛθÚÂÚ —‡ÌÍÚœÂÚÂ·Û„ÒÍÓÈ ‡Í‡‰ÂÏËË Ú‡Ú‡Î¸ÌÓ„Ó
ËÒÍÛÒÒÚ‚‡ Ë ÂÊËÒÒÂÒÍÓÏ Ù‡ÍÛθÚÂÚÂ
¬√»ü‡ (1997-2001, χÒÚÂÒ͇ˇ
—.¿. —ÓÎÓ‚¸Â‚‡ Ë ¬.ƒ. –Û·Ë̘Ë͇).
81
‘ËθÏÓ„‡Ùˡ:
1998 ....«Ì‡Ïˇ (Í/Ï)
1999 ....¡Óθ¯Ó ÓÒÂÌÌ ÔÓΠ(Í/Ï)
2001 ....ƒÛ‡˜ÍË (Í/Ï)
2003 ....œÓÒΉÌËÈ ÔÓÂÁ‰
2005 ....Garpastum (‰ËÔÎÓÏ̇ˇ ‡·ÓÚ‡)
Alexei A.German
(b. 1976, Moscow).
Director, award-winner of professional film
awards and international film festivals.
Graduated from the department of theatre
studies at the St. Petersburg Academy of
Theatre Arts and the directorsí department of
the Film Institute VGIK (1997-2001, course
of Sergei Soloviev and Valery Rubinchik).
Filmography:
1998 ....Banner (short)
1999 ....Large Autumn Field (short)
2001 ....Little Fools (short)
2003 ....The Last Train
2005 ....Garpastum (diploma)
1914 „Ó‰. ÕÂÒÍÓ̘‡ÂÏ˚ ÍÓÌÙÎËÍÚ˚ ‚ —Â·ËË ÔÂÂıÓ‰ˇÚ ‚
ÌÓ‚Ó ͇˜ÂÒÚ‚Ó ó ̇˜Ë̇ÂÚÒˇ ‰‡‚ÌÓ ÓÊˉ‡Âχˇ ÃËÓ‚‡ˇ
‚ÓÈ̇. —Â·Ëˇ Ì ¯Ë·Ҹ ·˚ ‚Ó‚‡Ú¸, ÂÒÎË ·˚ Û Ì ÌÂ
·˚ÎÓ Ú‡ÍÓ„Ó ÒËθÌÓ„Ó ÒÓ˛ÁÌË͇, Í‡Í –ÓÒÒˡ. ÃÂÊ‰Û ÚÂÏ
œÂÚÂ·Û„ ÒÍÓÓ ÒÚ‡ÌÂÚ œÂÚÓ„‡‰ÓÏ, Â„Ó ‡ÚËÒÚ˘ÂÒ͇ˇ
˝ÎËÚ‡ ÊË‚ÂÚ Ì ‚ ‰‚‡‰ˆ‡ÚÓÏ, ‡ ‚ —Â·ˇÌÓÏ ‚ÂÍÂÖ ƒ‚‡
·‡Ú‡ ó ÙÛÚ·ÓÎËÒÚ˚ ¿Ì‰ÂÈ Ë ÕËÍÓÎ‡È ñ Ô˚Ú‡˛ÚÒˇ
Á‡‡·ÓÚ‡Ú¸ ‰Â̸„Ë, ˜ÚÓ·˚ ÔÓÒÚÓËÚ¸ ÒÓ·ÒÚ‚ÂÌÌ˚È ÒÚ‡‰ËÓÌ Ë
Ë„‡Ú¸ ‚ ‚˚Ò¯ÂÈ ÎË„Â. ¡‡Ú¸ˇ ÒÚ‡ÎË ·˚ ÎÛ˜¯ËÏË
ÙÛÚ·ÓÎËÒÚ‡ÏË ÏË‡, ÌÓ ÏËÛ ·˚ÎÓ Ì ‰Ó ÙÛÚ·Ó·...
- œÂÏËË ÍËÌÓÍËÚËÍË Ë ÍËÌÓÔÂÒÒ˚ ´¡ÂÎ˚È —ÎÓ̪ Á‡
2005 „Ó‰ ñ ÎÛ˜¯ÂÏÛ ÓÔÂ‡ÚÓÛ, Á‡ ÎÛ˜¯Û˛ ÏÛÊÒÍÛ˛
Óθ (ƒ‡ÌË· üÓÁÎÓ‚ÒÍËÈ);
- œÂÏËË üËÌÓ͇‰ÂÏËË ´ÕË͇ª Á‡ 2005 „Ó‰ ó ÎÛ˜¯ÂÏÛ
ÂÊËÒÒÂÛ, ÎÛ˜¯ÂÏÛ ıÛ‰ÓÊÌËÍÛ ÔÓ ÍÓÒÚ˛Ï‡Ï;
- œÂÏˡ ÍËÌÓËÁÓ·‡ÁËÚÂθÌÓ„Ó ËÒÍÛÒÒÚ‚‡ ´¡ÂÎ˚È
Í‚‡‰‡Úª Á‡ 2005 „Ó‰ (ÓÔÂ‡ÚÓ ŒÎ„ ÀÛ͢‚);
- “ÂÚ¸ˇ ÔÂÏˡ Ãü‘ ‰Â·˛ÚÓ‚ ´ƒÛı Ó„Ìˇª, ’‡ÌÚ˚ÇÌÒËÈÒÍ, 2006 Ë ‰.
1914. The endless conflicts in Serbia take on a new quality.
The long-expected world war breaks out. Serbia would not
have dared enter the war had it not been for the alliance with
the powerful Russia. Meanwhile Petersburg is about to
become Petrograd, its artistic elite lives in the Silver Age,
not the 20th century, and two football players ñ the brothers
Andrei and Nikolai ñ dream of building their own stadium
and playing in the top league. The brothers would have
become the best football players in the world, but the world
had other things to take care of besides football.
- Prize of the Guild of Film Critics and the Film Press
ìWhite Elephantî, 2005, for the Best Director of
Photography, Best Actor (Danila Kozlovsky);
- NIKA Award of the Film Academy, 2005, for Best Director,
Best Costume Designer;
- Prize of Film and Visual Arts ìWhite Squareî, 2005, for
DoP Oleg Lukichev;
- Third Prize of the IFF Spirit of Fire, Khanty-Mansiisk,
2006, and others.
ÛÒÒ͇ˇ ˝ÈÙÓˡ
russian euphoria
¬ƒŒ’ ¬¤ƒŒ’
INHALE EXHALE
82
2006, –ÓÒÒˡ, 86 ÏËÌ., ˆ‚., 1:1.85, Dolby Digital 5.1
2006, Russia, 86 min, colour, 1:1.85, Dolby Digital 5.1
–ÂÊËÒÒÂ »‚‡Ì ƒ˚ıӂ˘Ì˚È
Director Ivan Dykhovichny
¿‚ÚÓ˚ ÒˆÂ̇ˡ »‚‡Ì ƒ˚ıӂ˘Ì˚È,
Scriptwriters Ivan Dykhovichny, Vladimir Moiseenko,
¬Î‡‰ËÏË ÃÓËÒÂÂÌÍÓ, ¿ÎÂÍ҇̉ ÕÓ‚ÓÚÓˆÍËÈ
Alexander Novototsky
ŒÔÂ‡ÚÓ ÇÍÒËÏ ŒÒ‡‰˜ËÈ
Camera Maxim Osadchy
’Û‰ÓÊÌËÍ ¿Ì‡ÒÚ‡Òˡ ÕÂÙ‰ӂ‡
Art Director Anastasia Nefiodova
üÓÒÚ˛Ï˚ ÇˇÌ̇ ¿ÚÂϸ‚‡
Costumes Marianna Artiomieva
üÓÏÔÓÁËÚÓ ¿ÌÚÓÌ ¡‡Ú‡„Ó‚
Composer Anton Batagov
¬Ó͇Π≈͇ÚÂË̇ ¬ÓÎÍÓ‚‡, —Â„ÂÈ Ã‡Á‡Â‚
Vocal Ekaterina Volkova, Sergei Mazaev
«‚ÛÍ flÌ œÓÚÓˆÍËÈ
Sound Yan Pototsky
ÃÓÌÚ‡Ê ≈ÎÂ̇ ¿Ù‡Ì‡Ò¸Â‚‡
Editor Elena Afanasieva
¬ ÓΡı: »„Ó¸ ÃËÍÛ·‡ÌÓ‚, ≈͇ÚÂË̇ ¬ÓÎÍÓ‚‡,
Cast: Igor Mirkubanov, Ekaterina Volkova,
ŒÎ¸„‡ ƒ˚ıӂ˘̇ˇ, ¿Ì‰ÂÈ ¡‡ÚÛı‡ÌÓ‚, ¿ÎÂÍ҇̉
Olga Dykhovichnaya, Andrey Batukhanov, Alexander
–¯ÂÚÌˇÍ, À˛·Ó‚¸ ¿ÌËÒËÏÓ‚‡, –ÓÏ‡Ì Ã‡‰ˇÌÓ‚
Reshetniak, Lyubov Anisimova, Roman Madianov
œÓ‰˛ÒÂ ƒ‡ÌËÎ ’‡˜‡ÚÛÓ‚
Producer Danil Khachaturov
œÓËÁ‚Ó‰ÒÚ‚Ó ´ƒ-ÙËθϪ
Production D-Film
œÓÍ‡Ú ´√ÂÏËÌË ‘ËθϪ
Distribution Gemini Film
www.vdoh-vydoh.ru
www.vdoh-vydoh.ru
ÛÒÒ͇ˇ ˝ÈÙÓˡ
russian euphoria
»‚‡Ì ƒ˚ıӂ˘Ì˚È
(. 1947, ÃÓÒÍ‚‡).
ŒÍÓ̘ËÎ ‡ÍÚÂÒÍËÈ Ù‡ÍÛθÚÂÚ ¬“” ËÏÂÌË
¡.¬.ŸÛÍË̇ (1969, χÒÚÂÒ͇ˇ ¬.ü.À¸‚Ó‚ÓÈ
Ë À.Ã.ÿËıχÚÓ‚‡), ¬ü—– (1982,
χÒÚÂÒ͇ˇ ›.¿.–ˇÁ‡ÌÓ‚‡). ¬ 1969-70 Ë„‡Î
̇ ÒˆÂÌ ÀÂÌËÌ„‡‰ÒÍÓ„Ó Ú‡Ú‡ ÏËÌˇڲ,
‚ 1970-1981 ó ‡ÍÚÂ “‡Ú‡ ‰‡Ï˚ Ë
ÍÓωËË Ì‡ “‡„‡ÌÍÂ. ¿‚ÚÓ Ë ‚Â‰Û˘ËÈ
83
ÚÂÎÂÔÓ„‡ÏÏ Ó ÍËÌÓ ´”Îӂ͇ 22ª (Õ“¬),
´Õ‚ÂÓˇÚÌ˚ ËÒÚÓË˪ (RenTV). œËÁÂ
ÏÂʉÛ̇Ó‰Ì˚ı Ë ÓÚ˜ÂÒÚ‚ÂÌÌ˚ı
ÍËÌÓÙÂÒÚË‚‡ÎÂÈ, ·ÛÂ‡Ú ÔÂÏËË ‘Ó̉‡
ÍÛθÚÛ˚ ËÏÂÌË ∆Óʇ —‡‰ÛΡ (‘‡ÌˆËˇ,
1989, Á‡ ÎÛ˜¯ËÈ ‰Â·˛Ú „Ó‰‡ ñ ´◊ÂÌ˚È
ÏÓ̇ıª).
‘ËθÏÓ„‡Ùˡ ÂÊËÒÒÂ‡ (Ë„Ó‚Ó ÍËÌÓ):
1983 ....¡‡Ú¸ˇ (Í/Ï, ‰ËÔÎÓÏ)
1985 ....»ÒÔ˚Ú‡ÚÂθ (ÌÓ‚Âη ‚ ÙËθÏÂ
´¬ÓÒÍÂÒÌ˚ ÔÓ„ÛÎÍ˪)
1988 ....◊ÂÌ˚È ÏÓ̇ı
1992 ....œÓ‚‡
1995 ....∆ÂÌÒ͇ˇ Óθ (ÏÓÌÚ‡ÊÌ˚È)
1995 ....ÃÛÁ˚͇ ‰Îˇ ‰Â͇·ˇ
1998 ....ÕÂÁ̇ÍÓÏÓ ÓÛÊËÂ, ËÎË
üÂÒÚÓÌÓÒˆ-2
2002 ....üÓÔÂÈ͇
2002 ....ƒÂ̸„Ë (ÒÂˇÎ)
2006 ....¬‰Óı ‚˚‰Óı
Ivan Dykhovichny
(b. 1947, Moscow).
Graduated from the Actorsí Faculty of the
Shchukin Theatre School (1969, course of V.
Lvova and L. Shikhmatov), Higher Courses of
Scriptwriters and Directors (1982, course of
E. Riazanov). In 1969-70 acted at the
Leningrad Theatre of Miniatures, from 197081 actor at the Taganka Theatre of Drama
and Comedy. Author and presenter of
television programmes about cinema ìCatch
22î (NTV) and ìImprobable Storiesî (RenTV).
Award winner of international and national
film festivals, winner of the Best debut of the
Year Award of the George Sadoul Culture
Fund (France, 1989) for ìThe Black Monkî.
Filmography as director (feature films):
1983 .... Brothers (short, diploma)
1985 .... The Tester (short story in the film
ìSunday ìWalksî)
1988 .... The Black Monk
1992 .... Moscow Parade
1995 .... Female Role (montage)
1995 .... Music for December
1998 .... An Unfamiliar Weapon,
or The Crusader 2
2002 .... The Kopeck
2002 .... Money (serial)
2006 .... Inhale Exhale
Love story/ œÒËıÓÎӄ˘ÂÒ͇ˇ ‰‡Ï‡.
ÃË¯Â Ë ¬Â ͇Á‡ÎÓÒ¸, ˜ÚÓ ÓÌË ÊË‚ÛÚ Â‰ËÌ˚Ï ‰˚ı‡ÌËÂÏ, ÓÌË Ó‰Ë̇ÍÓ‚Ó
Ï˚ÒÎˇÚ Ë ˜Û‚ÒÚ‚Û˛Ú, ÓÌË ó ‰ËÌÓ ˆÂÎÓÂ. ÕÓ Ó‰Ì‡Ê‰˚ ̇ÒÚÛÔËÎ ÏÓÏÂÌÚ, Ë
͇ʉ˚È ‚‰Û„ ÔÓÌˇÎ, ˜ÚÓ ÊË‚ÂÚ ˇ‰ÓÏ Ò ˜ÂÎÓ‚ÂÍÓÏ, ÍÓÚÓÓ„Ó ÓÍÛʇÂÚ Ò‚ÓÈ
ÏË. ›ÚÓ ÒÎۘ˷Ҹ, ÍÓ„‰‡ ‚ Ëı ÊËÁÌË ÔÓˇ‚Ë·Ҹ üË‡. ›Ú‡ ÊÂÌ˘Ë̇ ‰Îˇ
¬Â˚ Òڇ· ·ÓΠ·ÎËÁÍËÏ ˜ÂÎÓ‚ÂÍÓÏ, ˜ÂÏ Â ÒÓ·ÒÚ‚ÂÌÌ˚È ÏÛÊ. œÓÒΠÒÂÏË
ÎÂÚ Ò˜‡ÒÚÎË‚ÓÈ ÊËÁÌË Ã˯‡ Ë ¬Â‡ ‡ÒÒÚ‡ÎËÒ¸. œÓ¯ÎË „Ó‰˚. 35-ÎÂÚÌËÈ
‡ıËÚÂÍÚÓ ÃËı‡ËÎ, Ô˷„ÌÛ‚ Í ÒÓ‚ÂÚÛ ‰ÓÍÚÓ‡, Ô˄·¯‡ÂÚ ‰Â‚Û¯ÍÛ ÔÓ
‚˚ÁÓ‚Û ó ̇ 10 ˜‡ÒÓ‚. Õ‡ ‚˚ÁÓ‚ ÔËıÓ‰ËÚ ¬Â‡. ” ÌËı ÔÓˇ‚ΡÂÚÒˇ
‚ÓÁÏÓÊÌÓÒÚ¸ ËÁ·‡‚ËÚ¸Òˇ ÓÚ ·ÓÎË, ÓÒ‚Ó·Ó‰ËÚ¸ Ò‚ÓË ˜Û‚ÒÚ‚‡ ÓÚ ‚ÒÂ„Ó Î˯Ì„Ó,
ÔÓÌˇÚ¸ Ë ÔÓÒÚËÚ¸ ‰Û„ ‰Û„‡...
Love story. Psychological drama.
Misha and Vera think that they live by a single breath: they think and feel
alike, they are one single whole. But one day they both suddenly realized that
they are living next to a person surrounded by his own world. This happened
when Kira appeared in their life. She became closer to Vera than her own
husband. After seven years of happy life, Misha and Vera separate. Years have
passed. Following his doctorís advice, the 35-year old architect Michael invites
a call-girl for ten hours. Vera appears in answer to his call. They have the
opportunity to get rid of the pain, to free their feelings from everything
superfluous, to understand and forgive each other...
ÛÒÒ͇ˇ ˝ÈÙÓˡ
russian euphoria
ƒ»ü»…, ƒ»ü»… œÀfl∆. ∆¿– Õ≈∆Õ¤’
WILD, WILD BEACH. THE HEAT OF THE GENTLE
84
2005, –ÓÒÒˡ, 178 ÏËÌ., ˆ‚., ˆËÙÓ‚Ó ‚ˉÂÓ, ‰ÓÍ.
2005, Russia, 178 min, colour, digital video, doc.
–ÂÊËÒÒÂ ¿ÎÂÍ҇̉ –‡ÒÚÓ„Û‚
Director Alexander Rastorguev
¿‚ÚÓ ÒˆÂ̇ˡ —ÛÒ‡Ì̇ ¡‡‡ÌÊË‚‡
Scriptwriter Susanna Baranzhieva
ŒÔÂ‡ÚÓ ›‰Û‡‰ ü˜‰ÊˡÌ
Camera Eduard Kechedzhiyan
üÓÏÔÓÁËÚÓ ¿ÎÂÍ҇̉ œ‡ÌÚ˛ıËÌ
Sound Georgy Ermolenko, Dmitry Zimin
«‚ÛÍ √ÂÓ„ËÈ ≈ÏÓÎÂÌÍÓ, ƒÏËÚËÈ «ËÏËÌ
Producer Vitaly Mansky
œÓ‰˛ÒÂ ¬ËÚ‡ÎËÈ Ã‡ÌÒÍËÈ
Production Vertov & Co, TNT
œÓËÁ‚Ó‰ÒÚ‚Ó ´¬ÂÚÓ‚ Ë üÓª, “Õ“
www.vertov.ru
www.vertov.ru
ÛÒÒ͇ˇ ˝ÈÙÓˡ
russian euphoria
¿ÎÂÍ҇̉ –‡ÒÚÓ„Û‚
(1971, „. –ÓÒÚÓ‚-̇-ƒÓÌÛ).
üËÌÓÂÊËÒÒÂ, Ó‰ËÌ ËÁ ˇ˜‡È¯Ëı
Ô‰ÒÚ‡‚ËÚÂÎÂÈ Ì‡Ô‡‚ÎÂÌˡ ´‡θÌÓ„Ó
ÍËÌÓª ‚ ‰ÓÍÛÏÂÌÚ‡ÎËÒÚËÍÂ, ÔËÁÂ
ÙÂÒÚË‚‡ÎÂÈ ÌÂË„Ó‚Ó„Ó ÍËÌÓ, ·Û‡Ú
ÔÓÙÂÒÒËÓ̇θÌ˚ı ÍËÌÓÔÂÏËÈ. ŒÍÓ̘ËÎ
—œ·√¿“» ó —‡ÌÍÚ-œÂÚÂ·Û„ÒÍÛ˛
¿Í‡‰ÂÏ˲ Ú‡Ú‡Î¸ÌÓ„Ó ËÒÍÛÒÒÚ‚‡ (1998).
85
∆Ë‚ÂÚ ‚ –ÓÒÚÓ‚Â-̇-ƒÓÌÛ, ÌÂÒÍÓθÍÓ ÎÂÚ
‡·ÓڇΠ̇ ÒÚÛ‰ËË ´ƒÓÌÚÂÎÂÙËθϪ.
‘ËθÏÓ„‡Ùˡ:
1997 ....ƒÓ ҂ˉ‡Ìˡ, χθ˜ËÍË; ◊ÂÌÓ‚ËÍ
1998 ....–Ó‰Ë̇
2000 ....“‚ÓÈ Ó‰; ¬ÂÍ ÏÓÈ
2001 ....√Ó‡; ÇÏÓ˜ÍË
2002 ....◊ËÒÚ˚È ˜ÂÚ‚Â„
2005 ....ƒËÍËÈ, ‰ËÍËÈ ÔΡÊ. ∆‡ ÌÂÊÌ˚ı
Alexander Rastorguev
(b. 1971, Rostov-on-Don).
Film director, prize winner of festivals of
non-fiction films, winner of professional film
awards. Graduated from St. Petersburg
Theatre Institute (SPbGATI, 1998). Lives in
Rostov-on-Don; for several years worked at
the studio ìDon-Tele-Filmî. His films
strengthen the positions of ìreal cinemaî in
documentary cinema.
–‡θ̇ˇ Ú‡„ËÍÓωˡ.
Filmography:
ü‡Ê‰Ó ÛÚÓ ‚ Ú˜ÂÌË ÔÓÒΉÌËı 25 ÎÂÚ ÔÓÚÓÏÒÚ‚ÂÌÌ˚È ÔΡÊÌ˚È ÙÓÚÓ„‡Ù
1997 ....Good-bye, boys; Draft Copy
∆ÂÌˇ Ë Â„Ó ‚Â·Î˛‰ ÓÚÔ‡‚Ρ˛ÚÒˇ ̇ ‡·ÓÚÛ ‚ ÏË ӷ̇ÊÂÌÌ˚ı β‰ÂÈ. Õ‡
1998 ....Homeland
˝Í‡Ì Ô‰ÒÚ‡ÂÚ „‡ÎÂ¡ Ó·‡ÁÓ‚, ÒÓÁ‰‡˛˘‡ˇ ÛÌË͇θÌ˚È ÔÓÚÂÚ
2000 ....Your People
ÒÓÒÚÓˇÌˡ ÒÓ‚ÂÏÂÌÌÓ„Ó ÏË‡, ‚ ÍÓÚÓÓÏ ‚Ò Ï˚ ÊË‚ÂÏ: ËÒÚÓËË Î˛·‚Ë Ë
2001 ....The Mountain; Mums
Ô‰‡ÚÂθÒÚ‚‡, ÊËÁÌË Ë ÒÏÂÚË, ‡ÒÒ͇Á‡ÌÌ˚ ÔÓÓÈ ËÓÌ˘ÌÓ, ‡ ÔÓÓÈ
2002 ....Maundy Thursday
„ÛÒÚÌÓ.
2005 ....The Wild, Wild Beach
- œÂÏËË ´À‡‚ª Á‡ ‰ÓÒÚËÊÂÌˡ ‚ ÌÂË„Ó‚ÓÏ ÍËÌÓ Ë ÚÂ΂ˉÂÌËË ‚
ÌÓÏË̇ˆËˇı: ÎÛ˜¯ËÈ ÌÂË„Ó‚ÓÈ ‡Ú-ÙËÎ¸Ï 2005 „Ó‰‡, ÎÛ˜¯ËÈ ÓÔÂ‡ÚÓ;
- œËÁ ‘Ó̉‡ ›‰Û‡‰‡ —‡„‡Î‡Â‚‡ ñ ´«ÓÎÓÚ‡ˇ ͇ÏÂ‡ª, 2006;
- —ÔˆÔËÁ Ê˛Ë ´«‡ ‰ÓÍÛÏÂÌڇθÌ˚È ˝ÔÓÒª ó ‘ÂÒÚË‚‡Î¸
‰ÂÈÒÚ‚ËÚÂθÌÓ„Ó ÍËÌÓ ´üËÌÓÚ‡Ú.Docª, 2006.
A real tragicomedy.
For the last 25 years the beach photographer Zhenia and his camel set off
every morning to work in the world of naked people. The film presents a
gallery of images that form a unique portrait of the modern world: histories of
love and betrayal, life and death are told at times with irony, at times with
sadness.
- Prize ìLaurelî for achievement in non-fiction cinema and television in the
nominations: Best Non-Fiction Film of 2005, Best Director of Photography;
- Prize of the Eduard Sagalaev Fund ìGolden Cameraî, 2006;
- Special Jury Prize ìFor a Documentary Epicî, Festival of Real Cinema
ìKinoteatr.docî, 2006.
ÛÒÒ͇ˇ ˝ÈÙÓˡ
russian euphoria
»√–Œü», »À» —≈…◊¿— ¬¤…ƒ≈“ ŒÀ≈√
OLEG WILL APPEAR NOW
86
2005, –ÓÒÒˡ, 52 ÏËÌ., ˆ‚., Betacam SP, ‰ÓÍ.
2005, Russia, 52 min, colour, Betacam SP, doc.
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ œÂÚ ÿÂÔÓÚËÌÌËÍ
Scriptwriter and Director Peter Shepotinnik
ŒÔÂ‡ÚÓ˚ ¿Ì‡ÚÓÎËÈ “Â¢ÂÌÍÓ, ƒÂÌËÒ ¿Î‡ÍÓÌ
Camera Anatoly Tereshchenko, Denis Alarcon
ÃÛÁ˚͇ ¬‡ÎÂËÈ √‡‚ËÎËÌ, „ÛÔÔ‡ ´7‡Ò‡ª,
Music Valery Gavrilin, 7race, folk
̇Ӊ̇ˇ ÏÛÁ˚͇
Sound Andrey Korinsky, Ilya Kacherzhuk
«‚ÛÍ ¿Ì‰ÂÈ üÓËÌÒÍËÈ, »Î¸ˇ ü‡˜ÂÊÛÍ
Cutter Ilya Poslovin
ÃÓÌÚ‡Ê »Î¸ˇ œÓÒÎÓ‚ËÌ
Chief-Editor Asia Kolodizhner
ÿÂÙ-‰‡ÍÚÓ ¿Òˇ üÓÎÓ‰ËÊÌÂ
Participants Oleg Menshikov, Victor Sukhorukov, Alexander
¬ ÙËθÏ ۘ‡ÒÚ‚Û˛Ú ŒÎ„ ÃÂ̸¯ËÍÓ‚, ¬ËÍÚÓ —ÛıÓÛÍÓ‚,
Usov, Nikita Mikhalkov, Nikita Tatarenkov, Alexei Gorbunov
¿ÎÂÍ҇̉ ”ÒÓ‚, ÕËÍËÚ‡ ÃËı‡ÎÍÓ‚, ÕËÍËÚ‡ “‡Ú‡ÂÌÍÓ‚,
and others
¿ÎÂÍÒÂÈ √Ó·ÛÌÓ‚ Ë ‰.
Producers Grigory Podzemelny, Oleg Shtrom
œÓ‰˛ÒÂ˚ √Ë„ÓËÈ œÓ‰ÁÂÏÂθÌ˚È, ŒÎ„ ÿÚÓÏ
Production Propeller Production, STF Unit with participation
œÓËÁ‚Ó‰ÒÚ‚Ó ´œÓÔÂÎÎÂ ÔÓ‰‡Í¯Ìª, ´—“‘ ˛ÌËÚª,
of the Federal Agency for Culture and Cinematography
ÔË Û˜‡ÒÚËË ‘‰Â‡Î¸ÌÓ„Ó ‡„ÂÌÚÒÚ‚‡ ÔÓ ÍÛθÚÛ Ë
ÍËÌÂχÚÓ„‡ÙËË
ÛÒÒ͇ˇ ˝ÈÙÓˡ
russian euphoria
œÂÚ ÿÂÔÓÚËÌÌËÍ
(. 1956, ÃÓÒÍ‚‡).
ŒÍÓ̘ËÎ ÍËÌӂ‰˜ÂÒÍËÈ Ù‡ÍÛθÚÂÚ ¬√»ü‡.
–‡·ÓڇΠ‚ ÊÛ̇Π´»ÒÍÛÒÒÚ‚Ó ÍËÌÓª.
— 1994 ó ‡‚ÚÓ Ë ‚Â‰Û˘ËÈ ÚÂÎÂÔÓ„‡ÏÏ˚
´üËÌÂÒÍÓÔª (´“¬ 6 ÃÓÒÍ‚‡ª, Á‡ÚÂÏ ñ
ÚÂÎÂ͇̇Π´–ÓÒÒˡª). ¿‚ÚÓ
ÏÌÓ„Ó˜ËÒÎÂÌÌ˚ı ‰ÓÍÛÏÂÌڇθÌ˚ı ÙËθÏÓ‚
Ó ÍËÌÂχÚÓ„‡ÙËÒÚ‡ı Ë ‚ˉÂÓ‚ÂÒËÈ
ÒÔÂÍÚ‡ÍÎÂÈ ŒÎ„‡ ÃÂ̸¯ËÍÓ‚‡ ´√Ó ÓÚ
Ûχª (1999) Ë ´»„ÓÍ˪ (2005). ◊ÎÂÌ
‡Í‡‰ÂÏËÈ “›‘» Ë Õ»ü¿. œËÁÂ
ÏÂʉÛ̇Ó‰Ì˚ı Ë ÓÚ˜ÂÒÚ‚ÂÌÌ˚ı ÚÂÎÂË ÍËÌÓÙÂÒÚË‚‡ÎÂÈ.
87
»Á·‡Ì̇ˇ ÙËθÏÓ„‡Ùˡ (‰ÓÍ):
1994 ....ŒıÎÓ·˚ÒÚËÌ ‚ Ò‚ÂÚÒÍÓÏ
1995 ....Ã‡Îˇ‚Ë̇. –Ó˘‡
1995 ....’‡Ï‰‡ÏÓ‚ ̇ ‚ˉÂÓ
1996 ....ÃÛ‡ÚÓ‚‡-96
1997 ....77.RUS
1997 ....üÓÒ‡ÍÓ‚ÒÍËÈ. üÓθˆ‡
1997-2003 œÓÒΠ“‡ÍÓ‚ÒÍÓ„Ó
1998 ....ƒÛ„‡ˇ ÊÂ̇ ¬˚ÒÓˆÍÓ„Ó
1998 ....¡‡Ú‡ÎÓ‚ÒÍÓÂ
2001 ....¡‡Î‡·‡ÌÓ‚ ̇ ‚ÓÈÌÂ
2003 ....¬ˇ˜ÂÒ·‚ “ËıÓÌÓ‚. »‚Ó΄‡
2003 ....” √Âχ̇ ÒÂ„Ó‰Ìˇ 122 ̇ 85
2004 ....»ÓÒÂΡÌË. ¡ÂÁ ̇Á‚‡Ìˡ
2005 ....»„ÓÍË, ËÎË —ÂȘ‡Ò ‚˚ȉÂÚ ŒÎ„
2006 ....≈‚„ÂÌËÈ ÃËÓÌÓ‚. ÕË˜Â„Ó Î˘ÌÓ„Ó
2006 ....—Â„ÂÈ √Â‡ÒËÏÓ‚.
¡Ó„‡Ú˚Ò͇ˇ ÒËÏÙÓÌˡ
Peter Shepotinnik
(b. 1956, Moscow).
Gr‡duated from the department of film
studies of the Film Institute VGIK. Worked
for the journal ìFilm Artî (Iskusstvo kino).
Since 1994 author and anchor of the
television programme ìKinescopeî (channel
TV6 Moscow, then RTR/Russia). Author of
numerous documentaries about film-makers
and video-versions of the productions by Oleg
Menshikov, ìWoe from Witî (1999) and ìThe
Gamblersî (2005). Member of the TEFI
(television award) and NIKA (film award)
Academies. Prize-winner of international and
national television and film festivals.
Select filmography (doc.):
1994 ....The Worldly Okhlobystin
1995 ....Malyavina. Grove
1995 ....Khamdamov on video
1996 ....Muratova-96
1997 ....77. RUS
1997 ....Kosakovsky. Circles
1997-2003 After Tarkovsky
1998 ....Vysotskyís Other Wife
1998 ....Batalovskoye
2001 ....Balabanov at War
2003 ....Viacheslav Tikhonov. An oriole
2003 ....German is 122 by 85 Today
2004 ....Iosseliani. Untitled
2005......The Gamblers, or Oleg Will Appear Now
2006 ....Evgeny Mironov. Nothing personal
2006 ....Sergei Gerasimov. Bogatyr symphony
ŒÎ„ ÃÂ̸¯ËÍÓ‚ ó Ó‰ËÌ ËÁ Ò‡Ï˚ı ÌÂ‡Á„‡‰‡ÌÌ˚ı ‡ÍÚÂÓ‚
Ë ‚ ÍËÌÓ, Ë ‚ Ú‡ÚÂ. ÿÎÂÈÙ ÒÎÛıÓ‚ Ë ÏÌÂÌËÈ ÒÓÔÛÚÒÚ‚ÛÂÚ
͇ʉÓÈ Â„Ó ÌÓ‚ÓÈ ‡·ÓÚÂ. À˛‰ÂÈ, ÍÓÚÓ˚ ÒÎ˚¯‡ÎË Ó Â„Ó
Ú‡Ú‡Î¸Ì˚ı ‡·ÓÚ‡ı, „Ó‡Á‰Ó ·Óθ¯Â, ˜ÂÏ ÚÂı, ÍÓÏÛ
ÔÓÒ˜‡ÒÚÎË‚ËÎÓÒ¸ Ëı ۂˉÂÚ¸. ≈„Ó Ó·Óʇ˛Ú Ó‰ÌË Ë ÌÂ
ÔÓ˘‡˛Ú ÌË Ï‡ÎÂȯËı ÔÓχıÓ‚ ‰Û„ËÂ. œÂÚÛ
ÿÂÔÓÚËÌÌËÍÛ ÔÓÒ˜‡ÒÚÎË‚ËÎÓÒ¸ ·˚Ú¸ ‰ÓÔÛ˘ÂÌÌ˚Ï ‚
Ú‚Ó˜ÂÒÍÛ˛ ··Ó‡ÚÓ˲ ‡ÍÚÂ‡ Ë ÂÊËÒÒÂ‡ ÃÂ̸¯ËÍÓ‚‡
Ë ·ÂÒÔÂÔˇÚÒÚ‚ÂÌÌÓ Ì‡·Î˛‰‡Ú¸, Í‡Í ÒÓÁ‰‡˛ÚÒˇ ÍËÌÓÓÎË Ë
ÒˆÂÌ˘ÂÒÍË ÔÓÒÚ‡ÌÓ‚ÍË ñ ËÏ‚¯Ë ¯ÛÏÌÛ˛ Ò·‚Û
ÒÔÂÍÚ‡ÍÎË ´√Ó ÓÚ Ûχª √Ë·Ó‰ӂ‡ Ë ´»„ÓÍ˪ √Ó„ÓΡ.
Oleg Menshikov is one of the greatest riddles among cinema
and theatre actors. A wave of rumours and opinions
accompanies each new work. More people have heard about
his theatre work than have managed to see him on the stage.
Some adore him, others cannot forgive him the slightest
mistake. Peter Shepotinnik has been lucky enough to be
admitted into the actorís and directorís creative circle, and at
liberty to observe how film roles and stage productions are
created: the hugely praised shows of ìWoe from Witî by
Griboedov and Gogolís ìThe Gamblersî.
ÛÒÒ͇ˇ ˝ÈÙÓˡ
russian euphoria
ÿŒÿŒ
SHOSHO
88
2006, –ÓÒÒˡ, 60 ÏËÌ., ˆ‚., ÒÚÂÂÓ, Betacam SP
2006, Russia, 60 min., colour, stereo, Betacam SP
–ÂÊËÒÒÂ ¿ÎÂÍÒÂÈ ‘‰Ó˜ÂÌÍÓ
Director Alexei Fedorchenko
¿‚ÚÓ ÒˆÂ̇ˡ ƒÂÌËÒ ŒÒÓÍËÌ
Scriptwriter Denis Osokin
ŒÔÂ‡ÚÓ ÀÂÓÌˉ »Î˛ıËÌ
Camera Leonid Ilyukhin
üÓÏÔÓÁËÚÓ —Â„ÂÈ —ˉÂθÌËÍÓ‚
Composer Sergei Sidelnikov
œÓ‰˛ÒÂ »Ë̇ —ÌÂÊËÌÒ͇ˇ
Producer Irina Snezhinskaya
œÓËÁ‚Ó‰ÒÚ‚Ó üËÌÓÍÓÏÔ‡Ìˡ ´—Ì„‡ª
Production Snega Film Company
ÛÒÒ͇ˇ ˝ÈÙÓˡ
russian euphoria
¿ÎÂÍÒÂÈ ‘‰Ó˜ÂÌÍÓ
œÓ‰˛ÒÂ, ÒˆÂ̇ËÒÚ, ÂÊËÒÒÂ. –Ó‰ËÎÒˇ ‚
1966 „Ó‰Û ‚ „ÓӉ —Óθ-»ÎˆÍ
ŒÂÌ·Û„ÒÍÓÈ Ó·Î‡ÒÚË. ŒÍÓ̘ËÎ ”‡Î¸ÒÍËÈ
ÔÓÎËÚÂıÌ˘ÂÒÍËÈ ËÌÒÚËÚÛÚ (1988),
Ù‡ÍÛθÚÂÚ ‰ÓÔÓÎÌËÚÂθÌÓ„Ó
ÔÓÙÂÒÒËÓ̇θÌÓ„Ó Ó·‡ÁÓ‚‡Ìˡ ¬√»ü
(2000, ÒˆÂ̇̇ˇ χÒÚÂÒ͇ˇ À.üÓÊËÌÓ‚ÓÈ,
¬.◊ÂÌ˚ı‡ Ë fi.–Ó„ÓÁË̇). — 1990 ‡·ÓÚ‡ÂÚ
̇ —‚Â‰ÎÓ‚ÒÍÓÈ ÍËÌÓÒÚÛ‰ËË, Ò 2001 ó
ÛÍÓ‚Ó‰ËÚÂθ ÔÓ‰˛ÒÂÒÍÓ„Ó ÛÔ‡‚ÎÂÌˡ
ÒÚÛ‰ËË, Ò 2005 ñ ıÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È
ÛÍÓ‚Ó‰ËÚÂθ ´üËÌÓÍÓÏÔ‡ÌËË 29 Ù‚‡Îˇª.
´œÂ‚˚ ̇ ÀÛ̪ ñ ÔÓÎÌÓÏÂÚ‡ÊÌ˚È
Ë„Ó‚ÓÈ ‰Â·˛Ú ñ ÒڇΠӉÌËÏ ËÁ Ò‡Ï˚ı
ˇÍËı ÍËÌÓÒÓ·˚ÚËÈ 2005 „Ó‰‡: ÔËÁ Á‡
ÎÛ˜¯ËÈ ‰ÓÍÛÏÂÌڇθÌ˚È ÙËÎ¸Ï ÔÓ„‡ÏÏ˚
´√ÓËÁÓÌÚ˚ª ó Ãü‘ ‚ ¬Â̈ËË; ÔËÁ
Ê˛Ë Á‡ ÎÛ˜¯ËÈ ‰Â·˛Ú, ÔËÁ √Ëθ‰ËË
ÍËÌӂ‰ӂ Ë ÍËÌÓÍËÚËÍÓ‚ ó Œ–ü‘
´üËÌÓÚ‡‚ª; ÔÂÏËË ´¡ÂÎ˚È ÒÎÓ̪ Ë
ÏÌÓÊÂÒÚ‚Ó ‰Û„Ëı ̇„‡‰.
89
ƒÓÍÛÏÂÌڇθ̇ˇ Ò͇Á͇ ÔÓ ÍÌË„Â ƒÂÌËÒ‡ ŒÒÓÍË̇ ´ÕÓ‚˚Â
·ÓÚËÌÍ˪. »ÒÚÓˡ ÔÓ Ï‡ËÈÒÍËı ˇÁ˚˜ÂÒÍËı Êˆӂ,
‰Ûˉӂ, Ëı ·˚ÚÂ Ë Ò‚ˇ˘ÂÌÌÓ‰ÂÈÒڂˡı. ‘ËÎ¸Ï ÒÌˇÚ Ì‡
ˇÁ˚Í ÎÛ„Ó‚˚ı χË –ÂÒÔÛ·ÎËÍË Ã‡ËÈ ›Î. ÿÓ¯Ó ñ ˝ÚÓ Û
ÌËı ‚ÂÒ̇.
‘ËθÏÓ„‡Ùˡ ÂÊËÒÒÂ‡:
1999 ....ü·ÒÒË͇ Z
Documentary fairy tale based on Denis Osokinís book ìNew
(‰ÓÍ., Í/Ï, Ò —Â„ÂÂÏ ÕÓıËÌ˚Ï)
2000 ....ÕÂÓ·˚ÍÌÓ‚ÂÌÌ˚È ÍÓ̈ÂÚ (‰ÓÍ.)
Bootsî. A story about Mari pagan priests, druids, their life
2002 ....ƒ‡‚ˉ (‰ÓÍ.)
and their rites. The film is shot in the language of the field
2003 ....ƒÂÚË ¡ÂÎÓÈ ÃÓ„ËÎ˚ (‰ÓÍ.)
2005 ....œÂ‚˚ ̇ ÀÛÌÂ
2006 ....ÿÓ¯Ó (‰ÓÍ.)
Alexei Fedorchenko
Producer, scriptwriter, director. Born in 1966
in Sole-Iletsk, Orenburg region. In 1988
graduated from the Ural Polytechnical
Institute, in 2000 from the Department of
Additional Professional Education of the Film
Institute VGIK (scriptwriting workshop of L.
Kozhinova, V. Chernykh and Yu. Rogozin).
Since 1990 works at the Sverdlovsk film
studio, since 2001 Head of the studioís
Production Management. Since 2005 art
director of the ìFilm Company of 29
Februaryî. ìFirst on the Moonî is his fulllength feature film debut and became one of
the most significant film events of 2005:
Prize for Best Documentary in the
programme ìHorizonsî of the Venice IFF;
Jury Prize for the Best Debut, Prize of the
Guild of Film Scholars and Film Critics,
ORFF ìKinotavrî; ìWhite Elephantî award,
and numerous other awards.
Directorís filmography:
1999 ....Classic Z
(doc., short, with Sergei Nokhrin)
2000 ....Unbelievable Concert (doc.)
2002 ....David (doc.)
2003 ....White Graveís Children (doc.)
2005 ....First on the Moon
2006 ....Shosho (doc.)
Mari (Republic Mari El). There ìshoshoî means ìspringî.
www.kinotavr.ru
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
9 ÓÚ‡
9TH COMPANY
·Óθ¯‡ˇ β·Ó‚¸
BIG LOVE
‰Ì‚ÌÓÈ ‰ÓÁÓ
DAY WATCH
‰Ó·˚Ìˇ ÌËÍËÚ˘ Ë ÁÏÂÈ „Ó˚Ì˚˜
DOBRYNIA AND DRAGON
ÊÂÒÚ¸
JUNK
ÎÂÒ̇ˇ ·‡Ú‚‡
OVER THE HEDGE
ÌËÍÚÓ Ì Á̇ÂÚ ÔÓ ÒÂÍÒ
NOBODY KNOWS SEX
ÓıÓÚ‡ ̇ ÔË‡Ì¸˛
HUNTING FOR PIRANHA
ÔËÚÂ fm
PITER FM
Ò‚ÓÎÓ˜Ë
BASTARDS
91
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
9 –Œ“¿
9TH COMPANY
92
2005, –ÓÒÒˡ/ ”Í‡Ë̇/ ‘ËÌÎˇÌ‰Ëˇ, 130 ÏËÌ., ˆ‚., 1:2.35,
Dolby SRD
2005, Russia/ Ukraine/ Finland, 130 min., colour, 1:2.35,
Dolby SRD
–ÂÊËÒÒÂ ‘‰Ó ¡Ó̉‡˜ÛÍ
¿‚ÚÓ ÒˆÂ̇ˡ fiËÈ üÓÓÚÍÓ‚
ŒÔÂ‡ÚÓ ÇÍÒËÏ ŒÒ‡‰˜ËÈ
’Û‰ÓÊÌËÍË √Ë„ÓËÈ œÛ¯ÍËÌ, ¿ÎÂÍ҇̉ —ÚÓÈÎÓ
üÓÒÚ˛Ï˚ Õ‡‰Âʉ‡ ¡‡Î‡Ì‰Ë̇, ÇÍÒËÏ œ‡ÁËÎÓ‚
üÓÏÔÓÁËÚÓ ƒ‡ÚÓ ≈‚„ÂÌˉÁÂ
«‚ÛÍ üËËÎÎ ¬‡ÒËÎÂÌÍÓ
Director Fyodor Bondarchuk
Scriptwriter Yuri Korotkov
Camera Maxim Osadchy
Art Directors Grigory Pushkin, Alexander Stroylo
Costumes Nadezhda Balandina, Maxim Pazilov
Composer Dato Evgenidze
Sound Kirill Vasilenko
¬ ÓΡı: ÃËı‡ËÎ œÓ˜ÂÌÍÓ‚, ¿ÎÂÍÒÂÈ ◊‡‰Ó‚, ¿ÚÛ
—ÏÓθˇÌËÌÓ‚, üÓÌÒÚ‡ÌÚËÌ ü˛ÍÓ‚, »‚‡Ì üÓÍÓËÌ, ¿ÚÂÏ
ÃËı‡ÎÍÓ‚, ‘‰Ó ¡Ó̉‡˜ÛÍ, ÃËı‡ËÎ ≈‚·ÌÓ‚, »‚‡Ì
ÕËÍÓ·‚, —ÓÒÎ‡Ì ‘ˉ‡Ó‚, ƒÏËÚËÈ ÃÛı‡Ï‡‰Â‚, ¿Ï‡‰Û
Çχ‰‡ÍÓ‚, ü‡ÂÌ Ã‡ÚËÓÒˇÌ, ¿ÎÂÍ҇̉ ÿÂÈÌ, ŒÎÂÒ¸
ü‡ˆËÓÌ, Ç‡Ú √ۉ˂, ¿ÎÂÍ҇̉ À˚ÍÓ‚, ¿ÎÂÍ҇̉
¡‡¯ËÓ‚, ¿ÎÂÍÒÂÈ —Â·ˇÍÓ‚, »Ë̇ –‡ıχÌÓ‚‡, ÃËı‡ËÎ
≈ÙÂÏÓ‚, ¿ÎÂÍÒÂÈ ü‡‚˜ÂÌÍÓ, —Ú‡ÌËÒ·‚ √Ó‚ÓÛıËÌ
Cast: Mikhail Porechenkov, Alexei Chadov, Artur
Smolianinov, Konstantin Kriukov, Ivan Kokorin, Artiom
Mikhalkov, Fyodor Bondarchuk, Mikhail Evlanov, Ivan
Nikolaev, Soslan Fidarov, Dmitry Mukhamadeev, Amadu
Mamadakov, Karen Martirosian, Alexander Shein, Oles
Katsion, Marat Gudiev, Alexander Lykov, Alexander
Bashirov, Alexei Serebryakov, Irina Rakhmanova, Mikhail
Efremov, Alexei Kravchenko, Stanislav Govorukhin
œÓ‰˛ÒÂ˚ ≈ÎÂ̇ flˆÛ‡, —Â„ÂÈ ÃÂθÍÛÏÓ‚,
¿ÎÂÍ҇̉ –Ó‰ÌˇÌÒÍËÈ
—ÓÔÓ‰˛ÒÂ˚ ‘‰Ó ¡Ó̉‡˜ÛÍ, ¬Î‡‰ËÏË ŒÒÂΉ˜ËÍ
œÓËÁ‚Ó‰ÒÚ‚Ó œÓ‰˛ÒÂÒ͇ˇ ÍÓÏÔ‡Ìˡ ´—ÎÓ‚Óª, Art
Pictures Group, —“—, ”Í‡ËÌÒ͇ˇ ωËÈ̇ˇ „ÛÔÔ‡, 1+1,
MRP Matila Rohr Productions Oy (‘ËÌÎˇÌ‰Ëˇ)
œÓÍ‡Ú ´√ÂÏËÌË ÙËθϪ
www.9rota.ru
Producers Elena Yatsura, Sergei Melkumov,
Alexander Rodniansky
Co-Producers Fyodor Bondarchuk, Vladimir Oseledchik
Production Slovo Production Company, Art Pictures Group,
CTC Television, Ukrainian Media Group, 1+1, MRP Matila
Rohr Productions Oy (Finland)
Distribution Gemini Film
www.9rota.ru
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
‘‰Ó ¡Ó̉‡˜ÛÍ
¿ÍÚÂ ÍËÌÓ (31 Óθ), ÂÊËÒÒÂ, ÔÓ‰˛ÒÂ,
ÚÂÎÂ‚Â‰Û˘ËÈ, ıÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È
ÛÍÓ‚Ó‰ËÚÂθ ÒÚÛ‰ËË ´Art Pictures Groupª
(ÃÓÒÍ‚‡), ·ÛÂ‡Ú ÔÓÙÂÒÒËÓ̇θÌ˚ı
ÍËÌÓÔÂÏËÈ.
‘ËθÏÓ„‡Ùˡ ÂÊËÒÒÂ‡:
1989 ....—ÓÌ ‚ ÎÂÚÌÂÂ ÛÚÓ
93
(Í/Ï, ۘ·̇ˇ, ¬√»ü)
1993 ....À˛·Î˛ (ÏÛÁ., ‚ˉÂÓ)
2003 ....9 ÓÚ‡ (ÂÊËÒÒÂÒÍËÈ ‰Â·˛Ú)
Fyodor Bondarchuk
Film actor (31 roles), director, producer;
television presenter, art director of the studio
Art Pictures Group (Moscow), winner of
professional awards.
Filmography as director:
1989 ....Dream on a Summer Morning
(short, practical, VGIK)
1993 ....I Love (music video)
2003 ....9TH COMPANY (directorial debut)
√ÂÓ˘ÂÒ͇ˇ ‰‡Ï‡.
Œ ÊËÁÌË Ë ÒÏÂÚË, ‰ÓÎ„Â Ë ˜ÂÒÚË, ·‡ÚÒÚ‚Â Ë ÏÛÊÂÒÚ‚Â ñ Ó· ÓÚ˜‡ˇÌÌ˚ı ı‡·ˆ‡ı, ‚˚ÊË‚¯Ëı Ë ÔÓ„Ë·¯Ëı ‚ ‡Ù„‡ÌÒÍËı „Ó‡ı. ¬ ÓÒÌÓ‚Â Ò˛ÊÂÚ‡ ó ‡θÌ˚ ÒÛ‰¸·˚ ‚ÓËÌÓ‚-‡Ù„‡ÌˆÂ‚. ƒÂÈÒÚ‚Ë ÔÓËÒıÓ‰ËÚ ‚ 1987-89 „Ó‰‡ı Ë Á‡‚Â¯‡ÂÚÒˇ ‚˚‚Ó‰ÓÏ ÒÓ‚ÂÚÒÍËı ‚ÓÈÒÍ ËÁ ¿Ù„‡ÌËÒڇ̇. —ÂÏÂÓ 18-ÎÂÚÌËı ÏÓÒ͂˘ÂÈ, ‰Ó·Ó‚ÓθÌÓ Á‡ÔËÒ‡‚¯ËÂÒˇ ‚ ´‡Ù„‡ÌÒÍÛ˛ ÍÓχ۪̉, Á̇ÍÓÏˇÚÒˇ ̇
ÔËÁ˚‚ÌÓÏ ÔÛÌÍÚÂ. –·ˇÚ‡ ÔÓÔ‡‰‡˛Ú ‚ ۘ·ÍÛ, Á‡ÚÂÏ ‚ Á̇ÏÂÌËÚÛ˛ 9-˛ ÓÚÛ
345-„Ó Ô‡‡¯˛ÚÌÓ-‰ÂÒ‡ÌÚÌÓ„Ó ÔÓÎ͇ ñ Ò‡ÏÛ˛ ·ÓÂÒÔÓÒÓ·ÌÛ˛, Ò‡ÏÛ˛ „ÂÓ˘ÂÒÍÛ˛. ¬ ÊÂÒÚÓÍÓÈ Òı‚‡ÚÍÂ Ò ´˜ÂÌ˚ÏË ‡ËÒÚ‡Ï˪ ÔÓ‰ ÍÓχ̉ӂ‡ÌËÂÏ ”Ò‡Ï˚
¡ÂÌ À‡‰Â̇ ó ÔË ÓÚÒÛÚÒÚ‚ËË Ò‚ˇÁË ó ÒÓΉ‡Ú˚ Û‰ÂÊË‚‡˛Ú ‚˚ÒÓÚÛ Ë ÔÓ˜ÚË
‚Ò ÔÓ„Ë·‡˛Ú.
- ÀˉÂ ÓÒÒËÈÒÍÓ„Ó ÔÓ͇ڇ ÔÓ ËÚÓ„‡Ï 2005 „Ó‰‡ (͇ÒÒÓ‚˚ ҷÓ˚:
$25 556 ÏÎÌ. ñ ̇ 05.12.2005).
- œÂÏËË üËÌӇ͇‰ÂÏËË ´«ÓÎÓÚÓÈ ÓÂΪ Á‡ 2005 „Ó‰ ‚ ÌÓÏË̇ˆËˇı: ÎÛ˜¯ËÈ
ÙËθÏ, ÎÛ˜¯‡ˇ ÓÔÂ‡ÚÓÒ͇ˇ ‡·ÓÚ‡, ÎÛ˜¯‡ˇ ÏÛÁ˚͇, ÎÛ˜¯‡ˇ ‡·ÓÚ‡
Á‚ÛÍÓÂÊËÒÒÂ‡;
- œÂÏËË üËÌӇ͇‰ÂÏËË ´ÕË͇ª Á‡ 2005 „Ó‰ ‚ ÌÓÏË̇ˆËˇı: ÎÛ˜¯ËÈ ÙËθÏ,
ÎÛ˜¯‡ˇ ÏÛÁ˚͇, ÎÛ˜¯‡ˇ ‡·ÓÚ‡ Á‚ÛÍÓÂÊËÒÒÂ‡;
- œÂÏˡ ÍËÌÓËÁÓ·‡ÁËÚÂθÌÓ„Ó ËÒÍÛÒÒÚ‚‡ Á‡ 2005 „Ó‰ ´¡ÂÎ˚È Í‚‡‰‡Úª
(ÓÔÂ‡ÚÓ ÇÍÒËÏ ŒÒ‡‰˜ËÈ).
Heroic drama.
About life and death, duty and honour, brotherhood and courage; about
desperate brave men who survived and died in the Afghan mountains. The plot
is based on the fate of real soldiers of the Afghan War. The action takes place
in 1987-89, and ends with the withdrawal of the Soviet forces from
Afghanistan. Seven 18-year-old Muscovites, who have voluntary enrolled for
the ìAfghan Unitî, meet at the an induction base. They sit on the school bench
before they are assigned to the well-known Ninth Company of the Parachute
Troupe 345 ñ the most efficient and heroic detachment. In a fierce fight with
the ìblack storksî under the command of Osama Ben Laden, and without
communication, the soldiers defend the heights, but almost everyone perishes.
- Leader of Russian distribution for 2005 (box office $25,556 mill. on
05.12.2005).
- Prize of the Film Academy ìGolden Eagleî for 2005 in the nominations: Best
Film, Best Director of Photography, Best Music, Best Sound;
- Prizes of the Film Academy NIKA for 2005 in the nominations: Best Film,
Best Music, Best Sound;
- Prize of Cinematic Art for 2005 ìWhite Squareî (camera: Maxim Osadchy).
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
¡ŒÀ‹ÿ¿fl Àfi¡Œ¬‹
BIG LOVE
94
2006, –ÓÒÒˡ, 90 ÏËÌ., ˆ‚., 1:1.85, Dolby Digital 5.1
2006, Russia, 90 min, colour, 1:1.85, Dolby Digital 5.1
–ÂÊËÒÒÂ ƒÏËÚËÈ ‘ËÍÒ
Director Dmitry Fiks
¿‚ÚÓ ÒˆÂ̇ˡ ÇÍÒËÏ —Ú˯ӂ
Scriptwriter Maxim Stishov
ŒÔÂ‡ÚÓ √Ó‡Ì œ‡‚˘‚˘
Camera Goran Pavicevic
’Û‰ÓÊÌËÍ ¿ÎÂÍ҇̉ “ÓÎ͇˜Â‚
Art Director Alexander Tolkachiov
üÓÒÚ˛Ï˚ ¿ÎË̇ ¡Û‰ÌËÍÓ‚‡
Costumes Alina Budnikova
üÓÏÔÓÁËÚÓ »Î¸ˇ ƒÛıÓ‚Ì˚È
Composer Ilya Dukhovny
«‚ÛÍ ŒÎ„ œÂÚÂÌÍËÌ
Sound Oleg Petrenkin
¬ ÓΡı: ÃËı‡ËÎ œÓ˜ÂÌÍÓ‚, fiÎˡ ÃÂ̸¯Ó‚‡, ¿Ì‡ÚÓÎËÈ
Cast: Mikhail Porechenkov, Yulia Menshova, Anatoly Vasiliev,
¬‡ÒËθ‚, »Ì̇ Ç͇Ó‚‡, ∆‡Ì̇ ›ÔÔÎÂ, √‡ÎË̇ œÂÚÓ‚‡,
Inna Makarova, Janna Epple, Galina Petrova, Oleg Dolin, Olga
ŒÎ„ ƒÓÎËÌ, ŒÎ¸„‡ ƒÓ·Ë̇, √ÂÌ̇‰ËÈ ÃËÚÌËÍ, ¿Ì̇
Dobrina, Gennady Mitnik, Anna Ukolova, Oleg Akulich
”ÍÓÎÓ‚‡, ŒÎ„ ¿ÍÛ΢
Producers Maxim Stishov, Dmitry Fiks, Sergei Fiks, Sergei
œÓ‰˛ÒÂ˚ ÇÍÒËÏ —Ú˯ӂ, ƒÏËÚËÈ ‘ËÍÒ, —Â„ÂÈ ‘ËÍÒ,
Shumakov
—Â„ÂÈ ÿÛχÍÓ‚
Production Motor Film Studio, Russia Television with
œÓËÁ‚Ó‰ÒÚ‚Ó ´ÃÓÚÓ ‘ËÎ¸Ï —ÚÛ‰Ëˇª, “ÂÎÂ͇̇Π´–ÓÒÒˡª,
participation of the Federal Agency for Culture and
ÔË Û˜‡ÒÚËË ‘‰Â‡Î¸ÌÓ„Ó ‡„ÂÌÚÒÚ‚‡ ÔÓ ÍÛθÚÛ Ë
Cinematography
ÍËÌÂχÚÓ„‡ÙËË
Distribution Nashe Kino
œÓÍ‡Ú ´Õ‡¯Â ÍËÌÓª
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
ƒÏËÚËÈ ‘ËÍÒ
–ÂÊËÒÒÂ ÍËÌÓ Ë ÚÂ΂ˉÂÌˡ, ÔÓ‰˛ÒÂ,
ÍÎËÔÏÂÈÍÂ. œËÁÂ ÏÂʉÛ̇Ó‰Ì˚ı
Ë ÓÚ˜ÂÒÚ‚ÂÌÌ˚ı ÚÂ΂ËÁËÓÌÌ˚ı ÙÂÒÚË‚‡ÎÂÈ
Ë ÙÂÒÚË‚‡ÎÂÈ ÂÍ·Ï˚ .
‘ËθÏÓ„‡Ùˡ ÂÊËÒÒÂ‡ (Ë„Ó‚Ó ÍËÌÓ):
1996 ....—Ú‡˚ ÔÂÒÌË Ó „·‚ÌÓÏ
(ÙËθÏ-ÍÓ̈ÂÚ, Ú‚)
95
1999 ....’ÓÓ¯ËÂ Ë ÔÎÓıËÂ
(Ò ¿Ì‡ÚÓÎËÂÏ ¿Ú‡ÏÓÌÓ‚˚Ï)
2000-02 ÀËÌˡ Á‡˘ËÚ˚ (ÙËθÏ˚ ÒÂˇ·)
2003 ....ÃÓˇ Ó‰Ìˇ (ÒÂˇÎ)
2002-06 ¡‡Î¸Á‡ÍÓ‚ÒÍËÈ ‚ÓÁ‡ÒÚ, ËÎË
¬Ò ÏÛÊËÍË Ò‚Ó... 1, 2 (ÒÂˇÎ˚)
2003-04 ¿‰‚ÓÍ‡Ú (ÒÓÂÊËÒÒÂ)
2004 ....¬ÚÓÓÈ ÙÓÌÚ
2006 ....¡Óθ¯‡ˇ β·Ó‚¸
Dmitry Fiks
Film and television director, producer, clipmaker. Prize winner of international and
national television and advertising festivals.
Filmography as director (cinema):
1996 ....Old Songs about the Main Thing
(film-concert, TV)
1999 ....Good and Bad (with Anatoly
Artamonov)
2000-02 Line of Defense (films in a serial)
ÀË˘ÂÒ͇ˇ ÍÓωˡ/ –ÂÚÓ.
2003 ....My Relatives (serial)
1962 „Ó‰. ¡‡‚˚È „ÂÌÂ‡Î ¿ÌÚÓÌ ”Î˚·‡·Ó‚, Û·ÂʉÂÌÌ˚È ıÓÎÓÒÚˇÍ
2002-06 Balzac Age,
Ë ÓÚ˜‡ˇÌÌ˚È ·‡·ÌËÍ, ÔÓÎÛ˜‡ÂÚ ÔË͇Á ÊÂÌËÚ¸Òˇ ‚ Ú˜ÂÌË ‰‚Ûı ̉Âθ ñ
or All Men are ... 1, 2 (serials)
‚ ÔÓÚË‚ÌÓÏ ÒÎÛ˜‡Â ÂÏÛ „ÓÁËÚ Û‚ÓθÌÂÌË ËÁ ‡ÏËË. —Ó‚Â¯Ë‚ ÏÌÓÊÂÒÚ‚Ó
2003-04 The Lawyer (co-director)
΢Ì˚ı ÔÓ‰‚Ë„Ó‚ Ë ÌÂÒÛ‡ÁÌ˚ı „ÎÛÔÓÒÚÂÈ ‚ ÔÓˆÂÒÒ ·ÂÁÛÒÔ¯Ì˚ı ÔÓËÒÍÓ‚
2004 ....The Second Front
Ì‚ÂÒÚ˚, „ÂÌÂ‡Î ‚ÔÂ‚˚ ‚ ÊËÁÌË ÔÓ-̇ÒÚÓˇ˘ÂÏÛ ‚β·ÎˇÂÚÒˇ...
2006 ....Big Love
Lyrical Comedy. Retro.
1962. The gallant general Anton Ulybabov, a convinced bachelor and desperate
womanizer, is ordered to marry within two weeks, otherwise he will be
dismissed from the army. Having accomplished a range of personal feats and
stupid mistakes during his hapless search for a bride, for the first time in his
life the general really falls in love...
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
ƒÕ≈¬ÕŒ… ƒŒ«Œ–
DAY WATCH
96
2005, –ÓÒÒˡ, 140 ÏËÌ., ˆ‚., 1:2.35, Dolby SRD
2005, Russia, 140 min, colour, 1:2.35, Dolby SRD
–ÂÊËÒÒÂ “ËÏÛ ¡ÂÍχϷÂÚÓ‚
Director Timur Bekmambetov
¿‚ÚÓ˚ ÒˆÂ̇ˡ “ËÏÛ ¡ÂÍχϷÂÚÓ‚, —Â„ÂÈ ÀÛ͸ˇÌÂÌÍÓ,
Scriptwriters Timur Bekmambetov, Sergei Lukianenko,
¿ÎÂÍ҇̉ “‡Î‡Î
Alexander Talal
ŒÔÂ‡ÚÓ —Â„ÂÈ “ÓÙËÏÓ‚
Camera Sergei Trofimov
’Û‰ÓÊÌËÍ ¬‡ÎÂËÈ ¬ËÍÚÓÓ‚
Art Director Valery Victorov
üÓÒÚ˛Ï˚ ¬‡ˇ ¿‚‰˛¯ÍÓ
Costumes Varia Avdyushko
üÓÏÔÓÁËÚÓ fiËÈ œÓÚÂÂÌÍÓ
Composer Yuri Potienko
«‚ÛÍ —Â„ÂÈ ü‡ÔÂÌÍÓ
Sound Sergei Karpenko
¬ ÓΡı: üÓÌÒÚ‡ÌÚËÌ ’‡·ÂÌÒÍËÈ, ¬Î‡‰ËÏË ÃÂ̸¯Ó‚,
Cast: Konstantin Khabensky, Vladimir Menshov, Galina
√‡ÎË̇ “˛ÌË̇, Çˡ œÓÓ¯Ë̇, ¬ËÍÚÓ ¬ÂʷˈÍËÈ,
Tyunina, Maria Poroshina, Victor Verzhbitsky, Zhanna Friske,
∆‡Ì̇ ‘ËÒÍÂ, ¿ÎÂÍÒÂÈ ◊‡‰Ó‚, ¬‡ÎÂËÈ «ÓÎÓÚÛıËÌ,
Alexei Chadov, Valery Zolotukhin, Nikolai Olialin, Igor
ÕËÍÓÎ‡È ŒÎˇÎËÌ, »„Ó¸ ÀËÙ‡ÌÓ‚, –ËÏχ ÇÍÓ‚‡,
Lifanov, Rimma Markova, Dima Martynov, Gosha Kutsenko
ƒËχ ÇÚ˚ÌÓ‚, √Ó¯‡ üÛˆÂÌÍÓ
œÓ‰˛ÒÂ˚ ¿Ì‡ÚÓÎËÈ Ã‡ÍÒËÏÓ‚, üÓÌÒÚ‡ÌÚËÌ ›ÌÒÚ
Producers Anatoly Maximov, Konstantin Ernst
œÓËÁ‚Ó‰ÒÚ‚Ó üËÌÓÒÚÛ‰Ëˇ ´“¿¡¡¿üª, ´¡‡ÁÂ΂Ò
Production TABBAK Studio, Bazelevs Production,
œÓ‰‡Í¯Ìª, œÂ‚˚È Í‡Ì‡Î
Channel One Russia
œÓÍ‡Ú ´√ÂÏËÌË ÙËθϪ
Distribution Gemini film
www.dozorfilm.ru
www.dozorfilm.ru
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
“ËÏÛ ¡ÂÍχϷÂÚÓ‚
ÂÊËÒÒÂ Ë ıÛ‰ÓÊÌËÍ, ÔËÁÂ
ÏÂʉÛ̇Ó‰Ì˚ı ÍËÌÓÙÂÒÚË‚‡ÎÂÈ Ë
ÙÂÒÚË‚‡ÎÂÈ ÂÍ·Ï˚, ÛÍÓ‚Ó‰ËÚÂθ
ÍËÌÓÒÚÛ‰ËË ´“¿¡¡¿üª.
‘ËθÏÓ„‡Ùˡ:
1993 ....œÂ¯‡‚‡ÒÍËÈ ‚‡Î¸Ò
(Ò √ÂÌ̇‰ËÂÏ ü‡˛ÏÓ‚˚Ï)
2001 ....√·‰Ë‡ÚËÍÒ (—ÿ¿)
97
2004 ....ÕÓ˜ÌÓÈ ‰ÓÁÓ
2005 ....ƒÌ‚ÌÓÈ ‰ÓÁÓ
Timur Bekmambetov
Director and artist, prize winner of
international film and advertising festivals,
head of the film studio ìTABBAKî
Filmography:
1993 ....Peschawar Waltz
(with Gennady Kayumov)
2001 ....The Arena (USA)
2004 ....Night Watch
2005 ....Day Watch
¡ÎÓÍ·‡ÒÚÂ.
ÕÓ˜¸˛, ‚ ÔÓ‰˙ÂÁ‰Â Ò‚ÓÂ„Ó ‰Óχ Û·ËÚ‡ ÏÓÎÓ‰‡ˇ ÊÂÌ˘Ë̇. Õ‡ ÚÂΠÌÂ
ӷ̇ÛÊÂÌÓ ÌË͇ÍËı ÒΉӂ ̇ÒËÎËˇÖ «˚·ÍÓ ‡‚ÌÓ‚ÂÒË ÏÂÊ‰Û —‚ÂÚÎ˚ÏË
Ë “ÂÏÌ˚ÏË Ì‡Û¯ÂÌÓ. » ˜‡¯‡ ‚ÂÒÓ‚ ÒÍÎÓÌˇÂÚÒˇ ‚ ÒÚÓÓÌÛ ´ÚÂÏÌ˚ıª. ÕÓ
Û·ËÚ‡ˇ ñ ´ÚÂÏ̇ˇ Ë̇ˇª, ‡ Á̇˜ËÚ, ÔÓ‰ ÔÓ‰ÓÁÂÌËÂÏ - ´Ò‚ÂÚÎ˚ª. √ÂÒÂ
ÒÓ˜ÌÓ ÒÓ·Ë‡ÂÚ ÍÓχ̉Û: Ó·‚ËÌÂÌË ‚ Û·ËÈÒÚ‚Â ñ ÒÂ¸ÂÁ̇ˇ ÔÓ·ÎÂχ. ŒÌ
Ó·ˇÁ‡Ì ‡„ËÓ‚‡Ú¸. » ÔÂʉ ‚ÒÂ„Ó ÔÓÌˇÚ¸, ÍÚÓ „‰Â ·˚Î Ë ˜ÂÏ Á‡ÌËχÎÒˇ ‚
Û͇Á‡ÌÌÓ ‚ÂÏˇ. ¬˚ˇÒÌˇÂÚÒˇ, ˜ÚÓ ‡ÎË·Ë ÓÚÒÛÚÒÚ‚ÛÂÚ ÚÓθÍÓ Û ¿ÌÚÓ̇
√ÓӉˆÍÓ„ÓÖ
ÀˉÂ ÓÒÒËÈÒÍÓ„Ó ÍËÌÓÔÓ͇ڇ, ͇ÒÒÓ‚˚ ҷÓ˚: $34.5 ÏÎÌ. (̇ 17.02.2006).
Blockbuster.
A young woman is killed at night on the staircase of her house. No traces of
violence can be found on the body Ö The shaky balance between Light and
Dark is upset, and the scales incline towards the dark side. But the dead
woman is a ìdark oneî, which means that suspicion falls on the light side.
Gesser urgently puts together a special unit: the charge of murder is a serious
problem. He is obliged to react. Above all, he must understand who was where
doing what at the time in question. It transpires that only Anton Gorodetsky
has no alibiÖ
Leader of Russian distribution, box office: $34.5 million (as of 17.02.2006).
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
ƒŒ¡–¤Õfl Õ»ü»“»◊ » «Ã≈… √Œ–¤Õ¤◊
DOBRYNIA AND DRAGON
98
2006, –ÓÒÒˡ, 70 ÏËÌ., ˆ‚., 1:1.85, Dolby Digital 5.1
2006, Russia, 70 min, colour, 1:1.85, Dolby Digital 5.1
–ÂÊËÒÒÂ »Î¸ˇ ÇÍÒËÏÓ‚
Director Ilya Maximov
¿‚ÚÓ˚ ÒˆÂ̇ˡ ÇÍÒËÏ —‚¯ÌËÍÓ‚,
Scriptwriters Maxim Sveshnikov, Alexander Boiarsky,
¿ÎÂÍ҇̉ ¡ÓˇÒÍËÈ, »Î¸ˇ ÇÍÒËÏÓ‚
Ilya Maximov
’Û‰ÓÊÌËÍ-ÔÓÒÚ‡ÌÓ‚˘ËÍ ŒÎ¸„‡ ¿Î¸Ú‡ÔÓ‚‡-Œ‚˜ËÌÌËÍÓ‚‡
Art Director Olga Altapova-Ovchinnikova
üÓÏÔÓÁËÚÓ ¬‡ÎÂÌÚËÌ ¬‡ÒÂÌÍÓ‚
Composer Valentin Vasenkov
«‚ÛÍ ¬Î‡‰ËÏË √ÓÎÓÛÌËÌ
Sound Vladimir Golounin
–ÓÎË ÓÁ‚Û˜ËÎË: ¬‡ÎÂËÈ —ÓÎÓ‚¸Â‚, fiËÈ “‡‡ÒÓ‚, —Â„ÂÈ
Cast (voices): Valery Soloviov, Yuri Tarasov, Sergei
ÇÍӂˆÍËÈ, ¿Ì‰ÂÈ “ÓÎ۷‚, ≈͇ÚÂË̇ √ÓÓıÓ‚Ò͇ˇ,
Makovetsky, Andrey Tolubeev, Ekaterina Gorokhovskaya,
Շڇθˇ ƒ‡ÌËÎÓ‚‡, ¿Ì‡ÚÓÎËÈ œÂÚÓ‚, ŒÎ„ üÛÎËÍӂ˘,
Natalia Danilova, Anatoly Petrov, Oleg Kulikovich
ÃËı‡ËÎ ◊ÂÌˇÍ (ÚÂÍÒÚ ÓÚ ‡‚ÚÓ‡)
Narrator Mikhail Cherniak
œÓ‰˛ÒÂ˚ —Â„ÂÈ —ÂθˇÌÓ‚, ¿ÎÂÍ҇̉ ¡ÓˇÒÍËÈ
Producers Sergei Selianov, Alexander Boiarsky
œÓËÁ‚Ó‰ÒÚ‚Ó üËÌÓÍÓÏÔ‡Ìˡ —“¬, ÒÚÛ‰Ëˇ ´ÃÂθÌˈ‡ª, ÔË
Production CTB Company, Melnitsa Studio with participation
Û˜‡ÒÚËË ‘‰Â‡Î¸ÌÓ„Ó ‡„ÂÌÚÒÚ‚‡ ÔÓ ÍÛθÚÛ Ë
of the Federal Agency for Culture and Cinematography
ÍËÌÂχÚÓ„‡ÙËË
Distribution Nashe kino, Karoprokat,
œÓÍ‡Ú ´Õ‡¯Â ÍËÌÓª, ´ü‡ÓÔÓ͇ڪ;
Soyuz-video (DVD, video)
´—Ó˛Á-‚ˉÂÓª (DVD, ‚ˉÂÓ)
www.ctb.ru
www.ctb.ru
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
»Î¸ˇ ÇÍÒËÏÓ‚
ÂÊËÒÒÂ ‡ÌËχˆËÓÌÌÓÈ ÒÚÛ‰ËË
´ÃÂθÌˈ‡ª (—‡ÌÍÚ-œÂÚÂ·Û„).
»Á·‡Ì̇ˇ ÙËθÏÓ„‡Ùˡ:
2000 ....œËÍβ˜ÂÌˡ ‚ »ÁÛÏÛ‰ÌÓÏ „ÓÓ‰Â
(4 ÒÂˡ ÒÂˇ·)
2003 ....ü‡ÎËÍ ÕÓÒ
2006 ....ƒÓ·˚Ìˇ ÕËÍËÚ˘ Ë «ÏÂÈ √Ó˚Ì˚˜
99
Ilya Maximov
Director of the animation studio ìMelnitsaî
(St. Petersburg).
Selected Filmography:
2000 ....Adventures in Emerald City
(ìThe Wizard of Ozî, 4 series)
2003 ....Little Long-Nose
2006 ....Dobrynia and Dragon
üÓωËÈ̇ˇ Ò͇Á͇, ‚ÚÓÓÈ ÙËÎ¸Ï ËÁ ‡ÌËχˆËÓÌÌÓ„Ó
ˆËÍ· ´“Ë ·Ó„‡Ú˚ˇª. ü‡ÒÓ˜Ì˚È Ë ‚ÂÒÂÎ˚È, ÓÌ
‡ÒÒ͇Á˚‚‡ÂÚ Ó ÚÓÏ, Í‡Í ·Ó„‡Ú˚¸ ƒÓ·˚Ìˇ ÕËÍËÚ˘
ÓÚÔ‡‚ΡÂÚÒˇ ÒÔ‡Ò‡Ú¸ ÍÌˇÊÂÒÍÛ˛ ÔÎÂÏˇÌÌËˆÛ «‡·‡‚Û ËÁ
Î‡Ô «Ï¡ √Ó˚Ì˚˜‡. ÕÂÔÓÒÚÓ ·Û‰ÂÚ ƒÓ·˚ÌÂ Ë Â„Ó ˛ÌÓÏÛ
Û˜ÂÌËÍÛ ≈ÎËÒ² ‚˚ÔÓÎÌËÚ¸ Á‡‰ÛχÌÌÓÂ. Õ Á̇ÂÚ
ƒÓ·˚Ìˇ Ë ‰‡Ê Ì ‰Ó„‡‰˚‚‡ÂÚÒˇ Ó ÚÓÏ, ˜ÚÓ Ò‡Ï üÌˇÁ¸
ÔÓÒÚ‡‚ÎÂÌ ‚ ·ÂÁ‚˚ıÓ‰ÌÓ ÔÓÎÓÊÂÌËÂ Ë ‚Ó‚Ò ÌÂ
Á‡ËÌÚÂÂÒÓ‚‡Ì ‚ ‚ÓÁ‚‡˘ÂÌËË ÔÎÂÏˇÌÌˈ˚. “ˇÊÍÓÂ
ËÒÔ˚Ú‡ÌË Ô‰ÒÚÓËÚ ƒÓ·˚Ì ñ ÔÓÁ̇ڸ „Ó˜¸
Ô‰‡ÚÂθÒÚ‚‡. Œ‰Ì‡ÍÓ Ì ÒÛʉÂÌÓ ·Û‰ÂÚ Ò·˚Ú¸Òˇ
ÁÎÓ‰ÂÈÒÍËÏ ÔÎ‡Ì‡Ï ‰‡Ê ¡‡·˚ fl„Ë...
A comic fairy tale; the second film from the animation cycle
ìThree Knights (bogatyrs)î. Colourful and cheerful, it tells
the story of the bogatyr Dobrynia Nikitich, who sets out to
rescue the princely niece Zabava from the claws of Zmei
Gorynych. Dobrynia and his young pupil Elisei face no easy
task. Dobrynia cannot know, or even guess, that the Prince
himself is in a desperate position and it is not interested at
all in the return of his niece. Dobrynia faces a difficult test:
he has to learn about the bitterness of treachery. However,
the evil plots of Baba Yaga are doomed to fail....
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
∆≈—“‹
JUNK
100
2006, –ÓÒÒˡ, 110 ÏËÌ., ˆ‚., Dolby SRD
2006, Russia, 110 min, colour, Dolby SRD
–ÂÊËÒÒÂ ƒÂÌËÒ ÕÂÈχ̉
Director Denis Neimand
¿‚ÚÓ ÒˆÂ̇ˡ üÓÌÒÚ‡ÌÚËÌ ÃÛÁÂÌÍÓ
Scriptwriter Konstantin Murzenko
ŒÔÂ‡ÚÓ ÃËı‡ËÎ ÃÛ͇ÒÂÈ
Camera Mikhail Mukasei
’Û‰ÓÊÌËÍ ¬Î‡‰ËÏË fiʇÍÓ‚
Art Director Vladimir Yuzhakov
üÓÏÔÓÁËÚÓ »„Ó¸ ¬‰Ó‚ËÌ
Composer Igor Vdovin
—‡Û̉ÚÂÍ ´üÓ‚ÓÒÚÓͪ
Soundtrack Krovostok
«‚ÛÍ Õ‡Ú‡Î¸ˇ –Ó„ËÌÒ͇ˇ
Sound Natalia Roginskaia
¬ ÓΡı: ¿ÎÂ̇ ¡‡·ÂÌÍÓ, ÃËı‡ËÎ ≈ÙÂÏÓ‚, ¿ÎÂÍÒÂÈ
Cast: Aliona Babenko, Mikhail Efremov, Alexei Serebriakov,
—Â·ˇÍÓ‚, ¿Ì‡ÚÓÎËÈ ¡ÂÎ˚È, ¬ˇ˜ÂÒ·‚ –‡Á·Â„‡Â‚, —Â„ÂÈ
Anatoly Beliy, Viacheslav Razbegaev, Sergei Shakurov, Yusup
ÿ‡ÍÛÓ‚, fiÒÛÔ ¡‡ı¯Ë‚, »„Ó¸ ÀËÙ‡ÌÓ‚, √Ó¯‡ üÛˆÂÌÍÓ,
Bakhshiev, Igor Lifanov, Gosha Kutsenko, Elena Rufanova,
≈ÎÂ̇ –ÛÙ‡ÌÓ‚‡, »„Ó¸ ◊ÂÌ‚˘
Igor Chernevich
œÓ‰˛ÒÂ˚ fiÒÛÔ ¡‡ı¯Ë‚, ¬ËÍÚÓ “‡ÍÌÓ‚,
Producers Yusup Bakhshiev, Victor Taknov,
¿ÚÂÏ “ÂÂÌڸ‚, √ÂÌ̇‰ËÈ ü‡‚ˆ
Artiom Terentiev, Gennady Kravets
œÓËÁ‚Ó‰ÒÚ‚Ó MB Production, Arnold & Gregor Production,
Production MB Production, Arnold & Gregor Production,
Pride Professional Group, Znaky Production Studio
Pride Professional Group, Znaky Production Studio
œÓÍ‡Ú ´÷ÂÌÚ‡Î œ‡ÚÌÂ¯ËÔª
Distribution Central Partnership
www.zhestfilm.ru
www.zhestfilm.ru
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
ƒÂÌËÒ ÕÂÈχ̉
ñ ‰ËÁ‡ÈÌÂ, ‡ıËÚÂÍÚÓ, ‚ˉÂÓıÛ‰ÓÊÌËÍ,
‡‚ÚÓ-ÂÊËÒÒÂ ÌÂË„Ó‚˚ı ÙËθÏÓ‚.
´∆ÂÒÚ¸ª - ÔÂ‚˚È Ë„Ó‚ÓÈ ÔÓÎÌÓÏÂÚ‡ÊÌ˚È
ÙËθÏ.
Denis Neimand
Designer, architect, video-artist, author and
director of non-fiction films.
101
ìJunkîis his first feature film.
œÒËıÓ‚ËÍ/ “ËÎÎÂ.
∆ÛÚ͇ˇ, ÔÓÎÛÏËÒÚ˘ÂÒ͇ˇ Ë ‚ÂҸχ ÌÂÓ‰ÌÓÁ̇˜Ì‡ˇ ËÒÚÓˡ Ó ÊËÁÌË,
ÍÓÚÓ‡ˇ ÏÓÊÂÚ ·˚Ú¸ ÔÓ-̇ÒÚÓˇ˘ÂÏÛ ÊÂÒÚÍÓÈ. »Á‚ÂÒÚ̇ˇ ÊÛ̇ÎËÒÚ͇
ÇË̇, ÒÔˆˇÎËÁËÛ˛˘‡ˇÒˇ ̇ ÒÂÌÒ‡ˆËÓÌÌ˚ı χÚÂˇ·ı, ‚ԇ· ‚
‰ÂÔÂÒÒ˲ Ë ÛÊ ÔÓ‰ÛÏ˚‚‡Î‡ Ó ÒÏÂÌ ÔÓÙÂÒÒËË ÔÓÒΠÚÓ„Ó, Í‡Í Ó‰ËÌ ËÁ
„ÂÓ‚  ÂÔÓڇʇ ·˚Î Á‡ÒÚÂÎÂÌ ÏËÎˈÂÈÒÍËÏ Ò̇ÈÔÂÓÏ ÔˇÏÓ Û Ì ̇
„·Á‡ı. ÕÓ Â ÛÔÓÒËÎË Ò‰Â·ڸ ÔÓÒΉÌËÈ Ï‡ÚÂˇÎ, Ò˙ÂÁ‰ËÚ¸ ‚
ÔÒËıˇÚ˘ÂÒÍÛ˛ Θ·ÌËˆÛ Ë ÔÓ„Ó‚ÓËÚ¸ Ò ˜ÂÎÓ‚ÂÍÓÏ, Ó·‚ËÌˇÂÏ˚Ï ‚
ÊÂÒÚÓÍËı ÒÂËÈÌ˚ı Û·ËÈÒÚ‚‡ı. ü‡Á‡ÎÓÒ¸ ·˚, ÔÓÒÚÓ Á‡‰‡ÌË ӷÂÌÛÎÓÒ¸
‰Îˇ ÏÓÎÓ‰ÓÈ ÊÛ̇ÎËÒÚÍË ÍӯχÓÏ, ÍÓÚÓ˚È ÔÓ‰ÚÓÎÍÌÛΠ Í
ÔÂÂÓÒÏ˚ÒÎÂÌ˲ Ò·ˇ Ë ÓÍÛʇ˛˘ÂÈ ‰ÂÈÒÚ‚ËÚÂθÌÓÒÚË.
Thriller.
A terrible, semi-mystical and quite ambiguous story about how life can
suddenly turn harsh. The well-known journalist Marina specializes in
sensational reports; she has lapsed into depression and is thinking about
changing her professional career in the aftermath of one of her criminal
subjects being shot by a sniper right in front of her eyes. She is asked to do
one last story: visit a psychiatric clinic to talk to a man accused of serial
killings. And then the simple task turns into a nightmare for the young
journalist; she is forced to reconsider the world that surrounds her.
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
À≈—Õ¿fl ¡–¿“¬¿
OVER THE HEDGE
102
2006, —ÿ¿, 97 ÏËÌ., ˆ‚., Dolby SRD
2006, USA, 97 min, colour, Dolby SRD
–ÂÊËÒÒÂ˚ “ËÏ ƒÊÓÌÒÓÌ Ë ü˝Ë üËÍÔ‡ÚËÍ
Directors Tim Johnson, Karey Kirkpatrick
¿‚ÚÓ˚ ÒˆÂ̇ˡ ÇÈÍÎ ‘‡È, “Ë À¸˛ËÒ, ÀÂÌ ¡ÎÛÏ,
Scriptwriters Michael Fry, T. Lewis,
ü˝Ë üËÍÔ‡ÚËÍ
Len Blum, Karey Kirkpatrick
’Û‰ÓÊÌËÍ-ÔÓÒÚ‡ÌÓ‚˘ËÍ ü‡ÚË ¿Î¸ÚÎÂË
Music Ben Folds (songs), Rupert Gregson-Williams
üÓÒÚ˛Ï˚ ƒÊÂÈÌ œÛθ
Production Design Kathy Altieri
ÃÛÁ˚͇ ¡ÂÌ ‘Óθ‰Ò (ÔÂÒÌË), –ÛÔÂÚ √„ÒÓÌ-”ËθˇÏÒ
Costume Design Jane Poole
–ÓÎË ÓÁ‚Û˜ËÎË: ¡˛Ò ”ËÎÎËÒ (‚ ÓÒÒËÈÒÍÓÏ ÔÓ͇Ú ñ
Cast (voices): Bruce Willis (Gosha Kutsenko ñ in Russian
√Ó¯‡ üÛˆÂÌÍÓ), √˝Ë ÿ˝Ì‰ÎËÌ„, —ÚË‚ ü˝ÂÎ, ”ËθˇÏ
version), Garry Shandling, Steve Carell, William Shatner,
ÿ‡ÚÌÂ, ¿‚ËÎ À‡‚Ë̸, fi‰ÊËÌ À‚Ë, ÕËÍ ÕÓÎÚË,
Avril Lavigne, Eugene Levy, Nick Nolte, Omid Djalili
ŒÏˉ ƒÊ‡ÎËÎË
œÓ‰˛ÒÂ ¡ÓÌÌË ¿ÌÓθ‰
Producer Bonnie Arnold
œÓËÁ‚Ó‰ÒÚ‚Ó DreamWorks Animation
Production DreamWorks Animation
œÓÍ‡Ú United International Pictures ñ UIP
Distribution United International Pictures ñ UIP
www.overthehedgemovie.com
www.overthehedgemovie.com
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
103
¿ÌËχˆËÓÌ̇ˇ ÍÓωˡ.
œ˯· ‚ÂÒ̇. ◊ÂÂÔ‡¯Í‡ ¬ÂÌË Ë Â„Ó ‰ÛÁ¸ˇ ÔÓ·Û‰ËÎËÒ¸ ÓÚ ‰Ó΄ÓÈ
ÁËÏÌÂÈ ÒÔˇ˜ÍË Ë Í Ò‚ÓÂÏÛ Û‰Ë‚ÎÂÌ˲ ӷ̇ÛÊËÎË, ˜ÚÓ Ëı ÎÂÒÓÍ ÓÍÛÊÂÌ
·ÂÒÍ‡ÈÌÂÈ ÁÂÎÂÌÓÈ ËÁ„ÓÓ‰¸˛. ’ËÚ˚È ÂÌÓÚ ›ƒÊÂÈ ÔÓˇÒÌËÎ, ˜ÚÓ ÏË ÔÓ
ÚÛ ÒÚÓÓÌÛ ËÁ„ÓÓ‰Ë Ì‡Á˚‚‡ÂÚÒˇ ´‚ÓÓÚ‡ÏË ‚ ıÓÓ¯Û˛ ÊËÁ̸ª, Ë·Ó Ú‡Ï
Ó·ËÚ‡˛Ú ÒÚ‡ÌÌ˚ ÒÛ˘ÂÒÚ‚‡, ̇Á˚‚‡ÂÏ˚ β‰¸ÏË, ÍÓÚÓ˚ ÊË‚ÛÚ, ˜ÚÓ·˚
ÂÒÚ¸. ŒÒÚÓÓÊÌ˚È ¬ÂÌË ıÓ˜ÂÚ Û‰Âʇڸ Ò‚Ó˛ ÒÂϸ˛ ÔÓ ˝ÚÛ ÒÚÓÓÌÛ
ËÁ„ÓÓ‰Ë, ÌÓ ›ƒÊÂÈ ‰Ó͇Á˚‚‡ÂÚ ÂÏÛ, ˜ÚÓ ˜ÂÎӂ˜ÂÒÍËÈ ÏÛÒÓ Ô‰ÒÚ‡‚ΡÂÚ
‰Îˇ ÊË‚ÓÚÌ˚ı ÌÂËÒÒˇÍ‡ÂÏ˚È Ó„ ËÁÓ·ËÎˡ. »Ï¡ ÍÓÂ-͇ÍË Á‡‰ÌË Ï˚ÒÎË,
ÓÌ Û„Ó‚‡Ë‚‡ÂÚ Ï‡ÎÂ̸ÍËı Ó·ËÚ‡ÚÂÎÂÈ ÎÂÒ‡ ÌË˜Â„Ó Ì ·ÓˇÚ¸Òˇ Ë
̇Ò·ʉ‡Ú¸Òˇ ÔÎÓ‰‡ÏË ˆË‚ËÎËÁ‡ˆËË. ¬ÏÂÒÚ ÊË‚ÓÚÌ˚ ‚˚ıÓ‰ˇÚ ̇ ÓıÓÚÛ Á‡
‚ÒÂÏ ÚÂÏ, ˜ÚÓ ÔÎÓıÓ ÎÂÊËÚÖ.
Animation comedy.
Spring has come. The turtle Verne and its friends have woken up after a long
hibernation, and to their surprise they find their forest surrounded by an
endless green fence. The clever raccoon RJ explains that the world on that side
of the fence is called ìa gate to good lifeî, because its inhabitants re strange
beings called people, who live to eat. The cautious Verne wants to keep his
family on this side of the fence, but RJ proves to him that the rubbish from
the people represents an inexhaustible horn of plenty for animals. With some
ulterior motives he persuades the small creatures of the forest not to be afraid
of anything and to enjoy the fruits of civilization. Together the animals leave
for a hunt on everything that lays wasteÖ
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
Õ»ü“Œ Õ≈ «Õ¿≈“ œ–Œ —≈ü—
NOBODY KNOWS SEX
104
2006, –ÓÒÒˡ, 97 ÏËÌ., ˆ‚., 1:2.35, Dolby SRD
2006, Russia, 97 min, colour, 1:2.35, Dolby SRD
–ÂÊËÒÒÂ ¿ÎÂÍÒÂÈ √Ó‰Â‚
Director Alexei Gordeev
¿‚ÚÓ ÒˆÂ̇ˡ ƒÂÌËÒ –Ó‰ËÏËÌ
Scriptwriter Denis Rodimin
ŒÔÂ‡ÚÓ ŒÎ„ ÀÛ͢‚
Camera Oleg Lukichiov
’Û‰ÓÊÌËÍ —Â„ÂÈ “˚ËÌ
Art Director Sergei Tyrin
üÓÒÚ˛Ï˚ ≈ÎÂ̇ ÀÛ͸ˇÌÓ‚‡
Costumes Elena Lukianova
üÓÏÔÓÁËÚÓ »Î¸ˇ ÿËÔËÎÓ‚
Composer Ilya Shipilov
«‚ÛÍ ¿Ì‰ÂÈ üÓËÌÒÍËÈ
Sound Andrey Korinsky
¬ ÓΡı: ÕËÍÓÎ‡È Ã‡˜ÛθÒÍËÈ, Çˡ √Ó̘‡, üËËÎÎ
Cast: Nikolai Machulsky, Maria Gonchar, Kirill Konakhin, VJ
üÓ̇ıËÌ, VJ ¿‚Ó‡, ÇÍÒËÏ üÓÌÓ‚‡ÎÓ‚, ≈ÎÂ̇ flÍӂ΂‡,
Aurora, Maxim Konovalov, Elena Yakovleva, Mikhail
ÃËı‡ËÎ ≈ÙÂÏÓ‚, ¿ÎÂÍ҇̉ ¡‡¯ËÓ‚, ¿Ì‡ÚÓÎËÈ üÛÁ̈ӂ
Efremov, Alexander Bashirov, Anatoly Kuznetsov
œÓ‰˛ÒÂ˚ —Â„ÂÈ ƒ‡ÌËÂΡÌ, ¿‡Ï ÃÓ‚ÒÂÒˇÌ, fiËÈ ÃÓÓÁ
Producers Sergei Danielian, Aram Movsesian,
œÓËÁ‚Ó‰ÒÚ‚Ó —ÚÛ‰Ëˇ ´—ÀŒÕª
Yuri Moroz (Central Partnership)
œÓ Á‡Í‡ÁÛ ´÷ÂÌÚ‡Î œ‡ÚÌÂ¯ËÔª
Production SLON Studio, Central Partnership
œÓÍ‡Ú ´÷ÂÌÚ‡Î œ‡ÚÌÂ¯ËÔª
Distribution Central Partnership
www.centpart.ru
www.centpart.ru
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
¿ÎÂÍÒÂÈ √Ó‰Â‚
–ÂÊËÒÒÂ, ÒˆÂ̇ËÒÚ, ÔÓ‰˛ÒÂ.
‘ËθÏÓ„‡Ùˡ ÂÊËÒÒÂ‡:
2001 ....¿Ì„ÂÎ˚ (Í/Ï)
2002 ....√·Á‡ÏË Ò‡‰Ó‚ÌË͇
(Í/Ï, ÍÛÒÓ‚‡ˇ ¬ü—–)
2004 ....Hello, ƒÓıÎ˚È!
2006 ....ÕËÍÚÓ Ì Á̇ÂÚ ÔÓ ÒÂÍÒ
Alexei Gordeev
Director, scriptwriter, producer.
105
ÃÓÎÓ‰ÂÊ̇ˇ ÍÓωˡ.
ÃÓÎÓ‰ÓÈ ÔÓ‚Ë̈ˇΠ≈„Ó ÒÎÛ˜‡ÈÌÓ Á̇ÍÓÏËÚÒˇ Ò
Filmography:
2001 ....Angels (short)
ÚÂÎÂ‚Â‰Û˘ÂÈ ¿Ì„ÂÎËÌÓÈ Ë ÓÚÔ‡‚ΡÂÚÒˇ ‚ ÃÓÒÍ‚Û
2002 ....Through the Eyes of a Gardener
ÊÂÌËÚ¸Òˇ. œË‚˚ÍÌÛÚ¸ Í ÒÚÓ΢ÌÓÏÛ ÚÂÏÔÛ ÊËÁÌË ≈„ÓÛ
(short, coursework Higher Courses)
2004 ....Hello, Sickly!
ÌÂÔÓÒÚÓ. ¬ÒÂ Â„Ó Á̇Ìˡ Ó ÏË ӄ‡Ì˘ÂÌ˚ ÚÂÏ, ˜ÚÓ ÓÌ
2006 ....Nobody Knows Sex
ÛÁ̇Π‚ Ó‰ÌÓÈ Ú‡È„Â, Ë ÚÂÏ, ˜ÚÓ ‡ÒÒ͇Á‡Î ÂÏÛ
‰ËÌÒÚ‚ÂÌÌ˚È Ó‰ÒÚ‚ÂÌÌËÍ ó ÒÚ‡˚È ‰Â‰-ÓıÓÚÌËÍ. ≈„ÓÛ
Ô‰ÒÚÓËÚ ÔÓÈÚË ËÒÔ˚Ú‡ÌË ËÒÔÓ˜ÂÌÌÓÈ ÒÚÓÎˈÂÈ,
‚ÒÚÂÚËÚ¸ ̇ÒÚÓˇ˘Û˛ β·Ó‚¸ Ë ‚Ò ÛÁ̇ڸ ÔÓ ÒÂÍÒ.
Youth comedy.
The young provincial lad Egor has a chance encounter with
the television presenter Angelina and goes to Moscow to
marry. Egor has no easy job to adapt to the pace of life in
the capital. His knowledge of the world is limited to his
experiences of his native taiga, and to the stories told by his
only relative ñ his granddad, and old hunter. Egor has to
pass the test of the spoiled capital, meet his real love, and
find out everything about sex.
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
Œ’Œ“¿ Õ¿ œ»–¿Õ‹fi
HUNTING FOR PIRANHA
106
2006, –ÓÒÒˡ, 125 ÏËÌ., ˆ‚., 1:2.35, Dolby Digital 5.1
2006, Russia, 125 min, colour, 1:2.35, Dolby Digital 5.1
–ÂÊËÒÒÂ ¿Ì‰ÂÈ ü‡‚ÛÌ
Director Andrei Kavun
¿‚ÚÓ ÒˆÂ̇ˡ ƒÏËÚËÈ «‚Â¸ÍÓ‚
Scriptwriter Dmitry Zveríkov
(ÔÓ Ó‰ÌÓËÏÂÌÌÓÈ ÍÌË„Â ¿ÎÂÍ҇̉‡ ¡Û¯ÍÓ‚‡)
Novel by Alexander Bushkov
ŒÔÂ‡ÚÓ –ÓÏ‡Ì ¬‡Ò¸ˇÌÓ‚
Camera Roman Vasianov
’Û‰ÓÊÌËÍ »„Ó¸ ŸÂÎÓÍÓ‚
Art Director Igor Shchyolokov
üÓÒÚ˛Ï˚ À˛‰ÏË· √‡Ë̈‚‡
Costumes Lyudmila Gaintseva
üÓÏÔÓÁËÚÓ˚ ƒÏËÚËÈ “‡‡‚ÍÓ‚, ¬ËÚ‡ÎËÈ ¿ÚËÒÚ
Music Dmitry Taravkov, Vitaly Artist
«‚ÛÍ —Â„ÂÈ ◊ÛÔÓ‚
Soun Sergei Chuprov
¬ ÓΡı: ¬Î‡‰ËÏË ǯÍÓ‚, ≈‚„ÂÌËÈ ÃËÓÌÓ‚, —‚ÂÚ·̇
Cast: Vladimir Mashkov, Evgeny Mironov, Svetlana Antonova,
¿ÌÚÓÌÓ‚‡, —Â„ÂÈ √‡χ¯, ¬ËÍÚÓˡ »Ò‡ÍÓ‚‡, ¿Ì‰ÂÈ
Sergei Garmash, Victoria Isakova, Andrei Merzlikin, Alexei
ÃÂÁÎËÍËÌ, ¿ÎÂÍÒÂÈ √Ó·ÛÌÓ‚, ¿Ì̇ ¡‡Ì˘ËÍÓ‚‡,
Gorbunov, Anna Banshchikova, Mikhail Efremov
ÃËı‡ËÎ ≈ÙÂÏÓ‚
Producers Racoon-TV
œÓ‰˛ÒÂ˚ ¬‡ÎÂËÈ “Ó‰ÓÓ‚ÒÍËÈ, »Î¸ˇ ÕÂÂÚËÌ
Distribution Central Partnership
œÓËÁ‚Ó‰ÒÚ‚Ó ´–ÂÍÛÌ-“¬ª
www.piraniafilm.ru
œÓÍ‡Ú ´÷ÂÌÚ‡Î œ‡ÚÌÂ¯ËÔª
www.piraniafilm.ru
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
¿Ì‰ÂÈ ü‡‚ÛÌ
ñ ÒˆÂ̇ËÒÚ, ÂÊËÒÒÂ, ‡ÍÚÂ.
‘ËθÏÓ„‡Ùˡ ÂÊËÒÒÂ‡:
2004 ....üÛÒ‡ÌÚ˚ (ÒÂˇÎ)
2004 ....¬ÓÍÁ‡Î (ÒÂˇÎ)
2004 ....üÓχ̉‡ (ÒÂˇÎ)
2006 ....ŒıÓÚ‡ ̇ ÔË‡Ì¸˛
107
Andrei Kavun
Scriptwriter, Director, Actor.
Directorís Filmography:
2004 ....Couriers (serial)
2004 ....The Railway Station (serial)
2004 ....The Command Unit (serial)
2006 ....Hunting for Piranha
¡Ó‚ËÍ ÔÓ Ó‰ÌÓËÏÂÌÌÓÏÛ ÓχÌÛ ¿ÎÂÍ҇̉‡ ¡Û¯ÍÓ‚‡.
¿„ÂÌÚ ÒÔˆÔÓ‰‡Á‰ÂÎÂÌˡ ´œË‡Ì¸ˇª üËËÎΠÇÁÛ Ò
ÍÓÎ΄ÓÈ ŒÎ¸„ÓÈ Ì‡Ô‡‚Ρ˛ÚÒˇ ̇ —‚Â Ò Á‡‰‡ÌËÂÏ
ÎË͂ˉËÓ‚‡Ú¸ ÒÍ·‰ ÒÂÍÂÚÌÓ„Ó ÓÛÊˡ. ÕÂÓÊˉ‡ÌÌÓ ÓÌË
Ó͇Á˚‚‡˛ÚÒˇ ‚ ÏËÂ, „‰Â Á‡ÍÓÌ˚ ˆË‚ËÎËÁ‡ˆËË Á‡·˚Ú˚, ‡
ÒÏÂÚÓÌÓÒÌÓ ÓÛÊË Á‡ı‚‡˜ÂÌÓ ·‡Ì‰ËÚ‡ÏË ÔÓ‰
Ô‰‚Ó‰ËÚÂθÒÚ‚ÓÏ ÌÓ‚Ó„Ó ´ıÓÁˇË̇ ڇȄ˪, œÓıÓ‡,
ÍÓÚÓ˚È Ì‡ ‰ÓÒÛ„Â ‡Á‚ÎÂ͇ÂÚÒˇ ̇ÒÚÓˇ˘ÂÈ ÓıÓÚÓÈ Ì‡
β‰ÂÈÖ
Action film based on the novel of the same title by Alexander
Bushkov.
Under the guise of a romantic couple on vacation, secret
service officer Kirill Mazur and his colleague Olga go to the
Russian Taiga. Their mission is to destroy a biological
ammunition storage. They get trapped in a world where
human rules are scorned and the deadly weapon is seized by
gangsters. The gangís leader, ëProkhorí, is a powerful and
influential villain, who makes up his own rules. His hobby is
huntingÖfor people. Mazur had never dreamt he would
change his high-tech gun for a self-made ivory knife. Neither
did he expect having to rescue his beloved companion and
himself before saving the world. Mazur eventually learns that
survival is a game without rulesÖ
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
œ»“≈– FM
PITER FM
108
2006, –ÓÒÒˡ, 85 ÏËÌ., ˆ‚., 1:1.66, Dolby SRD
2006, Russia, 85 min, colour, 1:1.66, Dolby SRD
–ÂÊËÒÒÂ ŒÍ҇̇ ¡˚˜ÍÓ‚‡
Director Oksana Bychkova
¿‚ÚÓ˚ ÒˆÂ̇ˡ Շ̇ √Ë̯ÚÂÈÌ, ŒÍ҇̇ ¡˚˜ÍÓ‚‡
Scriptwriters Nana Grinshtein, Oksana Bychkova
ŒÔÂ‡ÚÓ »‚‡Ì √Û‰ÍÓ‚
Camera Ivan Gudkov
’Û‰ÓÊÌËÍ »„Ó¸ üÓˆ‡‚
Art Director Igor Kotsarev
üÓÒÚ˛Ï˚ ŒÎ¸„‡ ¡˚˜ÍÓ‚‡
Costumes Olga Bychkova
üÓÏÔÓÁËÚÓ üËËÎÎ œËÓ„Ó‚
Composer Kirill Pirogov
«‚ÛÍ fiÎˡ ≈„ÓÓ‚‡
Sound Yulia Egorova
¬ ÓΡı: ≈͇ÚÂË̇ ‘‰ÛÎÓ‚‡, ≈‚„ÂÌËÈ ÷˚„‡ÌÓ‚, ¿ÎÂÍÒÂÈ
Cast: Ekaterina Fedulova, Evgeny Tsyganov, Alexei Barabash,
¡‡‡·‡¯, »Ë̇ –‡ıχÌÓ‚‡, Շڇθˇ –‚‡, ŒÎ„ ƒÓÎËÌ,
Irina Rakhmanova, Natalia Ryova, Oleg Dolin, Evgeny
≈‚„ÂÌËÈ üÛ·ÍÓ‚, üËËÎÎ œËÓ„Ó‚, “‡Ú¸ˇÌ‡ ü‡‚˜ÂÌÍÓ,
Kulakov, Kirill Pirogov, Tatiana Kravchenko, Alexander
¿ÎÂÍ҇̉ ¡‡¯ËÓ‚, ¿ÚÂÏ —ÂχÍËÌ, ¿ÎÂÍ҇̉ ’‚‡Ì,
Bashirov, Artyom Semakin, Alexander Khvan, Andrei Krasko,
¿Ì‰ÂÈ ü‡ÒÍÓ, ¬Î‡‰ËÏË ǯÍÓ‚
Vladimir Mashkov
√ÂÌÂ‡Î¸Ì˚ ÔÓ‰˛ÒÂ˚ ¿ÎÂÍ҇̉ –Ó‰ÌˇÌÒÍËÈ,
General Producers Alexander Rodniansky, Igor Tolstunov
»„Ó¸ “ÓÎÒÚÛÌÓ‚
Producers Elena Glikman, Anna Kagarlitskaia
œÓ‰˛ÒÂ˚ ≈ÎÂ̇ √ÎËÍχÌ, ¿Ì̇ ü‡„‡Îˈ͇ˇ
Production CTC Television, ProFIT, Protel with participation
œÓËÁ‚Ó‰ÒÚ‚Ó “ÂÎÂ͇̇Π—“—, ´œÓ‘»“ª, ´œÓÚÂΪ,
of the Federal Agency for Culture and Cinematography
ÔË Û˜‡ÒÚËË ‘‰Â‡Î¸ÌÓ„Ó ‡„ÂÌÚÒÚ‚‡ ÔÓ ÍÛθÚÛÂ
Distribution Gemini Film
Ë ÍËÌÂχÚÓ„‡ÙËË
www.piter-fm.ru
œÓÍ‡Ú ´√ÂÏËÌË ÙËθϪ
www.piter-fm.ru
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
ŒÍ҇̇ ¡˚˜ÍÓ‚‡
üËÌÓÂÊËÒÒÂ Ë ÒˆÂ̇ËÒÚ.
‘ËθÏÓ„‡Ùˡ:
2001 ....ƒ‚ ÒÚÓÓÌ˚ ÒÚÂÍ·
(Í/Ï, ۘ·̇ˇ ñ ¬ü—–)
2002 ....“Ë ÒÂÒÚ˚ (Í/Ï, ÍÛÒÓ‚‡ˇ)
2006 ....œËÚÂ FM (‰Â·˛Ú)
109
Oksana Bychkova
Film director, scriptwriter.
Filmography:
2001 ....Two Sides of Glass
(short, practical, Higher Courses)
2002 ....Three Sisters (short, coursework)
2006 ....Piter FM (debut)
ÃÓÎÓ‰ÂÊ̇ˇ ÓχÌÚ˘ÂÒ͇ˇ ÍÓωˡ.
ǯ‡ ñ ‰Ë-‰ÊÂÈ Ì‡ ÔÓÔÛΡÌÓÏ ÔËÚÂÒÍÓÏ ‡‰ËÓ, ÇÍÒËÏ ñ ÏÓÎÓ‰ÓÈ
‡ıËÚÂÍÚÓ. ǯ‡ „ÓÚÓ‚ËÚÒˇ Í Ò‚‡‰¸·Â Ò ·˚‚¯ËÏ Ó‰ÌÓÍ·ÒÒÌËÍÓÏ, ÇÍÒËÏ
Ôӷ‰ËÎ ‚ ÏÂʉÛ̇Ó‰ÌÓÏ ÍÓÌÍÛÒ ‡ıËÚÂÍÚÓÓ‚ Ë ÒÓ·Ë‡ÂÚÒˇ ̇ ‡·ÓÚÛ ‚
√ÂχÌ˲. ÕÓ Ó·‡ ÓÌË Ì ۂÂÂÌ˚, ˜ÚÓ ËÏ ÌÛÊÌÓ ËÏÂÌÌÓ ˝ÚÓ. ÇÍÒËχ
Û‰ÂÊË‚‡ÂÚ ‚ œËÚÂ β·Ó‚¸ Í ‰Â‚Û¯ÍÂ, ÍÓÚÓ‡ˇ Â„Ó ÓÒÚ‡‚Ë·, ‡ ǯ‡
˜Û‚ÒÚ‚ÛÂÚ, ˜ÚÓ Â ÊÂÌËı üÓÒÚˇ ñ ÒÓ‚ÒÂÏ Ì ÚÓÚ ˜ÂÎÓ‚ÂÍ, ·ÂÁ ÍÓÚÓÓ„Ó Ó̇ ·˚
Ì Ïӄ· ÊËÚ¸. » ÍÚÓ Á̇ÂÚ, Í‡Í ·˚ ÔÓ‚ÂÌÛ·Ҹ Ëı ÒÛ‰¸·‡, ÂÒÎË ·˚ ÌÂ
ÒÎÛ˜‡È ñ ǯ‡ ÚÂˇÂÚ ÏÓ·ËθÌ˚È ÚÂÎÂÙÓÌ, ‡ ÇÍÒËÏ Â„Ó Ì‡ıÓ‰ËÚÖ
œÛθÒËÛ˛˘ËÈ Ó„‡ÌËÁÏ Ï„‡ÔÓÎËÒ‡, „Ó¸ÍË ‡ÒÒÚ‡‚‡Ìˡ Ë ÌÓ‚˚ ‚ÒÚ˜Ë,
̇ÍÓ̈ Ò‡ÏÓ ‚ÂÏˇ, ‚ ÍÓÚÓÓÏ ÊË‚ÛÚ „ÂÓË, ÚÂÒÌÓ ÔÂÂÔÎÂÚÛÚÒˇ, ˜ÚÓ·˚
ÔË‚ÂÒÚË Ëı ‰Û„ Í ‰Û„Û.
Romantic youth comedy.
Masha, a DJ with a popular Petersburg radio station; Maxim, a young
architect. Masha prepares for her wedding to her former schoolmate; Maxim
has won an international architectsí competition and prepares to go to work in
Germany. But neither of them is sure that this is what they need. Maxim is
attached to the city because of an old flame, who left him; Masha feels that
her fianc Kostia is not at all the person with whom she wants to be. And who
knows how their lives would have developed had it not been for chance: Masha
loses her mobile phone and Maxim finds itÖ the pulsating organism of the
megapolis, bitter separations and new encounters, and the time in which the
protagonists live are closely woven together in order to bring the two heroes
closer to each other.
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
—¬ŒÀŒ◊»
BASTARDS
110
2005, –ÓÒÒˡ, 96 ÏËÌ., ˆ‚., 1:2.35, Dolby Digital 5.1
2005, Russia, 96 min, colour, 1:2.35, Dolby Digital 5.1
–ÂÊËÒÒÂ ¿ÎÂÍ҇̉ ¿Ú‡ÌÂÒˇÌ
Director Alexander Atanisian
¿‚ÚÓ˚ ÒˆÂ̇ˡ ¬Î‡‰ËÏË üÛÌËÌ, ¿ÎÂÍ҇̉ ¿Ú‡ÌÂÒˇÌ
Scriptwriters Vladimir Kunin, Alexander Atanesian
ŒÔÂ‡ÚÓ ƒÏËÚËÈ fl¯ÓÌÍÓ‚
Camera Dmitry Yashonkov
’Û‰ÓÊÌËÍ Ã‡ÍÒËÏ ‘ÂÒ˛Ì
Art Director Maxim Fesiun
üÓÒÚ˛Ï˚ ¿ÎÂÍÒÂÈ ü‡Ï˚¯Ó‚, ≈ÎÂ̇ —Ú‡ÌÍ‚‡
Costumes Alexei Kamyshov, Elena Stankeeva
üÓÏÔÓÁËÚÓ ¿͇‰ËÈ ”ÍÛÔÌËÍ
Composer Arkady Ukupnik
«‚ÛÍ fiÎˡ ≈„ÓÓ‚‡
Sound Yulia Egorova
¬ ÓΡı: ¿Ì‰ÂÈ œ‡ÌËÌ, ¿Ì‰ÂÈ ü‡ÒÍÓ, —Â„ÂÈ –˚˜ÂÌÍÓ‚,
Cast: Andrei Panin, Andrei Krasko, Sergei Rychenkov,
¿ÎÂÍ҇̉ √ÓÎÓ‚ËÌ, ¬Î‡‰ËÏË ü‡¯ÔÛ, ¬Î‡‰ËÏË ¿Ì‰‚,
Alexander Golovin, Vladimir Kashpur, Vladimir Andreev,
ƒÂÌËÒ ü‡‡Ò‚, –ÓÒÚËÒ·‚ ¡Â¯‡Û˝, ¿ÎÂÍ҇̉ ÕËÍÛÎËÌ,
Denis Karasiov, Rostislav Bershauer, Alexander Nikulin,
¬‡‰ËÏ üÓ΄‡ÌÓ‚, —ÂÏÂÌ —Ë‚ÍÓ‚, ƒÏËÚËÈ √Ó‚ÓÈ
Vadim Kolganov, Semion Sivkov, Dmitry Gorevoy
œÓ‰˛ÒÂ˚ √‚Ó„ ÕÂÒËÒˇÌ, fiËÈ üÛ¯ÌÂ‚
Producers Gevorg Nersisian, Yuri Kushneriov
œÓËÁ‚Ó‰ÒÚ‚Ó œÓ‰˛ÒÂÒÍËÈ ˆÂÌÚ ´œ‡‡‰ËÁª,
Production Paradise Film Production, Ritm Company with
ÍËÌÓÚÂ΂ËÁËÓÌ̇ˇ ÍÓÏÔ‡Ìˡ ´–ËÚϪ, ÔË Û˜‡ÒÚËË
participation of the Federal Agency for Culture and
‘‰Â‡Î¸ÌÓ„Ó ‡„ÂÌÚÒÚ‚‡ ÔÓ ÍÛθÚÛÂ Ë ÍËÌÂχÚÓ„‡ÙËË
Cinematography
œÓÍ‡Ú ¿„ÂÌÚÒÚ‚Ó ´œ‡‡‰ËÁª
Distribution Paradise Agency
www.svolochifilm.ru
www.svolochifilm.ru
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
¿ÎÂÍ҇̉ ¿Ú‡ÌÂÒˇÌ
œÓ‰˛ÒÂ, ÂÊËÒÒÂ, ‡ÍÚÂ, ÒˆÂ̇ËÒÚ,
·ÛÂ‡Ú ÔÓÙÂÒÒËÓ̇θÌ˚ı ÍËÌÓÔÂÏËÈ.
¿Í‡‰ÂÏËÍ ‡Í‡‰ÂÏËË ÍËÌÂχÚÓ„‡Ù˘ÂÒÍËı
ËÒÍÛÒÒÚ‚ ´Õ»ü¿ª, ˜ÎÂÌ Ô‡‚ÎÂÌˡ √Ëθ‰ËË
üËÌÓÔÓ‰˛ÒÂÓ‚ –ÓÒÒËË,
˜ÎÂÌ Ô‡‚ÎÂÌˡ —Ó˛Á‡ ÍËÌÂχÚÓ„‡ÙËÒÚÓ‚
–ÓÒÒËË, „ÂÌÂ‡Î¸Ì˚È ‰ËÂÍÚÓ ÍÓÏÔ‡ÌËË
´¿Ì„ÂÎ-ÙËθϪ (ÃÓÒÍ‚‡).
111
‘ËθÏÓ„‡Ùˡ ÂÊËÒÒÂ‡ (Ë„Ó‚Ó ÍËÌÓ):
2000 ....24 ˜‡Ò‡
2002 ....ÀÂÚÌËÈ ‰Óʉ¸
2005 ....◊ÂÎÓ‚ÂÍ-‡ÏÙ˷ˡ
2005 ....—‚ÓÎÓ˜Ë
2006 ....”.≈. (ÒÂˇÎ)
Alexander Atanesian
Producer, director, actor, script writer,
winner of professional film-prizes. Member of
academy of cinema arts ´NIKAª, member of
board of Guild of Film producers of Russia,
member of board of the Union of
cinematographers of Russia, general manager
´Angel-filmª (Moscow).
Filmography as director (feature films):
2000 ....24 Hours
2002 ....Summer Rain
2005 ....Amphibian Man
2005 ....Bastards
√ÂÓ˘ÂÒ͇ˇ ‰‡Ï‡ ÔÓ Ó‰ÌÓËÏÂÌÌÓÈ ÔÓ‚ÂÒÚË ¬Î‡‰ËÏË‡ üÛÌË̇.
2006 ....”.≈. (serial)
1943 „Ó‰, ¬ÂÎË͇ˇ ŒÚ˜ÂÒÚ‚ÂÌ̇ˇ ‚ÓÈ̇. ƒÎˇ ‚˚ÔÓÎÌÂÌˡ ÒÂÍÂÚÌÓ„Ó
Ô‡‚ËÚÂθÒÚ‚ÂÌÌÓ„Ó Á‡‰‡Ìˡ ËÁ Á‡Íβ˜ÂÌˡ ÓÒ‚Ó·Óʉ‡ÂÚÒˇ ÔÓÎÍÓ‚ÌËÍ
¬Ë¯Ì‚ˆÍËÈ. ¡˚‚¯ÂÏÛ ÒÔÓÚÒÏÂÌÛ Ë ‡Î¸ÔËÌËÒÚÛ ÔÓÛ˜‡ÂÚÒˇ ̇·‡Ú¸
„ÛÔÔÛ ËÁ ÓÚ˜‡ˇÌÌ˚ı χθ˜Ë¯ÂÍ 14-15 ÎÂÚ, ÒËÓÚ, ÍÓÚÓ˚ı ÌËÍÚÓ ÌËÍÓ„‰‡
Ì ·Û‰ÂÚ ËÒ͇ڸ. œÓ‰ÓÒÚÍÓ‚ ÓÚÔ‡‚Ρ˛Ú ‚ Ú‡ÈÌ˚È „ÓÌ˚È Î‡„Â¸, „‰Â ÓÌË
ÔÓıÓ‰ˇÚ ÒÔˆˇθÌÛ˛ ÔÓ‰„ÓÚÓ‚ÍÛ. »Ï Ô‰̇Á̇˜ÂÌÓ ÛÌ˘ÚÓÊËÚ¸
‡Î¸ÔËÈÒÍÛ˛ Ù‡¯ËÒÚÒÍÛ˛ ‚ÓÂÌÌÛ˛ ·‡ÁÛ ´√ÂÙβ„ÂθıÓÙª ‰Ë‚ËÁËË
´›‰Âθ‚ÂÈÒª...
Heroic drama based on the story of the same title by Vladimir Kunin
1943, Great Patriotic War. In order to carry out a confidential governmental
task, colonel Vishnevetsky is released from confinement. The former sportsman
and climber is entrusted with building a group from desperate orphans aged
14-15 years, whom nobody will ever search for. The teenagers are sent to a
secret mountain camp, where they undergo a special training programme. The
plan is to destroy the fascist Alpine military base ìGefluegelhofî of the
Edelweiss Division, which is based in the Caucasus...
www.kinotavr.ru
ÒÔˆˇθÌ˚È ÔÓ͇Á
special screening
‚ÓÁ‚‡˘ÂÌÌ˚ ¯Â‰Â‚˚
(ÂÍÓÌÒÚÛÍˆËˇ ´ÔÓ„Ë·¯Ëıª ÙËθÏÓ‚)
RETURNED MASTERPIECES
(RECONSTRUCTION OF "LOST" FILMS)
‡ÌÚÓÎӄˡ ÓÒÒËÈÒÍÓ„Ó ÍËÌÓ
ANTHOLOGY OF RUSSIAN CINEMA
ÍËÌÓ ´ÒËÌ هÌÚÓϪ:
CINEMA OF "CINE FANTOM":
͇ÒÚËÌ„
THE CASTING
‚Ó΄‡-‚Ó΄‡
VOLGA-VOLGA
ÒÛχү‰¯ËÈ ÔË̈ ˝ÒÙË¸
MAD PRINCE ESTHER
113
ÒÔˆˇθÌ˚È ÔÓ͇Á
special screening
—ÚÛ‰Ëˇ Õ›÷ü» ËÏÂÌË —‡‚‚˚ üÛÎ˯‡
œ‰ÒÚ‡‚ΡÂÚ ÔÓÂÍÚ
¬Œ«¬–¿Ÿ≈ÕÕ¤≈ ÿ≈ƒ≈¬–¤
(ÂÍÓÌÒÚÛÍˆËˇ ´ÔÓ„Ë·¯Ëıª ÙËθÏÓ‚)
¿‚ÚÓ ÂÍÓÌÒÚÛ͈ËÈ ÕËÍÓÎ‡È »Á‚ÓÎÓ‚
œÓ‰˛ÒÂ ¿ÌÓθ‰ √ËÒÍËÌ
œÓËÁ‚Ó‰ÒÚ‚Ó üËÌÓÒÚÛ‰Ëˇ Õ›÷ü» ËÏÂÌË —‡‚‚˚ üÛÎ˯‡
2005, –ÓÒÒˡ, Betacam SP
ÎËÚÂ‡ÚÛÌ˚ı) ‚ÓÁÏÓÊÌÓ Ò‚ÓÂÓ·‡ÁÌÓ ´‚ÓÒÒÓÁ‰‡Ì˪ ˝ÚËı
ÙËθÏÓ‚ ‚ ÔÓÒÚ‡ÌÒÚ‚ÂÌÌÓ-‚ÂÏÂÌÌÓÏ ‚ˉÂ. ÷ËÙÓ‚˚Â
ÚÂıÌÓÎÓ„ËË ‰Â·˛Ú ˝ÚÓÚ ÔÓˆÂÒÒ ‚ÓÁÏÓÊÌ˚Ï ‰Îˇ Û˜ÂÌ˚ı, ‡
ÂÁÛÎ¸Ú‡Ú ˝ÚÓÚ ‡·ÓÚ˚ ñ ‰ÓÒÚÛÔÌ˚Ï ‰Îˇ Ó„ÓÏÌÓ„Ó ÍÛ„‡
Á‡ËÌÚÂÂÒÓ‚‡ÌÌ˚ı Îˈ.
œÓ ÒÚ‡ÚËÒÚËÍÂ, Í Ì‡ÒÚÓˇ˘ÂÏÛ ‚ÂÏÂÌË ËÁ ‚ÒÂı ÙËθÏÓ‚
ÏËÓ‚Ó„Ó ÍËÌÓ ´ÌÂÏÓ„Ó ÔÂËÓ‰‡ª ÔÓ„Ë·ÎÓ ÓÍÓÎÓ 80
ÔÓˆÂÌÚÓ‚. ¬ ˝ÚÓ ˜ËÒÎÓ ‚ıÓ‰ˇÚ ͇ÚËÌ˚, ‚ Ò‚Ó ‚ÂÏˇ
ËÏ‚¯Ë ӄÓÏÌÓ Á̇˜ÂÌË ‰Îˇ ‡Á‚ËÚˡ ˇÁ˚͇ ÍËÌÓ, „Ó
̇‡ÚË‚Ì˚ı Ë ‚˚‡ÁËÚÂθÌ˚ı Ò‰ÒÚ‚.
œ‰˚‰Û˘Ë ÂÍÓÌÒÚÛ͈ËË ÕËÍÓ·ˇ »Á‚ÓÎÓ‚‡ (ÔÂʉÂ
‚ÒÂ„Ó ÙËθÏ˚ ¿ÎÂÍ҇̉‡ É‚‰ÍË̇) ÔÓθÁÛ˛ÚÒˇ ·Óθ¯ËÏ
ÛÒÔÂıÓÏ ‚ Ò‰ ÍÛθÚÛÓÎÓ„Ó‚, Ò·‚ËÒÚÓ‚, ωˇÚÂÓÂÚËÍÓ‚,
ÔÓ͇Á˚‚‡˛ÚÒˇ ÔÓ ÚÂ΂ˉÂÌ˲, ‚˚ıÓ‰ˇÚ ̇ DVD.
Õ‡ ÓÒÌÓ‚Â ÏÌÓ„ÓÎÂÚÌËı ‡ıË‚Ì˚ı ËÁ˚Ò͇ÌËÈ, ÍÓÔÓÚÎË‚Ó„Ó
Ò·Ó‡ ‚ÒÂı ÓÒÚ‡‚¯ËıÒˇ χÚÂˇÎÓ‚ (ÙÓÚÓ„‡Ù˘ÂÒÍËı Ë
Õ‡ÒÚÓˇ˘ËÈ ÔÓÂÍÚ ‚Íβ˜‡ÂÚ ‚ Ò·ˇ ˜ÂÚ˚ ‡·ÓÚ˚,
҉·ÌÌ˚ ‚ ‡ÁÌ˚ı ÏÂÚÓ‰Ë͇ı.
ûÿü» œ–Œ“»¬ fiƒ≈Õ»◊¿
Õ¿ ü–¿—Ռà ‘–ŒÕ“≈
114
1925, 16 ÏËÌ.
ñ ˝ÍÒˆÂÌÚ˘ÂÒ͇ˇ ÍÓωˡ „ÛÔÔ˚ ‘›ü— (ÂÊËÒÒÂ˚
√Ë„ÓËÈ üÓÁË̈‚ Ë ÀÂÓÌˉ “‡Û·Â„), ËÏ‚¯‡ˇ
‚‡ÊÌÂȯ Á̇˜ÂÌË ‰Îˇ ÙÓÏËÓ‚‡Ìˡ ´ÎÂÌËÌ„‡‰ÒÍÓÈ
¯ÍÓÎ˚ª. ¬ÓÒÒÚ‡ÌÓ‚ÎÂ̇ ÔÓ ÙÓÚÓ„‡ÙˡÏ, ҉·ÌÌ˚Ï ‚Ó
‚ÂÏˇ Ò˙ÂÏÓÍ.
–ÂÊËÒÒÂ˚ √Ë„ÓËÈ üÓÁË̈‚, ÀÂÓÌˉ “‡Û·Â„
¿‚ÚÓ˚ ÒˆÂ̇ˡ »Ë̇ üÛÌË̇, √Ë„ÓËÈ üÓÁË̈‚,
ÀÂÓÌˉ “‡Û·Â„
ŒÔÂ‡ÚÓ ‘ˉËı ¬ÂË„Ó-ƒ‡Ó‚ÒÍËÈ
’Û‰ÓÊÌËÍ ≈‚„ÂÌËÈ ≈ÌÂÈ
¬ ÓΡı: ÿÛ‡ «‡‚¸ˇÎÓ‚, œÓÎË̇ œÓÌ̇, —Â„ÂÈ √Â‡ÒËÏÓ‚,
¿Ì‰ÂÈ üÓÒÚ˘ÍËÌ, ≈‚„ÂÌËÈ üÛÏÂÈÍÓ, ›ÏËθ √‡Î¸,
¿ÎÂÍ҇̉ ¿ÎÂÍ҇̉Ó‚, flÌË̇ ∆ÂÈÏÓ, “‡Ú¸ˇÌ‡ ¬ÂÌÚˆÂθ
1920, 10 ÏËÌ.
ñ ‡„ËÚÙËÎ¸Ï ‚ÂÏÂÌ „‡Ê‰‡ÌÒÍÓÈ ‚ÓÈÌ˚, ÔÂ‚‡ˇ ‡·ÓÚ‡
·Û‰Û˘Â„Ó ´ÍÓÎÎÂÍÚË‚‡ üÛίӂ‡ª (ÂÊËÒÒÂ À‚ üÛίӂ).
»„Ó‚ÓÈ Ò˛ÊÂÚ ÔÓÏ¢ÂÌ ‚ ‡θÌÛ˛ Ó·ÒÚ‡ÌÓ‚ÍÛ
„‡Ê‰‡ÌÒÍÓÈ ‚ÓÈÌ˚. ‘ËÎ¸Ï ÒÌˇÚ ‚Ó ‚ÂÏˇ ÔÓθÒÍÓÈ
͇ÏÔ‡ÌËË. ›Ú‡ ‡·ÓÚ‡ ‚Ó ÏÌÓ„ÓÏ ÒÔÓÒÓ·ÒÚ‚Ó‚‡Î‡
ÙÓÏËÓ‚‡Ì˲ ÒÚËΡ ´ÒÓ‚ÂÚÒÍÓ„Ó ÍËÌÓ‡‚‡Ì„‡‰‡ 1920-ıª.
¬ÓÒÒÚ‡ÌÓ‚ÎÂ̇ ̇ ÓÒÌÓ‚Â ÓË„Ë̇θÌÓ„Ó ÏÓÌÚ‡ÊÌÓ„Ó ÎËÒÚ‡ Ë
ÔÓ‰ÎËÌÌ˚ı ͇‰Ó‚ ËÁ ÙËθχ.
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ À‚ üÛίӂ
ŒÔÂ‡ÚÓ œÂÚ ≈ÏÓÎÓ‚
¬ ÓΡı: ÀÂÓÌˉ Œ·ÓÎÂÌÒÍËÈ, ¿.–ÂÈı,
¿ÎÂÍ҇̉‡ ’ÓıÎÓ‚‡, À‚ üÛίӂ
œÓËÁ‚Ó‰ÒÚ‚Ó —≈¬«¿œü»ÕŒ
œÓËÁ‚Ó‰ÒÚ‚Ó ‘ÓÚÓ-ÒÂÍˆËˇ ıÛ‰ÓÊÂÒÚ‚ÂÌÌÓ„Ó ÔÓ‰Óډ·
Ã.Œ.Õ.Œ.
MISHKI AGAINST YUDENICH
ON THE RED FRONT, 1920
1925, 16 min
An eccentric comedy of the FEKS group (by the directors
Grigory Kozintsev and Leonid Trauberg), which played a
major role in the formation of the ìLeningrad schoolî. It was
reconstructed on the basis of production stills.
Directors Grigory Kozintsev, Leonid Trauberg
Script Irina Kunina, Grigory Kozintsev, Leonid Trauberg
DoP Fridrich Verigo-Darovsky
Set Design Evgeny Yenei
10 min
An agit-film from the time of the Civil War, the first work of
the future ìKuleshov collectiveî (director Lev Kuleshov). The
plot is set in the real conditions of the Civil War. The film
was made during the Polish campaign. This film shaped in
many respects the style of the ìSoviet cinema avant-garde of
the 1920sî. It has been restored using the original shooting
script and authentic frames from the film.
Scriptwriter and Director Lev Kuleshov
DoP Peter Yermolov
Cast: Shura Zavialov, Polina Ponna, Sergei Gerasimov,
Andrey Kostrichkin, Evgeny Kumeiko, Emil Gall, Alexander
Alexandrov, Yanina Zheimo, Tatiana Ventsel
Cast: Leonid Obolensky, A.Reich,
Alexandra Khokhlova, Lev Kuleshov
Production SEVZAPKINO
Production M.O.N.O.
RETURNED MASTERPIECES
(reconstruction of "lost" films)
Author of reconstruction Nikolai Izvolov
Producer Arnold Giskin
Production NETSKI Studio named after Savva Kulish
2005, Russia, Betacam SP
literary) an idiosyncratic ìreconstructionî of these films in
their spatial and temporary form is possible. Digital
technology has made this process possible for scientists,
and the result of this work is accessible to a wide circle of
people.
According to statistics, at present about 80% of the worldís
cinema of the silent era have been lost. This figure includes
films that, in their time, played a most important role for the
development of film language, its narrative and expressive
means.
Nikolai Izvolovís previous reconstructions (above all of
Alexander Medvedkinís films) enjoy great success among
culturologists, Slavists, and media theorists, and they are
shown on TV and issues on DVD.
On the basis of long-term archival research, the laborious
collection of all remaining materials (photographic and
The present project includes four works using different
techniques.
ÒÔˆˇθÌ˚È ÔÓ͇Á
special screening
NETSKI Studio named after Savva Kulish
Represents the project
115
ƒŒ’”Õƒ¿
∆≈Õ»“‹¡¿
(‚ ÔÂÂ‚Ó‰Â Ò Ú‡‰ÊËÍÒÍÓ„Ó ´·Â‰ÌˇÍª, ´·Ó‰ˇ„‡ª), 1936, 60 ÏËÌ.
ñ ΄Ẩ‡Ì˚È ÙËÎ¸Ï À¸‚‡ üÛίӂ‡, ˝Í‡ÌËÁ‡ˆËˇ Óχ̇
—‡‰ˉ‰Ë̇ ¿ÈÌË, ÍÓÚÓ˚È ‰ÓÎÊÂÌ ·˚Î ÒÚ‡Ú¸ ÔÂ‚˚Ï Ò‰Ì‡ÁˇÚÒÍËÏ ÔÓÎÌÓÏÂÚ‡ÊÌ˚Ï Ë„Ó‚˚Ï ÙËθÏÓÏ, ÌÓ ÓÒÚ‡ÎÒˇ ÌÂÁ‡ÍÓ̘ÂÌÌ˚Ï. ›Ú‡ ‡·ÓÚ‡ ÒËθÌÓ ÔÓ‚Îˡ· ̇ ÒÓÁ‰‡ÌËÂ
Ò‚ÓÂÓ·‡ÁÌÓ„Ó ÒÚËΡ Ò‰Ì‡ÁˇÚÒÍÓ„Ó ÍËÌÂχÚÓ„‡Ù‡ ÒÓ‚ÂÚÒÍÓ„Ó ÔÂËÓ‰‡. ¬ÓÒÒÚ‡ÌÓ‚ÎÂ̇ ̇ ÓÒÌÓ‚Â ÓË„Ë̇θÌÓ„Ó ÂÊËÒÒÂÒÍÓ„Ó ÒˆÂ̇ˡ, ËÎβÒÚËÓ‚‡ÌÌÓ„Ó Í‡‰‡ÏË ‡ÍÚÂÒÍËı ÂÔÂÚˈËÈ.
1936, 44 ÏËÌ.
ñ ÔÂ‚‡ˇ ÂÊËÒÒÂÒ͇ˇ ‡·ÓÚ‡ ËÁ‚ÂÒÚÌÂÈ¯Â„Ó ‡ÍÚÂ‡ ›‡ÒÚ‡
√‡Ë̇, ‚ÓÒÔËÚ‡ÌÌË͇ ÏÂÈÂıÓθ‰Ó‚ÒÍÓÈ ¯ÍÓÎ˚. ›Í‡ÌËÁ‡ˆËˇ Ô¸ÂÒ˚ √Ó„ÓΡ. ›ÚÓÚ ÙËÎ¸Ï ÓÒÚ‡ÎÒˇ ‚ Ô‡ÏˇÚË ÒÓ‚ÂÚÒÍËı
ÍËÌÂχÚÓ„‡ÙËÒÚÓ‚ Í‡Í Î„Ẩ‡Ì˚È, ıÓÚˇ ÌËÍÚÓ Ì ‚ˉÂÎ
Â„Ó ÛÊÂ Ò ÔÓÒ΂ÓÂÌÌÓ„Ó ‚ÂÏÂÌË. ¬ÓÒÒÚ‡ÌÓ‚ÎÂÌ Ì‡ ÓÒÌÓ‚Â
ÏÓÌÚ‡ÊÌÓ„Ó ÎËÒÚ‡, ͇‰Ó‚ ËÁ ÙËθχ Ë ÙÓÚÓ„‡ÙËÈ, ҉·ÌÌ˚ı ‚Ó ‚ÂÏˇ Ò˙ÂÏÓÍ. “ÂÍÒÚ ÓÁ‚Û˜ÂÌ ¿ÎÂÍ҇̉ÓÏ Õ„·ÓÈ.
¿‚ÚÓ ÒˆÂ̇ˡ ŒÒËÔ ¡ËÍ
–ÂÊËÒÒÂ À‚ üÛίӂ
—ÓÂÊËÒÒÂ —Â„ÂÈ —Í‚ÓˆÓ‚
ŒÔÂ‡ÚÓ üÓÌÒÚ‡ÌÚËÌ üÛÁ̈ӂ
¬ ÓΡı: ü‡ÏËθ flχÚÓ‚, “‡Òˇ –‡ıχÌÓ‚‡, —ÂÏÂÌ
—‚‡¯ÂÌÍÓ, —Â„ÂÈ üÓχÓ‚ Ë ‰Û„ËÂ.
DOKHUNDA
(in translation from Tadjik ëpoor maní, ëtrampí), 1936, 60 min
The legendary film by Lev Kuleshov, an adaptation of the
novel by Sadriddin Aini, which should have become the first
Central Asian full-length feature film, but remained
unfinished. This work strongly influenced the creation of an
original style of Central Asian cinematography during the
Soviet period. It has been restored on the basis of the original
directorís script illustrated with photos of the actors during
rehearsals.
Scriptwriter Osip Brik
Director Lev Kuleshov
Co-Director Sergei Skvortsov
DoP Konstantin Kuznetsov
Cast: Kamil Yarmatov, Tasia Rakhmanova, Semyon
Svashenko, Sergei Komarov
¿‚ÚÓ˚ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ˚ ›‡ÒÚ √‡ËÌ, ’ÂÒˇ ÀÓͯË̇
ŒÔÂ‡ÚÓ ¿Ì‡ÚÓÎËÈ œÓ„ÓÂÎ˚È
’Û‰ÓÊÌËÍ »Ò‡‡Í ÇıÎËÒ
«‚ÛÍ ¿ÎÂÍ҇̉ ¡ÂÍÍÂ
¬ ÓΡı: ›‡ÒÚ √‡ËÌ, —ÚÂÔ‡Ì ü‡˛ÍÓ‚, ¿ÎÂÍÒÂÈ Ã‡ÚÓ‚,
ÕË̇ À‡ÚÓÌË̇, «Óˇ ‘‰ÓÓ‚‡
œÓËÁ‚Ó‰ÒÚ‚Ó ´ÀÂÌÙËθϪ
THE MARRIAGE
1936, 44 min
The directorial debut of the famous actor Erast Garin, a pupil
of the Meyerhold school. An adaptation of Gogolís play. This
film remains a legend in the memory of Soviet
cinematographers, although nobody actually saw it since the
war. It has been restored on the basis of the shooting script,
stills from the film and photos taken during the filming. The
text is narrated by Alexander Negreba.
Scriptwriters and Directors Erast Garin, Hesia Lokshina
DoP Anatoly Pogorely
Set Design Isaak Makhlis
Sound Alexander Bekker
Cast: Erast Garin, Stepan Kayukov, Alexei Matov,
Nina Latonina, Zoya Fyodorova
Production Lenfilm
ÒÔˆˇθÌ˚È ÔÓ͇Á
special screening
¿Õ“ŒÀŒ√»fl –Œ——»…—üŒ√Œ ü»ÕŒ
ANTHOLOGY OF RUSSIAN CINEMA
116
2005, –ÓÒÒˡ, (55+56+57) ÏËÌ., ‰ÓÍÛÏÂÌڇθÌ˚È ˆËÍÎ
2005, Russia, (55+56+57) min, documentary cycle
–ÂÊËÒÒÂ ÇˇÌ̇ üË‚‡
Director Marianna Kireeva
¿‚ÚÓ˚ ÒˆÂ̇ˡ ÇˇÌ̇ üË‚‡, ≈‚„ÂÌËÈ Ã‡„ÓÎËÚ
Scriptwriters Marianna Kireeva, Evgeny Margolit
ŒÔÂ‡ÚÓ˚ ÃËı‡ËÎ ü‡Ò¸ÍÓ‚ (´√‡Ìˈ‡ª, ´¬ÓÁ‚‡˘ÂÌ˪),
Camera Mikhail Kasíkov (The Border, The Return),
≈ÏÂÍ Ã‡Ï·ÂÚÓ‚ (´√ÓÓ‰ ÒÌÓ‚ª)
Ermek Mambetov (City of Dreams)
üÓÏÔÓÁËÚÓ ¿ÎÂÍ҇̉ ◊‡ÈÍÓ‚ÒÍËÈ
Composer Alexander Chaikovsky
«‚ÛÍ √‡ÎË̇ —Ë‚Â
Sound Galina Siver
“ÂÍÒÚ ˜ËÚ‡ÂÚ ¿ÎÂÍ҇̉ √Ó‰ÓÌ
Narrator Alexander Gordon
–ÂÊËÒÒÂ ÏÓÌڇʇ fiËÈ üÓÚÓ‚
Editor Yuri Kotov
œÓ‰˛ÒÂ ÇË̇ “Û¯
Producer Marina Trush
œÓËÁ‚Ó‰ÒÚ‚Ó —ÚÛ‰Ëˇ ´¿ÚËχª, ‘‰Â‡Î¸ÌÓ ‡„ÂÌÚÒÚ‚Ó ÔÓ
Production Artima Studio, the Federal Agency for Culture
ÍÛθÚÛÂ Ë ÍËÌÂχÚÓ„‡ÙËË
and Cinematography
ÒÔˆˇθÌ˚È ÔÓ͇Á
special screening
ÇˇÌ̇ üË‚‡
ÓÍÓ̘Ë· ÍËÌӂ‰˜ÂÒÍËÈ Ù‡ÍÛθÚÂÚ ¬√»ü‡
(1987, χÒÚÂÒ͇ˇ À. ÇχÚÓ‚ÓÈ, ≈.
—ÛÍÓ‚‡), Á‡ÚÂÏ ñ ‡ÒÔË‡ÌÚÛÛ. ¬ 1992-2002
117
‡·Óڇ· ̇ ‡Á΢Ì˚ı ‰ÓÎÊÌÓÒÚˇı ‚
ÒËÒÚÂÏ ÍËÌÓÔÓ͇Á‡ –ÓÒÒËÈÒÍÓ„Ó
ÚÂ΂ˉÂÌˡ. —Ó‡‚ÚÓ Ë ÂÊËÒÒÂ ˆËÍÎÓ‚ÓÈ
5-È ÙËÎ¸Ï ´√–¿Õ»÷¿ª (1933-1938).
ÔÓ„‡ÏÏ˚ ´ÃÛÁÂÈ ÍËÌÓª (´ÿ‰‚˚
¬˚‚‡‚¯ËÒ¸ ËÁ ÚËÒÍÓ‚ ´‡„ËÚÔÓÔ‡ª, ÒÓ‚ÂÚÒÍÓ ÍËÌÓ ‚ 33-34 „Ó‰‡ı ‚ÌÓ‚¸
ÒÚ‡Ó„Ó ÍËÌÓª, 1993-1997, ÚÂÎÂ͇̇Î˚
ÔËıÓ‰ËÚ ‚ ‰‚ËÊÂÌËÂ. ÕÓ ‰‚ËÊÂÌ˲ ˝ÚÓÏÛ Ô‡ÍÚ˘ÂÒÍË Ò‡ÁÛ
´–ÓÒÒˡª Ë ´–ÓÒÒËÈÒÍË ÛÌË‚ÂÒËÚÂÚ˚ª).
Ô‰ÔËÒ˚‚‡ÂÚÒˇ ˜ÂÚ͇ˇ „‡Ìˈ‡. ’Û‰ÓÊÌËÍË ÒÚ‡ÌÓ‚ˇÚÒˇ Á‡ÎÓÊÌË͇ÏË
—Ó‡‚ÚÓ Ë ÒÓÂÊËÒÒÂ ÙËθχ Ó —Â„ÂÂ
ÒÓ·ÒÚ‚ÂÌÌ˚ı ÓÚÍ˚ÚËÈ. √‡Ìˈ‡ ñ ̇ Á‡ÏÍÂ.
›ÈÁÂ̯ÚÂÈÌ ´ƒÓÏ Ã‡ÒÚÂ‡ª (ÔÂÏˡ
6-È ÙËÎ¸Ï ´√Œ–Œƒ —ÕŒ¬ª (1938-1943).
´“›‘»ª). — 2002 ‡·ÓÚ‡ÂÚ Ì‡‰
ü ÍÓÌˆÛ 30-ı ˉ‡θÌ˚È ÏË, ‚ÓÁ‚Ó‰ËÏ˚È Ì‡ ˝Í‡ÌÂ, Ó·˙ˇ‚ΡÂÚÒˇ
‰ÓÍÛÏÂÌڇθÌ˚Ï ˆËÍÎÓÏ ´¿ÌÚÓÎӄˡ
‰ËÌÒÚ‚ÂÌÌÓ ÔÓ‰ÎËÌÌÓÈ ‡θÌÓÒÚ¸˛. ¬ÚÓÊÂÌË ه¯ËÒÚÒÍÓÈ √ÂχÌËË
ÓÒÒËÈÒÍÓ„Ó ÍËÌÓª.
Û¯ËÚ ˝ÚÛ ËÎβÁ˲. ◊ÂÎÓ‚ÂÍ ÓÒÚ‡ÂÚÒˇ Ó‰ËÌ Ì‡ Ó‰ËÌ Ò ËÒÚÓËÂÈ ñ Ë ‚
ÊËÁÌË, Ë Ì‡ ˝Í‡ÌÂ. » ‚ ˝ÚÓÏ ÔÓ‰ËÌÍ ÂÏÛ Û‰‡ÂÚÒˇ ‚˚ÒÚÓˇÚ¸.
Marianna Kireeva
7-È ÙËÎ¸Ï ´¬Œ«¬–¿Ÿ≈Õ»≈ª (1942-1950).
Graduated in cinema studies from the Film
◊ÂÎÓ‚ÂÍ ‚ÓÁ‚‡˘‡ÂÚÒˇ Ò ‚ÓÈÌ˚, ̇‰ÂˇÒ¸, ˜ÚÓ Á‡‚Ó‚‡Î ̇ÍÓ̈-ÚÓ Ô‡‚Ó
Institute VGIK (1987, course of L.
ÊËÚ¸ Ò‚ÓÂÈ ˜‡ÒÚÌÓÈ ÊËÁ̸˛. ÕÓ ÒÔ‡ÒÂÌÌÓ ËÏ „ÓÒÛ‰‡ÒÚ‚Ó ‚ÒÔÓÏË̇ÂÚ Ó
Mamatova, E. Surkov), then postgraduate
Ò‚ÓËı Ô‡‚‡ı. » ̇ ˝Í‡Ì ‚ÓÁ‚‡˘‡ÂÚÒˇ √ÓÓ‰ ÒÌÓ‚ ñ ¢ ·ÓÎÂÂ
study. From 1992-2002 worked in various
χүڇ·Ì˚È, ‡Îӄ˘Ì˚È Ë Ó·ÂÒ˜ÂÎӂ˜ÂÌÌ˚È, ˜ÂÏ ‰Ó ‚ÓÈÌ˚.
jobs in film programming for Russian
television. Co-author and director of the cycle
Film 5 ìTHE BORDERî (1933-1938).
ìMuseum of Cinemaî (ìMasterpieces of Old
Having escaped from the vices of ìagitpropî, Soviet cinema of the years 1933-
Cinemaî, 1993-1997, television channels
1934 begins to move once again. But this movement almost immediately
ìRussiaî and ìRussian Universitiesî). Co-
encounters limitations and borders. Artists become hostages of their own
author and co-director of a film about Sergei
discoveries. The border is locked.
Eisenstein, ìThe House of the Masterî (TEFI
Film 6 ìCITY OF DREAMSî (1938-1943).
award). Since 2002 works on the documentary
By the end of the 1930s the ideal world shown on the screen declares itself as
cycle ìAnthology of Russian Cinemaî.
the only valid reality. The intrusion of fascist Germany destroys this illusion.
Man remains alone with history, both in life and on the screen. In this niche
he manages to resist.
Film 7: ìTHE RETURNî (1942-1950).
Man returns from the war with the hope of having won, at last, the right to
live his own private life. But the state that he defended claims its rights. The
City of Dreams returns to the screen, now even grander, more a-logical and
face-less than before the war.
118
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ÒÔˆˇθÌ˚È ÔÓ͇Á
special screening
ÒÔˆˇθÌ˚È ÔÓ͇Á
special screening
ü¿—“»Õ√
THE CASTING
119
ŒÎ¸„‡ —ÚÓÎÔÓ‚Ò͇ˇ
–ÂÊËÒÒÂ, ÒˆÂ̇ËÒÚ, ÔÓ‰˛ÒÂ. –Ӊ˷Ҹ 5
ÓÍÚˇ·ˇ 1969 „Ó‰‡ ‚ ÃÓÒÍ‚Â. ŒÍÓ̘Ë· ÃÓÒÍÓ‚ÒÍÓ ıÛ‰ÓÊÂÒÚ‚ÂÌÌÓ ۘËÎˢ (1986), ÇÒÚÂÒÍÛ˛ Ë̉˂ˉۇθÌÓÈ ÂÊËÒÒÛ˚ Ô/ ¡ÓËÒ‡ fiı‡Ì‡ÌÓ‚‡ (1997). ü‡Í ÌÂÁ‡‚ËÒËÏ˚È
ÂÊËÒÒÂ ÒÓÁ‰‡Î‡ ÌÂÒÍÓθÍÓ ÏËÍÓÙËθÏÓ‚,
ÍÓÓÚÍÓÏÂÚ‡ÊÌ˚ı ÙËθÏÓ‚, ‚ˉÂÓ Ë Ï‰ˇËÌÒÚ‡ÎΡˆËÈ, ÔÓ͇Á‡ÌÌ˚ı ̇ ÏÌÓ„Ó˜ËÒÎÂÌÌ˚ı ÙÓÛχı. üÓÓÚÍÓÏÂÚ‡ÊÌ˚È ÙËθÏ
´—Û‰ ̇‰ ¡ÛÌÂÓϪ (1998) ÔËÓ·ÂÚÂÌ ÃÛÁÂÂÏ ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡ ñ Ìÿ (Õ¸˛…ÓÍ), ´¿·ÓÌÂÌÚ˚ª (2000) ÔÓÎÛ˜ËÎ ‚ÚÓÓÈ
ÔËÁ ωˇ-ÒÂ͈ËË Ãü‘ ‚ ÃÓÒÍ‚Â. —Ó‚ÏÂÒÚÌÓ Ò ƒÏËÚËÂÏ “ÓˈÍËÏ ÓÒÌÓ‚‡Î‡ ÒÚÛ‰Ë˛
´Ã‡Î‚˘ œÓ‰‡Í¯Ìª. ¬ 2004 ÒÌˇÎ‡ ÔÂ‚˚È
ÔÓÎÌÓÏÂÚ‡ÊÌ˚È ÙËÎ¸Ï ´fl β·Î˛ Ú·ˇª (Ò
ƒÏ. “ÓˈÍËÏ) ñ ÙÂÒÚË‚‡Î¸Ì˚È ÛÒÔÂı Ë
ÏÂʉÛ̇Ó‰Ì˚È ÔÓÍ‡Ú ñ www.youilove.ru.
Olga Stolpovskaya
Film and television director,
scriptwriter, producer. Born on 5
October 1969 in Moscow. Graduated
from Moscow Art College in 1986, from
the Studio of Individual Directing in
1997. As independent filmmaker she
created a number of short films, videos
and media installations, which were
presented at numerous film and media
festivals. The short film ìBrunerís
Trialî (1998) was acquired by the
Museum of Modern Art (Ìÿ), New
York. ìThe Subscribersî (2000) received
the second prize in the media section of
Moscow IFF. Together with Dmitri
Troitsky she founded in 2004 ´Ãalevich
Productionª Studio. In 2004 she made
her first feature film, ´You I Loveª
(with Dmitri Troitsky; www.youilove.ru).
2006, –ÓÒÒˡ, 20 ÏËÌ., ˆ‚., 1:1.85, 35 ÏÏ
2006, Russia, 20 min., 1:1.85, 35 mm
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ
Scriptwriter and Director
ŒÎ¸„‡ —ÚÓÎÔÓ‚Ò͇ˇ
Olga Stolpovskaya
ŒÔÂ‡ÚÓ «‡Û ¡ÓÎÓڇ‚
Camera Zaur Bolotaev
üÓÒÚ˛Ï˚ ŒÎ¸„‡ —ÚÓÎÔÓ‚Ò͇ˇ
Costumes Olga Stolpovskaya
«‚ÛÍ ¬ˇ˜ÂÒ·‚ ÃËıÂθ
Sound Viacheslav Mikhel
ÃÓÌÚ‡Ê ƒÏËÚËÈ ¡Ó„‰‡ÌÓ‚
Editing Dmitry Bogdanov
¬ „·‚Ì˚ı ÓΡı: ¿ÎÂÍ҇̉
Principal cast: Alexander Nesterov,
ÕÂÒÚÂÓ‚ Ë ÕË̇ ≈ÒË̇
Nina Esina
œÓ‰˛ÒÂ˚ ƒÏËÚËÈ “ÓˈÍËÈ,
Producers Dmitry Troitsky,
ŒÎ¸„‡ —ÚÓÎÔÓ‚Ò͇ˇ
Olga Stolpovskaya
œÓËÁ‚Ó‰ÒÚ‚Ó ´Ã‡Î‚˘ œÓ‰‡Í¯Ìª
Production Malevich Production
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www.cinefantom.ru
œÒËıÓÎӄ˘ÂÒ͇ˇ ‰‡Ï‡.
Psychological drama.
“‡„ËÍÓÏ˘ÂÒ͇ˇ ËÒÚÓˡ ÏÓÎÓ‰Ó„Ó
The story of a young film director who
ÍËÌÓÂÊËÒÒÂ‡, Ó͇Á‡‚¯Â„ÓÒˇ ÔÂ‰
faces a choice: to betray his ideals but
‚˚·ÓÓÏ: Ô‰‡Ú¸ ˉ‡Î˚, ÌÓ ËÏÂÚ¸
have an opportunity to make a film, or
‚ÓÁÏÓÊÌÓÒÚ¸ ÒÌËχڸ ÍËÌÓ, ËÎË
to lose everything. Impartial, often
ÔÓÚÂˇÚ¸ ‚Ò ‡‰Ë ‚ÂÌÓÒÚË Ò‚ÓËÏ
comic details of the modern film
ˉ‡·Ï.
business. The tragedy of a person
œÂ‚‡ˇ ˜‡ÒÚ¸ ÔÓÎÌÓÏÂÚ‡ÊÌÓÈ
deceived by temptation is painted in
ÚËÎÓ„ËË, ‚ ÍÓÚÓÛ˛ ‚ÓȉÛÚ Â˘Â ‰‚Â
gloomy water-colours.
‡·ÓÚ˚ ÂÊËÒÒÂ‡, ÒÓÒÚ‡‚Ë‚ ÔÓÂÍÚ ´Œ
The first part of a full-length trilogy,
ÊËÁÌË Ë ÒÏÂÚ˪.
which will include two further works by
the director, completing the project
ìAbout Life and Deathî.
ÒÔˆˇθÌ˚È ÔÓ͇Á
special screening
¬ŒÀ√¿-¬ŒÀ√¿
VOLGA-VOLGA
120
2006, –ÓÒÒˡ, 70 ÏËÌ., ˆ‚.+˜/·, Betacam SP
2006, Russia, 70 min, colour+b/w, Betacam SP
–ÛÍÓ‚Ó‰ËÚÂθ ‡Ú-ÔÓÂÍÚ‡ ¬Î‡‰ËÒ·‚ ÇÏ˚¯Â‚-ÃÓÌÓ
Director of Art-Project Vladislav Mamyshev-Monroe
–ÂÊËÒÒÂ˚ ¿Ì‰ÂÈ —Ëθ‚ÂÒÚÓ‚, œ‡‚ÂÎ À‡·‡ÁÓ‚
Directors Andrei Silvestrov, Pavel Labazov
ŒÔÂ‡ÚÓ √ÂÌ̇‰ËÈ ¡ÂΡ‚
Camera Gennady Beliaev
üÓÏÔÓÁËÚÓ ›‰Û‡‰ —Ë‚ÍÓ‚
Composer Eduard Sivkov
«‚ÛÍ ÕËÍÓÎ‡È «ÓÎÓÚÛıËÌ
Sound Nikolai Zolotukhin
ÃÓÌÚ‡Ê ÒÔˆ˝ÙÙÂÍÚÓ‚ ÇÍÒËÏ “ËÏÓÙ‚
Editing of Special Effects Maxim Timofeev
¬ „·‚ÌÓÈ ÓÎË ¬Î‡‰ËÒ·‚ ÇÏ˚¯Â‚-ÃÓÌÓ
Principal cast Vladislav Mamyshev-Monroe
œÓ‰˛ÒÂ˚ ¿Ì‰ÂÈ —Ëθ‚ÂÒÚÓ‚, œ‡‚ÂÎ À‡·‡ÁÓ‚
Producers Andrei Silvestrov, Pavel Labazov
œÓËÁ‚Ó‰ÒÚ‚Ó ´¬Ë‰ÂÓƒÓϪ, ÔË Û˜‡ÒÚËË üÛθÚÛÌÓ„Ó
Production ìVideohouseî with participation of the Cultural
ˆÂÌÚ‡ ´ƒÓϪ Ë ´—ËÌ ‘‡ÌÚÓϪ
Centre ìDomî and ìCine Fantomî
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ÒÔˆˇθÌ˚È ÔÓ͇Á
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œ‡‚ÂÎ À‡·‡ÁÓ‚
(. 1973, ÃÓÒÍ‚‡).
ŒÍÓ̘ËÎ Ã√”, ‚ıÓ‰ËÎ ‚ ıÛ‰ÓÊÂÒÚ‚ÂÌÌÛ˛
„ÛÔÔÛ ´¿–“-¡Îˇª, Á‡ÌËχÎÒˇ „‡Ù˘ÂÒÍËÏ
‰ËÁ‡ÈÌÓÏ Ë ‡ÚÔÓÂÍÚ‡ÏË. ƒËÂÍÚÓ
ÃÂʉÛ̇Ó‰ÌÓ„Ó ‚ˉÂÓÙÂÒÚË‚‡Îˇ ‚ ü‡ÌÒÍÂ.
ƒËÔÎÓχÌÚ üÓÌÍÛÒ‡ ÒÚÛ‰Â̘ÂÒÍËı Ë
‰Â·˛ÚÌ˚ı ÙËθÏÓ‚ ´—‚. ¿Ì̇ª (2000).
‘ËθÏ˚ À‡·‡ÁÓ‚‡ ‰ÂÏÓÌÒÚËÓ‚‡ÎËÒ¸ ̇
ÙÂÒÚË‚‡Îˇı ‚ ljˉÂ, üË‚Â, √‡ˆÂ,
ÃÓÒÍ‚Â, —‡ÌÍÚ-œÂÚÂ·Û„Â. ¬ 2000 „Ó‰Û ‚
ÒÓ‡‚ÚÓÒÚ‚Â Ò ¿Ì‰ÂÂÏ —Ëθ‚ÂÒÚÓ‚˚Ï
ÒÓÁ‰‡Î ‚ˉÂÓ‰ÂÍÓ‡ˆËË Í Ï‡Ò¯Ú‡·ÌÓÏÛ
ÔÓÂÍÚÛ ´—Ú‡ÒÚË ÔÓ Ã‡ÚÙ²ª (»ÌÒÚËÚÛÚ
√ÂÚÂ), ‡ ‚ 2001-2002 ·˚Î ‚ˉÂÓÂÊËÒÒÂÓÏ
‰‚Ûı ÔÓÒÚ‡ÌÓ‚ÓÍ ¡Óθ¯Ó„Ó Ú‡Ú‡ ó ÓÔÂ˚
´—Ì„ÛӘ͇ª Ë ´Ã‡ÁÂÔ‡ª (ÔÓÒÚ‡Ìӂ͇
–Ó·ÂÚ‡ —ÚÛÛ‡).
Pavel Labazov
(b. 1973, Moscow).
Graduated from Moscow State University,
joined the art group ìArt-Blaî, engaged in
graphic design and art-projects. Director of
the International Videofestival in Kansk.
Diploma recipient in the competition of
student and debut films for the national ìSt.
Annaî awards (2000). Labazovís films were
shown at festivals in Madrid, Kiev, Graz,
Moscow, and Saint Petersburg. In 2000
created with Andrei Silvestrov the videoscenery for the large-scale project ìSt
Matthewís Passionî (Goethe Institute); in
2001-2002 video director of two productions
of the Bolshoy Theatre: the operas ìSnow
Maidenî and ìMazepaî (dir. Robert Sturua).
¿Ì‰ÂÈ —Ëθ‚ÂÒÚÓ‚
(. 1972, ÃÓÒÍ‚‡).
ŒÍÓ̘ËÎ –√√” Ë Ã‡ÒÚÂÒÍÛ˛
Ë̉˂ˉۇθÌÓÈ ÂÊËÒÒÛ˚ ¡ÓËÒ‡
fiı‡Ì‡ÌÓ‚‡. ¿‚ÚÓ ÏÌÓ„Ó˜ËÒÎÂÌÌ˚ı ÍËÌÓ- Ë
‚ˉÂÓ ÔÓÂÍÚÓ‚, Û˜‡ÒÚ‚Ó‚‡‚¯Ëı ‚
ÙÂÒÚË‚‡Îˇı ‚ Õ¸˛-…ÓÍÂ, ÃÓÒÍ‚Â, —‡ÌÍÚœÂÚÂ·Û„Â, ›‰ËÌ·Û„Â, ¬ÂÌÂ, √‡ˆÂ,
¡˛ÒÒÂÎÂ, Ã˛ÌıÂÌÂ. —Â‰Ë Ú‡Ú‡Î¸Ì˚ı
‡·ÓÚ ó ‚ˉÂÓ‰ÂÍÓ‡ˆËË ‰Îˇ ÓÔÂ
´—Ì„ÛӘ͇ª Ë ´Ã‡ÁÂÔ‡ª ‚ ¡Óθ¯ÓÏ Ú‡ÚÂ
(ÔÓÒÚ‡Ìӂ͇ –Ó·ÂÚ‡ —ÚÛÛ‡) Ë
‚ˉÂÓÔÓÂÍˆËˇ ‰Îˇ ÏÛÁ˚͇θÌÓ„Ó ÔÓÂÍÚ‡
´—Ú‡ÒÚË ÔÓ Ã‡ÚÙ²-2000ª (‚Ò ÒÓ‚ÏÂÒÚÌÓ Ò
œ‡‚ÎÓÏ À‡·‡ÁÓ‚˚Ï).
Andrei Silvestrov
(b. 1972, Moscow).
Graduated from RGGU and the Workshop of
Individual Direction under Boris
Yukhananov. Author of numerous film and
video projects that have participated in
festivals in New York, Moscow, Saint
Petersburg, Edinburgh, Vienna, Graz,
Brussels, and Munich. Among his theatre
works: video scenery for the operas ìSnow
Maidenî and ìMazepaî at the Bolshoi Theatre
(dir. Robert Sturua) and of a video projection
for the musical project ìSt Matthewís Passion
2000î (together with Paul Labazov).
121
ÃÛÁ˚͇θ̇ˇ ÍÓωˡ.
ÕÓ‚‡ˇ „ÂÓËÌˇ ÙËθχ ó ÃÓÌÓ (Ó̇ Ê ñ À˛·Ó‚¸ ŒÎÓ‚‡,
Ó̇ Ê ó ÔӘڇθÓ̯‡ —ÚÂÎ͇), ‡ ÚÓ˜ÌÂÂ,  √ŒÀŒ¬¿
(„Ó‚Óˇ˘‡ˇ Ë ÔÓ˛˘‡ˇ) ÎËıÓ ‚̉Ë·Ҹ ‚ Ò˛ÊÂÚ ÙËθχ, ‚
Â„Ó ˜ÂÌÓ-·ÂÎ˚ ÔÓÎÂÚ‡ÒÍË ˆÂÌÌÓÒÚË, ‚ „Ó
ÔÒ‚‰ÓÍ·ÒÒ˘ÂÒÍËÈ Í‡ÚÓÌÌ˚È ÒÚËθ. ¬ÓÍÛ„ ˝ÚÓÈ „ÓÎÓ‚˚,
Í‡Í Í‡ÚË̇ ̇ „‚ÓÁ‰Â, ‚ÂÚˇÚÒˇ ÒÏ˚ÒÎ˚ Ë ÍÓÌÚÂÍÒÚ˚,
ÎÓχÂÚÒˇ ÒÚ‡‡ˇ ÎÓ„Ë͇, Ó„‡ÌËÁÛˇ ÌÓ‚˚È ¯ÛÚÓ‚ÒÍÓÈ
‡ÍÛÒ Ò ÔÓÂ͈ËÂÈ Ì‡ ÔÛÚËÌÒÍÛ˛ –ÓÒÒ˲. ¡ÂÎ˚Â
ÍÓÎÓÌ̇‰˚ ¯Î˛ÁÓ‚ ͇̇· ÃÓÒÍ‚‡-¬Ó΄‡, Ô‡ÓıÓ‰ ´»ÓÒËÙ
—Ú‡ÎË̪ Ë ‰‡Ê ÒÚ‡ÚÛˇ ÀÂÌË̇ Ó·ÂÚ‡˛Ú ÒÍÂÔÒËÒ
‰ÂÍÓ‡ˆËÈ, ‡ „Ó‰˚ ÒÓ‚ÂÚÒÍË β‰Ë, ÓÚ˜‡ˇÌÌÓ ÔÎ˚‚Û˘Ë ‚
‰‡ÎÂÍÛ˛ Ë Ê·ÌÌÛ˛ ÒÚÓÎËˆÛ Ì‡ ‚ÒÂÒÓ˛ÁÌ˚È ÍÓÌÍÛÒ
Ò‡ÏӉ¡ÚÂθÌÓÒÚË, ÒÚ‡ÌÓ‚ˇÚÒˇ ÔÓıÓÊËÏË Ì‡ ÚÓÎÔÛ
‚ÓβˆËÓÌÂÓ‚-Ó·Ó‚‡ÌˆÂ‚, Û ÍÓÚÓ˚ı, ÏÓÊÂÚ ·˚Ú¸, Ë ÌÂÚ
ˆÂÎË, ÌÓ ÂÒÚ¸ ÔÂÒÌˇ. ¿ ËÁ ÔÂÒÌË ÒÎÓ‚ Ì ‚˚ÍË̯¸.
ÃËÓ‚‡ˇ ÔÂϸÂ‡: Ãü‘ ‚ –ÓÚÚÂ‰‡Ï (ÔÓ„‡Ïχ ´Cine
Fantom Dayª), 2006.
Musical comedy.
The new heroine of film, Monroe (she is also Liubov Orlova
and the post-girl Strelka), or ñ to be exact ñ her (speaking
and singing) HEAD, has immersed herself into the filmís
plot, its black-and-white proletarian values, its pseudoclassical cartoon style. Around this head, which is like a
picture hung on a wall, spin meanings and contexts; the old
logic breaks up and makes way for a new, jocular perspective
that projects Putinís Russia. The white colonnades of the
locks of the Moscow-Volga Canal, the steamship ìJoseph
Stalinî, and even Leninís statue, become skeptical scenery,
while the proud Soviet people who desperately travel to the
distant and longed-for capital, to the all-union competition of
amateur performances, resemble more and more the crowds of
revolutionaries and ragamuffins, who may not even have an
aim. But there is a song. And the words cannot be
disentangled from the song.
World Premiere: Rotterdam IFF (programme ìCine Fantom
Dayî), 2006.
ÒÔˆˇθÌ˚È ÔÓ͇Á
special screening
—”ÿ—ÿ≈ƒÿ»… œ–»Õ÷ ›—‘»–‹
MAD PRINCE ESTHER
122
1987-2006, ———–-–ÓÒÒˡ, 85 ÏËÌ., Digital Betacam
1987-2006, USSR-Russia, 85 min, Digital Betacam
¿‚ÚÓ ¡ÓËÒ fiı‡Ì‡ÌÓ‚
Author Boris Yukhananov
œÓ‰˛ÒÂ˚ √η ¿ÎÂÈÌËÍÓ‚, ¿ÎÂÍ҇̉ ƒÛÎÂ‡ÈÌ,
Producers Gleb Aleinikov, Alexander Dulerain,
¡ÓËÒ fiı‡Ì‡ÌÓ‚
Boris Yukhananov
œÓËÁ‚Ó‰ÒÚ‚Ó ´¬ÒÂÏËÌ˚È “‡Ú “‡Ú ¬Ë‰ÂÓª,
Production ìWorld Theatre Theatre of Videoî, ìCine-Fantomî
´—ËÌ ‘‡ÌÚÓϪ
www.cinefantom.ru
www.cinefantom.ru
ÒÔˆˇθÌ˚È ÔÓ͇Á
special screening
¡ÓËÒ fiı‡Ì‡ÌÓ‚
ÂÊËÒÒÂ, ‡ÍÚÂ, Ô‰‡„Ó„. Œ‰ËÌ ËÁ Ò‡Ï˚ı
ËÌˈˇÚË‚Ì˚ı ˜ÎÂÌÓ‚ ÍÎÛ·‡ ´—ËÌÂ
‘‡ÌÚÓϪ. –Ó‰ËÎÒˇ ‚ ÃÓÒÍ‚Â (1957).
ŒÍÓ̘ËÎ ‡ÍÚÂÒÍÓ ÓÚ‰ÂÎÂÌË ¬ÓÓÌÂÊÒÍÓ„Ó
Ú‡Ú‡Î¸ÌÓ„Ó ËÌÒÚËÚÛÚ‡ (1979),
ÂÊËÒÒÂÒÍÓ ÓÚ‰ÂÎÂÌË √»“»—‡ (1985,
χÒÚÂÒ͇ˇ ¿.›ÙÓÒ‡, ¿.¬‡ÒË肇). ¿‚ÚÓÂÊËÒÒÂ ÚÂÎÂÚËÎÓ„ËË ´ƒ‡ÛÌ˚
123
ÍÓÏÏÂÌÚËÛ˛Ú ÏËª, ÚÂÎÂÒÂˇ· ´ÃÓÒÍ‚‡,
’’ ‚Âͪ, ˇ‰‡ Ú‡Ú‡Î¸Ì˚ı ÔÓÂÍÚÓ‚, ‚ ÚÓÏ
˜ËÒΠ·‡ÎÂÚÌ˚ı. ŒÍÓÎÓ ‰ÂÒˇÚË ÓÎÂÈ
ËÒÔÓÎÌËÎ ‚ ÍËÌÓ. ’Û‰ÓÊÂÒÚ‚ÂÌÌ˚È
ÛÍÓ‚Ó‰ËÚÂθ ÂÊËÒÒÂÒÍÓ„Ó ÍÛÒ‡ –¿“».
Boris Yuhhananov
Director, actor, teacher. One of the most
active members of the Cine-Phantom club.
Born in Moscow (1957). Graduated from the
acting department of Voronezh Theatre
Institute (1979), and from the Directorsí
Department of the State Theatre Institute,
GITIS (1985, course of A. Efros and A.
Vasiliev). Author and director of the teletrilogy ìDowns Comment on the Worldî, the
television series ìMoscow, 20th centuryî, and
several theatre projects, including ballets.
›ÍÒÔÂËÏÂÌڇθÌÓ ‚ˉÂÓ. “ÂÚ¸ˇ „·‚‡ ˆËÍ· ´¬Ë‰ÂÓÓχÌ
1000 ͇ÒÒÂÚ. —Ûχү‰¯ËÈ ÔË̈ª (1986-2007).
◊ÚÓ·˚ ÒÌˇÚ¸ ˝ÔËÁÓ‰ ‰Îˇ ‚ˉÂÓÓχ̇ ´—Ûχү‰¯ËÈ
ÔË̈ª ¡ÓËÒ fiı‡Ì‡ÌÓ‚ ‚ÏÂÒÚ ÒÓ Ò‚ÓËÏË ‰ÛÁ¸ˇÏË ó
“‡ÛÁÓÏ, —‡Î‡ıÓÏ, Õ‡‰ÂÈ Ë ŒÎÂÈ ó ‰ÛÚ Í ÕËÍËÚÂ, ÍÓÚÓ˚È
̇ıÓ‰ËÚÒˇ ‚ ÍËÌÓ˝ÍÒÔ‰ˈËË ÔÓ‰ œÒÍÓ‚ÓÏ. ¬ ÔÛÚË Ëı
ÓÊˉ‡ÂÚ Ú‡„˘ÂÒ͇ˇ ËÒÚÓˡ ˜Â˜ÂÌÒÍÓ„Ó Ì‡Ó‰‡,
ÒÓÔˇ„‡˛˘‡ˇÒˇ Ò ·Ë·ÎÂÈÒÍÓÈ ÍÌË„ÓÈ ›ÒÙËË, ‚ˉÂÓ Ò ÍËÌÓ,
β·Ó‚¸ ÒÓ ÒÏÂÚ¸˛, ÒÓÎÌˆÂ Ò ÌÓ˜¸˛, ‡ Ò˜‡Òڸ ÒÓ ÒÎÂÁ‡ÏË.
œÂϸÂ‡: Ãü‘ ‚ –ÓÚÚÂ‰‡Ï (ÔÓ„‡Ïχ ´Cine Fantom
Dayª), 2006.
Played about ten film roles. Runs a Directorís
Course at the State Theatre Institute RATI
(formerly GITIS).
Experimental video. Third chapter in the cycle ìA Videonovel in 1000 Tapes. The Mad Princeî (1986-2007).
In order to shoot an episode for the video-novel ìThe Mad
Princeî Boris Yukhananov, together with his friends Tauz,
Salakh, Nadia and Olya, visited Nikita on a film expedition
near Pskov. On the way they encounter the tragic story of
the Chechen people, interwoven with the biblical story of the
Book of Esther, video mixed with cinema, love mixed with
death, sun with night and happiness with tears.
Premiere: Rotterdam IFF (programme ìCine Fantom Dayî),
2006.
www.kinotavr.ru
‚ ÁÂ͇Π‰ÓÍÛÏÂÌÚ‡
in the mirror of the
document
‡Ì„ÂÎ ÛÒÒÍÓÈ ˆÂÍ‚Ë
ÔÓÚË‚ ÓÚˆ‡ ‚ÒÂı ̇Ó‰Ó‚
THE ANGEL OF THE RUSSIAN CHURCH AGAINST THE FATHER OF ALL PEOPLES
·ÎÓ͇‰‡
BLOCKADE
‚ Á‡ÚÓÌÂ
IN THE BACKWATERS
‚¯ÍË Ì‡‰ ÂÍÓÈ
RODS ON THE RIVER
‚Ò ‰ÂÚË Óʉ‡˛ÚÒˇ Áˇ˜ËÏË
ALL CHILDREN ARE BORN WITH SIGHT
‚˝Î·
VELLA
„‡Ê‰‡ÌÒÍÓ ÒÓÒÚÓˇÌËÂ
A CIVIL CONDITION
„ÛÔÔ‡ ÍÓ‚Ë
BLOOD TYPE
‰‡ ·Û‰ÛÚ ‰ÌË Ì‡¯Ë ‰ÎËÌÌ˚ÏË
LET OUR DAYS BE LONG
ÍËÌÓ‚ÂÍ ÒÂ„¡ ÍÓχÓ‚‡
THE FILM-CENTURY OF SERGEY üŒÃ¿–Œ¬¿
ÏÓË ‚ÓÓÌ˚
MY CROWS
ÒÒÒ-ÓÒÒˡ-Ú‡ÌÁËÚ
USSR ñ RUSSIA TRANSIT
ÒÛ‰¸·‡ ÏËÎÎËÓÌÂ‡ ‚ ÓÒÒËË
THE FATE OF A MILLIONAIRE IN RUSSIA
ÒˆÂ̇
THE STAGE
ÚËÏÛ. ËÒÚÓˡ ÔÓÒΉÌÂ„Ó ÔÓÎÂÚ‡
TIMUR. THE HISTORY OF THE LAST FLIGHT
˛Á, ‰Ê‡Á, Ë͇ Ë ÔÂÒ
YUZ, JAZZ, IRKA AND DOG
ˇ Í ‚‡Ï Ú‡‚Ó˛ ÔÓ‡ÒÚÛÖ
AND AS GRASS I GROW UP TO YOUÖ
125
‚ ÁÂ͇Π‰ÓÍÛÏÂÌÚ‡
in the mirror of the document
¬ «≈–ü¿À≈
ƒŒü”Ã≈Õ“¿
IN THE MIRROR OF
THE DOCUMENT
¿Õ√≈À –”——üŒ… ÷≈–ü¬»
œ–Œ“»¬ Œ“÷¿ ¬—≈’ Õ¿–ŒƒŒ¬
THE ANGEL OF THE RUSSIAN
CHURCH AGAINST THE FATHER
OF ALL PEOPLES
126
“‡‰ËˆËÓÌÌÛ˛ ÔÓ„‡ÏÏÛ ´üËÌÓÚ‡‚‡ª ÒÓÒÚ‡‚ËÎÓ ÌÓ‚ÓÂ
ÓÒÒËÈÒÍÓ ‰ÓÍÛÏÂÌڇθÌÓ ÍËÌÓ. ü‡Í Ë ‚ ÔÂÊÌË „Ó‰˚, ‚
Ì˚̯ÌÂÈ ÔÓ„‡ÏÏ ó ÔÓ͇Á ÙËθÏÓ‚, ÒÌˇÚ˚ı
ÓÒÒËÈÒÍËÏË ‰ÓÍÛÏÂÌÚ‡ÎËÒÚ‡ÏË, ‡·ÓÚ‡˛˘ËÏË ‚ ‡ÁÌ˚ı
ʇÌ‡ı: ÓÚ ÍÓωËË ‰Ó Ú‡„‰ËË, ‡ÒÒ͇Á˚‚‡˛˘ËÏË Ó
ÒÂ„Ó‰Ìˇ¯ÌÂÈ ÊËÁÌË Ì‡¯Ëı ÒÓ„‡Ê‰‡Ì, ‚˚‰‡˛˘ËıÒˇ Ë
ÌËÍÓÏÛ ÌÂËÁ‚ÂÒÚÌ˚ı, Ó· Ëı ÒÂ„Ó‰Ìˇ¯ÌËı ÔÓ·ÎÂχı, Ó ÚÓÏ,
˜ÚÓ ÔÂÂÊËÚÓ ËÏË ‚ ÔÓ¯ÎÓÏ, Ó Ì‡‰Âʉ‡ı ̇ ·Û‰Û˘ÂÂ.
–ËÚ‡ ◊ÂÌÂÌÍÓ
üÛ‡ÚÓ ÔÓ„‡ÏÏ˚
2005, –ÓÒÒˡ, 84 ÏËÌ., ˆ‚., Betacam SP
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ ¬‡ÎÂËÈ «‡ÎÓÚÛı‡
ŒÔÂ‡ÚÓ˚ ¿Î˯Â ’‡ÏˉıӉʇ‚, —Â„ÂÈ ÃÓÍˈÍËÈ
œÓ‰˛ÒÂ Õ‡Ú‡Îˡ √ÓÒÚ˛¯Ë̇
œÓËÁ‚Ó‰ÒÚ‚Ó üÛθÚÛÌ˚È ÙÓ̉ ´üËÌÓ-ÚÂÎÂÍÓÏÔ‡Ìˡª,
´œ‡‚ÓÒ·‚̇ˇ ˝ÌˆËÍÎÓÔ‰ˡª
¬ ÙËθÏ ‡ÒÒ͇Á˚‚‡ÂÚÒˇ Ó· Ó‰ÌÓÈ ËÁ Ò‡Ï˚ı Ú‡„˘ÂÒÍËı Ë
ÔÓÚË‚Ó˜˂˚ı ÒÚ‡Ìˈ ËÒÚÓËË –ÛÒÒÍÓÈ œ‡‚ÓÒ·‚ÌÓÈ
÷ÂÍ‚Ë, ÍÓ„‰‡ ñ ‚ ÒÚ‡ÎËÌÒÍË ‚ÂÏÂ̇ ñ Ó̇ ·˚·
The programme of ìKinotavrî has traditionally included new
Russian documentary films. As in previous years, the current
programme too presents films by Russian documentary
filmmakers, who all work in different genres ñ from comedy
to tragedy ñ who speak about the contemporary lives of their
famous or obscure fellow citizens, about their problems of
here-and-now, their past and their hopes for the future.
Ô‡ÍÚ˘ÂÒÍË ÛÌ˘ÚÓÊÂ̇, ‡ Á‡ÚÂÏ ÌÂÓÊˉ‡ÌÌÓ ‚ÓÁÌÂÒÂ̇ Ë
ӷ·Ò͇̇ ‚ÓʉÂÏ. √·‚Ì˚ „ÂÓË ÙËθχ ñ ÔÓÚË‚ÌË͡ÌÚËÔÓ‰˚: œ‡Úˇı —Â„ËÈ (—Ú‡„ÓÓ‰ÒÍËÈ »‚‡Ì
ÕËÍÓ·‚˘) Ë ‚Óʉ¸ ‚ÒÂı ̇Ó‰Ó‚ ñ »ÓÒËÙ —Ú‡ÎËÌ.
¬ÚÓ‡ˇ ‰ÓÍÛÏÂÌڇθ̇ˇ ͇ÚË̇ ËÁ‚ÂÒÚÌÓ„Ó ÍËÌÓ‰‡Ï‡ÚÛ„‡
¬‡ÎÂˡ «‡ÎÓÚÛıË (´Ã‡Í‡Ó‚ª, ´ÃÛÒÛθχÌË̪, ´72 ÏÂÚ‡ª)
ÔÓ‰ÓÎʇÂÚ ÚÛ‰ÌÛ˛ ÚÂÏÛ ´‚Â˚ Ë ·ÂÁ‚Âˡª, ̇˜‡ÚÛ˛
Rita Chernenko
Programme Curator
ÙËθÏÓÏ ´œÓÔ˚ª Ó Â‰ËÌÒÚ‚ÂÌÌÓ ÒÓı‡ÌË‚¯ÂÏÒˇ ÒÓÒÎÓ‚ËË ‚
–ÓÒÒËË ñ Ò‚ˇ˘ÂÌÒÚ‚Â (1999).
2005, Russia, 84 min, colour, Betacam SP
Scriptwriter and Director Valery Zalotukha
Camera Alisher Khamidkhodzhaev, Sergei Mokritsky
Producer Natalia Gostyushina
Production Culture Fund ìFilm-Broadcasting Companyî,
ìOrthodox Encyclopediaî
About one of the most tragic and ambiguous pages in the
history of the Russian orthodox church when, in the Stalin
era, the church was practically destroyed, and then quite
unexpectedly elevated and cherished by the leader. The main
heroes of the film are opponents, antipodes: the Patriarch
Sergius (Ivan Nikolaevich Stragorodsky) and the leader of all
nations, Joseph Stalin.
This is the second documentary of the well-known scriptwriter
Valery Zalotukha (ìMakarovî, ìThe Muslimî, ì72 Metersî). It
continues the difficult theme of ëbelief and disbeliefí that was
begun with his film ìPriestsî about the only existing clergy
estate in Russia: priesthood (1999).
¬ «¿“ŒÕ≈
BLOCKADE
IN THE BACKWATERS
‚ ÁÂ͇Π‰ÓÍÛÏÂÌÚ‡
in the mirror of the document
¡ÀŒü¿ƒ¿
127
2005, –ÓÒÒˡ, 52 ÏËÌ., ˜/·, 35 ÏÏ
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ —Â„ÂÈ ÀÓÁÌˈ‡
«‚ÛÍ ¬Î‡‰ËÏË √ÓÎÓ‚ÌˈÍËÈ
œÓ‰˛ÒÂ ¬ˇ˜ÂÒ·‚ “ÂθÌÓ‚
œÓËÁ‚Ó‰ÒÚ‚Ó —ƒ‘ ñ —ÚÛ‰Ëˇ ‰ÓÍÛÏÂÌڇθÌ˚ı ÙËθÏÓ‚ (—œ·)
‘ËÎ¸Ï ÔÓÎÌÓÒÚ¸˛ Ò‰ÂÎ‡Ì ËÁ ‡ıË‚Ì˚ı χÚÂˇÎÓ‚ Ë
ÔÓˇ‚ËÎÒˇ ·Î‡„Ó‰‡ˇ ÚÂÏ ÂÊËÒÒÂ‡Ï Ë ÓÔÂ‡ÚÓ‡Ï, ÍÓÚÓ˚Â
ÒÌËχÎË ÎÂÌËÌ„‡‰ÒÍÛ˛ ıÓÌËÍÛ ‚ ÒÚ‡¯Ì˚ ‰ÌË ·ÎÓ͇‰˚.
›ÚÓ ÙËÎ¸Ï Ó ÚÓÏ, Í‡Í ÓÒڇ̇‚ÎË‚‡ÂÚÒˇ ‚ÂÏˇ Ë Í‡Í
ÒÊËχÂÚÒˇ ÊËÁ̸, ÛÒÚÛÔ‡ˇ Ò‚Ó ÔÓÒÚ‡ÌÒÚ‚Ó ÒÏÂÚË.
- Õ‡ˆËÓ̇θ̇ˇ ÔÂÏˡ ÍËÌÓÍËÚËÍË Ë ÍËÌÓÔÂÒÒ˚ ´¡ÂÎ˚È
—ÎÓ̪ Á‡ ÎÛ˜¯ËÈ ‰ÓÍÛÏÂÌڇθÌ˚È ÙËθÏ;
- œËÁ √Ëθ‰ËË ÍËÌӂ‰ӂ Ë ÍËÌÓÍËÚËÍÓ‚ –ÓÒÒËË ´«‡
ÔË̈ËÔˇθÌÛ˛ ÌÓ‚ËÁÌÛ ‡·ÓÚ˚ Ò ıÓÌËÍÓÈ Ë
‰ÓÒÚËÊÂÌË ˝ÙÙÂÍÚ‡ ´Á‡Ô˜‡ÚÎÂÌÌÓ„Ó ‚ÂÏÂÌ˪;
- œÂÏˡ üËÌӇ͇‰ÂÏËË ´ÕË͇ª Á‡ ÎÛ˜¯ËÈ ÌÂË„Ó‚ÓÈ
ÙËÎ¸Ï 2005 „Ó‰‡;
- —ÔˆˇθÌ˚È ‰ËÔÎÓÏ Ê˛Ë, œËÁ √Ëθ‰ËË ÍËÌӂ‰ӂ Ë
2005, –ÓÒÒˡ, 26 ÏËÌ., ˆ‚., Betacam SP
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ fiËÈ ÿËÎÎÂ
ŒÔÂ‡ÚÓ »„Ó¸ “ËÒÍËÈ
œÓ‰˛ÒÂ fiËÈ ÿËÎÎÂ
œÓËÁ‚Ó‰ÒÚ‚Ó »ÒÒΉӂ‡ÚÂθÒÍËÈ ˆÂÌÚ ´üÛθÚÛ‡ ̇Ó‰Ó‚
—Ë·Ë˪, ÔË Û˜‡ÒÚËË ‘‰Â‡Î¸ÌÓ„Ó ‡„ÂÌÚÒÚ‚‡ ÔÓ ÍÛθÚÛÂ
Ë ÍËÌÂχÚÓ„‡ÙËË
«‡ÚÓÌ ó ˝ÚÓ ÔË·ÂÊÌ˚È ‡ÈÓÌ ÕÓ‚ÓÒË·ËÒ͇, „‰Â
̇ıÓ‰ËÚÒˇ ·‡Á‡ ˜ÌÓ„Ó ÙÎÓÚ‡. —Â‰Ë ˜‡ÒÚÌ˚ı ‰Â‚ˇÌÌ˚ı
‰ÓÏËÍÓ‚ Á‡ÚÂˇÎÓÒ¸ ÒÚÓÂÌËÂ, ̇ ‰‚ÂË ÍÓÚÓÓ„Ó ÔË·ËÚ˚
ÍÓ‚‡Ì˚ ·ÛÍ‚˚ ´üÛÁÌˇª. ›ÚÓÚ ‰ÓÏËÍ ıÓÓ¯Ó Á̇˛Ú ÏÌÓ„ËÂ
ÏÂÒÚÌ˚ ·ˇÚ˯ÍË, ÓÚ ÌËı ‚ ÍÛÁÌ ÓÚ·Óˇ ÌÂÚ. —‰Ë
´ÌÂÁ‚‡Ì˚ı „ÓÒÚÂȪ ÍÛÁ̈‡ ÌÂχÎÓ ·ÂÒÔËÁÓÌËÍÓ‚ Ë ‰ÂÚÂÈ,
Û ÍÓÚÓ˚ı ÒÎÛ˜ËÎÒˇ ÍÓÌÙÎËÍÚ ‚ ÒÂϸÂ. «‰ÂÒ¸ ÓÌË Ì‡ıÓ‰ˇÚ
Ì ÚÓθÍÓ ÔË˛Ú Ë ÔˢÛ, ÌÓ Ë ‚ÌËχÌËÂ Ë ÔÓÌËχÌËÂ.
«‰ÂÒ¸ ÓÌË Ì‡˜Ë̇˛Ú Ó˘Û˘‡Ú¸ Ò·ˇ ÔÓÎÌÓˆÂÌÌ˚ÏË Î˛‰¸ÏË,
Ëϲ˘ËÏË Ô‡‚Ó Ì‡ ΢ÌÓ ÏÌÂÌËÂ, ̇ ÒÓ·ÒÚ‚ÂÌÌ˚ ‰Â· Ë
ÔÓÒÚÛÔÍË.
- √·‚Ì˚È ÔËÁ Á‡ ‰ÓÍÛÏÂÌڇθÌ˚È ÙËÎ¸Ï ó –ü‘ ´ŒÍÌÓ ‚
≈‚ÓÔÛª, ¬˚·Ó„, 2005;
- œËÁ Ãü‘ ‰ÓÍÛÏÂÌڇθÌÓÈ ÏÂÎÓ‰‡Ï˚ ´—‡‡ÚÓ‚ÒÍËÂ
ÒÚ‡‰‡Ìˡª, —‡‡ÚÓ‚, 2005.
ÍËÌÓÍËÚËÍÓ‚ ñ Ãü‘ Ó Ô‡‚‡ı ˜ÂÎÓ‚Â͇ ´—Ú‡ÎÍÂª.
2005, Russia, 52 min, black and white, 35 mm
Scriptwriter and Director Sergei Loznitsa
Sound Vladimir Golovnitsky
Producer Vyacheslav Telnov
Production SDF (Studio of Documentary Films), St. Petersburg
The film consists entirely of archival material and has been
possible only thanks to those directors and cameramen, who
filmed the Leningrad chronicle during the terrible days of the
blockade. This film explores how time stops and life is
compressed, conceding its place to death.
- National Award of Film Critics and the Film Press ìWhite
Elephantî for the Best Documentary Film;
- Prize of the Guild of Film Scholars and Film Critics of
Russia ìFor the basic novelty of working with chronicles and
for achieving the effect of ëtime imprintedíî;
- Prize of the Film Academy NIKA for the Best Non-fiction
Film;
- Special Jury Diploma and Prize of the Guild of Film
Scholars and Film Critics, IFF of Human Rights ìStalkerî.
2005, Russia, 26 min, colour, Betacam SP
Scriptwriter and Director Yuri Shiller
Camera Igor Tirsky
Producer Yuri Shiller
Production Research Centre ìCulture of the Peoples of
Siberiaî with the participation of the Federal Agency for
Culture and Cinematography
The ìBackwatersî are a region in Novosibirsk where the base
of the river fleet is located. Among private wooden houses
stands a building with a door on which the letters ëKuznyaí
(smithy) have withered away. The local kids know this small
house very well, the ìsmithyî can hardly keep going without
them. Among the blacksmithís ìuninvited visitorsî are a great
number of homeless children and children from problem
families. Here, they find not only shelter and food, but also
attention and understanding. Here, they feel like proper
people who have the right to a personal opinion, to their own
affairs and behaviour.
- Main Prize for Documentary Film, Russian FF ìWindow on
Europeî, Vyborg, 2005;
- Prize of IFF of Documentary Melodrama ìSaratov
Sufferingsî, Saratov, 2005.
‚ ÁÂ͇Π‰ÓÍÛÏÂÌÚ‡
in the mirror of the document
¬≈ÿü» Õ¿ƒ –≈üŒ…
RODS ON THE RIVER
¬—≈ ƒ≈“» –Œ∆ƒ¿fi“—fl
«–fl◊»Ã»
ALL CHILDREN ARE BORN
WITH SIGHT
128
2005, –ÓÒÒˡ, 52 ÏËÌ., Betacam SP
2005, –ÓÒÒˡ, 45 ÏËÌ., ˆ‚., Betacam SP
¿‚ÚÓ ÒˆÂ̇ˡ, ÂÊËÒÒÂ Ë ÓÔÂ‡ÚÓ ¡ÓËÒ ÀËÁÌ‚
œÓ‰˛ÒÂ˚ ¿ÎÂÍÒÂÈ Ã‡Î˜ÍËÌ, ¿ÎÂÍ҇̉ √Û̉ÓÓ‚,
—Â„ÂÈ ÀËÌÌËÍÓ‚
œÓËÁ‚Ó‰ÒÚ‚Ó ÷ÂÌÚ-ÒÚÛ‰Ëˇ ̇ˆËÓ̇θÌÓ„Ó ÙËθχ ´XXI
‚Âͪ, ÔË Û˜‡ÒÚËË ‘‰Â‡Î¸ÌÓ„Ó ‡„ÂÌÚÒÚ‚‡ ÔÓ ÍÛθÚÛ Ë
ÍËÌÂχÚÓ„‡ÙËË
–ÂÊËÒÒÂ ¿͇‰ËÈ üÓ„‡Ì
¿‚ÚÓ ÒˆÂ̇ˡ À‚ –Ó¯‡Î¸
ŒÔÂ‡ÚÓ˚ ¿͇‰ËÈ üÓ„‡Ì, ÇÚ˚̸¯ œÛ̇ÌÒ,
œ‡‚ÂÎ üÓÒÚÓχÓ‚
œÓ‰˛ÒÂ ¿ÎÂÍ҇̉ ¿Á‡‰ˇÌˆ
œÓËÁ‚Ó‰ÒÚ‚Ó ¿Ú‡Î‡ÌÚ‡
Œ ‡θÌ˚ı β‰ˇı, ÊË‚Û˘Ëı ÒÂ„Ó‰Ìˇ ‚ ÔÓ‚Ë̈ˇθÌ˚ı
ÛÒÒÍËı „ÓÓ‰‡ı. ŒÌË Ò‡ÏË ‡ÒÒ͇Á˚‚‡˛Ú Ó ÚÓÏ, ˜ÚÓ Ëı
ÓÒÓ·ÂÌÌÓ ‚ÓÎÌÛÂÚ. » ÚÓθÍÓ Ó‰ËÌ „ÂÓÈ ÏÓΘËÚ, Ë ÏÓΘËÚ ÓÌ
ÛÊ ÌÂÒÍÓθÍÓ ÎÂÚ. Œ ÌÂÏ ‡ÒÒ͇Á˚‚‡˛Ú ‰Û„ËÂ,
ÔÓ˜ËÚ‡˛˘ËÂ Â„Ó ÚÓ ÎË Á‡ ‰Ó·Ó„Ó ÒÛχү‰¯Â„Ó, ÚÓ ÎË Á‡
˛Ó‰ÒÚ‚Û˛˘Â„Ó Ò‚ˇÚÓ„Ó. ¡ÂÒÍÓ˚ÒÚÌÓ Ë ·ÂÁÓÚ͇ÁÌÓ ÒÎÛÊËÚ
ÓÌ Ò‚ÓËÏ ·ÎËÊÌËÏ ó β‰ˇÏ, ÊË‚ÓÚÌ˚Ï Ë ‚ÒÂÏÛ ÊË‚ÓÏÛ.
œÂ‚˚Ï, ÔÓ Â‰‚‡ ÓÍÂÔ¯ÂÏÛ Î¸‰Û ÓÌ ÓÚÔ‡‚ΡÂÚÒˇ ´ÒÚ‡‚ËÚ¸
‚¯Í˪, ‚ÂÚӘ͇ÏË Ì‡Ï˜‡ˇ ÁËÏÌ˛˛ ‰ÓÓ„Û ˜ÂÂÁ
Á‡ÏÂÁ¯Û˛ ÂÍÛ, ÍÓÚÓ‡ˇ ÒÓ‰ËÌËÚ Î‚ӷÂÂÊÌ˚ Ë
Ô‡‚Ó·ÂÂÊÌ˚ ‡ÈÓÌ˚ „ÓÓ‰‡.
œÓÚÂˇ‚ ÁÂÌË ‚ 12 ÎÂÚ, —‡¯‡ ÊË‚ÂÚ ÔÓÎÌÓÈ ÊËÁ̸˛.
À˯˂¯ËÒ¸ Ó‰ÌÓ„Ó ˜Û‚ÒÚ‚‡, ÓÌ Ó·ÓÒÚÂÌÌÓ Ó˘Û˘‡ÂÚ ÏË ‚Ó
‚ÒÂı ÓÒڇθÌ˚ı ÔÓˇ‚ÎÂÌˡı. ŒÌ ÒÚ‡‡ÂÚÒˇ ÒÔ‡‚ÎˇÚ¸Òˇ ÒÓ
Ò‚ÓËÏË ÚÛ‰ÌÓÒÚˇÏË Ò‡Ï. ” ÌÂ„Ó ÂÒÚ¸ β·Ëχˇ ‡·ÓÚ‡,
ÏÌÓ„Ó ‰ÛÁÂÈ, ÊÂ̇ Ë ÚÂıÎÂÚÌËÈ Áˇ˜ËÈ Ò˚Ì, ÍÓÚÓÓ„Ó ÓÌ
Û˜ËÚ ‚ˉÂÚ¸ ÏË. » ˝ÚÓÚ ÔÓˆÂÒÒ ñ ‚Á‡ËÏÌ˚È.
- —ÔˆˇθÌ˚È ÔËÁ Ê˛Ë Á‡ ÎÛ˜¯Û˛ ‰‡Ï‡ÚÛ„˲, ÔËÁ
„‡ÁÂÚ˚ ´”‡Î¸ÒÍËÈ ‡·Ó˜ËȪ ó ´«‡ „ÛχÌËÁÏ
ÍËÌÓËÒÍÛÒÒÚ‚‡ª ó Œ‘ƒü ´–ÓÒÒˡª, ≈͇ÚÂËÌ·Û„, 2005;
- œËÁ Á‡ ÎÛ˜¯ËÈ ÒˆÂ̇ËÈ ñ Ãü‘ Ó Ô‡‚‡ı ˜ÂÎÓ‚Â͇
´—Ú‡ÎÍÂª, ÃÓÒÍ‚‡, 2005.
2005, Russia, 52 min, Betacam SP
2005, Russia, 45 min, colour, Betacam SP
Scriptwriter, Director and Cinematographer Boris Liznev
Producers Alexei Malechkin, Alexander Gundorov,
Sergei Linnikov
Production Studio of National Film ë21st Centuryí with the
participation of the Federal Agency for Culture and
Cinematography
Director Arkady Kogan
Scriptwriter Lev Roshal
Camera Arkady Kogan, Martynsh Punans, Pavel Kostomarov
Producer Alexander Azadiants
Production Atalanta
About real people living in provincial Russian cities today,
who speak about their worries. Only one hero is silent, and he
has already been silent for some years. The others talk about
him with esteem, defining him either as kind but crazy, or as
a holy fool. Without a vested interest, yet without fail, he
helps his neighbours, animals and all living creatures. He is
the first to venture onto the only just frozen river to place
rods that will mark the winter road across the ice, which
connects the left and the right banks of the city.
Having lost sight at the age of 12, Sasha nevertheless lives a
full life: having lost one of his senses, he intensely senses the
world with the others. He tries to manage his difficulties
himself. He has a job that he likes, a lot of friends, a wife,
and a three-year old son, whom he teaches to see the world ñ
although the child is not blind. And this process is mutual.
- Special Jury Prize for the Best Script, Prize of the
newspaper The Ural Worker ìFor the humanism of film artî,
Open Documentary Festival ëRussiaí, Ekaterinburg, 2005;
- Prize for the Best Script, IFF of Human Rights ìStalkerî,
Moscow, 2005.
VELLA
√–¿∆ƒ¿Õ—üŒ≈
—Œ—“ŒflÕ»≈
A CIVIL CONDITION
‚ ÁÂ͇Π‰ÓÍÛÏÂÌÚ‡
in the mirror of the document
¬›ÀÀ¿
129
2005, –ÓÒÒˡ, 35 ÏËÌ., ˆ‚., Betacam SP
2005, –ÓÒÒˡ, 29 ÏËÌ., ˆ‚, 35 ÏÏ
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ ¬Î‡‰ËÏË √Â˜ËÍÓ‚
ŒÔÂ‡ÚÓ ¿Î˯Â ’‡ÏˉıӉʇ‚
œÓ‰˛ÒÂ ¬Î‡‰ËÏË √Â˜ËÍÓ‚
œÓËÁ‚Ó‰ÒÚ‚Ó ´“ÂÎÂÏÓÒÚª
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ ¿ÎË̇ –Û‰Ìˈ͇ˇ
ŒÔÂ‡ÚÓ ¿ÎÂÍ҇̉ ‘ËÎËÔÔÓ‚
œÓ‰˛ÒÂ ¬ˇ˜ÂÒ·‚ “ÂθÌÓ‚
œÓËÁ‚Ó‰ÒÚ‚Ó —ƒ‘ ñ —ÚÛ‰Ëˇ ‰ÓÍÛÏÂÌڇθÌ˚ı ÙËθÏÓ‚ (—œ·)
œÓ˝Ú, ÓıÓÚÌËÍ, ÓÎÂÌ‚Ӊ fiËÈ ¬˝Î·, ̇‰ÂˇÒ¸ ̇
ÔÓÌËχÌËÂ Ë ÔÓÏÓ˘¸ ‚·ÒÚÂÈ, ‚ÒÚÛÔ‡ÂÚ ‚ ·Ó¸·Û Ò ÌÂÙÚˇÌÓÈ
ÍÓÔÓ‡ˆËÂÈ...
Œ ‡·ÓÚÌË͇ı «¿√—‡, ˜ÂÂÁ ·Û‰ÌË ÍÓÚÓ˚ı ÔÓıÓ‰ˇÚ Ò‡Ï˚Â
Á̇˜ËÏ˚ ÒÓ·˚Úˡ ËÁ ÊËÁÌË Î˛‰ÂÈ ñ Ò‚‡‰¸·‡, ‡Á‚Ó‰,
ÓʉÂÌË ‰ÂÚÂÈ, ÒÏÂÚ¸ ó Ë ‰‡Ï‡, Ë ÍÓωˡ.
2005, Russia, 35 min, colour, Betacam SP
2005, Russia, 29 min, color, 35 mm
Scriptwriter and Director Vladimir Gerchikov
Camera Alisher Khamidkhodzhaev
Producer Vladimir Gerchikov
Production Telemost
Scriptwriter and Director Alina Rudnitskaya
Camera Alexander Filippov
Producer Viacheslav Telnov
Production SDF (Studio of Documentary Films), St. Petersburg
The poet, hunter, and reindeer breeder Yuri Vella, hoping for
understanding and the help of the authorities, begins a fight
with an oil corporation...
A witty, yet sad film about the staff at a registry office,
where every day important events happen for the visitors:
weddings, divorces, births, deathsÖ
‚ ÁÂ͇Π‰ÓÍÛÏÂÌÚ‡
in the mirror of the document
√–”œœ¿ ü–Œ¬»
BLOOD TYPE
ƒ¿ ¡”ƒ”“ ƒÕ»
Õ¿ÿ» ƒÀ»Õդû
LET OUR DAYS BE LONG
130
2006, –ÓÒÒˡ, 44 ÏËÌ., ˆ‚., Betacam SP
2005, –ÓÒÒˡ, 21 ÏËÌ., ˆ‚., 1:1.37, 35 ÏÏ
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ ÃËı‡ËÎ ¡‡¯ËÌÒÍËÈ
ŒÔÂ‡ÚÓ ŒÎ„ ÿÛ‚‡Â‚
œÓ‰˛ÒÂ ≈͇ÚÂË̇ ‘ËÎËÔÔÓ‚‡
œÓËÁ‚Ó‰ÒÚ‚Ó —ÚÛ‰Ëˇ ´¿Ú·ÌÚËͪ, ÔË ÔÓ‰‰ÂÊÍÂ
‘‰Â‡Î¸ÌÓ„Ó ¿„ÂÌÚÒÚ‚‡ ÔÓ ÍÛθÚÛÂ Ë ÍËÌÂχÚÓ„‡ÙËË
www.diaspora-film.ru
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ √ÂÓ„ËÈ œ‡‡‰Ê‡ÌÓ‚
ŒÔÂ‡ÚÓ ÕÓ‰‡ œ‡Îˇ¯‚ËÎË
ÃÛÁ. ÓÙÓÏÎÂÌË —‚ÂÚ·̇ —ÚÂÔ˜ÂÌÍÓ
«‚ÛÍ ƒÏËÚËÈ ÃÓÓÁÓ‚
œÓ‰˛ÒÂ˚ √ÂÓ„ËÈ œ‡‡‰Ê‡ÌÓ‚, ¿Ì̇ √ÓÎÍÓ,
≈͇ÚÂË̇ ƒ‡‚ËÚ‡ˇ
œÓËÁ‚Ó‰ÒÚ‚Ó √ÂÓ„ËÈ œ‡‡‰Ê‡ÌÓ‚ ‘ËθÏ
´√ÛÔÔ‡ Íӂ˪ ñ ÔËÎÓÚ ÍÛÔÌÓχүڇ·ÌÓ„Ó ÔÓÂÍÚ‡
´ƒË‡ÒÔÓ˚ª, ˆËÍ· ÙËθÏÓ‚, ‡ÒÒ͇Á˚‚‡˛˘Ëı Ó Îˈ‡ı
‡ÁÌ˚ı ̇ˆËÓ̇θÌÓÒÚÂÈ, ÒÓÒÚ‡‚Ρ˛˘Ëı ‚Ó ‚ÒÂÏ Ò‚ÓÂÏ
ÏÌÓ„ÓÓ·‡ÁËË ÎËˆÓ ÒÓ‚ÂÏÂÌÌÓÈ ÃÓÒÍ‚˚. ‘ËÎ¸Ï ´√ÛÔÔ‡
Íӂ˪ ñ Ó ‚ÓÒ¸ÏÂ˚ı ÏÓÒ͂˘‡ı ÍÓÂÈÒÍÓ„Ó
ÔÓËÒıÓʉÂÌˡ, Í‡Ê‰Ó„Ó ËÁ ÍÓÚÓ˚ı ÁÓ‚ÛÚ ¬ËÍÚÓ ÷ÓÈ.
Œ‰ËÌ ñ ̇˜‡Î¸ÌËÍ ‚ÒÂı ÏÓÒÍÓ‚ÒÍËı ÍÓÂȈ‚, ‰Û„ÓÈ ñ „Ó
ÚÂÁ͇-Ò˚Ì, ´·‡Î·ÂÒª, ÔÓ‚Ó‰ˇ˘ËÈ ‚Ò ‚ÂÏˇ Á‡
ÍÓÏÔ¸˛ÚÂÓÏ, ÚÂÚ¸ˇ ñ Â„Ó ÚÂÁ͇-‰Ó˜¸, ÔÓÒ‚ˇ˘ÂÌ̇ˇ
·Û‰‰ËÒÚ͇, ˜ÂÚ‚ÂÚ˚È ñ ıÛÎË„‡Ì, ÔˇÚ˚È ñ ̇·‰˜ËÍ
¯‚ÂÈÌ˚ı χ¯ËÌÓÍ, ¯ÂÒÚÓÈ ñ ÔÓÊËÎÓÈ Û˜ÂÌ˚È, Ò‰¸ÏÓÈ ñ
̇˜Ë̇˛˘ËÈ Ô‰ÔËÌËχÚÂθ, ‚ÓÒ¸ÏÓÈ ñ Ô‰Ò‰‡ÚÂθ
∆—ü. ÃÂÊ‰Û ÌËÏË ÌÂÚ ÌË˜Â„Ó Ó·˘Â„Ó. ÕÛ ‡Á‚ ˜ÚÓ ÍÓÏÂ
ËÏÂÌË. »ÎË ‚ÒÂ-Ú‡ÍË ÂÒÚ¸? ü‡Í‡ˇ Û ÌËı „ÛÔÔ‡ ÍÓ‚Ë? Õ‡
‚ÒÂı ñ Ӊ̇?..
´»‰Âˇ ÒÌˇÚ¸ ˝ÚÓÚ ÙËÎ¸Ï Ӊ˷Ҹ Û ÏÂÌˇ ÔÓÒΠÔÓÒ¢ÂÌˡ
Ó‰ÌÓ„Ó ËÁ Í·‰·Ë˘ “·ËÎËÒË, „‰Â ˇ ۂˉÂÎ ÒÂϸ χÎÂ̸ÍËı
ÒÍÎÂÔÓ‚, ÒÚÂÌ˚ Ë ÔÓÚÓÎÍË ÍÓÚÓ˚ı ·˚ÎË ‡ÒÔËÒ‡Ì˚
ÙÂÒ͇ÏË, ÓÚ‡Ê‡˛˘ËÏË ÒˆÂÌ˚ ËÁ ÊËÁÌË ÔÓ„·ÂÌÌ˚ı
Á‰ÂÒ¸ β‰ÂÈ Ë Ô˘ËÌ˚ Ëı ÒÏÂÚË. ¿ ̇ Ï‡ÏÓÌ˚ı
Ú‡·Î˘͇ı ·˚ÎË ‚˚·ËÚ˚ ‚ ÒÚËı‡ı Ëı ÒÛ‰¸·˚...ª ñ √ÂÓ„ËÈ
œ‡‡‰Ê‡ÌÓ‚
- ”˜‡ÒÚË ‚ ÍÓÌÍÛÒÌÓÈ ÔÓ„‡ÏÏ ÍÓÓÚÍÓÏÂÚ‡ÊÌ˚ı
ÙËθÏÓ‚ ñ Ãü‘ ‚ ¬Â̈ËË, 2005 Ë Ì‡ ÏÌÓ„Ëı ‰Û„Ëı
ÙÂÒÚË‚‡Îˇı.
2006, Russia, 44 min, colour, Betacam SP
2005, Russia, 21 min., color, 1:1.37, 35 mm
Scriptwriter and Director Mikhail Brashinsky
Camera Oleg Shuvaev
Producer Ekaterina Filippova
Production Atlantic Studio with participation of the Federal
Agency for Culture and Cinematography
www.diaspora-film.ru
Director/ Scriptwriter Georgy Paradjanov
Camera Nodar Paliashvili
Music Designer Svetlana Stepchenko
Sound Dmitry Morozov
Producers Georgy Paradjanov, Anna Golko,
Ekaterina Davitaya
Production/ Sales Georgy Paradjanov Film
´Blood Typeª is a pilot film of the large-scale documentary
project ´Diasporaª, a cycle of films about people of different
ethnic origin who ñ in their variety ñ make up the face of the
modern Moscow. ´Blood Typeª is about eight Muscovites of
Korean descent, all named the same ñ Victor Tsoy, the name
of a legendary late Russian-Korean rock star. One is the chief
of all of Moscowís Koreans; another, his namesake son, a
computer freak; the third, his namesake daughter, a devout
Buddhist; the fourth, a hoodlum; the fifth, a sewing machine
repairman; the sixth, an elderly scientist; the seventh, a
young businessman; the eighth, a chairman of a Housing
Committee. They have nothing in common, except for their
name. Or do they? What is their blood type ñ the title of
Victor Tsoyís most famous song? Is it also the same?
ìThe idea to make this film was born after visiting one of
Tbilisiís cemeteries, where I saw seven small crypts, the walls
and ceilings of which had been painted with frescoes reflecting
stages of the lives of those buried here and the reasons for
their deaths. On marble plates their destinies were embossed
in verse...îñ Georgy Paradjanov
- Participation in the Competition Programme of Short Films
at the Venice IFF, 2005.
ÃŒ» ¬Œ–ŒÕ¤
MY CROWS
THE FILM-CENTURY OF
SERGEY üŒÃ¿–Œ¬¿
‚ ÁÂ͇Π‰ÓÍÛÏÂÌÚ‡
in the mirror of the document
ü»ÕŒ¬≈ü
—≈–√≈fl üŒÃ¿–Œ¬¿
131
2005, –ÓÒÒˡ, 29 ÏËÌ., Betacam SP
2005, –ÓÒÒˡ, 39 ÏËÌ., ˆ‚., 4:3, Betacam SP
–ÂÊËÒÒÂ˚ Ë ‡‚ÚÓ˚ ÒˆÂ̇ˡ ÇˇÌ̇ üË‚‡,
ÇË̇ “Û¯
ŒÔÂ‡ÚÓ ¬‡ÎÂËÈ üÓÌËÌ
œÓ‰˛ÒÂ ÇË̇ “Û¯
œÓËÁ‚Ó‰ÒÚ‚Ó ´¿ÚËχª
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ —‚ÂÚ·̇ ¡˚˜ÂÌÍÓ
ŒÔÂ‡ÚÓ˚ —Â„ÂÈ üÛÎ˯ÂÌÍÓ, —‚ÂÚ·̇ ¡˚˜ÂÌÍÓ,
»‚‡Ì ‘ËÌӄ‚
’Û‰ÓÊÌËÍ ¿Ì̇ ◊ËÒÚÓ‚‡
—Ôˆ.˝ÙÙÂÍÚ˚ —Â„ÂÈ ƒ‡ÌËθ˜ÂÌÍÓ
«‚ÛÍ »Î¸ˇ ü‡-˜ÂÊÛÍ (»Î¸ˇ ü‡˜ÂÊÛÍ)
œÓ‰˛ÒÂ ÇÈ‡Ï fiÒÛÔÓ‚‡
œÓËÁ‚Ó‰ÒÚ‚Ó ´¿‚„ÛÒÚª
´≈ÒÎË ÂÒÚ¸ ÍËÌÓ, ÚÓ ‰ÓÎÊ̇ ·˚Ú¸ Ë Ì‡Û͇ Ó ÌÂϪ.
–ÛÍÓ‚Ó‰ÒÚ‚ÛˇÒ¸ ˝ÚÓÈ Ï˚Òθ˛, ˝ÌÚÛÁˇÒÚ˚ ‰‚‡‰ˆ‡Ú˚ı „Ó‰Ó‚
ÒÓÁ‰‡ÎË ÌÓ‚Û˛ ‰ËÒˆËÔÎËÌÛ: ÍËÌӂ‰ÂÌËÂ. Œ‰ÌËÏ ËÁ ÌËı ·˚Î
Ô‰‡„Ó„ ¬√»ü‡ ñ ÔÓÙÂÒÒÓ —Â„ÂÈ ¬‡ÒËθ‚˘ üÓχÓ‚. ŒÌ
ÔÂ‚˚Ï ‚ –ÓÒÒËË Ì‡˜‡Î ÒÓ·Ë‡Ú¸ Ë Ó·‡·‡Ú˚‚‡Ú¸ χÚÂˇÎ
ÔÓ ËÒÚÓËË ÍËÌÂχÚÓ„‡Ù‡ —ÿ¿, ‘‡ÌˆËË, Ò͇̉Ë̇‚ÒÍËı
ÒÚ‡Ì. «Ì‡ÚÓÍ ÍËÌÓ, ÌÂÛÚÓÏËÏÓ ÔÓÔÓÎÌˇ‚¯ËÈ Ò‚ÓË Á̇Ìˡ,
—Â„ÂÈ ¬‡ÒËθ‚˘ ˘Â‰Ó ‰ÂÎËÎÒˇ ËÏË Ò ÏÓÎÓ‰˚ÏË
ÍÓÎ΄‡ÏË. ŒÌ Û¯ÂÎ ËÁ ÊËÁÌË ‚ 2002 „Ó‰Û, ‚ ‚ÓÁ‡ÒÚ 97 ÎÂÚ.
ƒÓÍÛÏÂÌڇθ̇ˇ ÍËÌÓÔÓ‚ÂÒÚ¸. —Â˚ ‚ÓÓÌ˚ Ó˜Â̸ β·ˇÚ
ÃÓÒÍ‚Û Ë ÓÒÓ·ÂÌÌÓ üÂÏθ. ŒÌËÚÓÎÓ„Ë Ì ÏÓ„ÛÚ ÛÒÚ‡ÌÓ‚ËÚ¸
Ô˘ËÌ˚ ˝ÚÓÈ ÓÒÓ·ÂÌÌÓÒÚË ‚ÂҸχ Ó·˚ÍÌÓ‚ÂÌÌ˚ı ÔÚˈ.
—ÓΉ‡Ú˚ œÂÁˉÂÌÚÒÍÓ„Ó ÔÓÎ͇ ÓÚÒÚÂÎË‚‡˛Ú Ëı ͇ʉÓÂ
ÛÚÓ, ÔÛ„‡˛Ú Ëı ˇÒÚ·‡ÏË, ÌÓ ‚ÓÓÌ˚ ‚Ò ‡‚ÌÓ
‚ÓÁ‚‡˘‡˛ÚÒˇ...
- œËÁ ‚ ÌÓÏË̇ˆËË ´Õ‡Û˜ÌÓ-ÔÓÔÛΡÌ˚ Ë
ÔÓÒ‚ÂÚËÚÂθÒÍË ÔÓ„‡ÏÏ˚ª - VIII ≈‚‡ÁËÈÒÍËÈ
ÚÂÎÂÙÓÛÏ (2005).
2005, Russia, 29 min, Betacam SP
2005, Russia, 39 min., color, 4:3, Betacam SP
Directors and Scriptwriters Marianna Kireeva, Marina Trush
Camera Valery Konin
Producer Marina Trush
Production Artima Studio
Scriptwriter and Director Svetlana Bychenko
Camera Sergei Kulishenko, Svetlana Bychenko, Ivan Finogeev
Art Director Anna Chistova
Special effects Sergei Danilchenko
Sound Ilya Kar-Cherzhuk (Ilya Kacherzhuk)
Producer Mairam Yusupova
Production August Studio
ìIf there is cinema, then it should also be studied as a
disciplineî. Guided by this idea, the film enthusiasts of the
1920s created the new discipline of film studies. One of them
was the teacher of the Film Institute VGIK, professor Sergei
Vasilievich Komarov. He was the first in Russia to start
collecting and processing material about the history of cinema
in the United States, France, and Scandinavia. An expert on
cinema who tirelessly expanded his knowledge, Sergei
Komarov generously shared it with young colleagues. He died
in 2002 at the age of 97.
A documentary film-novella. Grey ravens love Moscow, and
especially the Kremlin. Ornithologists cannot establish the
reason for the behaviour of these quite ordinary birds. The
soldiers of the Presidential Guard shoot them every morning,
or they frighten them with hawks, but the ravens return all
the same...
- Prize in the category ìPopular Scientific and Educational
Programmesî, 8th Eurasian Teleforum, 2005.
‚ ÁÂ͇Π‰ÓÍÛÏÂÌÚ‡
in the mirror of the document
———–-–Œ——»fl-“–¿Õ«»“ —”ƒ‹¡¿ ûÀÀ»ŒÕ≈–¿
USSR ñ RUSSIA TRANSIT
¬ –Œ——»»
THE FATE OF A MILLIONAIRE
IN RUSSIA
132
2005, –ÓÒÒˡ, 52 ÏËÌ., ˆ‚., Betacam SP
2005, –ÓÒÒˡ, 33 ÏËÌ., ˆ‚., Betacam SP
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ ¿Ì‰ÂÈ “ËÚÓ‚
ŒÔÂ‡ÚÓ ≈‚„ÂÌËÈ ÷Ë„Âθ
œÓ‰˛ÒÂ »Ë̇ —ÌÂÊËÌÒ͇ˇ
œÓËÁ‚Ó‰ÒÚ‚Ó ´—Ì„‡ª
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ »Ë̇ ¬‡ÒË肇
ŒÔÂ‡ÚÓ˚ ¿ÎÂÍ҇̉ ÿÛ·ËÌ, ¬Î‡‰ËÏË »‚‡ÌÓ‚
œÓ‰˛ÒÂ ¿ÎÂÍ҇̉ –‡‰Ó‚
œÓËÁ‚Ó‰ÒÚ‚Ó ´‘˯͇-ÙËθϪ
Œ ÔÓ‚Ë̈ˇθÌ˚ı ˜Û‰Ë͇ı, ·ÎÛʉ‡˛˘Ëı ‚ ÔÓËÒ͇ı
ÒÏ˚Ò· ÊËÁÌË. Œ‰ËÌ ‚ˉËÚ Ò‚Ó ÔËÁ‚‡ÌË ‚
ÍÓÎÎÂ͈ËÓÌËÓ‚‡ÌËË ‡ËÚÂÚÓ‚ ۯ‰¯ÂÈ ˝ÔÓıË, ‰Û„ÓÈ ñ
‚ ÒÓÁ‰‡ÌËË ÔÓÏÂ˘Ë˜¸ÂÈ ÛÒ‡‰¸·˚, ÚÂÚËÈ Ê‰ÂÚ ÔÓÏÓ˘Ë ËÁ
ÍÓÒÏÓÒ‡Ö
- œËÁ Á‡ ÎÛ˜¯ËÈ ÔÓÎÌÓÏÂÚ‡ÊÌ˚È ÙËθÏ, ÔËÁ
ŒÚÍ˚ÚÓ„Ó ‡Û͈ËÓ̇ ´“‡Ú¸ˇÌËÌ ‰Â̸ª ó ´«‡
ÔËÒڇθÌÓÒÚ¸ ‚Á„Ρ‰‡ª ó Œ‘ƒü ´–ÓÒÒˡª,
≈͇ÚÂËÌ·Û„, 2005;
- “ÂÚ¸ˇ ÔÂÏˡ ‚ ‡Á‰ÂΠÌÂË„Ó‚Ó„Ó ÍËÌÓ ñ üÓÌÍÛÒ ´—‚.
¿Ì̇ª, ÃÓÒÍ‚‡, 2005;
- œËÁ Ê˛Ë ÌÂË„Ó‚Ó„Ó ÍËÌÓ Á‡ ‰Â·˛Ú ó Ãü‘ Ó Ô‡‚‡ı
˜ÂÎÓ‚Â͇ ´—Ú‡ÎÍÂª, ÃÓÒÍ‚‡, 2005;
- œËÁ Ï˝‡ „ÓÓ‰‡ —‡‡ÚÓ‚‡ ñ “ÂÎÂÙÂÒÚË‚‡Î¸
‰ÓÍÛÏÂÌڇθÌÓÈ ÏÂÎÓ‰‡Ï˚ ´—‡‡ÚÓ‚ÒÍË ÒÚ‡‰‡Ìˡª,
—‡‡ÚÓ‚, 2005;
- œËÁ ÁËÚÂθÒÍËı ÒËÏÔ‡ÚËÈ ó ‘ÂÒÚË‚‡Î¸
‰ÂÈÒÚ‚ËÚÂθÌÓ„Ó ÍËÌÓ ´üËÌÓÚ‡Ú.Docª, ÃÓÒÍ‚‡, 2006 Ë ‰.
¬ ·ÂÁÛÏÌ˚ 90- œ‡‚ÂÎ —ËÎÍÓ‚ ÒڇΠÏËÎÎËÓÌÂÓÏ. “Ó„‰‡ ˝ÚÓ
·˚ÎÓ ÌÂÚÛ‰ÌÓ. “ۉ̠·˚ÎÓ Ì ÔÓÚÂˇÚ¸ ‚ ÂÁÛθڇÚÂ
ÊËÁ̸, Ó‰ËÌÛ ËÎË Ò‚Ó·Ó‰Û. œ‡‚ÎÛ ÔÓ‚ÂÁÎÓ ñ ÓÌ Óډ·ÎÒˇ
‚ÓÒÂϸ˛ „Ó‰‡ÏË ‚ ÕËÊÌÂ-“‡„ËθÒÍÓÈ ÁÓÌ ‰Îˇ VIPÖ
2005, Russia, 52 min, colour, Betacam SP
2005, Russia, 33 min, colour, Betacam SP
Scriptwriter and Director Andrei Titov
Camera Evgeny Tsigel
Producer Irina Snezhinskaya
Production Snega
Scriptwriter and Director Irina Vasilieva
Camera Alexander Shubin, Vladimir Ivanov
Producer Alexander Radov
Production Fishka-Film
About some strange provincial people, who wander in search
for the meaning of life. One of them sees his calling in the
collection of curiosities, another in the creation of a
landownerís manor, while the third is waiting for help from
outer space Ö
- Prize for Best Feature Film, Prize of the Open Auction
ìTatianaís Name-Dayî, ìFor an obstinate gazeî, Open
Documentary Festival ìRussiaî, Ekaterinburg, 2005;
- Third Prize in the section ìNon-fiction Filmî, Competition
ìSt. Annaî, Moscow, 2005;
- Jury Prize for Non-fiction Debut, IFF of Human Rights
ìStalkerî, Moscow, 2005;
- Prize of the Mayor of Saratov, Tele-Festival of Documentary
Melodrama ìSaratov Sufferingsî, Saratov, 2005;
- Prize of Audience Sympathies, Festival of Real Cinema
ìKinoteatr.docî, Moscow, 2006;
and other awards
During the crazy 1990s Pavel Silkov became a millionaire.
Then it was easy. Later it was much more difficult to not lose
life, home or freedom. Pavel was lucky: he got off with 8
years in the Nizhny Tagil zone for VIPs Ö
THE STAGE
“»Ã”–. »—“Œ–»fl
œŒ—À≈ƒÕ≈√Œ œŒÀ≈“¿
TIMUR. THE HISTORY
OF THE LAST FLIGHT
‚ ÁÂ͇Π‰ÓÍÛÏÂÌÚ‡
in the mirror of the document
—÷≈Õ¿
133
2005, »Á‡Ëθ, 54 ÏËÌ., ˆ‚., 1:1.37, Betacam SP PAL
2005, –ÓÒÒˡ, 26 ÏËÌ., ˆ‚., 35 ÏÏ
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ œÂÚ ÃÓÒÚÓ‚ÓÈ
ŒÔÂ‡ÚÓ ŒÙÂ ’‡‡Ë
üÓÏÔÓÁËÚÓ »Î¸ˇ ¡Â¯‡‰ÒÍËÈ
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ Õ‡Ú‡Îˡ √Û„Û‚‡
ŒÔÂ‡ÚÓ˚ »Ë̇ ”‡Î¸Ò͇ˇ, –ÓÏ‡Ì üÓ̉‡Ú¸Â‚,
»‚‡Ì ¿ÎÙÂÓ‚
œÓ‰˛ÒÂ Շڇθˇ ∆ÂÎÚÛıË̇
œÓËÁ‚Ó‰ÒÚ‚Ó ´–ËÒͪ
¬ ÙËθÏ ÒÌËχÎËÒ¸: Ã˯‡ “ÂÔÎˈÍËÈ, “‡Ìˇ ÇÎӂ˘ÍÓ,
fiËÈ ’‡ÌËÌ, “‡Ï‡‡ üÓÔ‡ÌÒ͇ˇ, À˛‰ÏË· üÓ‚‡Î‚Ò͇ˇ,
»Î¸ˇ ¡Â¯‡‰ÒÍËÈ Ë ‰.
œÓ‰˛ÒÂ œÂÚ ÃÓÒÚÓ‚ÓÈ
œÓËÁ‚Ó‰ÒÚ‚Ó Pack Line
“‡„ËÍÓωˡ.
’ÓÌË͇ Ôӂ‰ÂÌˡ ͇ÒÚËÌ„‡ ‰Îˇ Û˜‡ÒÚˡ ‚ ËÁ‡ËθÒÍÓÏ
ÔÓÂÍÚ ´ü‡·‡ª. –ÓÒÒËÈÒÍË ÂÔ‡ÚˇÌÚ˚, ÏÌÓ„Ë ËÁ
ÍÓÚÓ˚ı ÔËÂı‡ÎË ‚ ÒÚÓÎËˆÛ ËÁ ‰Û„Ëı „ÓÓ‰Ó‚,
‡ÒÒ͇Á˚‚‡˛Ú Ó Ò·Â, Á‡ÚÂÏ ÒÎÂ‰Û˛Ú ÂÔÂÚˈËË Ë
‰ËÌÒÚ‚ÂÌÌÓ ‚˚ÒÚÛÔÎÂÌË Óʉ‡˛˘Â„ÓÒˇ Ú‡Ú‡.
Øڇ˛˘ËÂ Ó Ú‡Ú‡Î¸ÌÓÈ Í‡¸Â β‰Ë ÔÓÒÚÂÔÂÌÌÓ
ÔÂÓ·‡Ê‡˛ÚÒˇ Ë ÒÚ‡ÌÓ‚ˇÚÒˇ ̇ÒÚÓˇ˘ËÏË ‡ÍÚÂ‡ÏË. ›ÚÓ
·˚ÎË ÎÛ˜¯Ë ‰ÌË Ëı ÊËÁÌËÖ
- œÂÏËË ´À‡‚ª Á‡ ÎÛ˜¯ËÈ ÔÓÎÌÓÏÂÚ‡ÊÌ˚È ÌÂË„Ó‚ÓÈ
ÚÂ΂ËÁËÓÌÌ˚È ÙËÎ¸Ï 2005 „Ó‰‡;
- œËÁ ͇̇· ´24‰Óͪ ó ‘ÂÒÚË‚‡Î¸ ‰ÂÈÒÚ‚ËÚÂθÌÓ„Ó ÍËÌÓ
´üËÌÓÚ‡Ú.Docª, ÃÓÒÍ‚‡, 2006.
Œ˜Â‚ˉˆ‡ÏË „Ë·ÂÎË √ÂÓˇ –ÓÒÒËË ÎÂÚ˜Ë͇ Ô‡ÎÛ·ÌÓÈ ‡‚ˇˆËË
“ËÏÛ‡ ¿Ô‡ÍˉÁ ÒÚ‡ÎË 10 Ú˚Òˇ˜ ÁËÚÂÎÂÈ, ÒÂ‰Ë ÍÓÚÓ˚ı
·˚ÎË Ë Â„Ó ‰ÛÁ¸ˇ-ÎÂÚ˜ËÍË. üÓ„‰‡-ÚÓ ¿Ô‡ÍˉÁ ۉ‡˜ÌÓ
͇ڇÔÛθÚËÓ‚‡ÎÒˇ Ò ÌÂÛÔ‡‚ΡÂÏÓ„Ó Ô‡‰‡˛˘Â„Ó Ò‡ÏÓÎÂÚ‡.
» ÚÓ, ˜ÚÓ ÒÏÂÚ¸ ÚÓ„‰‡ ·˚· ˇ‰ÓÏ, Á‡ÔÓÏÌËÎÓÒ¸ ÂÏÛ Ì‡ ‚Ò˛
ÓÒÚ‡‚¯Û˛Òˇ ÊËÁ̸. ¿ ÌÂÁ‡‰ÓÎ„Ó ‰Ó Ò‚ÓÂÈ „Ë·ÂÎË, ÒÎÓ‚ÌÓ
Ô‰˜Û‚ÒÚ‚Ûˇ ÂÂ, ÓÌ ÔÓ‰Ó·ÌÓ ‡ÒÒ͇Á‡Î, ˜ÚÓ Ó˘Û˘‡ÂÚ Ë Ó
˜ÂÏ ‰ÛχÂÚ ÎÂÚ˜ËÍ, ÍÓ„‰‡ Ô‡‰‡ÂÚ Â„Ó Ò‡ÏÓÎÂÚ. » ÔÓ˜ÂÏÛ
ÎÂÚ˜ËÍÛ ·˚‚‡ÂÚ ÚˇÊÂÎÓ ÔËÌˇÚ¸ ¯ÂÌË ̇
͇ڇÔÛθÚËÓ‚‡ÌËÂÖ
- Õ‡ˆËÓ̇θ̇ˇ ÔÂÏˡ ´À‡‚ª Á‡ 2005 „Ó‰ ‚ ÌÓÏË̇ˆËË
´ÀÛ˜¯ËÈ ÌÂË„Ó‚ÓÈ ÙËÎ¸Ï Ì‡ ÍËÌÓÔÎÂÌͪ;
- œËÁ ËÏÂÌË œ‡‚· üÓ„‡Ì‡ ñ Ãü‘ ´œÓÒ·ÌËÂ Í ˜ÂÎÓ‚ÂÍÛª,
—œ·, 2005;
- ƒËÔÎÓÏ Ãü‘ ´«ÓÎÓÚÓÈ ¬ËÚˇÁ¸ª, 2005 Ë ‰.
2005, Israel, 54 min, colour, 1:1.37, Betacam SP PAL
2005, Russia, 26 min, colour, 35 mm
Scriptwriter and Director Pyotr Mostovoy
Camera Ofer Harari
Composer Ilya Bershadsky
Scriptwriter and Director Natalia Gugueva
Camera Irina Uralskaya, Roman Kondratiev, Ivan Alfyorov
Producer Natalia Zheltukhina
Production Risk Film-Video Studio
Characters: Misha Teplitsky, Tanya Malovichko, Yuri Khanin,
Tamara Kopanskaya, Lyudmila Kovalevskaya, Ilya Bershadsky
Producer Pyotr Mostovoy
Production Pack Line
Documentary tragicomedy. The casting story for participation
in the Israeli project ëCabaretí. Russian repatriates, many of
whom have come to the capital from other cities, talk about
themselves. Then follow rehearsals, and the only performance
of a newly born theatre. People dream of a career in theatre
and gradually transform into genuine actors. These were the
best days of their lifeÖ
- Prize ìLaurelî for the Best Full-length Non-fiction Television
Film of 2005;
- Prize of the Channel 24doc, Festival of Real Cinema
ìKinoteatr.docî, Moscow, 2006.
10,000 spectators were eyewitnesses of the death of the Hero
of Russia, Timur Apakidze, a light aircraft pilot; among them
were his friends and fellow-pilots. On one occasion Apakidze
successfully ejected from a falling out-of-control plane. He
was close to death then, and remembered this experience for
the rest of his life. Shortly before his death, as if he had a
premonition, he gave a detailed account of the feelings and
thoughts of a pilot when his plane falls, and why it is so
difficult for a pilot to make the decision to eject Ö
- National Award ìLaurelî in the category Best Non-fiction
Film on 35 mm, 2005;
- Pavel Kogan Prize, IFF ìMessage to Manî, St Petersburg,
2005;
- Diploma IFF ìGolden Vityazî, 2005, etc.
‚ ÁÂ͇Π‰ÓÍÛÏÂÌÚ‡
in the mirror of the document
fi«, ƒ∆¿«, »–ü¿ » œ≈—
YUZ, JAZZ, IRKA AND DOG
fl ü ¬¿Ã “–¿¬Œfi
œ–Œ–¿—“”Ö
AND AS GRASS I GROW UP TO YOUÖ
134
2005, –ÓÒÒˡ, 70 ÏËÌ., ˆ‚., Betacam SP
2004, –ÓÒÒˡ, 2 ÒÂËË x 52 ÏËÌ., ˜/·+ˆ‚.
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ —Â„ÂÈ ÃËÓ¯Ì˘ÂÌÍÓ
ŒÔÂ‡ÚÓ˚ ≈‚„ÂÌËÈ —ÏËÌÓ‚, ¬ˇ˜ÂÒ·‚ —‡˜ÍÓ‚
«‚ÛÍ “‡Ú¸ˇÌ‡ “˛Ë̇
œÓ‰˛ÒÂ˚ √Ë„ÓËÈ ÀË·Â„‡Î, —Â„ÂÈ ÃËÓ¯Ì˘ÂÌÍÓ
œÓËÁ‚Ó‰ÒÚ‚Ó ´ŒÒÚÓ‚ª, ÔË Û˜‡ÒÚËË ´»ÌÚÂ̸˛Òª
–ÂÊËÒÒÂ ¿ÎÂÍÒÂÈ üÓÎÂÒÌËÍÓ‚
¿‚ÚÓ ÒˆÂ̇ˡ ¿ÎÂÍ҇̉ ÀËÔÍÓ‚
ŒÔÂ‡ÚÓ ≈‚„ÂÌËÈ —ËÌÂθÌËÍÓ‚
œÓ‰˛ÒÂ˚ ¿ÎÂÍÒÂÈ üÓÎÂÒÌËÍÓ‚, ¿ÎÂÍ҇̉ ÀËÔÍÓ‚,
ÀÂÓÌˉ ÀÂÓÌˉӂ
œÓËÁ‚Ó‰ÒÚ‚Ó ´‘ËÎÏÂ̪
ÃÓÌÓÎÓ„.
¬ ÒÓ‚ÂÚÒÍË ‚ÂÏÂ̇ ÔÂÒÌË ´—Ó‚ÂÚÒ͇ˇ Ô‡Òı‡Î¸Ì‡ˇª,
´ŒÍÛÓ˜Âͪ, ´“Ó‚‡ˢ —Ú‡ÎËÌ, ‚˚ ·Óθ¯ÓÈ Û˜ÂÌ˚Ȫ Ô·
‚Òˇ ÒÚ‡Ì‡ (‡ ÔÓ ÒÎÛı‡Ï ñ Ò Û‰Ó‚ÓθÒÚ‚ËÂÏ Ë ˜ÎÂÌ˚
ÔÓÎËÚ·˛Ó). » χÎÓ ÍÚÓ Á̇Î, ˜ÚÓ Û ˝ÚËı ̇Ó‰Ì˚ı ıËÚÓ‚
ÂÒÚ¸ ‡‚ÚÓ ñ fiÁ ¿Î¯ÍÓ‚ÒÍËÈ, ÔËÒ‡ÚÂθ Ë ÔÓ˝Ú, Ó‰ËÌ ËÁ
ÚÂı, ÍÚÓ ÒÛÏÂÎ ‚˚‡ÁËÚ¸ Ï˚ÒÎË ÏËÎÎËÓÌÓ‚ ÒÓ‚ÂÚÒÍËı
„‡Ê‰‡Ì, Î˯ÂÌÌ˚ı Ò‚Ó·Ó‰˚. ¬ ÒËÎÛ Ò‚ÓËı ·ÛÌÚ‡ÒÍËı
̇ÍÎÓÌÌÓÒÚÂÈ, ÌÂÒÓ‚ÏÂÒÚËÏ˚ı Ò ÒÓ‚ÂÚÒÍËÏ ÂÊËÏÓÏ, ÓÌ
˝ÏË„ËÓ‚‡Î ‚ —ÿ¿. œӉ·‚ ÔÛÚ¸ Ò ¬ÓÒÚÓ͇ ̇ «‡Ô‡‰, ÓÌ
ÒڇΠËÁ‚ÂÒÚÌ˚Ï ÔËÒ‡ÚÂÎÂÏ ‚ ÒÚ‡ÌÂ, ÍÓÚÓ‡ˇ ‰Ó ÒËı ÔÓ
Ò˜ËÚ‡ÂÚÒˇ Ò‡ÏÓÈ ˜ËÚ‡˛˘ÂÈ.
«‡ Ò‚Ó˛ β·Ó‚¸ Í ‡‰ÏË‡ÎÛ üÓΘ‡ÍÛ ¿Ì̇ ¬‡ÒËθ‚̇
“ÂÏË‚‡ Á‡Ô·ÚË· 39 „Ó‰‡ÏË Î‡„ÂÂÈ, Ú˛ÂÏ Ë ÒÒ˚ÎÓÍ.
“Â̸  ÓԇθÌÓÈ ÒÛ‰¸·˚ ԇ· Ë Ì‡ Ò˚̇ ñ ¬Î‡‰ËÏË‡
“ÂÏË‚‡, ڇ·ÌÚÎË‚Ó„Ó ıÛ‰ÓÊÌË͇, ‡ÒÒÚÂΡÌÌÓ„Ó ‚ 1938
„Ó‰Û Ì‡ ¡ÛÚÓ‚ÒÍÓÏ ÔÓÎË„ÓÌÂ. –ˇ‰ÓÏ Ò ÌËÏ ÔÓÍÓˇÚÒˇ ‰ÂÒˇÚÍË
Ú˚Òˇ˜ ÊÂÚ‚ ÒÚ‡ÎËÌÒÍÓ„Ó ÚÂÓ‡: Ò‚ˇ˘ÂÌÌËÍË, ÓÙˈÂ˚,
ıÛ‰ÓÊÌËÍË, ËÌÊÂÌÂ˚, ÍÂÒÚ¸ˇÌÂ, ‡·Ó˜Ë ñ ‚ÒÂ, ËÁ ÍÓ„Ó
Ò·„‡ÂÚÒˇ ÒÎÓ‚Ó ´Ì‡Ó‰ª.
- œËÁ Á‡ ÎÛ˜¯ËÈ ÌÂË„Ó‚ÓÈ ÙËÎ¸Ï ñ Ãü‘ Ó Ô‡‚‡ı
˜ÂÎÓ‚Â͇ ´—Ú‡ÎÍÂª, ÃÓÒÍ‚‡, 2005.
2005, Russia, 70 min, colour, Betacam SP
2004, Russia, 2 parts x 52 min, black and white/ colour
Scriptwriter and Director Sergei Miroshnichenko
Camera Evgeny Smirnov, Vyacheslav Sachkov
Sound Tatiana Tyurina
Producers Grigory Libergal, Sergei Miroshnichenko
Production Ostrov with participation Internews
Director Alexei Kolesnikov
Scriptwriter Alexander Lipkov
Camera Evgeny Sinelnikov
Producers Alexei Kolesnikov, Alexander Lipkov,
Leonid Leonidov
Production Filmen
Monologue.
During the Soviet times songs such as ìSoviet Easterî,
ìCigarette Stubî, ìComrade Stalin, you are a Great Scientistî
were sung all over country (and even by members of the
Politburo). Very few people knew that these national hits had
an author: Yuz Aleshkovsky, the writer and poet, one of those
who managed to express ideas of millions of Soviet citizens,
deprived of freedom. As a result of his rebelliousness that was
incompatible with Soviet official culture, he emigrated to the
USA. Having made the way from East to West, he became a
well-known writer in the country, which he still considers as
the one with the most readers. His actions always went
against the logic of self-preservation. And today, when it
seems that everything has been said, he is again before us.
Anna Vasilievna Temireva paid for her love to Admiral
Kolchak with 39 years in camps, prisons and exile. The
shadow of her disgrace also fell on her son, Vladimir Temirev,
the gifted artist, who was shot in 1938 on the Butovsk
Polygon. Next to him rest tens of thousands of victims of
Stalinís terror: priests, officers, artists, engineers, peasants,
workers, who all together make up the word ìpeopleî.
- Prize for the Best Non-fiction Film, IFF of Human Rights
ìStalkerî, Moscow, 2005.
www.kinotavr.ru
136
90-Â.
üËÌÓ, ÍÓÚÓÓÂ
Ï˚ ÔÓÚÂˇÎË
1990s.
The Cinema
That We Lost
›ÚÓÚ ÔÓÂÍÚ Ï˚ ̇˜‡ÎË ‚ ÍÓ̈ 2003-
We began this project at the end of
„Ó ÒÚ‡Ú¸ÂÈ ƒ‡ÌËË· ƒÓ̉Û¡ ´ŒÚ͇Ú
2003 with an article by Daniil
Û·ËÎ ÔÓ͇ڪ, Á‡‚Â¯ËÎË ‚ ̇˜‡ÎÂ
Dondurei, ìSlumping kills
2006-„Ó. » ‚˚¯ÎÓ Ì ÒÚÓθÍÓ
distributionî; the project was completed
ËÒÒΉӂ‡ÌË ‚Â‰Û˘ËÏË ÓÒÒËÈÒÍËÏË
in the beginning of 2006. Apart from
ÍËÚË͇ÏË ÍËÌÓ 90-ı, ÒÍÓθÍÓ
research by leading Russian critics on
ÔÓ„ÛÊÂÌË ‚Ó ‚ÂÏˇ, Â„Ó ÒÓ˜ËÌË‚¯ÂÂ.
the cinema of the 1990s, the project
Œ·˘ËÏË ÛÒËÎˡÏË ÔÓ‰ÌËχÎË
also involved an immersion into the
¿Ú·ÌÚË‰Û ÏÌÓ„ÓÎËÍÓ„Ó ÍËÌÓ ó
time that composed that cinema.
ÒÔÓÌÓ„Ó, ˜‡˘Â ó ÌÂÔË‚ÂÚÎË‚Ó„Ó.
Common efforts lifted up an Atlantis of
¡Óθ¯ÂÈ ˜‡ÒÚ¸˛ ‡ÁÏËÌÛ‚¯Â„ÓÒˇ ÒÓ
multi-faceted cinema, often disputable
ÁËÚÂÎÂÏ (ÔÓ͇Ú-ÚÓ ‚ԇΠ‚ ÎÂÚ‡„˲).
and unflattering. It largely passed
üËÌÓ Ò ¯ËÓÍÓ Á‡Í˚Ú˚ÏË „·Á‡ÏË
unnoticed by audiences, as the
Ôӂ‰‡ÎÓ Ì‡Ï Ó ‰Ì ‚˜Â‡¯ÌÂÏ, ËÁ
distribution then was lethargic. Cinema,
ÍÓÚÓÓ„Ó ÔÓËÒÚÂÍÎË Ï˚ Ì˚̯ÌËÂ.
with eyes wide shut, told to us about
» ‚Ó ÏÌÓ„ÓÏ Ó·˙ˇÒÌËÎÓ ó ÔÓ˜ÂÏÛ Ï˚
the yesterday, from where our today
ÒÚ‡ÎË ËÏÂÌÌÓ Ú‡ÍËÏË. ŒÍ‡Á˚‚‡ÂÚÒˇ,
emerged. And it explained many things:
ËÁÛ˜‡Ú¸ ·ÎËʇȯ ÔÓ¯ÎÓ ÎÛ˜¯Â ÌÂ
why we became the way we did. It
ÔÓ ÏÂÏÛ‡‡Ï, „‡ÁÂÚÌ˚Ï ÔÓÎÓÒ‡Ï,
appears that the study of the immediate
ËÒÚÓ˘ÂÒÍËÏ Ó·ÁÓ‡Ï, ‡ ÙËÎ¸Ï‡Ï ó
past is best made not through memoirs,
‚ ÌËı ÊË‚ÓÈ ÚÓÍ ‚ÂÏÂÌË.
newspaper columns, and historical
‘ËθÏ˚ 90-ı ó ÔÓ‡ÊÂ̈˚. ∆ÂÚ‚˚
surveys, but through films, as they
ÔÂÂıÓ‰ÌÓ„Ó ÔÂËÓ‰‡, Î˯ÂÌÌ˚ Ô‡‚‡
contain the vital current of the time.
̇ ˝Í‡ÌÌÛ˛ ÊËÁ̸. ÀÛ˜¯Ë ËÁ ÌËı
The films of the 1990s are defeatist.
ó ·ÛÏÂ‡Ì„Ë. œÓÒ·Ìˡ Í ÁËÚÂβ
Victims of the period of transition, they
Ò‚ÓÂ„Ó ‚ÂÏÂÌË ‚ÂÌÛÎËÒ¸ Í Ò‚ÓËÏ
were deprived of the right to a screen
‡‚ÚÓ‡Ï Á‡ ‚˚·˚ÚËÂÏ ´‡‰ÂÒ‡Ú‡ª.
life. The best of them were boomerangs:
“ÂÔÂ¸ ‚ÓÁ‚‡˘‡˛ÚÒˇ Í Ì‡Ï,
their messages to the contemporary
‰ÂÏÓÌÒÚËÛˇ Ì ÚÓθÍÓ Í‡˜ÂÒÚ‚Ó
spectator returned to the authors with
ÔÓÙÂÒÒËË, ÌÓ Ë ÔÓÔ˚ÚÍÛ ÛÌË͇θÌ˚ı
the remark ìreturn to senderî. Now
ÍËÌÂχÚÓ„‡Ù˘ÂÒÍËı ÔÓÁÂÌËÈ,
they return to us, showing not only
·ÂÒÒÚ‡¯Ë ÔÂ‰ ·ÓÒÍÓÏ ‚ ´ı‡ÓÒ
their professional quality, but also an
ÌÂÓÚÙÓχÚËÓ‚‡ÌÌÓ„Ó Ì‡ÒÚÓˇ˘Â„Óª.
attempt at unique cinematic insights,
¬ Ò‡‚ÌÂÌËË Ò ÌËÏË, ÌÂÔ˘ÂÒ‡ÌÌ˚ÏË,
fearless before the leap into ìthe chaos
Ì˚̯ÌËÈ „Ρ̈, ÒÓÚ‚ÓÂÌÌ˚È Ì‡
of an unformatted presentî. In
ÍÓÌ‚ÂÈÂ ‚ÓÒÒڇ̇‚ÎË‚‡˛˘Â„ÓÒˇ
comparison with these badly groomed
ÔÓËÁ‚Ó‰ÒÚ‚‡, ‚˚„Ρ‰ËÚ ÒËÌÚÂÚ˘ÂÒÍËÏ
works, todayís glamour created on the
ÏÛΡÊÓÏ.
conveyor belt of a production line under
üËËÎÎ –‡ÁÎÓ„Ó‚ ̇Á‚‡Î 90- ÔÓ‚ÓÈ,
reconstruction looks like a synthetic
ÍÓÚÓ‡ˇ ‚ÚˇÌÛ· ˆÂÎÓ ÔÓÍÓÎÂÌËÂ
model.
ÏÓÎÓ‰˚ı ÍËÌÂχÚÓ„‡ÙËÒÚÓ‚. ¬ ̇¯ÂÏ
Kirill Razlogov called the 1990s an
ÇÚËÓÎÓ„Â (´ÕÓ‚‡ˇ „‡ÁÂÚ‡ª, π17)
ìabyssî, which devoured a whole
ÔÓ‡Ê‡ÂÚ Ì ÔÓÒÚÓ Ó·ËÎË ËÏÂÌ, ‡ ÚÓ,
generation of young cinematographers.
˜ÚÓ ˝ÚÓ ËÏÂ̇ Ò‡Ï˚ı ‰‡Ó‚ËÚ˚ı,
Our Martyrologue (ìNovaya gazetaî No.
ÌÂÔ‰Ò͇ÁÛÂÏ˚ı, ÏÌÓ„Óӷ¢‡˛˘Ëı
17) impresses not just because of the
ÍËÌÂχÚÓ„‡ÙËÒÚÓ‚. œÂ‚˚ı ó
large number of names, but also because
‚ ÂÊËÒÒÛÂ, ‰‡Ï‡ÚÛ„ËË, ÍËÚËÍÂ,
these are the names of the most gifted,
‡ÍÚÂÒÚ‚ÂÖ
unpredictable, promising
¬ Ì˚̯ÌÂÈ ÂÚÓÒÔÂÍÚË‚Â Î˯¸
cinematographers. Leaders in directing,
ÌÂÒÍÓθÍÓ Í‡ÚËÌ ó ÓÚ‰ÂθÌ˚ı
scriptwriting, criticism, actingÖ
´Ù‡„ÏÂÌÚÓ‚ª ÍËÌÓÎÂÌÚ˚ ‰ÎËÌÓÈ ‚
The present retrospective shows only a
13 ÎÂÚÖ
few films, individual ìfragmentsî of a
film that is 13 years longÖ
À‡ËÒ‡ Ã‡Î˛ÍÓ‚‡
üÛ‡ÚÓ ÔÓ„‡ÏÏ˚
Larisa Malyukova
Programme Curator
90-Â. ÍËÌÓ, ÍÓÚÓÓÂ
Ï˚ ÔÓÚÂˇÎË
1990s. the cinema
that we lost
137
´‡χ‚Ëª
´ARMAVIRª
‚ÂÏˇ Ô˜‡ÎË Â˘Â Ì Ô˯ÎÓ
THE TIME FOR SORROW HAS NOT YET COME
‰Â̸ ÔÓÎÌÓÎÛÌˡ
THE DAY OF THE FULL MOON
Á‡ ‰Â̸ ‰ÓÖ
THE DAY BEFORE...
ϘÚ˚ ˉËÓÚ‡
IDIOTíS DREAMS
ÌÂβ·Ó‚¸
THE DISLIKE
ÌÓ„‡
THE LEG
ÓÍ‡Ë̇
OUTSKIRTS
Ó‡ÌÊ‚˚È ‰Ê‡Á
ORANGE JAZZ
90-Â. ÍËÌÓ, ÍÓÚÓÓ Ï˚ ÔÓÚÂˇÎË
1990s. the cinema that we lost
´¿–ÿ¬»–ª
´ARMAVIRª
138
1991, ———–, 130 ÏËÌ., ˆ‚.
1991, USSR, 130 min., colour
–ÂÊËÒÒÂ ¬‡‰ËÏ ¿·‰‡¯ËÚÓ‚
Director Vadim Abdrashitov
¿‚ÚÓ ÒˆÂ̇ˡ ¿ÎÂÍ҇̉ ÃË̉‡‰ÁÂ
Scriptwriter Alexander Mindadze
ŒÔÂ‡ÚÓ ƒÂÌËÒ ≈‚ÒÚË„Ì‚
Camera Denis Evstigneev
’Û‰ÓÊÌËÍË ¿ÎÂÍ҇̉ “ÓÎ͇˜Â‚, ¬Î‡‰ËÏË ≈χÍÓ‚,
Art Directors Alexander Tolkachyov, Vladimir Ermakov,
ŒÎ„ œÓÚ‡ÌËÌ
Oleg Potanin
üÓÒÚ˛Ï˚ »Ì̇ Õ‡Á‡Ó‚‡, ≈͇ÚÂË̇ ≈̉‡ÒÓ‚‡
Costumes Inna Nazarova, Ekaterina Endasova
üÓÏÔÓÁËÚÓ ¬Î‡‰ËÏË ƒ‡¯Í‚˘
Composer Vladimir Dashkevich
«‚ÛÍ ÀËÎˡ “ÂÂıÓ‚Ò͇ˇ
Sound Lilia Terekhovskaya
¬ ÓΡı: —Â„ÂÈ üÓÎÚ‡ÍÓ‚, —Â„ÂÈ ÿ‡ÍÛÓ‚, ≈ÎÂ̇
Cast: Sergei Koltakov, Sergei Shakurov, Elena Shevchenko,
ÿ‚˜ÂÌÍÓ, —Â„ÂÈ √‡χ¯, Çˡ —ÚÓ„‡ÌÓ‚‡, œÂÚ
Sergei Garmash, Maria Stroganova, Pyotr Zaichenko, Rim
«‡È˜ÂÌÍÓ, –ËÏ ¿˛ÔÓ‚, Շڇθˇ œÓÚ‡ÔÓ‚‡, ¿ÎÂÍ҇̉ ¬‰Ó‚ËÌ,
Ayupov, Natalia Potapova, Alexander Vdovin, Jan Baijanbaev,
∆‡Ì ¡‡Èʇ̷‡Â‚, ¬‡ÎÂÌÚË̇ —‚ÂÚÎÓ‚‡, “‡Ú¸ˇÌ‡ ≈„ÓÓ‚‡
Valentina Svetlova, Tatiana Egorova
œÓËÁ‚Ó‰ÒÚ‚Ó ´¿Í-ÙËθϪ, ´—Ó˛Áª, ÔË Û˜‡ÒÚËË
Production Ark-Film, Soyuz with participation Goskino of
´ÃÓÒÙËθϪ, √ÓÒÍËÌÓ –‘
RF, Mosfilm
œÒËıÓÎӄ˘ÂÒÍËÈ ÚËÎÎÂ/ —ӈˇθ̇ˇ ÔËÚ˜‡/
Psychological thriller. Social parable. Mega-metaphor.
ćÏÂÚ‡ÙÓ‡.
After the destruction of a passenger ship two people search
œÓÒΠÍÛ¯ÂÌˡ Ô‡ÒÒ‡ÊËÒÍÓ„Ó ÍÓ‡·Îˇ ÇËÌÛ
for Marina: her beloved, whom she no longer loves, because
‡Á˚ÒÍË‚‡˛Ú ‰‚ÓÂ:  ‚ÓÁβ·ÎÂÌÌ˚È, ÍÓÚÓÓ„Ó Ó̇ ÌÂ
she cannot love any more; and her father, about whom she
β·ËÚ, ÔÓÚÓÏÛ ˜ÚÓ Ì ÏÓÊÂÚ ÛÊ β·ËÚ¸, Ë Â ÓÚˆ, Ó
knows nothing, because it had become intolerable to know
ÍÓÚÓÓÏ Ó̇ ÌË˜Â„Ó Ì Á̇ÂÚ, ÔÓÚÓÏÛ ˜ÚÓ ÒÚ‡ÎÓ Ì‚˚ÌÓÒËÏÓ
anything at all. Both still love her. When the men at last find
˜ÚÓ-ÎË·Ó Á̇ڸ. Œ·‡ ÓÌË ÔÓ-ÔÂÊÌÂÏÛ Î˛·ˇÚ ÂÂ. » ÍÓ„‰‡
Marina, she does not recognize them... A film about the death
ÏÛʘËÌ˚, ̇ÍÓ̈, ̇ıÓ‰ˇÚ ÇËÌÛ, Ó̇ Ì ÔËÁ̇ÂÚ Ëı...
of a reality, in which we lived for decades in a ëuniform
‘ËÎ¸Ï ÔÓ ÒÏÂÚ¸ ‡θÌÓÒÚË, ‚ ÍÓÚÓÓÈ Ï˚ ÊËÎË ‰ÂÒˇÚÍË
human communityí.
ÎÂÚ ´Â‰ËÌ˚Ï ˜ÂÎӂ˜ÂÒÍËÏ Ó·˘ÂÊËÚËÂϪ.
THE TIME FOR SORROW HAS NOT YET COME
90-Â. ÍËÌÓ, ÍÓÚÓÓ Ï˚ ÔÓÚÂˇÎË
1990s. the cinema that we lost
¬–≈Ãfl œ≈◊¿À» ≈Ÿ≈ Õ≈ œ–»ÿÀŒ
139
1995, –ÓÒÒˡ, 95 ÏËÌ., ˆ‚., 1:1.66
1995, Russia, 95 min, colour, 1:1.66
–ÂÊËÒÒÂ —Â„ÂÈ —ÂθˇÌÓ‚
¿‚ÚÓ˚ ÒˆÂ̇ˡ —Â„ÂÈ —ÂθˇÌÓ‚, ÃËı‡ËÎ üÓÌÓ‚‡Î¸˜ÛÍ
ŒÔÂ‡ÚÓ ƒÂÌËÒ ŸË„ÎÓ‚ÒÍËÈ
’Û‰ÓÊÌËÍ ¬Â‡ «ÂÎËÌÒ͇ˇ
üÓÒÚ˛Ï˚ ≈ÎÂ̇ «‡ÈˆÂ‚‡
üÓÏÔÓÁËÚÓ ¬Î‡‰ËÏË –‡‰˜ÂÌÍÓ‚
«‚ÛÍ üËËÎÎ üÛÁ¸ÏËÌ
Director Sergei Selianov
Scriptwriters Sergei Selianov, Mikhail Konovalchuk
Camera Denis Shchiglovsky
Art Director Vera Zelinskaya
Costumes Elena Zaitseva
Composer Vladimir Radchenkov
Sound Kirill Kuzímin
¬ ÓΡı: ¬‡ÎÂËÈ œËÂÏ˚ıÓ‚, œÂÚ ÇÏÓÌÓ‚, ÇË̇
À‚ÚÓ‚‡, ÃËı‡ËÎ —‚ÂÚËÌ, —Â„ÂÈ œ‡¯ËÌ, —ÂÏÂÌ —ÚÛ„‡˜Â‚,
fiËÒ —ÚÂÌ„‡, ¬ËÍÚÓ ƒÂÏÂÌÚ, œÂÚˇ ¬‡ÒËθ‚, √‡ÎË
¿·‡È‰ÛÎÓ‚, “‡Ú¸ˇÌ‡ ∆Û‡‚΂‡, ÕËÍÓÎ‡È ÃÛ‡‚¸Â‚,
¿ÎÂÍ҇̉ ÿ‚Â΂, —‚ÂÚ·̇ ¡ÛÎ˚ÌÂÌÍÓ‚‡, ‘‡ÚËχ —‡Ì¸ˇ
Cast: Valery Priyomykhov, Pyotr Mamonov, Marina Levtova,
Mikhail Svetin, Sergei Parshin, Semyon Strugachyov, Yuris
Strenga, Victor Dement, Petya Vasiliev, Gali Abaidulov,
Tatiana Zhuravlyova, Nikolai Muraviov, Alexander Shevelev,
Svetlana Bulynenkova, Fatima Sania
œÓ‰˛ÒÂ —Â„ÂÈ —ÂθˇÌÓ‚
œÓËÁ‚Ó‰ÒÚ‚Ó —“¬, –ÓÒÍÓÏÍËÌÓ, ´ÀÂÌÙËθϪ
www.ctb.ru
Production CTB, Roskomkino, Lenfilm
www.ctb.ru
»ÓÌ˘ÂÒ͇ˇ ÔËÚ˜‡.
¬ ÔÓÒÂÎÍÂ, „‰Â ÊË‚ÛÚ ÛÒÒÍËÈ, ÌÂψ, Ú‡Ú‡ËÌ, ˆ˚„‡Ì Ë
‚ÂÈ, Ӊ̇ʉ˚ ÔÓˇ‚ΡÂÚÒˇ ÌÂËÁ‚ÂÒÚÌ˚È, ̇Á˚‚‡˛˘ËÈ Ò·ˇ
«ÂÏÎÂÏÂÓÏ. œÓÒÎÂ Â„Ó ÔÓˇ‚ÎÂÌˡ Ò Í‡Ê‰˚Ï ËÁ ÌËı
̇˜Ë̇˛Ú ÔÓËÒıÓ‰ËÚ¸ Ì‚ÂÓˇÚÌ˚ ‚¢ËÖ œÛÚË „ÂÓ‚
‡ÁÓȉÛÚÒˇ, ÌÓ ÒÔÛÒÚˇ ÌÂÍÓÚÓÓ ‚ÂÏˇ, ‚ ͇ÌÛÌ
̇ÒÚÛÔÎÂÌˡ ˝ÔÓıË ¬Ó‰ÓΡ, ÓÌË ‚ÌÓ‚¸ ÒÓ·ÂÛÚÒˇ ‚ Á‡‚ÂÚÌÓÏ
ÏÂÒÚÂ... –‡·ÓÚÛ —Â„¡ —ÂθˇÌÓ‚‡ ÒÓ˜ÎË Á‡‚Â¯ÂÌËÂÏ
ÚËÎÓ„ËË Ì˚Ì ¯ËÓÍÓ ÔÓ˜ËÚ‡ÂÏÓ„Ó ÍËÌÂχÚÓ„‡ÙËÒÚ‡. ÕÓ
ÔÓÒΠ´ƒÌˇ ‡Ì„·ª Ë ´ƒÛıÓ‚‡ ‰Ìˇª, ´¬ÂÏˇ Ô˜‡ÎËÖª
ÔÓıÓÊ ̇ ÛÎ˚·ÍÛ ÔÓ·ÛʉÂÌˡ ÔÓÒΠڡÊÍËı ÒÌÓ‚, ͇Í
ÔÂÂıÓ‰ ̇ ÎÂÚÌ ‚ÂÏˇ ÔÓÒΠÁËÏÌËı ÒÛÏÂÂÍ.
- —ÔˆˇθÌ˚È ÔËÁ Ê˛Ë Á‡ ÂÊËÒÒÛÛ ó Œ–ü‘
´üËÌÓÚ‡‚ª, —Ó˜Ë, 1995;
- “ÂÚËÈ ÔËÁ ó Ãü‘ ‚ üÓÚÚ·ÛÒÂ, 1995;
- œËÁ ÁËÚÂθÒÍËı ÒËÏÔ‡ÚËÈ ó Ãü‘ ‚ ◊Ë͇„Ó, 1995;
- œÂÏˡ ËÏÂÌË ¿‰ˇ̇ œËÓÚÓ‚ÒÍÓ„Ó Á‡ ÎÛ˜¯ËÈ
ÒˆÂ̇ËÈ ó œÓÙÂÒÒËÓ̇θ̇ˇ ÔÂÏˡ ÍËÌÓÒÚÛ‰ËË
´ÀÂÌÙËθϪ Á‡ 1995 „Ó‰.
Ironic parable.
In a village live a Russian, a German, a Tatar, a gipsy and a
Jew. One day an unknown person appears, who calls himself
the ëSurveyorí. After his appearance improbable things begin
to happen to each of the villagers. The heroesí paths part, but
after a while, on the eve of the new era of Aquarius, they
gather once again in this sacred place... Sergei Selyanovís film
is the final part of a trilogy by this widely esteemed
cinematographer. But after ìName Dayî and ìAll Soulsí Dayî,
ìThe Time for Sorrow Öî seems like a smile of awakening
after a bad dream, like a transition to summertime after
winter twilight Ö
- Special Jury Prize for Direction, ORFF Kinotavr, Sochi,
1995;
- Third Prize of the IFF Cottbus, 1995;
- Prize of Audience Sympathies, IFF Chicago, 1995;
- Adrian Piotrovsky Award for the Best Script, Professional
Award of Lenfilm Studio for 1995.
90-Â. ÍËÌÓ, ÍÓÚÓÓ Ï˚ ÔÓÚÂˇÎË
1990s. the cinema that we lost
ƒ≈Õ‹ œŒÀÕŒÀ”Õ»fl
THE DAY OF THE FULL MOON
140
1998, –ÓÒÒˡ, 93 ÏËÌ., ˆ‚., Dolby SRD
1998, Russia, 93 min, colour, Dolby SRD
–ÂÊËÒÒÂ ü‡ÂÌ ÿ‡ı̇Á‡Ó‚
¿‚ÚÓ˚ ÒˆÂ̇ˡ ¿ÎÂÍ҇̉ ¡ÓÓ‰ˇÌÒÍËÈ,
ü‡ÂÌ ÿ‡ı̇Á‡Ó‚
ŒÔÂ‡ÚÓ √ÂÌ̇‰ËÈ ü‡˛Í
’Û‰ÓÊÌËÍ À˛‰ÏË· üÛÒ‡ÍÓ‚‡
üÓÒÚ˛Ï˚ ¬Â‡ –ÓχÌÓ‚‡
üÓÏÔÓÁËÚÓ ¿Ì‡ÚÓÎËÈ üÓÎÎ
«‚ÛÍ »„Ó¸ ÇÈÓÓ‚, ¬‡ÒËÎËÈ ü‡˜ÍÓ‚ÒÍËÈ
Director Karen Shakhnazarov
Scriptwriters Alexander Borodiansky, Karen Shakhnazarov
Camera Gennady Karyuk
Art Director Lyudmila Kusakova
Costumes Vera Romanova
Composer Anatoly Kroll
Sound Igor Mayorov, Vasily Krachkovsky
¬ ÓΡı: ¿Ì̇ √ÂÏ, ¿Ì‰ÂÈ œ‡ÌËÌ, ≈ÎÂ̇ üÓÂÌ‚‡,
¬Î‡‰ËÏË »Î¸ËÌ, ¬‡ÎÂËÈ œËÂÏ˚ıÓ‚, ¬‡ÎÂËÈ —ÚÓÓÊËÍ,
¬‡ÎÂËÈ ¿Ù‡Ì‡Ò¸Â‚, √‡ÎË̇ ¿ÌËÒËÏÓ‚‡, ¿Ì̇ —ËÌˇÍË̇,
‘ËÎËÔÔ flÌÍÓ‚ÒÍËÈ, ≈‚„ÂÌËÈ —Ú˚˜ÍËÌ, ÕËÍÓÎ‡È ◊Ë̉ˇÈÍËÌ,
Õ‡‰Âʉ‡ ¬‡ÒË肇, ¿ÎÂÍÒÂÈ ÿ‚˜ÂÌÍÓ‚, ¬‡ÒËÎËÈ «ÓÚÓ‚,
¿Ì‰ÂÈ ÷˚„‡ÌÍÓ‚, Շڇθˇ ‘‡Ú‚‡, ‘‰Ó —ÛıÓ‚
¬Ó͇Π¬‡ÎÂËÈ —˛ÚÍËÌ, “‡Ú¸ˇÌ‡ ¡Û·ÌÓ‚‡
œÓ‰˛ÒÂ ¬Î‡‰ËÏË ƒÓÒڇθ
œÓËÁ‚Ó‰ÒÚ‚Ó ´ÃÓÒÙËθϪ, ´üÛ¸Âª, ÔË Û˜‡ÒÚËË √ÓÒÍËÌÓ –‘
ƒËÒÚË·˛ÚÓ ´ÃÓÒÙËÎ¸Ï “¬ ɡª
ÀËËÍÓ-‰‡Ï‡Ú˘ÂÒ͇ˇ Ù‡ÌÚ‡Áˡ/ œËÚ˜‡.
√Ë·ÌÛ˘Ë ‚ Ó˜Â‰ÌÓÈ ‡Á·ÓÍ ´ÌÓ‚˚ ÛÒÒÍ˪ Ë ‚Â‰Û˘ËÈ
ÌÓ˜ÌÓÈ ˝ÙË ÔÓÔÛΡÌ˚È ‰Ë‰ÊÂÈ; ÒÚ‡˚È ÛÁ·ÂÍ, Ó·˙ˇÒÌˇ˛˘ËÈ ‚ÌÛÍÛ, „‰Â ÔÓıÓÓÌÂÌ ◊ËÌ„ËÒı‡Ì, Ë Û‰‡˜ÎË‚˚È ÍËÎÎÂ;
ÔÂÍ‡Ò̇ˇ ÍÌˇÊ̇ ŒÎ¸¯‡ÌÒ͇ˇ Ë Á‡„‡‰Ó˜Ì˚È ÏÓ̇ı “‡ËÒËÈ; ËÌÓÒÚ‡ÌÌ˚È ‰ËÔÎÓÏ‡Ú Ë ¿ÎÂÍ҇̉ œÛ¯ÍËÌ, ‚ÒÚ˜‡˛˘ËÈ ÔÓ ‰ÓÓ„Â ‚ ¿ÁÛÏ Í‡Ò‡‚ˈÛ-͇ÎÏ˚˜ÍÛ... ” ͇ʉӄÓ
ó Ò‚Óˇ ÍÓÓÚ͇ˇ ËÒÚÓˡ, ‡ ‚ ˆÂÎÓÏ ó ÔÓ˝Ú˘ÂÒÍÓ ÔÛÚ¯ÂÒÚ‚Ë ‚Ó ‚ÂÏÂÌË Ë ÔÓÒÚ‡ÌÒÚ‚Â. ‘‡„ÏÂÌÚ‡ÌÓÒÚ¸ ÔÓ‚ÂÒÚ‚Ó‚‡Ìˡ ñ ‚¢¸ ÒÚÓθ Ê ӷ˚‰ÂÌ̇ˇ, Í‡Í Ë Ù‡„ÏÂÌÚ‡ÌÓÒÚ¸
ÊËÁÌË, ÍÓÚÓÛ˛ ÍËÌÓ ‚ Ó˜Â‰ÌÓÈ ‡Á ‰ÂÁÍÓ ‚ÓÁ̇ÏÂËÎÓÒ¸
Á‡Ô˜‡ÚÎÂÚ¸, ´Í‡Í Ó̇ ÂÒÚ¸ª.
- œËÁ œÂÁˉÂÌÚÒÍÓ„Ó ÒÓ‚ÂÚ‡ Á‡ ÂÊËÒÒÛÛ ó Œ–ü‘ ´üËÌÓÚ‡‚ª, —Ó˜Ë, 1998;
- —ÔˆˇθÌ˚È ÔËÁ Ê˛Ë, ÒÔˆˇθÌÓ ÛÔÓÏË̇ÌËÂ Ê˛Ë
‘»œ–≈——» ó Ãü‘ ‚ ü‡ÎÓ‚˚ı ¬‡‡ı, 1998;
- √·‚Ì˚È ÔËÁ, ÔËÁ ‘»œ–≈——», ÔËÁ ÔÛ·ÎËÍË ó Ãü‘ ‚
œ‡Î˘ (fi„ÓÒ·‚ˡ), 1998;
- œÂ‚˚È ÔËÁ Á‡ ÎÛ˜¯ËÈ ÙËÎ¸Ï ó Ãü‘ ‚ ¿ÙË̇ı, 1998;
- œËÁ üËÌӇ͇‰ÂÏËË ´ÕË͇ª (1998) ó Á‡ ÎÛ˜¯ËÈ ÒˆÂ̇ËÈ,
Ë ‰Û„Ë ÔËÁ˚.
Cast: Anna Germ, Andrei Panin, Elena Koreneva, Vladimir
Ilyin, Valery Priyomykhov, Valery Storozhik, Valery
Afanasiev, Galina Anisimova, Anna Siniakina, Filipp
Yankovsky, Evgeny Stychkin, Nikolai Chindiaykin, Nadezhda
Vasilieva, Alexei Shevchenkov, Vasily Zotov, Andrey
Tsygankov, Natalia Fateeva, Fyodor Sukhov
Vocal Valery Syutkin, Tatiana Bulanova
Producer Vladimir Dostal
Production Mosfilm, Courier with participation Goskino of RF
Distribution Mosfilm TV Media
Lyrical, dramatic fantasy. Parable.
Some ëNew Russiansí perishing in yet another fight and a
leading, popular DJ of nighttime radio; an old Uzbek
explaining to his grandson where Chingis Khan is buried, and
a successful killer; the fine countess Olshanskaya and the
mysterious monk Taisius; a foreign diplomat and Alexander
Pushkin meeting a beautiful Kalmyk girl on the road to
Arzrum... Everyone has his own short story in this poetic
journey through time and space. The fragmentary nature of
the narrative is just as ordinary as the fragmented nature of
life itself, which cinema once again has tried impudently to
capture.
- Prize of the Presidential Council for Best Direction, ORFF
Kinotavr, Sochi, 1998;
- Special Jury Prize, Special Mention of the FIPRESCI Jury,
IFF Karlovy Vary, 1998;
- Main Prize, FIPRESCI Prize, Audience Prize, IFF Palic
(Yugoslavia), 1998;
- First Prize for Best Film, IFF Athens, 1998;
- Prize of the NIKA Film Academy (1998): Best Script, and
other prizes.
90-Â. ÍËÌÓ, ÍÓÚÓÓ Ï˚ ÔÓÚÂˇÎË
1990s. the cinema that we lost
«¿ ƒ≈Õ‹ ƒŒÖ
THE DAY BEFORE...
141
1991, ———–/ ÕˉÂ·̉˚, 119 ÏËÌ., ˆ‚.
1991, USSR/ the Netherlands, 119 min, colour
–ÂÊËÒÒÂ˚ ŒÎ„ ¡ÓˆÍËÈ, ¿ÎÂÍ҇̉ Õ„·‡
Directors Oleg Boretsky, Alexander Negreba
¿‚ÚÓ˚ ÒˆÂ̇ˡ fiËÈ Ã‡Ú˚Ò, »Ë̇ –Ó„‡˜Â‚‡
Scriptwriters Yuri Matys, Irina Rogachyova
ŒÔÂ‡ÚÓ˚ ÃËı‡ËÎ ÃÛ͇ÒÂÈ, ¬ËÍÚÓ üÛÎËÍÓ‚
Camera Mikhail Mukasei Victor Kulikov
’Û‰ÓÊÌËÍ ƒÏËÚËÈ üÓÏËÒÒ‡Ó‚
Art Director Dmitry Komissarov
üÓÏÔÓÁËÚÓ ¬Î‡‰ËÏË ÀÓ„ÛÌÓ‚
Composer Vladimir Logunov
«‚ÛÍ –‡ÛÙ ¿Ú‡Ï‡ÎË·ÂÍÓ‚, —Â„ÂÈ ü‡ÔÓ‚
Sound Rauf Atamalibekov, Sergei Karpov
¬ ÓΡı: ≈ÎÂ̇ üÓԈ‚‡, √‡ÎË̇ —‡ÁÓÌÓ‚‡, “‡Ú¸ˇÌ‡
Cast: Elena Koptseva, Galina Sazonova, Tatiana
üÓÂÌ‚Ò͇ˇ, ŒÎ„ ¡ÓˆÍËÈ, ¿ÎÂÍ҇̉ Õ„·‡,
Korenevskaya, Oleg Boretsky, Alexander Negreba, Alexander
¿ÎÂÍ҇̉ ÃËÓÌÓ‚, √Ë„ÓËÈ Ã‡ÌÛÍÓ‚, »„Ó¸
Mironov, Grigory Manukov, Igor Zolotovitsky, Vladimir
«ÓÎÓÚӂˈÍËÈ, ¬Î‡‰ËÏË œÛ˜ÍÓ‚, ¿ÎÂÍ҇̉ Ç͇Ó‚,
Puchkov, Alexander Makarov, Alexei Voskresensky, Pavel
¿ÎÂÍÒÂÈ ¬ÓÒÍÂÒÂÌÒÍËÈ, œ‡‚ÂÎ —ËÓÚËÌ, ÃËı‡ËÎ
Sirotin, Mikhail Bagdasarov, Alexander Mokhov
¡‡„‰‡Ò‡Ó‚, ¿ÎÂÍ҇̉ ÃÓıÓ‚
Production Vedi-Film, with participation Studio-17, EGFA
œÓËÁ‚Ó‰ÒÚ‚Ó ´¬Â‰Ë-ÙËθϪ, ÔË Û˜‡ÒÚËË: ´—ÚÛ‰Ëˇ-17ª,
(the Netherlands)
EGFA (ÕˉÂ·̉˚)
Existential drama. Parable.
›ÍÁËÒÚÂ̈ˇθ̇ˇ ‰‡Ï‡/ œËÚ˜‡.
The story of lyrical laymen among professional killers of the
»ÒÚÓˡ ÎË˘ÂÒÍËı ‰ËÎÂÚ‡ÌÚÓ‚ ‚ Ò‰ ÔÓÙÂÒÒËÓ̇θÌ˚ı
1990s. Trying to preserve an island of safety, rest, and a
Û·ËȈ ‰Â‚ˇÌÓÒÚ˚ı. œ˚Ú‡ˇÒ¸ ‚ Á‡Ôӂ‰ÌÓÈ Í‚‡ÚËÂ
special lifestyle with relationships in a secluded apartment,
ÒÓı‡ÌËÚ¸ ÓÒÚÓ‚ÓÍ ·ÂÁÓÔ‡ÒÌÓÒÚË, ÔÓÍÓˇ, ÓÒÓ·˚È ÒÚËθ
the children of the 60s generation cannot guess yet how dearly
ÊËÁÌË Ë ÓÚÌÓ¯ÂÌËÈ, ‰ÂÚË ´¯ÂÒÚˉÂÒˇÚÌËÍÓ‚ª ¢ ÌÂ
they will have to pay for this freedom... This is a film of
‰Ó„‡‰˚‚‡˛ÚÒˇ, Í‡Í ‰ÓÓ„Ó ËÏ Ó·ÓȉÂÚÒˇ ˝Ú‡ Ò‚Ó·Ó‰‡... ¬
bulletins, sounding like household phrases that speak about
˝ÚÓÏ ÙËθÏ ‚Â˘Ë ñ ‚ÂÒÚÌËÍË, ‚Ӊ ·˚ ·˚ÚÓ‚˚ Ù‡Á˚,
another life that is just about to spill over and flood the souls.
„Ó‚ÓˇÚ Ó ‰Û„ÓÈ ÊËÁÌË, ‚ÓÚ-‚ÓÚ „ÓÚÓ‚ÓÈ ıÎ˚ÌÛÚ¸ ˜ÂÂÁ
The film ìThe Day Beforeî was shown for the first time the
Í‡È Ë Á‡ÚÓÔËÚ¸ ‰Û¯Ë.
day before the ìAugust Coupî of 1991 (on 18 August 1991 in
‘ËÎ¸Ï ´«‡ ‰Â̸ ‰Ó...ª ‚ÔÂ‚˚ ÔÓ͇Á‡Ì Á‡ ‰Â̸ ‰Ó
the cinema ëMoscowí).
´‡‚„ÛÒÚÓ‚ÒÍÓ„Ó ÔÛÚ˜‡ª (18.08.1991, Í/Ú ´ÃÓÒÍ‚‡ª).
90-Â. ÍËÌÓ, ÍÓÚÓÓ Ï˚ ÔÓÚÂˇÎË
1990s. the cinema that we lost
Ã≈◊“¤ »ƒ»Œ“¿
IDIOTíS DREAMS
142
1993, –ÓÒÒˡ/ ‘‡ÌˆËˇ, 91 ÏËÌ., ˆ‚., 1:1.66, Dolby SRD
1993, Russia/ France, 91 min, colour, 1:1.66, Dolby SRD
–ÂÊËÒÒÂ ¬‡ÒËÎËÈ œË˜ÛÎ
¿‚ÚÓ ÒˆÂ̇ˡ Çˡ ’ÏÂÎËÍ
ŒÔÂ‡ÚÓ fiËÈ À˛·¯ËÌ
’Û‰ÓÊÌËÍ ¿ÎÂÍ҇̉ ƒÁ˛·ÂÌÍÓ
üÓÒÚ˛Ï˚ ¿ÎÂÍ҇̉ ŒÒËÔÓ‚
üÓÏÔÓÁËÚÓ ¬Î‡‰ËÏË ÇÚˆÍËÈ
“ÂÍÒÚ ÔÂÒÂÌ ÃËı‡ËÎ ‘‡È·Û¯Â‚˘
«‚ÛÍ ÀÂÓÌˉ ¬ÂÈÚÍÓ‚
Director Vasily Pichul
Scriptwriter Maria Khmelik
Camera Yuri Lyubshin
Art Director Alexander Dzyubenko
Costumes Alexander Osipov
Composer Vladimir Matetsky
Text of Songs Mikhail Faibushevich
Sound Leonid Veitkov
¬ ÓΡı: —Â„ÂÈ ü˚ÎÓ‚, ¿ÎË͇ —ÏÂıÓ‚‡, ¿Ì‰ÂÈ —ÏËÌÓ‚,
—Ú‡ÌËÒ·‚ À˛·¯ËÌ, ≈‚„ÂÌËÈ ƒ‚ÓʈÍËÈ, ¬‡ˆÎ‡‚
ƒ‚ÓʈÍËÈ, ¬Î‡‰ËÏË “ÓÎÓÍÓÌÌËÍÓ‚, ¬Î‡‰ËÏË ›ÚÛ¯,
À˛‰ÏË· «‡ÈˆÂ‚‡, ¬‡ÒËÎËÈ ÃˢÂÌÍÓ, ¿ÎÂÍ҇̉ ÀÂ̸ÍÓ‚,
fiËÈ Õ‡Á‡Ó‚, ¿ÎÂÍ҇̉ Õ„·‡, ¿Ì‰ÂÈ —ÓÍÓÎÓ‚
Cast: Sergei Krylov, Alika Smekhova, Andrei Smirnov,
Stanislav Lyubshin, Evgeny Dvorzhetsky, Vatslac
Dvorzhetsky, Vladimir Tolokonnikov, Vladimir Etush,
Lyudmila Zaitseva, Vasily Mishchenko, Alexander Lenkov,
Yuri Nazarov, Alexander Negreba, Andrey Sokolov
œÓ‰˛ÒÂ »„Ó¸ “ÓÎÒÚÛÌÓ‚
—ÓÔÓ‰˛ÒÂ˚ ÃÓËÒ ¡Â̇, œ‡ÚËÍ —Ó·ÂθχÌ
œÓËÁ‚Ó‰ÒÚ‚Ó ““À, Salome (‘‡ÌˆËˇ), Exnihilo (‘‡ÌˆËˇ),
´œ‡‡Î·ÍÒ ÀÚ‰.ª, üËÌÓÒÚÛ‰Ëˇ ËÏÂÌË Ã.√Ó¸ÍÓ„Ó,
ÔË Û˜‡ÒÚËË CNC (‘‡ÌˆËˇ)
œÓÍ‡Ú ´ü‡ÏÂ̪, ´œÓ‘»“ª
Producer Igor Tolstunov
Co-producers Maurice Bernart, Patrick Sobelman
Production TTL, Salome (France), Exnihilo (Farance), Parallax
Ltd., Maxim Gorky Studio, CNC (France)
Œ‰ËÌ ËÁ Ò‡Ï˚ı Ò͇̉‡Î¸Ì˚ı ÙËθÏÓ‚ ‰ÂÒˇÚËÎÂÚˡ. —‰Â·‚
ÛÒÎÓ‚Ì˚È ÙËÎ¸Ï ÔÓ Î˛·ËÏÓÏÛ ÒÓ‚ÂÚÒÍÓÏÛ ÓχÌÛ (´«ÓÎÓÚÓÈ
ÚÂÎÂÌÓͪ ».»Î¸Ù‡ Ë ≈.œÂÚÓ‚‡), œË˜ÛÎ ÒÓ‚Â¯ËÎ
‡‚‡Ì„‡‰Ì˚È ÊÂÒÚ ‰ÂÈÒÚ‚ËÚÂθÌÓ ÔÓÒÚÒÓ‚ÂÚÒÍÓ„Ó ÂÊËÒÒÂ‡,
ÔÓÒÚ‡‚Ë‚ ÒÛÔÂÒӈˇθÌÛ˛ Á‡‰‡˜Û ‚ ÓÚ΢ˠÓÚ
˝ÎÂÏÂÌÚ‡ÌÓÈ ÒӈˇθÌÓÒÚË, ˜ÚÓ Ú‡Í Ô˯·Ҹ ÔÓ ‰Û¯Â ‚
´Ã‡ÎÂ̸ÍÓÈ ¬Âª. –ÂÊËÒÒÂ ÓÚÓ¯ÂÎ ÓÚ ´Ô‡‚‰˚ ÊËÁÌ˪ Ë
̇Û¯ËÎ ÒÚËÎËÒÚ˘ÂÒÍË ÒÚÂÂÓÚËÔ˚ ‚ ËÁÓ·‡ÊÂÌËË ˝ÚÓÈ
Ò‡ÏÓÈ ´Ô‡‚‰˚ª. «Ì‡ÍÓÏ˚È ÚÂÍÒÚ Á‚Û˜‡Î Í‡Í ÒÚÓ ‡Á
ÓÚ˜ÛʉÂÌ̇ˇ ˆËÚ‡Ú‡. ŒÚÒÛÚÒÚ‚Ë ÔÓ‰ÚÂÍÒÚ‡ ÛÔÓ˘‡ÎÓÒ¸ Ë
Ó‰ÌÓ‚ÂÏÂÌÌÓ ÛÒÎÓÊÌˇÎÓÒ¸: Á‰ÂÒ¸ ‚ ÒÏÂı ÒÍ‚ÓÁ¸ ÒÏÂı, ‡ Ì ‚
ÒÏÂı ÒÍ‚ÓÁ¸ ÌÓÒڇθ„˘ÂÒÍË ÒÎÂÁ˚, ‚ ÓÒ‚Ó·ÓʉÂÌË ÓÚ
ÒÓ‚ÂÚÒÍÓÒÚË.
- œËÁ ´«ÂÎÂÌÓ ˇ·ÎÓÍÓ-ÁÓÎÓÚÓÈ ÎËÒÚÓͪ ÎÛ˜¯ÂÏÛ
ÔÓ‰˛ÒÂÛ, 1993;
- œËÁ ÍËÌӇ͇‰ÂÏËË ´ÕË͇ª ÎÛ˜¯ÂÏÛ ıÛ‰ÓÊÌËÍÛ ÔÓ
ÍÓÒÚ˛Ï‡Ï, 1993.
One of the most scandalous films of the decade. Making an
abstract film based on the popular Soviet novel ìThe Golden
Calfî by Ilf and Petrov, Pichul makes a vanguard gesture of a
genuinely post-Soviet director, setting a super-social task
rather than the elementary sociality that so flattered in ìLittle
Veraî. The director departs from the ìtruth of lifeî and
breaks the stylistic stereotypes in the representation of this
ìtruthî. The familiar text sounds like a profoundly alienated
quote. The absence of subtext is simplified and simultaneously
complicated by laughter through laughter instead of laughter
through nostalgic tears, thus breaking free from Soviet style.
- Prize ìGreen Apple, Golden Leafî for Best Producer, 1993;
- Prize of the Film Academy NIKA for the Best Costume
Design, 1993.
90-Â. ÍËÌÓ, ÍÓÚÓÓ Ï˚ ÔÓÚÂˇÎË
1990s. the cinema that we lost
Õ≈Àfi¡Œ¬‹
THE DISLIKE
143
1991, ———–, 94 ÏËÌ., ˆ‚.+˜/·
1991, USSR, 94 min, colour, b/w
–ÂÊËÒÒÂ ¬‡ÎÂËÈ –Û·Ë̘ËÍ
Director Valery Rubinchik
¿‚ÚÓ ÒˆÂ̇ˡ –Â̇ڇ ÀËÚ‚ËÌÓ‚‡
Scriptwriter Renata Litvinova
ŒÔÂ‡ÚÓ ŒÎ„ ÇÚ˚ÌÓ‚
Camera Oleg Martynov
’Û‰ÓÊÌËÍ »Ë̇ ü‡Î‡¯ÌËÍÓ‚‡
Art Director Irina Kalashnikova
üÓÒÚ˛Ï˚ —‚ÂÚ·̇ Éӂ‡ˇ
Costumes Svetlana Medovaia
«‚ÛÍ Ã‡„‡ËÚ‡ œ‡ÒÛıË̇
Sound Margarita Pasukhina
¬ ÓΡı: üÒÂÌˡ ü‡˜‡ÎË̇, —Ú‡ÌËÒ·‚ À˛·¯ËÌ, ƒÏËÚËÈ
Cast: Ksenia Kachalina, Stanislav Lyubshin, Dmitry Roshchin,
–Ó˘ËÌ, √ÂÌËÂÚÚ‡ ≈„ÓÓ‚‡, »Ë̇ ÿ·ÏÓ‚‡, ≈͇ÚÂË̇
Genrietta Egorova, Irina Shelamova, Ekaterina Shcherbakova,
ŸÂ·‡ÍÓ‚‡, ¬ËÍÚÓ –ÂÏËÁÓ‚, ¿ÎÂÍ҇̉ œÓʇÓ‚, ŒÎ¸„‡
Victor Remizov, Alexander Pozharov, Olga Abaeva, Irina
¿·‡Â‚‡, »Ë̇ ≈ÙÂÏÓ‚‡, ¬ËÓÎÂÚÚ‡ ≈ÎÙËÏÓ‚‡
Efremova, Violetta Elfimova
œÓËÁ‚Ó‰ÒÚ‚Ó üËÌÓÒÚÛ‰Ëˇ ´üÛ„ª
Production Krug Film Studio
ÍÁËÒÚÂ̈ˇθ̇ˇ ÏÂÎÓ‰‡Ï‡.
Existential melodrama.
—Ú‡ÌÌ˚È ıÓÓ‚Ó‰ ÚÂı „ÂÓ‚, Ó·˜ÂÌÌÓ Ò‚ˇÁ‡ÌÌ˚ı ·ÂÁ
A strange rondo of three heroes, fatally linked to each other
‚ÓÁÏÓÊÌÓÒÚË ÔË·ÎËÁËÚ¸Òˇ ‰Û„ Í ‰Û„Û, Í‡Í ÍÓÒÏ˘ÂÒÍËÂ
without any possibility of rapprochement, like cosmic bodies
Ú·, ÔÓ‚ËÌÛ˛˘ËÂÒˇ ÌÂÛÏÓÎËÏ˚Ï Á‡ÍÓÌ‡Ï ÔËÓ‰˚. —Ó‚ÒÂÏ
that obey the relentless laws of nature. A very young girl, her
˛Ì‡ˇ ‰Â‚Ә͇-‰Â‚ۯ͇,  ÌÂÓÔ˚ÚÌ˚È, ÌÓ Ô˚ÎÍËÈ Ó‚ÂÒÌËÍ,
inexperienced but ardent coeval, and an experienced middle-
ÏÌÓ„ÓÓÔ˚ÚÌ˚È ¯‡ÏÂ ‚ ‚ÓÁ‡ÒÚ Ô‰ÔÓÒΉÌËı
aged charmer in his penultimate hormonal storms. The girl
„ÓÏÓ̇θÌ˚ı ·Û¸; ‰Â‚ۯ͇ Ì Óڂ˜‡ÂÚ Ì‡ ˜Û‚ÒÚ‚‡
does not answer the feelings of the men, and all three suffer
ÏÛʘËÌ, ‚Ò ÚÓ ÒÚ‡‰‡˛Ú Ë Ì ÏÓ„ÛÚ ‡ÁÎÛ˜ËÚ¸Òˇ, ÔÓ͇
but cannot separate, until the object of desire, so terribly
Ô‰ÏÂÚ Ê·Ìˡ ‰Ó ÊÛÚË Í‡ÒË‚Ó Ì ÒÓ‚Â¯ËÚ ËÒıÓ‰ ËÁ
beautiful, departs into nonexistence. ìNo Loveî was never
·ÂÒ˜Û‚Òڂˡ ‚ Ì·˚ÚËÂ. ´ÕÂβ·Ó‚¸ª ÁËÚÂΡÏË ‰‡ÊÂ
interested in audiences, even not ìeliteî audiencesî. Thus it
´ËÁ·‡ÌÌ˚Ï˪ Í‡Í ·˚ Ì ËÌÚÂÂÒÓ‚‡Î‡Ò¸. » ÔË ˝ÚÓÏ
bewitched: a stunningly beautiful film, black-and-white,
Á‡‚Ó‡ÊË‚‡Î‡: ÌÂÏ˚ÒÎËÏÓ Í‡ÒË‚‡ˇ ÎÂÌÚ‡, ˜ÂÌÓ-·Â·ˇ,
impregnated with lunar light that suddenly blows up in sharp
ÔÓÔËÚ‡Ì̇ˇ ͇ÍËÏ-ÚÓ ÎÛ̇Ú˘ÂÒÍËÏ ÒˡÌËÂÏ, ‚ÌÂÁ‡ÔÌÓ
and strange flashes. Void, unpopulated, deserted...
‚Á˚‚‡˛˘‡ˇÒˇ ÂÁÍËÏ Ë ÒÚ‡ÌÌ˚Ï ˆ‚ÂÚÓÏ. ¡ÂÁ·˚Ú̇ˇ,
- Prize for Best Actress (Ksenia Kachalina), Film Festival
·ÂÁβ‰Ì‡ˇ, ÔÛÒÚ˚Ì̇ˇ...
- œËÁ Á‡ ÎÛ˜¯Û˛ ÊÂÌÒÍÛ˛ Óθ (üÒÂÌˡ ü‡˜‡ÎË̇) ó ü‘
´üËÌÓÚ‡‚ª, —Ó˜Ë, 1992;
- œËÁ ´«ÓÎÓÚÓÈ Œ‚Â̪ Á‡ ÎÛ˜¯Û˛ ÓÔÂ‡ÚÓÒÍÛ˛ ‡·ÓÚÛ, 1992.
ìKinotavrî, Sochi, 1992;
- Prize ìGolden Ariesî for the Best Photography, 1992.
90-Â. ÍËÌÓ, ÍÓÚÓÓ Ï˚ ÔÓÚÂˇÎË
1990s. the cinema that we lost
ÕŒ√¿
THE LEG
144
1991, ———–, 93 ÏËÌ., ˆ‚.
1991, USSR, 93 min, colour
–ÂÊËÒÒÂ ÕËÍËÚ‡ “ˇ„ÛÌÓ‚
¿‚ÚÓ ÒˆÂ̇ˡ Õ‡‰Âʉ‡ üÓÊÛ¯‡Ì‡ˇ
ŒÔÂ‡ÚÓ —Â„ÂÈ À˛·˜ÂÌÍÓ
’Û‰ÓÊÌËÍË ÕËÍÓÎ‡È —‡ı‡Ó‚, ¬Î‡‰ËÏË ≈ÓÙ‚
üÓÏÔÓÁËÚÓ ŒÎ„ ü‡‡‚‡È˜ÛÍ
«‚ÛÍ fiËÈ √ÓΡ‰ÍËÌ
Director Nikita Tiagunov
Scriptwriter Nadezhda Kozhushanaya
Camera Sergei Liubchenko
Art Directors Nikolai Sakharov, Vladimir Erofeev
Composer Oleg Karavaichuk
Sound Yury Golyadkin
¬ ÓΡı: »‚‡Ì ŒıÎÓ·˚ÒÚËÌ, œÂÚ ÇÏÓÌÓ‚, Õ‡Ú‡Îˡ
œÂÚÓ‚‡, ÿÂ‡ÎË ¿·‰ÛÎ͇ÈÒÓ‚, »‚‡Ì «‡ı‡‚‡, ŒÍ҇̇
Ã˚ÒË̇, ‘‡ı‡‰ ÇıÏÛ‰Ó‚, À˛‰ÏË· À‡ËÓÌÓ‚‡, Õ‡‰Âʉ‡
üÓÊÛ¯‡Ì‡ˇ, ÕÂÎÎË Õ‚‰Ë̇, ‘‰Ó —ÏËÌÓ‚
Cast: Ivan Okhlobystin, Pyotr Mamonov, Natalia Petrova,
Sherali Abdulkaisov, Oksana Mysina, Farkhad Makhmudov,
Lyudmila Larionova, Nadezhda Kozhushanaya, Nelli Nevedina,
Fyodor Smirnov
œÓ‰˛ÒÂ ¿ÎÂÍ҇̉ ÃËı‡ÈÎÓ‚
œÓËÁ‚Ó‰ÒÚ‚Ó 12a
œ‡‚‡ ‘Ó̉ –Ó·̇ ¡˚ÍÓ‚‡
Producer Alexander Mikhaylov
Production 12a
Sales Rolan Bykovís Fund
—ӈˇθ̇ˇ ‰‡Ï‡ ÔÓ ÏÓÚË‚‡Ï Ó‰ÌÓËÏÂÌÌÓ„Ó ‡ÒÒ͇Á‡
”ËθˇÏ‡ ‘ÓÎÍÌÂ‡.
«Ì‡ÍÓ‚˚È ÙËÎ¸Ï ´ÔÓÚÂˇÌÌÓ„Óª ÔÓÍÓÎÂÌˡ ‚ÓÒ¸ÏˉÂÒˇÚ˚ı
(Ë Í‡Í ÒÚ‡ÎÓ ÚÂÔÂ¸ Ә‚ˉÌ˚Ï, ‰Â‚ˇÌÓÒÚ˚ı) ó
‰ËÌÒÚ‚ÂÌ̇ˇ ͇ÚË̇ ‡ÌÓ Û¯Â‰¯Â„Ó ËÁ ÊËÁÌË ÂÊËÒÒÂ‡
ÕËÍËÚ˚ “ˇ„ÛÌÓ‚‡.
—˜‡ÒÚÎË‚˚È ÚÂÏ, ˜ÚÓ ÏÓÎÓ‰, „ÓÚÓ‚˚È ‚˚ÔÓÎÌˇÚ¸ ÔË͇Á˚,
„ÂÓÈ-ÔËÁ˚‚ÌËÍ Ó͇ÊÂÚÒˇ ‚ ‡‰Û ¿Ù„‡ÌÒÍÓÈ ‚ÓÈÌ˚,
ÔÓ‰Ó‚ÂÚÒˇ ̇ ÏËÌÂ, ÔÓÚÂˇÂÚ ÌÓ„Û. » ÌÓ„‡ ÒÚ‡ÌÂÚ Â„Ó
Ù‡ÌÚÓÏÓÏ-‰‚ÓÈÌËÍÓÏ, ‚ÓÔÎÓÚËÚ ‚ Ò· ‚Ò ÁÎÓ Ë ˆËÌËÁÏ
‰ÂÈÒÚ‚ËÚÂθÌÓÒÚË Ë ÒÚ‡ÌÂÚ Á‡‚Â¯ÂÌÌ˚Ï ˆÂÎ˚Ï ÔÓ
ÓÚÌÓ¯ÂÌ˲ Í Ò‚ÓÂÏÛ Ó‰ÌÓÌÓ„ÓÏÛ ´‚·‰ÂθˆÛª. ŒÌ‡ ·Û‰ÂÚ
ÔÂÒΉӂ‡Ú¸ Â„Ó Ë ‚ ÍÓ̈ ÍÓ̈ӂ Á‡ÏÂÌËÚ Â„Ó ÔÓÎÌÓÒÚ¸˛...
œÓËÒÚËÌ ÒÚ‡Ì̇ˇ ËÒÚÓˡ, Ëϲ˘‡ˇ ÓÚÌÓ¯ÂÌË ÚÓ ÎË Í
‘ÓÎÍÌÂÛ, ÚÓ ÎË Í √Ó„Óβ, ÚÓ ÎË Í —ÚË‚ÂÌÒÓÌÛ, ‡ ÚÓ˜ÌÂÂ
‚ÒÂ„Ó ó Í Ì‡Ï Ò‡ÏËÏ, ÔÓÔ‡‚¯ËÏ ‚ ÔÓÒÚ‡ÌÒÚ‚Ó
‡Á‰‚ÓÂÌÌÓ„Ó ÏË‡ Ë ‚·˜‡˘ËÏ ‚ ˝ÚÓÏ ´‡ÁÎÓϪ Ù‡ÌÚÓÏÌÓÂ
ÒÛ˘ÂÒÚ‚Ó‚‡ÌËÂ.
- ƒËÔÎÓÏ ËÒÔÓÎÌËÚÂβ „·‚ÌÓÈ ÓÎË (»‚‡Ì ŒıÎÓ·˚ÒÚËÌ),
‰ËÔÎÓÏ √Ëθ‰ËË ÍËÌÓÍËÚËÍÓ‚ Ë ÍËÌӂ‰ӂ ´«‡ ÚÂÏÛ
Ù‡ÌÚÓÏÌÓÒÚ˪ ó ü‘ ´ÃÓÎÓ‰ÓÒÚ¸ª, üË‚, 1991;
- œËÁ Á‡ ÎÛ˜¯Û˛ ‡ÍÚÂÒÍÛ˛ ‡·ÓÚÛ (».ŒıÎÓ·˚ÒÚËÌ) ó
–ü‘ ´üËÌÓÚ‡‚ª: ´‘ËθÏ˚ ‰Îˇ ËÁ·‡ÌÌ˚ı?ª, —Ó˜Ë, 1992;
- √·‚Ì˚È ÔËÁ Ãü‘ ‚ œÓÚÒ‰‡ÏÂ, √ÂχÌˡ;
- œÂÏˡ ´«ÓÎÓÚÓÈ Œ‚Â̪ Á‡ ÎÛ˜¯Û˛ ÍËÌÓ‰‡Ï‡ÚÛ„˲
(Õ.üÓÊÛ¯‡Ì‡ˇ Á‡ ÙËθÏ˚ ´ÕÓ„‡ª Ë ´œÓ‚‡ª), 1992, Ë ‰.
Social drama based on motives of William Faulknerís story of
the same title.
An important film of the ëlostí generation of the 1980s (and,
as is now clear, of the 1990s), this is also a unique picture by
director Nikita Tiagunov, who perished so young.
Happy are those who are young and ready to carry out orders:
the hero-recruit ends up in the hell of the Afghan war, steps
on a mine, and loses a leg. The leg becomes his phantomdouble, personifies all the evil and cynicism of the world, and
gains complete independence from its one-legged ëownerí. It
pursues him and eventually replaces him completely...
A really strange story, which may relate to Faulkner or Gogol,
or to Stevenson, but most likely to us, who have fallen into a
gap in the split world, and who lead a phantom existence.
- Diploma for the actor of the leading role (Ivan Okhlobystin),
Diploma of the Guild of Film Critics and Film Scholars ëFor
the theme of phantomsí, Film Festival Molodist, Kiev, 1991;
- Prize for the Best Actor (Ivan Okhlobystin), ORFF Kinotavr:
ëFilms for the Elite?í, Sochi, 1992;
- Main Prize, IFF Potsdam, Germany;
- Award ëGolden Ariesí for the Best Film Drama, 1992, etc.
90-Â. ÍËÌÓ, ÍÓÚÓÓ Ï˚ ÔÓÚÂˇÎË
1990s. the cinema that we lost
Œü–¿»Õ¿
OUTSKIRTS
145
1998, –ÓÒÒˡ, 100 ÏËÌ., ˜/·, 1:1.66
1998, Russia, 100 min, black and white, 1:1.66
–ÂÊËÒÒÂ œÂÚ ÀÛˆËÍ
¿‚ÚÓ˚ ÒˆÂ̇ˡ œÂÚ ÀÛˆËÍ, ¿ÎÂÍÒÂÈ —‡ÏÓˇ‰Ó‚
ŒÔÂ‡ÚÓ ÕËÍÓÎ‡È »‚‡ÒË‚
’Û‰ÓÊÌËÍ ¿Ì‰ÂÈ ¡ÂÒÒÓÎˈ˚Ì
üÓÒÚ˛Ï˚ ÇÍÒËÏ œ‡ÁËÎÓ‚
ÃÛÁ˚͇ √‡‚ËËÎ œÓÔÓ‚, √ÂÓ„ËÈ —‚Ëˉӂ
üÓÏÔÓÁËÚÓ »„Ó¸ ü‡ÌÚ˛ÍÓ‚
«‚ÛÍ ¬ˇ˜ÂÒ·‚ üβ˜ÌËÍÓ‚, ¬Î‡‰ËÒ·‚ “ÓÓıÓ‚
Director Pyotr Lutsik
Scriptwriters Pyotr Lutsik, Alexei Samoriadov
Camera Nikolai Ivasiv
Art Director Andrei Bessolitsyn
Costumes Maxim Pazilov
Music Gavriil Popov, Georgy Sviridov
Composer Igor Kantiukov
¬ ÓΡı: fiËÈ ƒÛ·Ó‚ËÌ, ÕËÍÓÎ‡È ŒÎˇÎËÌ, ¿ÎÂÍÒÂÈ
œÛ¯ÍËÌ, ¿ÎÂÍÒÂÈ ¬‡ÌËÌ, –ËÏχ ÇÍÓ‚‡, ¬ËÍÚÓ —ÚÂÔ‡ÌÓ‚,
¿Ì‡ÚÓÎËÈ üӢ‚, ¬ËÍÚÓ ¬ÂÌÂÒ, ¿ÎÂÍ҇̉ ¬‰Ó‚ËÌ, √‡ÎË̇
«ÓÎÓÚ‡‚‡, ŒÎ„ ÃÓͯ‡ÌˆÂ‚, ¬ˇ˜ÂÒ·‚ üÛ·ÍÓ‚
œÓ‰˛ÒÂ œÂÚ ÀÛˆËÍ
œÓËÁ‚Ó‰ÒÚ‚Ó ´”ÚÓ XXI ‚Â͇ª, ÔË Û˜‡ÒÚËË √ÓÒÍËÌÓ –‘
œÓÍ‡Ú ´»ÌÚÂÒËÌÂχ ¿Úª
›Ô˘ÂÒ͇ˇ ‰‡Ï‡/ œËÚ˜‡.
›Ô˘ÂÒ͇ˇ Ô‡ÌÓ‡Ï‡ ÔÓıÓ‰‡ ÏÛÊËÍÓ‚, ÁÂÏβ ÍÓÚÓ˚ı ´ÔÓ‰‡Î ÌÂËÁ‚ÂÒÚÌÓ ÍÚÓª ‰Îˇ ÌÂÙÚˇÌ˚ı ‡Á‡·ÓÚÓÍ, Ò ÓÍ‡ËÌ˚ ‚
ÒÚÓÎËˆÛ Á‡ Ô‡‚‰ÓÈ, ÓÚ ”‡Î‡ ‰Ó Ò‡ÏÓÈ ‰Ó ÃÓÒÍ‚˚ ó ËÒ͇ڸ ÓÚ‚ÂÚ˜Ë͇ Á‡ ‚Ò Ô˘ËÌÂÌÌ˚ ÌÂÒ˜‡ÒÚ¸ˇ ó ÔÛÒÚ¸ ‡ÒÒ͇ÊÂÚ ËÏ, ÛÒÒÍËÏ ÏÛÊË͇Ï, ˜ÚÓ ˝ÚÓ Ò ÁÂÏÎÂÈ Û˜ËÌËÎ Ë
ÔÓ˜ÂÏÛ ÓÚÌˇÎ Û ÌËı ÔÓÒΉÌÂÂ... »ı ÔÛÚ¸ ÓÒ‚ˇ˘ÂÌ Ò˛ÊÂÚ‡ÏË Ë ÏËÙ‡ÏË ÓÚ˜ÂÒÚ‚ÂÌÌÓÈ ÍËÌÓÍ·ÒÒËÍË.
≈‰ËÌÒÚ‚ÂÌ̇ˇ ÂÊËÒÒÂÒ͇ˇ ‡·ÓÚ‡ œÂÚ‡ ÀÛˆË͇ Òڇ· ÔÂ‚˚Ï ÍÛθÚÓ‚˚Ï ÙËθÏÓÏ ÔÓÒÚÔÂÂÒÚÓ˜ÌÓÈ ˝ÔÓıË.
- œËÁ ËÏÂÌË ›ÈÁÂ̯ÚÂÈ̇ Á‡ ÒˆÂ̇ËÈ ´ƒËÍÓ ÔÓΪ
(ÙËÎ¸Ï ´ŒÍ‡Ë̇ª);
- —ÔˆˇθÌ˚È ÔËÁ Ê˛Ë ÍÓÌÍÛÒ‡ ´ƒÂ·˛Úª Á‡ ‰ÂÁÍËÈ ÔÓËÒÍ ÌÓ‚˚ı ÔÛÚÂÈ ‚ ÍËÌÓËÒÍÛÒÒÚ‚Â, œÓ˜ÂÚÌ˚È ‰ËÔÎÓÏ
√Ëθ‰ËË ÍËÌӂ‰ӂ Ë ÍËÌÓÍËÚËÍÓ‚ –ÓÒÒËË ñ Œ–ü‘ ´üËÌÓÚ‡‚ª, —Ó˜Ë, 1998;
- œÂÏˡ ‘»œ–≈——» ñ Ãü‘ ‚ ◊Ë͇„Ó, 1998;
- Õ‡ˆËÓ̇θ̇ˇ ÔÂÏˡ √Ëθ‰ËË ÍËÌӂ‰ӂ Ë ÍËÌÓÍËÚËÍÓ‚
´«ÓÎÓÚÓÈ Œ‚Â̪ (1998) - Á‡ ÎÛ˜¯ËÈ ÙËθÏ-‰Â·˛Ú;
- œËÁ ´ƒÓÌ üËıÓÚª ÃÂʉÛ̇Ó‰ÌÓ„Ó Ê˛Ë ÍËÌÓÍÎÛ·Ó‚ ñ
Ãü‘ ‚ ¡ÂÎËÌÂ: ‘ÓÛÏ, 1999;
- ÃÂʉÛ̇Ӊ̇ˇ ÔÂÏˡ —‚Ó·Ó‰˚ ñ ´Philipp Morris
Freedomª - Ãü‘ ‚ ü‡ÎÓ‚˚ı ¬‡‡ı, 1999, Ë ‰Û„Ë ÔËÁ˚.
Cast: Yuri Dubrovin, Nikolai Olialin, Alexei Pushkin, Alexei
Vanin, Rimma Markova, Victor Stepanov, Anatoly Koshcheev,
Victor Venes, Alexander Vdovin, Galina Zolotaryova, Oleg
Mokshantsev, Vyacheslav Kulakov
Producer Pyotr Lutsik
Production 21st Centuryís Morning with participation
Goskino of Russian Federation
Distribution ìIntercinema Artî
Epic drama. Parable.
The epic panorama concerns the journey of some men (muzhiks),
whose land ëhas been sold by somebodyí for oil development; a
journey from the provinces to the capital to find the truth, from
the Urals up to Moscow to search for the man responsible for
the misfortunes. Let him tell them, the Russian muzhiks, what
he has done with the land and why he has taken away from them
the last thing they had... Their journey is accompanied by
themes and myths of Russiaís film classics.
Pyotr Lutsikís only work as director became the first cult film
of the post-perestroika period.
- Eisenstein Prize for the Script ìThe Wild Fieldî (film title
ìOutskirtsî);
- Special Jury Prize in the Debut Competition, ëfor the bold
search of new paths in cinematic artí, Honorary Diploma of
the Guild of Film Critics and Film Scholars of Russia, ORFF
Kinotavr, Sochi, 1998;
- Prize of the FIPRESCI, IFF Chicago, 1998;
- National Award of the Guild of Film Critics and Film
Scholars, ëGolden Ariesí (1998), for Best Debut Film;
- Prize ëDon Quixoteí, International Jury of Film Clubs, IFF
Berlin, Forum, 1999;
- International Prize of Freedom ëPhilipp Morris Freedomí, IFF
Karlovy Vary, 1999, and other prizes.
90-Â. ÍËÌÓ, ÍÓÚÓÓ Ï˚ ÔÓÚÂˇÎË
1990s. the cinema that we lost
Œ–¿Õ∆≈¬¤… ƒ∆¿«
ORANGE JAZZ
146
1993, –ÓÒÒˡ, 96 ÏËÌ., ˆ‚.
1993, Russia, 96 min, colour
–ÂÊËÒÒÂ Ë ‡‚ÚÓ ÒˆÂ̇ˡ ¿ÎÂÍ҇̉ »ÒÛÔÓ‚
Director and Scriptwriter Alexander Isupov
ŒÔÂ‡ÚÓ »„Ó¸ ¬ÓÚË̈‚
Camera Igor Votintsev
’Û‰ÓÊÌËÍ ¿ÎÂÍ҇̉ »ÒÛÔÓ‚
Art Director Alexander Isupov
üÓÏÔÓÁËÚÓ Ç‡Ú üÛÁ̈ӂ
Composer Marat Kuznetsov
«‚ÛÍ ¿Ì‰ÂÈ «Î˚„ÓÒÚ‚
Sound Andrey Zlygostev
¬ ÓΡı: ÃËı‡ËÎ ÕËÍËÚËÌ, —Â„ÂÈ —‡ÁÓÌÓ‚, ¬‡ÎÂËÈ
Cast: Mikhail Nikitin, Sergei Sazonov, Valery Seryogin,
—Â„ËÌ, ¬ˇ˜ÂÒ·‚ fl·Îӯ‚ÒÍËÈ, ¿ÎÂÍ҇̉ »ÒÛÔÓ‚
Vyacheslav Yabloshevsky, Alexander Isupov
œÓËÁ‚Ó‰ÒÚ‚Ó ´ÕÓ‚˚È ÍÛÒª
Production New Course
ÀË˘ÂÒ͇ˇ ‰‡Ï‡.
Lyrical drama.
«‡ÂÁÊËÈ ÏÛÁ˚͇ÌÚ ¿ÌÚÓÌËÓ (ÓÌ Ê ¿ÌÚÓÌ), ÌÂ‡ÁÎÛ˜Ì˚È ÒÓ
The traveling musician Antonio (he is also Anton) is
Ò‚ÓÂÈ ÚÛ·ÓÈ, Á‡„Ρ‰˚‚‡ÂÚ Ì‡ ÌÂÒÍÓθÍÓ ˜‡ÒÓ‚ ‚ „ÓÓ‰
inseparable from his trumpet. For some hours he visits the
‰ÂÚÒÚ‚‡, „‰Â ÔÓÚËıÓ̸ÍÛ Ò‚ËıË‚‡˛ÚÒˇ ÓÚ Ôӂ҉̂ÌÓÈ
city of his childhood, where his friends slowly go mad with
ÛÚËÌ˚ ‰ÛÁ¸ˇ. ÃÓÊÂÚ, ÏÂÒÚÌÓÈ ÒÂÓÈ ÊËÁÌË ÔÓÒÚÓ ÌÂ
the daily routine. Maybe the gray local life simply lacks some
ı‚‡Ú‡ÂÚ Ó‡ÌÊÂ‚Ó„Ó ˆ‚ÂÚ‡ ñ ˆ‚ÂÚ‡ Ô‡Á‰ÌË͇?..
orange color, the color of a holiday?..
www.kinotavr.ru
148
œÂϸÂ‡,
ÍÓÚÓÓÈ
ÌÂ ·˚ÎÓ
The Premiere
that did not
Happen
ÃÓÊÂÚ, ÍÚÓ ÔÓÏÌËÚ, ÔӂӉ˷Ҹ ̇
´üËÌÓÚ‡‚ª ‚ ÍÓ̈ 90-ı ÍÛθÚÛ̇ˇ
‡ÍˆËˇ ÔÓ‰ ̇Á‚‡ÌËÂÏ ´œÂϸÂ‡, ÍÓÚÓÓÈ Ì ·˚ÎÓª? ≈Â, ‚ ˜‡ÒÚÌÓÒÚË, ˇ Ë ÔÓ‚Ó‰ËÎ ó Á̇ÍÓÏËÎ ÁËÚÂÎÂÈ Ò ÌÂËÁ‚ÂÒÚÌ˚ÏË ¯Â‰Â‚‡ÏË ÒÓ‚ÂÚÒÍÓ„Ó ÍËÌÓ. ¿
Ô‡‚ËθÌ Ò͇Á‡Ú¸, Ò ÌÂËÁ‚ÂÒÚÌ˚ÏË ıÓÓ¯ËÏË ÙËθχÏË.
ÃÌÓ„ËÏ ÍËÌӂ‰‡Ï ÒÚ‡¯Â„Ó ÔÓÍÓÎÂÌˡ
Ó˜Â̸ Ì Ì‡‚ËÎÓÒ¸ ˝ÚÓ Ì‡Á‚‡ÌË ñ
´œÂϸÂ‡, ÍÓÚÓÓÈ Ì ·˚ÎÓª. ◊ÚÓ ˝ÚÓ,
‰ÂÒ͇ڸ, Á‡ ÌÂÔÓÙÂÒÒËÓ̇θÌ˚È ‚ÓβÌÚ‡ËÁÏ ñ ‚˚‰‡‚‡Ú¸ Á‡ ÒÛÔÂÓÚÍ˚Úˡ
ÎÂÌÚ˚, ÔÂÒÔÓÍÓÈÌÓ ¯Â‰¯Ë ‚ ÔÓ͇ÚÂ?
fl Ó·˙ˇÒÌˇÎ, ˜ÚÓ Ì‡Á‚‡ÌË ÌÂÒÍÓθÍÓ ÛÒÎÓ‚ÌÓÂ: ‚Ó-ÔÂ‚˚ı, ÔË‚ÎÂ͇˛˘Â ‚ÌËχÌË (‡ ÒÂ„Ó‰Ìˇ ·ÂÁ ˝ÚÓ„Ó ÌÂθÁˇ), ‡
‚Ó-‚ÚÓ˚ı, ˇ‚Ρ˛˘ÂÂÒˇ Ò‚ÓÂÓ·‡ÁÌÓÈ
ÏÂÚ‡ÙÓÓÈ ó ‚‰¸ Ë ‚ Ò‡ÏÓÏ ‰ÂÎÂ
ÙËθÏ˚ ˝ÚË ÌËÍÚÓ Ì ÔÓÏÌËÚ, ‡ Á̇˜ËÚ,
‰Îˇ ÒÂ„Ó‰Ìˇ¯ÌÂ„Ó ÁËÚÂΡ (ÍËÌÂχÚÓ„‡ÙËÒÚ‡) ÓÌË ˇ‚Ρ˛ÚÒˇ Ò‡Ï˚ÏË Ì‡ÒÚÓˇ˘ËÏË ÔÂϸÂ‡ÏË.
Ö¿ ÔÓÚÓÏ ‡ÍˆË˛ ˝ÚÛ ÔËÍ˚ÎË ÔÓ Í‡ÍËÏ-ÚÓ Ì‚‰ÓÏ˚Ï ÏÌ Ô˘Ë̇Ï.
ÕÓ ‚ÓÚ ÚÂÔÂ¸, ͇ÊÂÚÒˇ, Ó̇ ‚ÓÁ‚‡˘‡ÂÚÒˇ. ¬ÓÁ‚‡˘‡ÂÚÒˇ ‚ ‚ˉ ÌÂÍÓÂ„Ó ˝ı‡:
ÒÌÓ‚‡ ÔÂ‰ ̇ÏË ÙËθÏ˚ 60-ı, Ë Ï˚
‰ÓÔÓ͇Á˚‚‡ÂÏ Ì‡ ´üËÌÓÚ‡‚ª ÚÓ, ˜ÚÓ
Ì ÛÒÔÂÎË ÚÓ„‰‡, ‚ ÍÓ̈ 90-ı. ¿ ‚ÔÂÂ‰Ë Ó„ÓÏÌÓ ÍÓ΢ÂÒÚ‚Ó ‡Á΢Ì˚ı Á‡‰ÛÏÓÍ, Ë·Ó Á‡ ˝ÚË ÔˇÚ¸-¯ÂÒÚ¸ ÎÂÚ ÏÌÂ
Û‰‡ÎÓÒ¸ ÔÓÒÏÓÚÂÚ¸ ¢ ÓÍÓÎÓ 1000 ÒÓ‚ÂÚÒÍËı ÙËθÏÓ‚ Ò 1953 „Ó‰‡ (ÚÓÚ‡ÎËÚ‡Ì˚Ï ÔÂËÓ‰ÓÏ ÔÛÒÚ¸ ‰Û„Ë Á‡ÌËχ˛ÚÒˇ), Ë ÚÂÔÂ¸ ˝ÚÓ„Ó Ï‡ÚÂˇ· ı‚‡ÚËÚ
̇ β·˚ ÚÂχÚ˘ÂÒÍË ÂÚÓÒÔÂÍÚË‚˚:
ʇÌÓ‚˚Â, ‚ÂÏÂÌÌ˚Â, ÔÒËıÓÔ‡ÚÓÎӄ˘ÂÒÍË (˝ÚÓ ˇ ÔÓÒÚ‡‡ÎÒˇ Á‡ËÌÚË„Ó‚‡Ú¸), ÒÚË΂˚Â, ÚÂËÚÓˇθÌ˚ ñ ͇ÍË ۄӉÌÓ.
œÓ˝ÚÓÏÛ ÔÓ͇ ÔÛÒÚ¸ ·Û‰ÂÚ ËÏÂÌÌÓ ÚÂχÚ˘ÂÒ͇ˇ ÂÚÓÒÔÂÍÚË‚‡, ҇χˇ ÔÂ‚‡ˇ.
Ã˚ ÔÓÒÏÓÚËÏ, Í‡Í Ì‡˜Ë̇ÎË ÂÊËÒÒÂ˚ ÎÂÌËÌ„‡‰ÒÍÓÈ ¯ÍÓÎ˚, ¯ÍÓÎ˚ ÓÒÓ·Ó„Ó ÒÚËΡ ó ÒÚËΡ „ËÔÂ‡ÎËÁχ,
‡Ì‡ÎÓ„Û ÍÓÚÓÓÏÛ ÌÂÚ ‚ ÏËÂ. ü ˝ÚÓÈ
¯ÍÓΠÓÚÌÓÒËÎÒˇ Ì ÚÓθÍÓ √ÂχÌ
(ÒÚ‡¯ËÈ), ÌÓ Ë ¿‡Ìӂ˘, Ë ü‡Ì‚ÒÍËÈ, Ë ¿ËÒÚÓ‚, Ë Â˘Â ÏÓÊÌÓ ‚ÒÔÓÏÌËÚ¸ ÏÌÓ„Ëı ‰Û„Ëı. ¬Ë‰ÂÎ ÎË ÍÚÓ ´œÂÚÓ„‡‰ÒÍË „‡‚ӯ˪ —Â„¡ —ÌÂÊÍË̇? ´üËÍ Ó ÔÓÏÓ˘Ëª —Â„¡ œÓÚÂÔ‡ÎÓ‚‡? ´Õ‡ Ò‚ÓÂÈ ÁÂÏΪ »„Óˇ ¿Ô‡ÒˇÌ‡?.. ¿ ‚‰¸ ˝ÚÓ ‚Ò ËÏÂÌÌÓ Ì‡ÒΉÌËÍË
ÎÂÌËÌ„‡‰ÒÍÓ„Ó „ËÔÂ‡ÎËÁχ, ‚ÓÁÌËÍ¯Â„Ó ËÏÂÌÌÓ ‚ ÍÓ̈ 60-ı, ‡ ÔÓ‰ÓÎÊË‚¯Â„ÓÒˇ ÛÊ ‚Ó ‚ÒÂı ‚ÂÏÂ̇ıÖ
¡Û‰ÂÏ Ì‡‰ÂˇÚ¸Òˇ, ˜ÚÓ Ó Â„Ó ÔÓ‰ÓÎÊÂÌËË Ë ‡Á‚ËÚËË, ‡ Ú‡ÍÊÂ Â˘Â Ó ÏÌÓ„ÓÏ
ÏÌ ۉ‡ÒÚÒˇ ‡ÒÒ͇Á‡Ú¸ ÔÓÁÊ ñ Ô˘ÂÏ
ËÏÂÌÌÓ Á‰ÂÒ¸, ̇ ´üËÌÓÚ‡‚ª. » ÍÓ̘ÌÓ, ÔÓ͇Á‡Ú¸ ‡ÁÌ˚ Á‡Ï˜‡ÚÂθÌ˚Â
ÙËθÏ˚.
Maybe some people remember the
programme ìThe Premiere that did not
Happenî at ìKinotavrî in the late
1990s, which I curated in order to
acquaint audiences with unknown
masterpieces of Soviet cinema, or
rather, with unknown but good films.
Many film scholars of the older
generation strongly disliked the title
ìThe Premiere that did not Happenî,
challenging its non-professional
voluntarism that allegedly presented as
super-discoveries those films that had
been quietly distributed? I explained
that the title was designed to draw
attention to the programme (and
without that you canít do today), and to
create an original metaphor; in fact,
nobody really remembered these films,
so for todayís spectator or
cinematographer they are genuine
premieres. Then the programme was
discontinued for reasons that remain
unknown to me.
Now, apparently we mark a return of
the programme as some kind of echo:
once again we have before us the films
of the 1960s. We present at ìKinotavrî
those films that we did not manage to
show in the late 1990s. And there are
lots of new ideas for the future, because
over the last 5-6 years I saw another
1000 Soviet films made after 1953 (I
am leaving here the totalitarian era to
others); this material suffices for a
number of thematic retrospectives: of
genre, time, psychopathology
(intriguing!), style, territory.
For this year I have chosen, in the first
instance, a thematic approach. We shall
look at the beginnings of the Leningrad
school, a school with a special style that
has no analogue in the world: the style
of hyperrealism, to which not only
German (Senior) belongs, but also
Aranovich, Kanevsky, Aristov Ö and
many more. Who has seen ìThe
ëGavrochesí of Petrogradî by Sergei
Snezhkin? Sergei Potepalovís ìCry for
Helpî? ìOn Home Groundî by Igor
Apasian?.. Yet these are, in fact, all
successors of Leningradís hyperrealism,
which emerged at the end of the 1960s
and continues throughout the centuryÖ
Letís hope that I shall have a chance
later to say more about its continuation
and development at another ìKinotavrî
festival; and, of course, to show other
remarkable films.
¿ÎÂÍ҇̉ ÿÔ‡„ËÌ
üÛ‡ÚÓ ÔÓ„‡ÏÏ˚
Alexander Shpagin
Programme Curator
̇˜‡Î‡.
ÎÂÌËÌ„‡‰Ò͇ˇ ¯ÍÓ·
the beginnings.
the leningrad school
149
΢̇ˇ ÊËÁ̸ ÍÛÁˇÂ‚‡ ‚‡ÎÂÌÚË̇
THE PRIVATE LIFE OF KUZIAYEV VALENTIN
‰Â̸ ÒÓÎ̈‡ Ë ‰Óʉˇ
A DAY OF SUN AND RAIN
˜ÂÚ˚ ÒÚ‡Ìˈ˚
Ó‰ÌÓÈ ÏÓÎÓ‰ÓÈ ÊËÁÌË
FOUR PAGES OF A YOUNG LIFE
Ò‰¸ÏÓÈ ÒÔÛÚÌËÍ
THE SEVENTH COMPANION
̇˜‡Î‡. ÎÂÌËÌ„‡‰Ò͇ˇ ¯ÍÓ·
the beginnings. the leningrad school
À»◊Õ¿fl ∆»«Õ‹
ü”«fl≈¬¿ ¬¿À≈Õ“»Õ¿
ƒ≈Õ‹ —ŒÀÕ÷¿ » ƒŒ∆ƒfl
A DAY OF SUN AND RAIN
THE PRIVATE LIFE OF
KUZIAYEV VALENTIN
150
1967, ———–, 68 ÏËÌ., ˜/·
1967, ———–, 71 ÏËÌ., ˜/·
–ÂÊËÒÒÂ »„Ó¸ ÇÒÎÂÌÌËÍÓ‚, ÔË Û˜‡ÒÚËË »Î¸Ë ¿‚Â·‡ı‡
–ÂÊËÒÒÂ ¬ËÍÚÓ —ÓÍÓÎÓ‚
¿‚ÚÓ ÒˆÂ̇ˡ Õ‡Ú‡Îˡ –ˇÁ‡ÌˆÂ‚‡
¿‚ÚÓ ÒˆÂ̇ˡ ›‰‚‡‰ –‡‰ÁËÌÒÍËÈ
ŒÔÂ‡ÚÓ ¡ÓËÒ “ËÏÍÓ‚ÒÍËÈ
ŒÔÂ‡ÚÓ ¬Î‡‰ËÏË ◊ÛχÍ
üÓÏÔÓÁËÚÓ ¿ÎÂÍ҇̉ üÓÎÍÂ
üÓÏÔÓÁËÚÓ √ÂÌ̇‰ËÈ œÓÚÌÓ‚
¬ ÓΡı: ¬ËÍÚÓ »Î¸Ë˜Â‚, √ÂÓ„ËÈ ÿÚËθ, “‡Ï‡‡
¬ ÓΡı: —‡¯‡ ¡‡ËÌÓ‚, “ÓΡ œÓÔÓ‚, ¿ÎÂÍ҇̉ —ÓÍÓÎÓ‚,
üÓÌÓ‚‡ÎÓ‚‡, ¿ÎÂÍÒÂÈ üÓÊ‚ÌËÍÓ‚, ¿‚„ÛÒÚ ¡‡ÎÚÛ¯‡ÈÚËÒ
ÃËı‡ËÎ üÓÁ‡ÍÓ‚, ¿ÎÂÍÒÂÈ œÂÚÂÌÍÓ
œÓËÁ‚Ó‰ÒÚ‚Ó ´ÀÂÌÙËθϪ
œÓËÁ‚Ó‰ÒÚ‚Ó ´ÀÂÌÙËθϪ
ÀËËÍÓ-ËÓÌ˘ÂÒ͇ˇ ÍËÌÓÔÓ‚ÂÒÚ¸. ƒÂÒˇÚËÍ·ÒÒÌË͇ ¬‡Î˛
ÀË˘ÂÒ͇ˇ ÍËÌÓÔÓ‚ÂÒÚ¸. ƒ‚Ó ¯ÍÓθÌËÍÓ‚, Ò·Âʇ‚ Ò
üÛÁˇÂ‚‡ Ô˄·¯‡˛Ú ‚ ÚÂÎÂÔÂ‰‡˜Û ´œÓ„Ó‚ÓËÏ
ÛÓÍÓ‚, ˆÂÎ˚È ‰Â̸ ·Ó‰ˇÚ ÔÓ ÀÂÌËÌ„‡‰Û. »Ï ÓÚÍ˚‚‡ÂÚÒˇ
ÓÚÍÓ‚ÂÌÌÓª (ÒÎÛ˜‡ÈÌÓ ‚˚·‡ÎË Ì‡ ÛÎˈ ó ÔÓÔ‡ÎÒˇ ÔÓ‰
„ÓÓ‰ ‚Ó ‚ÒÂÈ Ò‚ÓÂÈ ÒÎÓÊÌÓÒÚË Ë ÊÂÒÚÍÓÒÚË ñ ‚ ÌÂÏ
ÛÍÛ) Ë ‚Û˜‡˛Ú ÂÏÛ ‡ÌÍÂÚÛ, „‰Â Ô‰·„‡˛Ú ÓÚ‚ÂÚËÚ¸ ̇
ÔÓıÓ‰ËÚ ‡θ̇ˇ ÊËÁ̸, Ì ӘÂ̸ ÔÓıÓʇˇ ̇ ÚÛ, Ó
ˇ‰ ÏÓ‡Î¸ÌÓ-˝Ú˘ÂÒÍËı ‚ÓÔÓÒÓ‚. — ÚÂı ÔÓ ÊËÁ̸ ‰Îˇ
ÍÓÚÓÓÈ ËÏ ‡ÒÒ͇Á˚‚‡˛Ú ‚ ¯ÍÓÎÂ. ¿ÌÚËËÏÂÈÍ ÙËθχ
üÛÁˇÂ‚‡ ÔËÓ·ÂÚ‡ÂÚ ÌÓ‚˚È ÒÏ˚ÒÎÖ
´◊ÂÎÓ‚ÂÍ Ë‰ÂÚ Á‡ ÒÓÎ̈ÂϪ.
1967, USSR, 68 min, b/w
1967, USSR, 71 min, b/w
Director Igor Maslennikov with participation of Ilya Averbakh
Director Victor Sokolov
Scriptwriter Natalia Riazantseva
Scriptwriter Edward Radzinsky
Camera Boris Timkovsky
Camera Vladimir Chumak
Composer Alexander Kolker
Composer Gennady Portnov
Cast: Victor Ilyichiov, Georgy Shtil, Tamara Konovalova,
Cast: Sasha Barinov, Tolia Popov, Alexander Sokolov, Mikhail
Alexei Kozhevnikov, August Baltrushaitis
Kozakov, Alexei Petrenko
Production Lenfilm
Production Lenfilm
Lyrical-ironic film novella. The final grade pupil Valia
A lyrical film novella. Two schoolboys, having skipped lessons,
Kuziaev is invited to the television programme ìLetís talk
spend a whole day wandering around Leningrad. They discover the
openlyî (the selection is made in the street) and given a
city with all its complexities and harshness, and encounter real
questionnaire with number of moral and ethical questions.
life, which is so different from what they are taught at school. An
Henceforth, life gains a new meaning for KuziaevÖ
anti-remake of the film ìThe Man who follows the Sunî.
̇˜‡Î‡. ÎÂÌËÌ„‡‰Ò͇ˇ ¯ÍÓ·
FOUR PAGES OF A YOUNG LIFE
the beginnings. the leningrad school
◊≈“¤–≈ —“–¿Õ»÷¤
—≈ƒ‹ÃŒ… —œ”“Õ»ü
ŒƒÕŒ… ÃŒÀŒƒŒ… ∆»«Õ» THE SEVENTH COMPANION
151
1967, ———–, 85 ÏËÌ., ˜/·
1967, ———–, 89 ÏËÌ., ˜/·
–ÂÊËÒÒÂ –ÂÁÓ ›Ò‡‰ÁÂ
–ÂÊËÒÒÂ˚ ¿ÎÂÍÒÂÈ √ÂχÌ, √Ë„ÓËÈ ¿ÓÌÓ‚
¿‚ÚÓ ÒˆÂ̇ˡ ¬Â‡ œ‡ÌÓ‚‡
¿‚ÚÓ ÒˆÂ̇ˡ fiËÈ üÎÂÔËÍÓ‚
ŒÔÂ‡ÚÓ ›ÌÒÚ flÍӂ΂
ŒÔÂ‡ÚÓ ›‰Û‡‰ –ÓÁÓ‚ÒÍËÈ
üÓÏÔÓÁËÚÓ »Ò‡‡Í ÿ‚‡ˆ
üÓÏÔÓÁËÚÓ »Ò‡‡Í ÿ‚‡ˆ
¬ ÓΡı: ¡ÓËÒ –ۉ̂, Շڇθˇ ¬Â΢ÍÓ, ¡ÓËÒ —‡‚ˈÍËÈ,
¬ ÓΡı: ¿Ì‰ÂÈ œÓÔÓ‚, √ÂÓ„ËÈ ÿÚËθ, œÂÚ ◊ÂÌÓ‚,
¿ÎÂÍ҇̉‡ «‡‚¸ˇÎÓ‚‡, À˛‰ÏË· ¿ËÌË̇
¬Î‡‰ËÏË ŒÒÂÌ‚, —ÓÙ¸ˇ √ˇˆËÌÚÓ‚‡, ¿ÎÂÍÒÂÈ ¡‡Ú‡ÎÓ‚,
√ÂÓ„ËÈ fiχÚÓ‚, ¿Ì‡ÚÓÎËÈ –Óχ¯ËÌ
œÓËÁ‚Ó‰ÒÚ‚Ó ´ÀÂÌÙËθϪ
œÓËÁ‚Ó‰ÒÚ‚Ó ´ÀÂÌÙËθϪ
›ÍÁËÒÚÂ̈ˇθ̇ˇ ÍËÌÓÔÓ‚ÂÒÚ¸. ◊ÂÚ˚ ËÒÚÓËË ËÁ ÊËÁÌË
·˚‚¯Â„Ó ‰ÂÚ‰ÓÏÓ‚ˆ‡ —‡¯Ë ¿„‡ÙÓÌÓ‚‡, ̇˜‡‚¯Â„Ó
ƒ‡Ï‡ ÔÓ Ó‰ÌÓËÏÂÌÌÓÈ ÔÓ‚ÂÒÚË ¡ÓËÒ‡ À‡‚ÂÌ‚‡.
Ò‡ÏÓÒÚÓˇÚÂθÌÛ˛ ÊËÁ̸. ”ÒÚÓË‚¯ËÒ¸ ¯ÓÙÂÓÏ Ì‡ ·Óθ¯ÓÈ
¬ÂÏˇ Í‡ÒÌÓ„Ó ÚÂÓ‡. ¡Óθ¯Â‚ËÍË ‚˚Á˚‚‡˛Ú ˆ‡ÒÍËı
ÒÚÓÈÍÂ, —‡¯‡ ‚ÒÚÂÚËÎ ÀËÁÛ Ë ÔÓÏÓ„ ÂÈ Ò ÊËθÂÏ, Ô˄·ÒË‚
Ò‡ÌÓ‚ÌËÍÓ‚, „ÂÌÂ‡ÎÓ‚, ˜ÎÂÌÓ‚ √ÓÒ‰ÛÏ˚ ñ ‡ÂÒÚÓ‚˚‚‡˛Ú Ë
 ÊËÚ¸ ‚ Ò‚Ó˛ Í‚‡ÚËÛ. ŒÌ‡ ‚˚ÒÂÎË· „Ó. ŒÌ ÛÂı‡Î ‚
ÔÛÒ͇˛Ú ‚ ‡ÒıÓ‰. Œ‰ËÌ ËÁ ÌËı ó ·˚‚¯ËÈ ÔÓÙÂÒÒÓ
—Â‰Ì˛˛ ¿Á˲, „‰Â Ó·ÂÎ ‰Û„‡ ¬ËÍÚÓ‡ ó ̇ԇÌË͇ ÔÓ
‚ÓÂÌÌÓÈ ‡Í‡‰ÂÏËË ≈‚„ÂÌËÈ ¿‰‡ÏÓ‚ ó ÔÓ˜ÚË ÒÎÛ˜‡ÈÌÓ
‰‡Î¸ÌËÏ ÂÈÒ‡Ï. üÓ„‰‡ ¬ËÍÚÓ ÔÓ„Ë· ‚ ‡‚ÚÓÏÓ·ËθÌÓÈ
ÓÒÚ‡ÂÚÒˇ ‚ ÊË‚˚ı. ŒÌ Òӄ·¯‡ÂÚÒˇ ÒÓÚÛ‰Ì˘‡Ú¸ Ò ÌÓ‚ÓÈ
͇ڇÒÚÓÙÂ, —‡¯‡ ÔÓÂı‡Î ‚ ÃÛχÌÒÍ. “‡Ï ÓÌ ÔÂÂÊËÎ
‚·ÒÚ¸˛Ö
Ì‰Ó΄ËÈ ÓÏ‡Ì Ò Á‡ÏÛÊÌÂÈ œÓÎËÌÓÈ. » ˝Ú‡ ÒÚ‡Ìˈ‡ ÊËÁÌË
ÓÔˇÚ¸ ÓÍÓ̘Ë·Ҹ ÌÂÛ‰‡˜ÌÓ. ◊ÚÓ Ê ‰‡Î¸¯Â?..
1967, USSR, 89 min, b/w
1967, USSR, 85 min, b/w
Directors Alexei German, Grigory Aronov
Scriptwriter Yuri Klepikov
Director Rezo Esadze
Camera Eduard Rozovsky
Scriptwriter Vera Panova
Composer Isaak Shvarts
Camera Ernst Yakovlev
Composer Isaak Shvarts
Cast: Andrey Popov, Georgy Shtil, Pyotr Chernov, Vladimir
Osenev, Sofia Giatsintova, Alexei Batalov, Georgy Yumatov,
Cast: Boris Rudnev, Natalia Velichko, Boris Savitsky,
Anatoly Romashin
Alexandra Zavialova, Lyudmila Arinina
Production Lenfilm
Production Lenfilm
Drama based on Boris Lavreniovís story of the same title.
An existential film novella. Four stories from the life of the
The time of red terror. The Bolsheviks call up imperial
orphan Sasha Agafonov, who is starting an independent life.
dignitaries, generals, and members of the State Duma; they
Having found a job as driver on a big construction site, Sasha
arrest and shoot them. One of them is the former professor of
meets Liza and provides her with lodgings, inviting her to live
the military academy Evgeny Adamov, who survives by sheer
in his apartment. Then she kicks him out; he leaves for
luck. He agrees to cooperate with the new authorities Ö
Central Asia, where he finds a friend, Victor, a colleague from
his long-distance journeys. When Victor dies in a road
accident, Sasha goes to Murmansk. There he has a short
romance with the married woman Polina. And this page of life
again ends on an unsuccessful note. What next?...
Festival Geography
≈Ê„ӉÌÓ ‚ ÏË ÔÓ‚Ó‰ËÚÒˇ ÓÍÓÎÓ 900 ÍËÌÓÙÂÒÚË‚‡ÎÂÈ. —‡Ï˚È ´Á‡„ÛÊÂÌÌ˚Ȫ ÏÂÒˇˆ ‚ „Ó‰Û ñ ÓÍÚˇ·¸, Ò‡Ï˚È ´ÚËıËȪ ó χÈ. ÀˉÂÓÏ ÔÓ ÍÓ΢ÂÒÚ‚Û ÍËÌÓÒÏÓÚÓ‚ ̇ ÚÂËÚÓËË Ó‰ÌÓ„Ó „ÓÒÛ‰‡ÒÚ‚‡ ˇ‚Ρ˛ÚÒˇ —ÿ¿: 255 Ò‡Ï˚ı ‡ÁÌÓÓ·‡ÁÌ˚ı ÙÂÒÚË‚‡ÎÂÈ Ë ÙÂÒÚÓ‚ (ËÒÍβ˜‡ˇ ÂÊ„ӉÌ˚ ShowWest Ë
ShowEast). ƒ‡Î ˉÛÚ √ÂχÌˡ (73), ‘‡ÌˆËˇ (68), »Ú‡Îˡ (63), ü‡Ì‡‰‡
(52), ¬ÂÎËÍÓ·ËÚ‡Ìˡ (46), »ÒÔ‡Ìˡ (23), ¡Âθ„ˡ (19), ¿‚ÒÚ‡Îˡ (12), ÕˉÂ·̉˚ Ë ÿ‚ÂȈ‡ˡ (11), —Â·Ëˇ Ë ◊ÂÌÓ„Óˡ (10), √ÂˆËˇ, ÕÓ‚„ˡ
Ë ÿ‚ÂˆËˇ (8), ¿‚ÒÚˡ, ¡‡ÁËÎˡ, –ÓÒÒˡ, ‘ËÌÎˇÌ‰Ëˇ, ◊Âıˡ Ë flÔÓÌˡ
(7), ¡Ó΄‡ˡ Ë œÓÚÛ„‡Îˡ (6), ¬ÂÌ„ˡ, ƒ‡Ìˡ, œÓθ¯‡, ’Ó‚‡Úˡ Ë fiÊ̇ˇ üÓ¡ (5), ≈„ËÔÂÚ, »Ì‰Ëˇ, »Î‡Ì‰Ëˇ, –ÛÏ˚Ìˡ Ë fi¿– (4), ¿„ÂÌÚË̇,
√ÓÌÍÓÌ„, »Á‡Ëθ, »‡Ì, üÓÎÛÏ·Ëˇ, —ÎÓ‚‡Íˡ, “ÛˆËˇ, ”Û„‚‡È Ë ›ÒÚÓÌˡ
(3), ¡ÓÒÌˡ Ë √ÂˆÂ„Ó‚Ë̇, »ÒÎ‡Ì‰Ëˇ, üËÚ‡È, À‡Ú‚ˡ, ÀËÚ‚‡, Ç͉ÓÌˡ,
ÃÂÍÒË͇, ÃÓ̇ÍÓ, ÕÂÔ‡Î, ÕÓ‚‡ˇ «ÂÎ‡Ì‰Ëˇ, —ÎÓ‚ÂÌˡ, “‡Ë·̉, ”Í‡Ë̇ Ë
‘ËÎËÔÔËÌ˚ (2), ¿ÏÂÌˡ, ¡‡Ì„·‰Â¯, ¡ÂÏÛ‰˚, ¬ÂÌÂÒÛ˝Î‡, √ÛÁˡ, ü‡Á‡ıÒÚ‡Ì, üÛ·‡, ÀË‚‡Ì, ÀËıÚÂ̯ÚÂÈÌ, À˛ÍÒÂÏ·Û„ Ë “‡‰ÊËÍËÒÚ‡Ì (1). ’Ó˜Û
ÔÓ‰˜ÂÍÌÛÚ¸, ˜ÚÓ ˝ÚË ‰‡ÌÌ˚ ÔÓÎÛ˜ÂÌ˚ ËÁ ÂÊ„ӉÌ˚ı ÙÂÒÚË‚‡Î¸Ì˚ı „‡È‰Ó‚, ÔÛ·ÎËÍÛÂÏ˚ı ÊÛ̇·ÏË Moving Pictures, Screen International Ë
Variety. —Ήӂ‡ÚÂθÌÓ, ÏÓÊÌÓ Ô‰ÔÓÎÓÊËÚ¸, ˜ÚÓ ÙÂÒÚË‚‡ÎÂÈ ‚ ÏË „Ó‡Á‰Ó ·Óθ¯Â, Ú‡Í Í‡Í ‰‡ÎÂÍÓ Ì ‚Ò ‰‡˛Ú Ó Ò· ËÌÙÓχˆË˛ ‚ ˝ÚË ÏÂʉÛ̇Ó‰Ì˚ ËÁ‰‡Ìˡ. «‡ÚÓ ËÌÙÓχˆËË Ó Ì‡ˆËÓ̇θÌ˚ı ÙÂÒÚË‚‡Îˇı Á‡ÏÂÚÌÓ
ÔË·‡‚ËÎÓÒ¸, Ë ÚÂÔÂ¸ Ï˚ Á̇ÂÏ Ó ÒÛ˘ÂÒÚ‚Ó‚‡ÌËË ËÒÔ‡ÌÒÍÓ„Ó, ÍËÚ‡ÈÒÍÓ„Ó Ë
„Óη̉ÒÍÓ„Ó ´ÍËÌÓÚ‡‚Ó‚ª.
–‡‰ÛÂÚ ÚÓ, ˜ÚÓ ÒÂ„Ó‰Ìˇ ̇ˆËÓ̇θÌ˚ ÍËÌÓÒÏÓÚ˚ ¬ÓÒÚÓ˜ÌÓÈ Ë ÷ÂÌÚ‡Î¸ÌÓÈ ≈‚ÓÔ˚, Á‡ÌËχ˛˘Ë ̇ ÏËÓ‚ÓÈ ÙÂÒÚË‚‡Î¸ÌÓÈ Í‡Ú ‰ÓÒÚ‡ÚÓ˜ÌÓ
ÒÍÓÏÌ˚ ÔÓÁˈËË, ÔË·„‡˛Ú χÍÒËÏÛÏ Ë Ó„‡ÌËÁ‡ˆËÓÌÌ˚ı, Ë ÙË̇ÌÒÓ‚˚ı ÛÒËÎËÈ ‰Îˇ ÔÓ‰‚ËÊÂÌˡ Ò‚ÓÂ„Ó ÍËÌÓ. üËÌÓÙÂÒÚË‚‡ÎË, ÒÓÒÚÓˇ˘Ë ËÒÍβ˜ËÚÂθÌÓ ËÁ ÔÓ͇ÁÓ‚ ÙËθÏÓ‚, ÛÊ Ì ӘÂ̸ ‡ÍÚۇθÌ˚. œÓ˝ÚÓÏÛ Í ÍÓÌÍÛÒÛ Ì‡ˆËÓ̇θÌÓ„Ó ÍËÌÓ ÔË·‡‚Ρ˛ÚÒˇ ÏÂʉÛ̇Ó‰Ì˚ ÍËÌÓ˚ÌÍË, ÔËÚ˜ËÌ„Ë, ÔÓ„‡ÏÏ˚ ËÌÓÒÚ‡ÌÌÓ„Ó Ë „ËÓ̇θÌÓ„Ó ÍËÌÓ, ‡Á΢ÌÓ„Ó Ó‰‡
ÙÓÛÏ˚, ÒËÏÔÓÁËÛÏ˚, ÍÛ„Î˚ ÒÚÓÎ˚ ñ ÚÓ ÂÒÚ¸, ‰Â·ÂÚÒˇ ‚ÒÂ, ˜ÚÓ·˚ ÙÂÒÚË‚‡ÎË ÒÚ‡ÎË ÏÂÒÚÓÏ ÔˇÏ˚ı ÏÂʘÂÎӂ˜ÂÒÍËı ÍÓÌÚ‡ÍÚÓ‚ Ë ‰ÂÎÓ‚˚ı ‚ÒÚ˜,
ÔÓ‰ÛÍÚË‚Ì˚Ï Ë ‚Á‡ËÏÓ‚˚„Ó‰Ì˚Ï ËÌÒÚÛÏÂÌÚÓÏ ÒÓ‚ÂÏÂÌÌÓÈ ÍËÌÓË̉ÛÒÚËË, ËÌÚÂ̇ˆËÓ̇θÌÓÈ Ë ‰Ë̇Ï˘ÌÓÈ.
ƒ‚‡ „Ó‰‡ ̇Á‡‰ ‚ √‰˚Ì ·˚· ÔÓ‰ÔË҇̇ ‰ÂÍ·‡ˆËˇ, Ó‰ÌËÏ ËÁ ÔÛÌÍÚÓ‚ ÍÓÚÓÓÈ ˇ‚ΡÂÚÒˇ Ó·ÏÂÌ ÙËθχÏË-Ôӷ‰ËÚÂΡÏË ÏÂÊ‰Û Ì‡ˆËÓ̇θÌ˚ÏË ÍËÌÓÒÏÓÚ‡ÏË. ¬˚ÔÓÎÌˇˇ ˝ÚÓ Òӄ·¯ÂÌËÂ, ÛÊ ‚ÚÓÓÈ „Ó‰ Ï˚ ÔÓ͇Á˚‚‡ÂÏ Ì‡
ÓÒÒËÈÒÍÓÏ ÙÂÒÚË‚‡Î Á‡Û·ÂÊÌÓ ÍËÌÓ. ¬ ˝ÚÓÚ ‡Á Ï˚ ‡Á‰‚ËÌÛÎË ‡ÏÍË,
Ë ‚ ÔÓ„‡ÏÏ ´‘ÂÒÚË‚‡Î¸Ì˚ ·Û‡Ú˚ª Ô‰ÒÚ‡‚ΡÂÏ ÓÒÒËÈÒÍÓÏÛ ÁËÚÂβ ͇ÚËÌ˚, ÓÚϘÂÌÌ˚Â Í‡Í Ì‡ ÎÓ͇θÌ˚ı Ë „ËÓ̇θÌ˚ı, Ú‡Í Ë Ì‡
ÏÂʉÛ̇Ó‰Ì˚ı ÍËÌÓÙÓÛχı. œÓ·Â‰ËÚÂθ ‘ÂÒÚË‚‡Îˇ ÔÓθÒÍËı ÙËθÏÓ‚ ‚
√‰˚Ì ´—ۉ·Ì˚È ËÒÔÓÎÌËÚÂθª ÔÓÎÛ˜ËÎ ÔËÁ ‚ ¡ÂÎËÌÂ, ·ÛÂ‡Ú Õ‰ÂÎË
‚ÂÌ„ÂÒÍÓ„Ó ÍËÌÓ ‚ ¡Û‰‡Ô¯Ú ´◊Â̇ˇ ˘ÂÚ͇ª ·˚Î ÓÚϘÂÌ ‚ —‡ÎÓÌË͇ı,
‡ ÎÛ˜¯‡ˇ ·ËÚ‡ÌÒ͇ˇ ÍÓωˡ ´‘ÂÒÚË‚‡Î¸ª ó ‚ Ã‡-‰Âθ-œÎ‡ÚÂ, Á‡‚Ó‚‡‚¯‡ˇ „·‚Ì˚È ÔËÁ ‚ œÛ̠҇˛ÊÌÓÍÓÂÈÒ͇ˇ ÎÂÌÚ‡ ´«ÂÌÓ ‚ Ûıª ÒÓ·‡Î‡
ÌÂÒÍÓθÍÓ „‡Ì-ÔË ‚ ≈‚ÓÔÂ, ‡ ÔËÁÂ ´Õ‰ÂÎË ÍËÚËÍ˪ ‚ ü‡Ì̇ı ‡Ù„‡ÌÒ͇ˇ ͇ÚË̇ ´«ÂÏΡ Ë ÔÂÔÂΪ ó „‡Ì-ÔË ‚ ¿ÙËÍÂ, Ë‡ÌÒÍËÈ ´ŒÙ҇ȉª
ÔÓ͇ ËÏÂÂÚ ´‚ÒÂ„Ó Î˯¸ª „‡Ì-ÔË Ê˛Ë ‚ ¡ÂÎËÌÂ, ‡ ÙËÌÒÍÓ-¯‚‰Ò͇ˇ
´ÃÓˇ ÎÛ˜¯‡ˇ χχª („‡Ì-ÔË ‚ ’‡ÌÚ˚-ÇÌÒËÈÒÍÂ) Ë ËÒ·̉ÒÍÓ-‰‡ÚÒ͇ˇ
´“ÂÏ̇ˇ ÎÓ¯‡‰Í‡ª (ÎÛ˜¯ËÈ Ò͇̉Ë̇‚ÒÍËÈ ÙËÎ¸Ï Ãü‘ ‚ √ÂÚ·Ó„Â) ñ ÂÍÓ‰ÒÏÂÌ˚ ÔÓ ÍÓ΢ÂÒÚ‚Û Ì‡„‡‰ ̇ˆËÓ̇θÌ˚ı ÍËÌӇ͇‰ÂÏËÈ.
Each year some 900 film festivals take place across
the globe. The most "loaded" month is October, the
most "quiet" month is May. In terms of the quantity
of film screenings in one country the United States
are the clear leader with 255 diverse festivals and
cinematic events (excluding the annual ShowWest
and ShowEast). The US is followed by Germany (73),
France (68), Italy (63), Canada (52), Great Britain
(46), Spain (23), Belgium (19), Australia (12),
Netherlands and Switzerland (11), Serbia and
Montenegro (10), Greece, Norway and Sweden (8),
Austria, Brazil, Russia, Finland, Czech Republic and
Japan (7), Bulgaria and Portugal (6), Hungary,
Denmark, Poland, Croatia and South Korea (5),
Egypt, India, Ireland, Romania and the Republic of
South Africa (4), Argentina, Hong Kong, Israel,
Iran, Columbia, Slovakia, Turkey, Uruguay and
Estonia (3), Bosnia and Herzegovina, Iceland, China,
Latvia, Lithuania, Macedonia, Mexico, Monaco,
Nepal, New Zealand, Slovenia, Thailand, Ukraine
and Philippines (2), Armenia, Bangladesh, the
Bermudas, Venezuela, Georgia, Kazakhstan, Cuba,
Lebanon, Liechtenstein, Luxembourg and Tadjikistan
(1). I should stress that these data have been taken
from the annual festival guides published by the
magazines Moving Pictures, Screen International and
Variety; this means that there are probably even
more festivals in the world, because not every
festival provides information for these international
annual compilations. Yet the information on national
festivals has increased noticeably, and we now know
about the existence of Spanish, Chinese and Dutch
"Kinotavrs".
It is encouraging to note that East and Central
European countries, whose films occupy a modest
place on the world festival map, apply a maximum of
organizational and financial efforts to promote their
cinemas also through national film festivals. Film
festivals which just screen films are no longer "in";
for this reason, film events which previously limited
themselves to a competition of domestic films now
also organize international film-markets, pitching,
programmes of foreign and regional cinema, various
kinds of forums, symposiums, round tables, etc. In
other words: they do everything possible to make the
festival a place of direct contacts and business
meetings, and a productive and mutually
advantageous tool for the dynamic development of
today's international film industry.
Two years ago a declaration was signed in Gdynia,
which referred to the exchange of films that had
won national film festivals. In line with this
agreement, we show already for the second year
foreign films at our national Russian festival. This
time we have moved the goal posts and show the
Russian audience in the programme "Festival
Winners" those films that were noted both at
regional and national festivals and at international
film forums. The winner of Festival of Polish Film
in Gdynia, "The Collector" subsequently received a
prize in Berlin; the winner of the Week of
Hungarian Cinema in Budapest, "Black Brush", has
received attention in Thessaloniki; and the best
British comedy "Festival" was screened in Mar del
Plate; the winner of the main prize at Pusan (SouthKorea), "Grain in Ear" has received several main
awards in Europe; and the prize-winner of the
Critics' Week in Cannes, the Afghan "Earth and
Ashes" went on to win a Grand Prix in Africa; the
Iranian "Offside" has so far "only" garnered one Jury
Grand Prize from Berlin; and the Finno-Swedish
"Mother of Mine" (Grand Prix in Khanty-Mansiisk)
and the Icelandic-Danish "Dark Horse" (Best
Scandinavian Film at the IFF in Go··teborg) are
champions by the number of awards they received
from national film academies.
—ËÚÓ‡ ¿ÎË‚‡
‰ËÂÍÚÓ ÍËÌÓÔÓ„‡ÏÏ
Sitora Alieva
Programme Director
152
‘ÂÒÚË‚‡Î¸Ì‡ˇ „ÂÓ„‡Ùˡ
ÙÂÒÚË‚‡Î¸Ì˚Â
·Û‡Ú˚
festival winners
153
ÁÂÏΡ Ë ÔÂÔÂÎ
EARTH AND ASHES
ÁÂÌÓ ‚ ÛıÂ
GRAIN IN EAR
ÏÓˇ ÎÛ˜¯‡ˇ χχ
MOTHER OF MINE
ÓÙ҇ȉ
OFFSIDE
Òۉ·Ì˚È ËÒÔÓÎÌËÚÂθ
THE COLLECTOR
ÚÂÏ̇ˇ ÎÓ¯‡‰Í‡
DARK HORSE
ÙÂÒÚË‚‡Î¸
FESTIVAL
˜Â̇ˇ ˘ÂÚ͇
BLACK BRUSH
ÙÂÒÚË‚‡Î¸Ì˚ ·Û‡Ú˚
festival winners
«≈ÃÀfl » œ≈œ≈À
EARTH AND ASHES/ KHAKESTAR-O-KHAK/ TERRE ET CENDRES
154
2004, ¿Ù„‡ÌËÒÚ‡Ì/ ‘‡ÌˆËˇ, 105 ÏËÌ., ˆ‚., 1:2.35,
2004, Afghanistan / France, 105 min, colour, 1:2.35,
Dolby SRD/DTS
Dolby SRD/DTS
–ÂÊËÒÒÂ ¿ÚËÍ –‡ıËÏË
Director Atiq Rahimi
¿‚ÚÓ ÒˆÂ̇ˡ ü‡Ï·ÛÁˇ œ‡ÚÓ‚Ë
Scriptwriters Kambuzia Partovi
ÔÓ Ó‰ÌÓËÏÂÌÌÓÏÛ ÓχÌÛ ¿ÚÚË͇ –‡ıËÏË
Based on the novel ´Earth and ashesª by Atiq Rahimi
ŒÔÂ‡ÚÓ ›ËÍ √˯‡
Camera Eric Guichard
’Û‰ÓÊÌËÍ ∆‡Ì-À˛Í Π‘Î∏¯
Art Director Jean-Luc Le Floch
üÓÒÚ˛Ï˚ ¿ÚËÍ –‡ıËÏË
Costumes Atiq Rahimi
ÃÛÁ˚͇ ’‡Î‰ ¿χÌ, ‘‡Ì˜ÂÒÍÓ –ÛÒÒÓ
Music Khaled Arman, Francesco Russo
«‚ÛÍ ¿Ì‰ –„Ë
Sound Andre Rigaut
ÃÓÌÚ‡Ê ”ÒÛ· ÀËÒˇÍ
Editor Ursula Lesiak
¬ ÓΡı: ¿·‰ÛÎ √‡ÌË, fl‚‡Ì ÇÚ ’Óχ˛Ì, ¬‡ÎË “‡ÎÓ¯,
Cast: Abdul Ghani, Jawan Mard Homayoun, Walli Tallosh,
√Ë艇 ÿ‡ı‚Â‰Ë, ÃËÁ‡ ü‡‰Ë, ü‡‰Â ¿ÂÙË
Guilda Chahverdi, Mirza Qadir, Kader Arefi
œÓ‰˛ÒÂ ƒËÏËÚË ‰Â üÎÂÍ
Producers Dimitri de Clercq
œÓËÁ‚Ó‰ÒÚ‚Ó Les Films du Lendemain, Afghanfilm,
Production Les Films du Lendemain, Afghanfilm, France 3
France 3 Cinema, Canal+
Cinema, Canal+
œ‡‚‡ Mercure International
World Sales Mercure International
ÙÂÒÚË‚‡Î¸Ì˚ ·Û‡Ú˚
festival winners
¿“»ü –¿’»Ã»
ñ ‡Ù„‡ÌÒÍËÈ ÔËÒ‡ÚÂθ, ÔÓÊË‚‡˛˘ËÈ ‚Ó
‘‡ÌˆËË. –Ó‰ËÎÒˇ ‚ ü‡·ÛΠ‚ 1962 „Ó‰Û.
»Á‚ÂÒÚÂÌ ˜ËÚ‡ÚÂβ ÔÓ ËÁ‰‡ÌÌ˚Ï ‚Ó
‘‡ÌˆËË ÓÏ‡Ì‡Ï ´«ÂÏΡ Ë ÔÂÔÂΪ (2000) Ë
´“˚Òˇ˜‡ ‰ÓÏÓ‚ ϘÚ˚ Ë Ûʇ҇ª (2002).
—ÌˇÎ ÚË ‰ÓÍÛÏÂÌڇθÌ˚ı ÙËθχ. ´«ÂÏΡ
Ë ÔÂÔÂΪ ó ÂÊËÒÒÂÒÍËÈ ‰Â·˛Ú ‚ Ë„Ó‚ÓÏ
ÍËÌÓ.
155
ATIQ RAHIMI
Afghan writer; lives in France. Born in Kabul
in 1962. Renown for his novels Earth and
Ashes/ Terre et Cendres (2000), A Thousand
Houses of Dreams and Horrors/ Les mille
maisons du rÍve et de la terreur
(2002), published in France. ìEarth and
Ashesî is his debut in film.
–‡ÎËÒÚ˘ÂÒ͇ˇ ‰‡Ï‡ ÔÓ Ó‰ÌÓËÏÂÌÌÓÏÛ ÓχÌÛ ¿ÚË͇ –‡ıËÏË Ó ÚÂı
ÔÓÍÓÎÂÌˡı ‡Ù„‡ÌˆÂ‚, ˜ÂÂÁ ÍÓÚÓ˚ Ôӯ· ‚ÓÈ̇. 1981 „Ó‰. œÓ Ô˚θÌÓÈ
‰ÓÓ„Â ·‰ÛÚ ‰‚Ó ñ ÒÚ‡ËÍ Ë Ï‡Î¸˜ËÍ. Çθ˜ËÍ Ó„ÎÓı ÓÚ ‚Á˚‚‡ Ë ÌÂ
ÔÓÌËχÂÚ, ˜ÚÓ Ò ÌËÏ ÔÓËÁÓ¯ÎÓ. ŒÌ ‰ÛχÂÚ, ˜ÚÓ ÏË Î˯ËÎÒˇ Á‚ÛÍÓ‚ Ë ‚ÒÂ
ÓÌÂÏÂÎË. »ı ‰ÂÂ‚Ì˛ ‡Á·ÓÏ·ËÎË, ‚Òˇ ÒÂϸˇ Ôӄ˷·. ŒÌË ‰ÓÎÊÌ˚
‰Ó·‡Ú¸Òˇ ‰Ó Û„ÓθÌÓÈ ¯‡ıÚ˚, „‰Â ‡·ÓÚ‡ÂÚ Â‰ËÌÒÚ‚ÂÌÌ˚È ÛˆÂ΂¯ËÈ
Ó‰ÒÚ‚ÂÌÌËÍ ñ Ò˚Ì ÒÚ‡Ë͇ Ë ÓÚˆ χθ˜Ë͇Ö
- œËÁ ´ŒÒÓ·˚È ‚Á„Ρ‰ ̇ ·Û‰Û˘Âª (¿ÚËÍ –‡ıËÏË) ñ Ãü‘ ‚ ü‡Ì̇ı, 2004;
- —Â·ˇÌ˚È ÔËÁ Ãü‘ ‚ √ÂÌÚÂ, ¡Âθ„ˡ, 2004;
- œËÁ ‘»œ–≈——» ñ Ãü‘ ´‘ËθÏ˚ Ò fi„‡ª, ŒÒÎÓ, ÕÓ‚„ˡ, 2004;
- √·‚Ì˚È ÔËÁ ñ Ãü‘ ‚ «‡ÌÁË·‡Â, “‡ÌÁ‡Ìˡ, 2005;
- œËÁ Ê˛Ë Ãü‘ ´“ÂÏÌ˚ ÌӘ˪, “‡ÎÎËÌÌ, ›ÒÚÓÌˡ, 2005.
Based on Atiq Rahimiís novel of the same title, Earth and Ashes is a fable of
devastating loss and great humanity in face of the atrocities of war set in
Afghanistan of 1981. In the desolate Afghan landscape, with a half-demolished
bridge across a dry riverbed below, an old man and his grandson sit by the dusty
road. The road leads to a coalmine, where the old man is looking for his son, to
tell him that their village has been bombed and his entire family killed.
- Prix du Regard de líAvenir (Atiq Rahimi) ó Cannes Film Festival (Un
Certain Regard), 2004;
- Silver Spur (Atiq Rahimi) ó Flanders International Film Festival, Ghent,
Belgium, 2004;
- FIPRESCI Prize (Atiq Rahimi) ó Oslo Films from the South Festival, 2004;
- The Golden Dhow for the Best Film ó Zanzibar International Film Festival, 2005;
- Netpac Jury Award ñ Tallinn Black Nights FF, Estonia, 2005.
ÙÂÒÚË‚‡Î¸Ì˚ ·Û‡Ú˚
festival winners
«≈–ÕŒ ¬ ”’≈
GRAIN IN EAR/ MANG ZHONG
156
2004, fiÊ̇ˇ üÓ¡/ üËÚ‡È, 109 ÏËÌ., ˆ‚., 1:1.85, Dolby SRD
2004, South Korea/ Chine, 109 min, colour, 1:1.85, Dolby SRD
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ ◊Ê‡Ì ÀÛ
Scriptwriter and Director Zhang Lu
ŒÔÂ‡ÚÓ À˛ ®Ì ’ÓÌ
Camera Liu Yong Hong
’Û‰ÓÊÌËÍ ◊Ê‡Ì ’ÛË
Production Designer Zhang Hui
üÓÒÚ˛Ï˚ ÀË üÒË̸ˇÌ
Costume Designer Li Xinyan
«‚ÛÍ ¬‡Ì –‡Ì
Sound Wang Ran
ÃÓÌÚ‡Ê üËÏ —ÛÌ-ÃËÌ
Editing Kim Sun-Min
¬ ÓΡı: À˛ À¸ˇÌ ƒÊË, ƒÊËÌ ¡Ó, ◊ÊÛ √Û‡ÌÍÒ˛‡Ì,
Cast: Liu Lian Ji, Jin Bo, Zhu Guangxuan, Wang Tong-Hui
¬‡Ì “ÓÌ-’ÛË
Producer Doo-young Choi
œÓ‰˛ÒÂ ◊ÓÈ ƒÛ-ˇÌ„
Production Doo Entertainment
œÓËÁ‚Ó‰ÒÚ‚Ó Doo Entertainment,
Coproduction Shu Film Workshop
ÔË Û˜‡ÒÚËË Shu Film Workshop
World Sales Doo Entertainment Company
œ‡‚‡ Doo Entertainment Company
www.manjong.co.kr
www.manjong.co.kr
ÙÂÒÚË‚‡Î¸Ì˚ ·Û‡Ú˚
festival winners
◊∆¿Õ À”
»ÁÛ˜‡Î ‚ ÛÌË‚ÂÒËÚÂÚ ÍËÚ‡ÈÒÍÛ˛
ÎËÚÂ‡ÚÛÛ, ÓÔÛ·ÎËÍÓ‚‡Î ÌÂÒÍÓθÍÓ
ÓχÌÓ‚. ¬ ÍËÌÓ ‰Â·˛ÚËÓ‚‡Î ‚ 2001 „Ó‰Û
ÍÓÓÚÍÓÏÂÚ‡ÊÌÓÈ ÎÂÌÚÓÈ ´Œ‰ËÌ̇‰ˆ‡Ú¸ª,
‚ 2003-Ï ÒÌˇÎ ÔÂ‚˚È ÔÓÎÌÓÏÂÚ‡ÊÌ˚È
157
ÙËÎ¸Ï ñ ´œÓ˝Áˡ “‡Ì„‡ª. ´«ÂÌÓ ‚ Ûıª ñ
‚ÚÓÓÈ ÙËÎ¸Ï ÂÊËÒÒÂ‡.
ZHANG LU
Majored in Chinese literature and wrote
several novels before starting a career in
cinema. He directed a short film in 2001
(ìElevenî) and a feature film in 2003 (ìTang
Poetryî). ìGrain in Earî is his second feature
film.
ƒ‡Ï‡.
÷ÛÈ »È, ÍËÚ‡ˇÌ͇ ÍÓÂÈÒÍÓ„Ó ÔÓËÒıÓʉÂÌˡ, Ӊ̇ ‚ÓÒÔËÚ˚‚‡ÂÚ Ò˚̇. ŒÌ‡
ÊË‚ÂÚ ‰‡ÎÂÍÓ ÓÚ Ó‰ÌÓ„Ó „ÓÓ‰‡ Ë Á‡‡·‡Ú˚‚‡ÂÚ Ì‡ ÊËÁ̸ ÔÓ‰‡ÊÂÈ ÍËϘË
(ÍÓÂÈÒÍËÈ ‡ÒÒÓÎ). “‡Í Í‡Í Ó̇ ‡·ÓÚ‡ÂÚ ·ÂÁ ÎˈÂÌÁËË, ÂÈ ÔËıÓ‰ËÚÒˇ ‚ÒÂ
‚ÂÏˇ ÒÍ˚‚‡Ú¸Òˇ ÓÚ Ì‡ÎÓ„Ó‚Ó„Ó ËÌÒÔÂÍÚÓ‡, ÍÓÚÓ˚È ‰‡‚ÌÓ ÒΉËÚ Á‡ ÌÂÈ.
≈„Ó ÁÓ‚ÛÚ üËÏ, Ë ÓÌ ó ˝ÚÌ˘ÂÒÍËÈ ÍÓˆ. ÃÂÊ‰Û ÌËÏË ‚ÒÔ˚ıË‚‡ÂÚ
β·Ó‚¸. ÕÓ üËÏ ÊÂÌ‡Ú Ë ‚˚ÌÛʉÂÌ ÒÍ˚‚‡Ú¸ Ò‚Ó˛ β·Ó‚¸Ö
- œËÁ ACID ñ Ãü‘ ‚ ü‡Ì̇ı (ÔÓ„‡Ïχ ´Õ‰ÂΡ ÍËÚËÍ˪), 2005;
- √·‚Ì˚È ÔËÁ Ãü‘ ‚ œÛÒ‡ÌÂ, fiÊ̇ˇ üÓ¡, 2005;
- √‡Ì-ÔË ÍÓÌÍÛÒ‡ ´ÕÓ‚Ó ÍËÌÓª - Ãü‘ ‚ œÂÒ‡Ó, »Ú‡Îˡ, 2005;
- √‡Ì-ÔË Ãü‘ ‚ ¬ÂÒÛÎÂ, ‘‡ÌˆËˇ, 2006;
- œËÁ Á‡ Û‚ÂÂÌÌÓ ̇˜‡ÎÓ (Young Adult Prize) ñ Ãü‘ ´◊ÂÌÓ ÍËÌÓª,
ÿ‚ÂȈ‡ˡ, 2006;
- √‡Ì-ÔË ÓÒÌÓ‚ÌÓ„Ó ÍÓÌÍÛÒ‡, ÔËÁ ÁËÚÂÎÂÈ ñ ‘ÓÛÏ ‡ÁˇÚÒÍËı ÙËθÏÓ‚,
‘‡ÌˆËˇ, 2006;
- √‡Ì-ÔË ‘ÂÒÚË‚‡Îˇ ÌÓ‚Ó„Ó ÍËÌÓ, ¡Âθ„ˡ, 2006.
Drama.
Cui Ji is a Chinese woman of Korean ancestry. A single mother bringing up
her young son. She lives away from her hometown, and makes a living by
selling Kimchi, a Korean Style pickle. An unlicensed vendor, she is constantly
on the run, pursued by the local commercial prosecutor. Kim is also an ethnic
Korean. He and Cui fall in love, but Kim is a married man; their love can only
be an underground affair...
- ACID Award ó Cannes Film Festival (Criticís Week), 2005;
- New Currents Award, Pusan IFF, South Korea, 2005;
- Grand Prix of New Cinema Section, Pesaro IFF, 2005;
- Grand Prix, France, Vesoul FF, 2006;
- Young Adult Prize, Swiss Black Movie FF, 2006;
- Grand Prix of the Competition, Audience Award, Tours Asian FF, France, 2006;
- Grand Prix, Cinema NOVO FF, Belgium, 2006.
ÙÂÒÚË‚‡Î¸Ì˚ ·Û‡Ú˚
festival winners
ÃŒfl À”◊ÿ¿fl
ÿÿ
··
··
MOTHER OF MINE/ AIDEISTA PARHAIN
158
2005, ‘ËÌÎˇÌ‰Ëˇ/ ÿ‚ÂˆËˇ, 111 ÏËÌ., ˆ‚+˜/·, 1:2.35,
2005, Finland/ Sweden, 111 min, colour/ black and white,
Dolby SRD
1:2.35, Dolby SRD
–ÂÊËÒÒÂ ü·ÛÒ ’‡Ó
Director Klaus Ha··ro··
¿‚ÚÓ˚ ÒˆÂ̇ˡ ƒÊËÏÏË ü‡ÎÒÓÌ, üËÒË ¬ËÍχÌ
Scriptwriters Jimmy Karlsson, Kirsi Vikman
œÓ ÓχÌÛ ’ÂÈÍÍË ’ÂÈÚ‡ÏËÂÒ‡
Novel by Heikki Hietamies
ŒÔÂ‡ÚÓ flÍÓ “.À‡ËÌÂ
Camera Jarkko T.Laine
’Û‰ÓÊÌËÍ —Ë‡Ì ¡ÓÌ·ۯ
üÓÒÚ˛Ï˚ ¿Ì̇ —‚‡‰Ẩ‡Î¸
Production Designer Cian Bornebusch
Costume Designer Anna Sva··rdendahl
ÃÛÁ˚͇ “ÛÓÏ‡Ò ü‡ÌÚÂÎËÌÂÌ
Music Tuomas Kantelinen
ƒËÁ‡ÈÌ Á‚Û͇ üË͇ —‡ÈÌËÓ
Sound Designer Kirka Sainio
¬ ÓΡı: “ÓÔË Ã‡ÈˇÌÂÏË, Ç¸ˇ‡Ì‡ Ã‡ËˇÎ‡, Çˡ
Cast: Topi Majaniemi, Maria Lundqvist, Marjaana Maijala,
ÀÛ̉͂ËÒÚ, ÃË͇˝Î Õ˛Í‚ËÒÚ, ›ÒÍÓ —‡ÎÏËÌÂÌ, ¿ÈÌÓ-Ã‡Èˇ
Michael Nyqvist, Esko Salminen, Aino-Maija Tikkanen, Kari-
“ËÍ͇ÌÂÌ, ü‡Ë-œÂÍ͇ “ÓÈ‚ÓÌÂÌ
Pekka Toivonen
œÓ‰˛ÒÂ »ÎÍ͇ ÇÚË·
Producer Ilkka Matila
œÓËÁ‚Ó‰ÒÚ‚Ó MRP Matila Ro··hr Productions Oy, Omega Film
Production MRP Matila Ro··hr Productions Oy, Omega Film &
& Television AB, Film i SkÂne
Television AB, Film i SkÂne
œ‡‚‡ Nordisk Film International Sales
Sales Nordisk Film International Sales
www.aideistaparhain.com
www.aideistaparhain.com
ÙÂÒÚË‚‡Î¸Ì˚ ·Û‡Ú˚
festival winners
üÀ¿”— ’¿–Œ
–Ó‰ËÎÒˇ 31 χÚ‡ 1971 „Ó‰‡ ‚ œÓ‚ÓÓ,
‘ËÌÎˇÌ‰Ëˇ. ŒÍÓ̘ËÎ ÒÂÏË̇
ÍËÌÓ‰‡Ï‡ÚÛ„Ó‚ üÓÎΉʇ ËÒÍÛÒÒÚ‚ ‚
’ÂθÒËÌÍË. œÓÒΠ‰‚Ûı ÍÓÓÚÍÓÏÂÚ‡ÊÌ˚ı
ÎÂÌÚ Á‡ˇ‚ËÎ Ó Ò· ÙËθÏÓÏ ´›ÎË̇ª (2002) ñ
͇ÚË̇ Û‰ÓÒÚÓË·Ҹ ·ÓΠ30
̇ˆËÓ̇θÌ˚ı Ë ÏÂʉÛ̇Ó‰Ì˚ı ̇„‡‰,
·˚· ÌÓÏËÌËÓ‚‡Ì‡ ̇ ´ŒÒ͇ª ÓÚ
159
‘ËÌÎˇÌ‰ËË. ´ÃÓˇ ÎÛ˜¯‡ˇ χχª ó ‚ÚÓÓÈ
ÔÓÎÌÓÏÂÚ‡ÊÌ˚È ÙËÎ¸Ï ÂÊËÒÒÂ‡.
·· ··
KLAUS HARO
Born 31 March 1971 in Porvoo, Finland.
Graduated from the Scriptwriting Department
of Helsinki Art College. After two shorts he
came to fame with the feature ìElina ñ Som
om jag inte fannsî/ ìAs If I Didnít Existî
(2002), which received over 30 national and
international awards and was entered by
Finland for the OSCAR Best Foreign
Language Film. ìMother of Mineî is the
directorís second full-length feature.
ƒ‡Ï‡. 1943 „Ó‰ ó ¬ÚÓ‡ˇ ÏËÓ‚‡ˇ ‚ÓÈ̇. ‘ËÌÒ͇ˇ ÊÂÌ˘Ë̇ üËÒÚË,
ÔÓÚÂˇ‚¯‡ˇ ̇ ‚ÓÈÌ ÏÛʇ, ‚˚ÌÛʉÂ̇ ÓÚÔ‡‚ËÚ¸ 9-ÎÂÚÌÂ„Ó Ò˚̇ ›˝Ó ‚
ÿ‚ÂˆË˛, „‰Â ÂÏÛ ·Û‰ÂÚ ·ÂÁÓÔ‡ÒÌÓ. Õ Á̇ˇ ˇÁ˚͇, χθ˜ËÍ Ô˚Ú‡ÂÚÒˇ
̇·‰ËÚ¸ ÓÚÌÓ¯ÂÌˡ Ò ÌÓ‚ÓÈ Ï‡ÏÓÈ. —Ë„Ì …ÓÌÒÒÓÌ Ò̇˜‡Î‡ ÔËÌËχÂÚ Â„Ó
Ò ·Óθ¯ÓÈ ÌÂÓıÓÚÓÈ, ÌÓ ÒÓ ‚ÂÏÂÌÂÏ ÔË‚ˇÁ˚‚‡ÂÚÒˇ Í ÌÂÏÛ Ë ÛÊ ÔÓ̇ÒÚÓˇ˘ÂÏÛ Î˛·ËÚ Â„Ó. ¬ÓÈ̇ Á‡Í‡Ì˜Ë‚‡ÂÚÒˇ, Ë üËÒÚË ıÓ˜ÂÚ ‚ÂÌÛÚ¸ Ò˚̇
‰ÓÏÓÈ. Õ Á̇ˇ, ͇ÍÛ˛ ËÁ ‰‚Ûı Ï‡Ï ‚˚·‡Ú¸, ›˝Ó ‰ÓÎÊÂÌ ÔËÌˇÚ¸ ¯ÂÌËÂ,
ÍÓÚÓÓ ·Û‰ÂÚ ÔÂÒΉӂ‡Ú¸ Â„Ó ‚Ò˛ ÊËÁ̸.
- œËÁ Á‡ ÎÛ˜¯ËÈ ·‡ÎÚËÈÒÍËÈ ÙËÎ¸Ï ñ ƒÌË Ò͇̉Ë̇‚ÒÍÓ„Ó ÍËÌÓ ‚ À˛·ÂÍÂ,
√ÂχÌˡ, 2005;
- √·‚Ì˚È ÔËÁ ´«ÓÎÓÚ‡ˇ ÔË‡Ïˉ‡ª, ÔËÁ˚ Á‡ ÂÊËÒÒÛÛ Ë ÎÛ˜¯Û˛ ÊÂÌÒÍÛ˛
Óθ (Çˡ ÀÛ̉͂ËÒÚ) ñ Ãü‘ ‚ ü‡ËÂ, 2005;
- œËÁ Á‡ ÎÛ˜¯Û˛ ÊÂÌÒÍÛ˛ Óθ (Çˡ ÀÛ̉͂ËÒÚ) ñ Ãü‘ ´“ÂÏÌ˚Â
ÌӘ˪, “‡ÎÎËÌÌ, ›ÒÚÓÌˡ, 2005;
- ÀÛ˜¯‡ˇ ËÌÓÒÚ‡Ì̇ˇ ͇ÚË̇ ó œÂÏˡ ¿Í‡‰ÂÏËË ÏÂʉÛ̇Ó‰ÌÓÈ
ÔÂÒÒ˚ Satellite Awards, 2005;
- «ËÚÂθÒÍËÈ ÔËÁ ñ Ãü‘, œ‡ÎÏ —ÔËÌ„Ò, ‘ÎÓˉ‡, 2006;
- Õ‡ˆËÓ̇θ̇ˇ ÍËÌÓÔÂÏˡ ÿ‚ˆËË ´«ÓÎÓÚÓÈ ÊÛͪ Á‡ ÎÛ˜¯Û˛ ÊÂÌÒÍÛ˛
Óθ (Çˡ ÀÛ̉͂ËÒÚ), 2006;
- Õ‡ˆËÓ̇θÌ˚ ÍËÌÓÔÂÏËË ‘ËÌÎˇÌ‰ËË ´fiÒÒ˪: Á‡ ÎÛ˜¯Û˛ ÊÂÌÒÍÛ˛ Óθ
(Çˡ ÀÛ̉͂ËÒÚ), ÎÛ˜¯Û˛ ‡·ÓÚÛ ÓÔÂ‡ÚÓ‡ Ë ÎÛ˜¯Û˛ ‡·ÓÚÛ
ıÛ‰ÓÊÌË͇, 2006;
- √·‚Ì˚È ÔËÁ ÙÂÒÚË‚‡Îˇ ‰Â·˛ÚÓ‚ ´ƒÛı Ó„Ìˇª, ’‡ÌÚ˚-ÇÌÒËÈÒÍ, –ÓÒÒˡ,
2006;
- œËÁ Á‡ ÎÛ˜¯ËÈ ÒˆÂ̇ËÈ Ãü‘ ‚ ¡Ûı‡ÂÒÚÂ, –ÛÏ˚Ìˡ, 2006.
Drama set in 1943 during World War II. The Finnish woman Kirsti has lost
her husband in the war and is forced to send her nine-year-old son Eero to the
safer Sweden. Not knowing the language, the boy tries to make friends with
his new mum. Signe Jo··nsson initially takes him in reluctantly but, as time
passes, she becomes attached to him and eventually loves him as if he were her
own. When the war ends Kirsti wants to have her son back. Eero has to choose
between his two mothers, and his decision will determine the rest of his life.
- Baltic Film Prize for a Nordic Feature Film ó Lu··beck Nordic Film Days,
Germany, 2005;
- Golden Pyramid prize for Best Film, Best Director and Best Actress (Maria
Lundqvist) prizes ó Cairo IFF, 2005;
- Best Actress prize (Maria Lundqvist) ó Tallinn Black Nights FF, Estonia,
2005;
- Outstanding Foreign Motion Picture ó Satellite Awards, 2005;
- Audience Award ó Palm Springs IFF, 2006;
- Best Leading Actress (Maria Lundqvist) ñ Guldbagge Awards, Sweden;
- Best Leading Actress (Maria Lundqvist), Best Cinematography, Best Set
Design ñ Jussi Awards, Finland;
- Main Prize of the Debut Festival ìSpirit of Fireî, Khanty Mansiisk, Russia,
2006;
- Best Screenplay prize ñ Bucharest IFF, Romania.
ÙÂÒÚË‚‡Î¸Ì˚ ·Û‡Ú˚
festival winners
Œ‘—¿…ƒ
OFFSIDE
160
2006, »‡Ì, 88 ÏËÌ., ˆ‚., 1:1.85, DTS Stereo
2006, Iran, 88 min, colour, 1:1.85, DTS Stereo
–ÂÊËÒÒÂ ƒÊ‡Ù‡ œ‡Ì‡ıË
Director Jafar Panahi
¿‚ÚÓ˚ ÒˆÂ̇ˡ ƒÊ‡Ù‡ œ‡Ì‡ıË, ÿ‡‰ÏÂı –‡ÒÚËÌ
Scriptwriters Jafar Panahi, Shadmehr Rastin
ŒÔÂ‡ÚÓ ÇıÏÛ‰ ü‡Î‡Ë
Camera Mahmood Kalari
’Û‰ÓÊÌËÍ »‡‰Ê –‡ÏËÌÙ‡
Designer Iraj Raminfar
üÓÏÔÓÁËÚÓ üÓÓ¯ ¡ÓÁÓ„ÔÛ
Music Korosh Bozorgpour
«‚ÛÍ –ÂÁ‡ ƒÂÎÔ‡Í
Sound Reza Delpak
ÃÓÌÚ‡Ê ƒÊ‡Ù‡ œ‡Ì‡ıË
Editor Jafar Panahi
¬ ÓΡı: —Ëχ ÃÓ·‡‡Í ÿ‡ıË, —‡Ù‡ —‡Ï‡Ì‰‡, ÿ‡ÂÒÚÂı
Cast: Sima Mobarak Shahi, Safar Samandar, Shayesteh Irani,
»‡ÌË, Ã. ’ÂÈ‡·‡‰Ë, »‰‡ —‡‰Â„Ë, √ÓÎ̇Á ‘‡χÌË,
M. Kheyrabadi, Ida Sadeghi, Golnaz Farmani, Mahnaz Zabihi
Çı̇Á —‡·ËıË
Producer Jafar Panahi
œÓ‰˛ÒÂ ƒÊ‡Ù‡ œ‡Ì‡ıË
Production Jafar Panahi Film Productions
œÓËÁ‚Ó‰ÒÚ‚Ó Jafar Panahi Film Productions
World Sales Celluloid Dreams
œ‡‚‡ Celluloid Dreams
www.celluloid-drems.com
www.celluloid-drems.com
ÙÂÒÚË‚‡Î¸Ì˚ ·Û‡Ú˚
festival winners
ƒ∆¿‘¿– œ¿Õ¿’»
»Á‚ÂÒÚÌ˚È Ë‡ÌÒÍËÈ ÍËÌÓÂÊËÒÒÂ Ë
ÔÓ‰˛ÒÂ, ÔËÁÂ ÙÂÒÚË‚‡ÎÂÈ ‚ ¬Â̈ËË,
¡ÂÎËÌÂ, ü‡Ì̇ıÖ –Ó‰ËÎÒˇ 11 ˲Ρ 1960
„Ó‰‡ ‚ ÃˇÌÂı (»‡Ì). ŒÍÓ̘ËÎ
ÍËÌÂχÚÓ„‡Ù˘ÂÒÍÓ ÓÚ‰ÂÎÂÌË ÍÓÎΉʇ
»Ë· ‚ “„Â‡ÌÂ. —ÌËχÎ
ÍÓÓÚÍÓÏÂÚ‡ÊÌ˚ ÙËθÏ˚, ‡·ÓÚ‡Î
‡ÒÒËÒÚÂÌÚÓÏ Û Ú‡ÍËı ÔÓÒ·‚ÎÂÌÌ˚ı
161
ÂÊËÒÒÂÓ‚, Í‡Í ¿··‡Ò üËÓ‡ÒÚ‡ÏË. ¬ 1995
„Ó‰Û ÔÓÒÚ‡‚ËÎ ÔÂ‚˚È ÔÓÎÌÓÏÂÚ‡ÊÌ˚È
ÙËÎ¸Ï ´¡ÂÎ˚È ¯‡ª, ÒÚ‡‚¯ËÈ ÒÓ·˚ÚËÂÏ
Ãü‘ ‚ ü‡ÌÌÂí95 (͇ÚË̇ ÔÓÎۘ˷ ÚË
̇„‡‰˚, ‚Íβ˜‡ˇ ´«ÓÎÓÚÛ˛ ͇ÏÂÛª)
Ë ÓÚÍ˚‚¯ËÈ ÏËÛ ÍËÌÓÂÊËÒÒÂ‡, Ò
ËÏÂÌÂÏ ÍÓÚÓÓ„Ó ÚÂÔÂ¸ Ò‚ˇÁ˚‚‡˛Ú ÔÓ˚‚
Ë‡ÌÒÍËı ÍËÌÂχÚÓ„‡ÙËÒÚÓ‚ ̇
ÍÛÔÌÂȯË ÍËÌÓÙÂÒÚË‚‡ÎË ÏË‡
Ë ‚ ÏÂʉÛ̇Ó‰Ì˚È ÔÓ͇Ú. ¬ 1997 „Ó‰Û
ÃËÌËÒÚÂÒÚ‚Ó ÍÛθÚÛ˚ ‘‡ÌˆËË Û‰ÓÒÚÓËÎÓ
ƒÊ‡Ù‡‡ œ‡Ì‡ıË Á‚‡Ìˡ ü‡‚‡ÎÂ‡ ËÒÍÛÒÒÚ‚.
‘ËθÏÓ„‡Ùˡ:
1995 ....¡ÂÎ˚È ¯‡
1997 ....«Â͇ÎÓ
2000 ....üÛ„
2003 ....¡‡„Ó‚Ó ÁÓÎÓÚÓ
2006
ŒÙ҇ȉ
JAFAR PANAHI
Renown Iranian director and producer,
—ϯ̇ˇ Ë Ô˜‡Î¸Ì‡ˇ ËÒÚÓˡ Ó ‰Â‚Ә͇ı, Ϙڇ˛˘Ëı ÔÓÔ‡ÒÚ¸ ̇ χژ
awards winner of Venice, Berlin, CannesÖ
ÏÂÊ‰Û ÙÛÚ·ÓθÌ˚ÏË ÍÓχ̉‡ÏË »‡Ì‡ Ë ¡‡ıÂÈ̇, Ó˜Â̸ ‚‡ÊÌÓ„Ó ‰Îˇ ‚ÒÂı
Born on 11 July 1960 in Mianeh (Iran).
Ë‡ÌˆÂ‚. ÕÓ, Í‡Í ËÁ‚ÂÒÚÌÓ, ÏÛÒÛθχÌÒÍËÏ ÊÂÌ˘ËÌ‡Ï Á‡Ô¢ÂÌÓ ·˚‚‡Ú¸ ‚
Graduated from the Film Department of the
Ó·˘ÂÒÚ‚ÂÌÌ˚ı ÏÂÒÚ‡ı. ƒÂ‚˜ÓÌÍË ÔÂÂӉ‚‡˛ÚÒˇ ‚ ÔÓ‰ÓÒÚÍÓ‚Û˛ Ó‰ÂʉÛ,
Irib College in Tehran. First made shorts,
‚Òˇ˜ÂÒÍË Ï‡ÒÍËÛ˛Ú Ò‚Ó˛ ‚̯ÌÓÒÚ¸. ÕÓ ˝ÚÓ Ô‡ÍÚ˘ÂÒÍË ·ÂÒÔÓÎÂÁÌÓ ó Ëı
then worked as assistant with famous
‚˚·‚ÎË‚‡˛Ú Ë Óı‡Ìˇ˛Ú ÒÓΉ‡Ú˚, ÍÓÚÓ˚ ÚÓÊ ̇·Î˛‰‡˛Ú Á‡ Ë„ÓÈ Ë
directors such as Abbas Kiarostami. In 1995
Ì‚ÓθÌÓ ÍÓÏÏÂÌÚËÛ˛Ú ÔÓËÒıÓ‰ˇ˘Â ̇ ÙÛÚ·ÓθÌÓÏ ÔÓÎÂ, ‡ ‰Â‚Ó˜ÍË
he completed his first full-length feature,
ÔËÒÎۯ˂‡˛ÚÒˇ Í ÌËÏ. »ÒÚÓˡ ͇ʉÓÈ ËÁ ÌËı ‡Á‚Ó‡˜Ë‚‡ÂÚÒˇ ‚ÓÍÛ„
ìThe White Balloonî, which became a major
˝ÚÓ„Ó Á̇ÏÂÌËÚÓ„Ó Ï‡Ú˜‡.
event at the Cannes IFF (it received three
- ´—Â·ˇÌ˚È Ï‰‚‰¸ª ó „‡Ì-ÔË Ê˛Ë Ãü‘ ‚ ¡ÂÎËÌÂ, 2006.
awards, including the Golden Camera, in
1995) and allowed the film world to discover
A funny and sad story about several girls, who dream of getting to the football
a director who subsequently marked the
match Iran vs Bahrein, a match of tremendous importance for all Iranians.
breakthrough of Iranian cinema into the
But, of course, Muslim women are not allowed in public places. The girls put
festival circuit and into international
on teenage outfits and mask their faces, but all this is in vain and they are
distribution. In 1997 the French Ministry of
caught and guarded by soldiers. These soldiers also watch the match and willy-
Culture awarded Jafar Panahi the order of
nilly comment on the events on the pitch ñ and the girls listen. Each of their
ìCavalier des Artsî.
stories revolves around this important football match.
- Jury Grand Prix ñ Silver Bear ñ Berlin IFF, 2006.
Filmography:
1995 ....The White Balloon/ Badkonake sefid
1997 ....The Mirror/ Ayneh
2000 ....The Circle/ Dayereh
2003 ....Crimson Gold/ Talaye sorkh
2006 ....Offside
ÙÂÒÚË‚‡Î¸Ì˚ ·Û‡Ú˚
festival winners
—”ƒ≈¡Õ¤… »—œŒÀÕ»“≈À‹
THE COLLECTOR/ KOMORNIK
162
2005, œÓθ¯‡, 93 ÏËÌ., ˆ‚.
2005, Poland, 93 min, colour
–ÂÊËÒÒÂ ‘ÂÎËÍÒ ‘‡Î¸Í
Director Feliks Falk
¿‚ÚÓ ÒˆÂ̇ˡ √Ê„ÓÊ Àӯ‚ÒÍËÈ
Scriptwriter Grzegorz Loszewski
ŒÔÂ‡ÚÓ ¡‡ÚÂÍ œÓÍÓÔӂ˘
Camera Bartek Prokopowicz
’Û‰ÓÊÌËÍ ¿Ì̇ ¬Û̉ÂÎËı
Art director Anna Wunderlich
üÓÏÔÓÁËÚÓ ¡‡ÚÎÓÏÂÈ √ÎËÌˇÍ
Music Bart omiej Gliniak
«‚ÛÍ Ã‡ˡ ’Ë·ÂÒ͇-¡‡ÊËÌÒ͇
Sound Maria Chilarecka-Barczynska
ÃÓÌÚ‡Ê ü¯Ë¯ÚÓÙ ÿÔÂÚχ̸ÒÍË
Editing Krzysztof Szpetmanski
¬ ÓΡı: ¿Ì‰ÊÂÈ ’˚‡, üËÌ„‡ œ˝ÈÒ, Ç΄Óʇڇ
Cast: Andrzej Chyra, Kinga Preis, Malgorzata Koz· uchowska,
üÓÊÛıÓ‚Ò͇, Ç¸ˇÌ ŒÔ‡Ìˇ, flÌ ‘˚˜, —·‚ÓÏË
Marian Opania, Jan Frycz, Slawomir Orzechowski, Marian
ŒÊÂıÓ‚ÒÍË, Ç¸ˇÌ ƒ‰ÁÂθ
Dziedziel
œÓ‰˛ÒÂ˚ flÌÛ¯ ÃÓ„Â̯ÚÂÌ, ≈ÊË ¡Ûı‚‡Î¸‰, ƒÓÓÚ‡
Producers Janusz Morgenstern, Jerzy Buchwald, Dorota
ŒÒÚÓ‚Ò͇-ŒÎË̸Ò͇, ¿Ì‰ÊÂÈ —Â‰˛ÍÓ‚,
Ostrowska-Orlinska, Andrzej Serdiukow, Pawel Mossakowski
œ‡‚ÂÎ ÃÓÒÒ‡ÍÓ‚ÒÍË
Production Perspektywa Film Studio, TVP SA
œÓËÁ‚Ó‰ÒÚ‚Ó Perspektywa Film Studio, TVP SA,
Co-production Canal+ Polska, WFDiF, APF
ÔË Û˜‡ÒÚËË Canal+ Polska, WFDiF, APF
World Sales TVP SA
œ‡‚‡ TVP SA
ÙÂÒÚË‚‡Î¸Ì˚ ·Û‡Ú˚
festival winners
‘≈À»ü— ‘¿À‹ü
ÂÊËÒÒÂ Ú‡Ú‡ Ë ÍËÌÓ, ‰‡Ï‡ÚÛ„, ıÛ‰ÓÊÌËÍ. œËÁÂ ÏÂʉÛ̇Ó‰Ì˚ı Ë Ì‡ˆËÓ̇θÌ˚ı ÙÂÒÚË‚‡ÎÂÈ. –Ó‰ËÎÒˇ ‚ 1941 „Ó‰Û ‚ —Ú‡ÌËÒ·‚Ó‚Ó, œÓθ¯‡. ŒÍÓ̘ËÎ Ù‡ÍÛθÚÂÚ ÊË‚ÓÔËÒË Ë „‡ÙËÍË ¿Í‡‰ÂÏËË ’Û‰ÓÊÂÒÚ‚ ‚
¬‡¯‡‚ (1966), ÂÊËÒÒÂÒÍËÈ Ù‡ÍÛθÚÂÚ
¬˚Ò¯ÂÈ √ÓÒÛ‰‡ÒÚ‚ÂÌÌÓÈ üËÌÓ¯ÍÓÎ˚ ‚ ÀÓ‰ÁË (1974). ¡˚Î ıÛ‰ÓÊÂÒÚ‚ÂÌÌ˚Ï ‰‡ÍÚÓÓÏ
163
ÂÊÂÏÂÒˇ˜ÌË͇ ´œÓθÒÍËÈ ÊÛ̇Ϊ. ¿‚ÚÓ
ÏÌÓ„Ó˜ËÒÎÂÌÌ˚ı Ú‡Ú‡Î¸Ì˚ı Ë ÚÂ΂ËÁËÓÌÌ˚ı Ô¸ÂÒ, ‡‰ËÓÔÂ‰‡˜. Õ‡Û˜Ì˚È ÒÓÚÛ‰ÌËÍ
¬˚Ò¯ÂÈ √ÓÒÛ‰‡ÒÚ‚ÂÌÌÓÈ üËÌÓ¯ÍÓÎ˚ ‚ ÀÓ‰ÁË, ÛÍÓ‚Ó‰ËÚÂθ ÒˆÂ̇ÌÓÈ ÒÚÛ‰ËË. —ӂ·-
48 ˜‡ÒÓ‚ ËÁ ÊËÁÌË Òۉ·ÌÓ„Ó ËÒÔÓÎÌËÚÂΡ À˛ˆÂ͇ ¡ÓÏÂ.
ŒÌ ÒÚ‡‡ÂÚÒˇ ‰Â·ڸ Ò‚Ó˛ ‡·ÓÚÛ Í‡Í ÏÓÊÌÓ ÎÛ˜¯Â,
‰ÂΈ ÍËÌÓÒÚÛ‰ËË ´Fokus Filmª. ◊ÎÂÌ ≈‚Ó-
·ÂÒÔÓ˘‡‰ÂÌ ‚ Ò‚ÓÂÏ ÒÚÂÏÎÂÌËË Í ˆÂÎË, ‚Ò„‰‡ ‰ÂÈÒÚ‚ÛÂÚ
ÔÂÈÒÍÓÈ ÍËÌӇ͇‰ÂÏËË.
ÓÚÍ˚ÚÓ, Ì ÒÍ˚‚‡ˇ Ò‚ÓËı ̇ÏÂÂÌËÈ Ë ÏÂÚÓ‰Ó‚, ÛÊÂ
»Á·‡Ì̇ˇ ÙËθÏÓ„‡Ùˡ:
1977 ....–‡ÒÔÓˇ‰ËÚÂθ ·‡Î‡
1979 ....ÿ‡ÌÒ
1981 ....¡˚Î ‰Ê‡Á
1984 ....»‰ÓÎ
1986 ....√ÂÓÈ „Ó‰‡
1989 ....ü‡ÔËÚ‡Î, ËÎË Í‡Í Ò‰Â·ڸ
‰Â̸„Ë ‚ œÓθ¯Â
1991 ....üÓ̈ Ë„˚
1993 ....—‡ÏÓ‚ÓÎ͇
1994 ....ÀÂÚÓ Î˛·‚Ë
1995 ....ƒ‡ÎÂÍÓ ÓÚ Ò·ˇ
2000 ....Àˈ‡ Ë Ï‡ÒÍË
2005 ....»ÒÚÓˡ Ó‰ÌÓÈ ‰ÓÒÍË
‰‡‚ÌÓ Á‡·˚‚, ˜ÚÓ Á‡ÍÓÌ ‰ÓÎÊÂÌ ÒÎÛÊËÚ¸ β‰ˇÏ, ‡ ÌÂ
̇ӷÓÓÚ. “‡ÍËÏ À˛ˆËÍ ¡ÓÏ ÓÒÚ‡ÂÚÒˇ ‰Ó ÚÓ„Ó ‰Ìˇ, ÍÓ„‰‡
Ó‰ËÌ ËÁ ‰ÓÎÊÌËÍÓ‚, Í ÍÓÚÓÓÏÛ ÓÌ ÓÚÌÂÒÒˇ ·ÂÁ ‚ÒˇÍÓÈ
ʇÎÓÒÚË, ÔÓ‚ÂÒËÎÒˇ ̇ ÎÂÒÚÌ˘ÌÓÈ ÍÎÂÚÍÂ Â„Ó ‰Óχ.
œÂÂÊË‚ ¯ÓÍ Ë Ôˉˇ ‚ Ò·ˇ, ¡ÓÏ ‚‰Û„ ÔÓ˜Û‚ÒÚ‚Ó‚‡Î
ÌÂÔÂÓ‰ÓÎËÏÓ Ê·ÌË ·˚Ú¸ ‰Ó·˚Ï Ë ÒÎÛÊËÚ¸ β‰ˇÏÖ
- œËÁ ÃÂʉÛ̇Ó‰ÌÓ„Ó ÍÓÌÍÛÒ‡ ÒˆÂ̇Ë‚ ó HartleyMerrill Screenwriting Prize, 2003;
- √·‚Ì˚È ÔËÁ ñ ´«ÓÎÓÚÓÈ Î‚ª, ÔËÁ˚ Á‡ ÎÛ˜¯ËÈ ÒˆÂ̇ËÈ,
FELIKS FALK
ÎÛ˜¯Û˛ ÓÔÂ‡ÚÓÒÍÛ˛ ‡·ÓÚÛ, ÎÛ˜¯Û˛ ÏÛÊÒÍÛ˛ Óθ ñ
Film and theatre director, screenwriter,
‘ÂÒÚË‚‡Î¸ ÔÓθÒÍËı ÙËθÏÓ‚ ‚ √‰˚ÌÂ, 2005;
playwright. Award winner at national and
international festivals. Born in 1941 in
- œËÁ ›ÍÛÏÂÌ˘ÂÒÍÓ„Ó Ê˛Ë ñ Ãü‘ ‚ ¡ÂÎËÌÂ, 2006.
Stanis awowo, Poland. Graduate of the
Warsaw Academy of Fine Arts (faculty of
graphics and painting, 1966) and Lodz
National Film School (directing). Graphic
The film covers 48 hours in the life of the officer of the court,
Lucek Bohme. He tries to do his job well, and confiscates
designer, author of theatre, television and
ruthlessly the property of individuals and institutions to pay
radio plays, lecturer of the Lodz Film School.
off their debts. He acts openly and hides neither his methods
Co-owner of a production studio ìFocus
Filmî. Member of European Film Academy.
nor his intentions, but he has long forgotten that the law
should serve the people and not vice versa. One day Lucek
Selected filmography:
1977 ....Top Dog / Wodzirej
1979 ....Chance/ Szansa
1981 ....There Was Jazz / Byl jazz
1984 ....The Idol / Idol
1986 ....Hero of the Year / Bohater roku
1989 ....Capital, or How to Make Money in
Poland / Kapital, czyli jak zrobic
pieniadze w Polsce
1991 ....End of the Game / Koniec gry
1993 ....Illicit Act / Samowolka
1994 ....Summer of Love / Lato milosci
1995 ....Far from Home / Daleko od siebie
2000 ....Faces and Masques /
Twarze i maski (TV series)
2005 ....A Story of One Board/ Historia
jednej tablicy
Bohme discovers that a debtor, whom he had not pitied, has
hanged himself in the stairwell of his house. Suddenly Bohme
feels an urgent desire to be kind and serve the peopleÖ.
- Prize of the International Script Competition, HartleyMerrill Screenwriting Prize, 2003;
- Main Prize (Golden Lionî), prizes for Best Script, Best
Photography, Best Actor: Festival of Polish Films in
Gdynia, 2005;
- Prize of the Ecumenical Jury, Berlin IFF, 2006.
ÙÂÒÚË‚‡Î¸Ì˚ ·Û‡Ú˚
festival winners
“≈ÃÕ¿fl ÀŒÿ¿ƒü¿
Dark Horse/ Voksne Mennesker
164
2005, »ÒÎ‡Ì‰Ëˇ/ ƒ‡Ìˡ, 106 ÏËÌ., ˜/·, 1:1.85, Dolby SRD
2005, Iceland-Denmark, 106 min, black and white, 1:1.85,
Dolby SRD
–ÂÊËÒÒÂ ƒ‡„Û ü‡Ë
¿‚ÚÓ˚ ÒˆÂ̇ˡ ƒ‡„Û ü‡Ë, –ÛÌ ÿ∏ÚÚ
Director Dagur Kari
ŒÔÂ‡ÚÓ ¿Î¸·ÂÚÓ ü·Ó
Screenplay Dagur Kari, Rune Schjott
’Û‰ÓÊÌËÍ ÕËÍÓÎ‡È ƒ‡ÌËÂÎÒÂÌ
Camera Alberto Claro
üÓÏÔÓÁËÚÓ Slowblow
Production Designer Nikolaj Danielsen
«‚ÛÍ ÃËÍÍÂÎ √ÓÓÒ, œÂÚÛ ›È̇ÒÒÓÌ
Composer Slowblow
Sound Mikkel Groos, Petur Einarsson
¬ ÓΡı: flÍÓ· —‰Â„ÂÌ, ÕËÍÓÎ‡Ò ¡Ó, “ËÎË —ÍÓÚÚ
œÂ‰ÂÒÂÌ, ÃÓÚÂÌ —ÛÛ·‡ÎÎÂ, ¡Ó‰ËÎ …Ó„ÂÌÒÂÌ,
Cast: Jakob Cedergren, Nicolas Bro, Tilly Scott Pedersen,
ÕËÍÓÎ‡È üÓÔÂÌËÍÛÒ
Morten Suurballe, Bodil Jorgensen, Nicolaj Kopernikus
œÓ‰˛ÒÂ˚ ¡Ë„ËÚÚ —ÍÓ‚, ÃÓÚÂÌ ü‡ÛÙχÌ
Producers Birgitte Skov, Morten Kaufmann
œÓËÁ‚Ó‰ÒÚ‚Ó
Production
‘Ë̇ÌÒËÓ‚‡ÌË Nimbus Film, Danish Film Institute, DR
Finance Nimbus Film, Danish Film Institute, DR TV, Zik Zak
TV, Zik Zak Film, Icelandic Film Fund, Nordic Film & TV
Film, Icelandic Film Fund, Nordic Film & TV
œ‡‚‡ Trust Film Sales ApS
World sales Trust Film Sales ApS
œÓÍ‡Ú ‚ –ÓÒÒËË »ÌÚÂÒËÌÂχ ¿Ú
Russian distributor Intercinema Art
www.voksnemennesker.dk
www.voksnemennesker.dk
ÙÂÒÚË‚‡Î¸Ì˚ ·Û‡Ú˚
festival winners
ƒ‡„Û ü‡Ë œÂÚÛÒÒÓÌ
–Ó‰ËÎÒˇ 12 ‰Â͇·ˇ 1973 „Ó‰‡ ‚ œ‡ËÊÂ,
‚˚ÓÒ ‚ »Ò·̉ËË. ŒÍÓ̘ËÎ Õ‡ˆËÓ̇θÌÛ˛
üËÌÓ¯ÍÓÎÛ ‚ ƒ‡ÌËË (1999). —ÌˇÎ ÚË
ÍÓÓÚÍÓÏÂÚ‡ÊÍË, Á‡ ‰‚ ËÁ ÌËı ÔÓÎÛ˜ËÎ 16
ÔËÁÓ‚ Ãü‘. œÂ‚‡ˇ ÔÓÎÌÓÏÂÚ‡Ê̇ˇ
͇ÚË̇ ñ ´ÕÓÈ ñ ·Â·ˇ ‚ÓÓ̇ª
(‰ÓÒÚ‡ÚÓ˜ÌÓ ËÁ‚ÂÒÚ̇ˇ Ë ‚ –ÓÒÒËË) ó Òڇ·
·ÎÓÍ·‡ÒÚÂÓÏ Ë ÔÓÎۘ˷ ÔËÁ˚ ‚ 11
165
ÒÚ‡Ì‡ı. ‘ËÎ¸Ï ´“ÂÏ̇ˇ ÎÓ¯‡‰Í‡ª
Û˜‡ÒÚ‚Ó‚‡Î ‚ ÔÓ„‡ÏÏ ´ŒÒÓ·˚È ‚Á„Ρ‰ª
ü‡ÌÌÒÍÓ„Ó ÙÂÒÚË‚‡Îˇ.
üÓÏ˘ÂÒ͇ˇ ‰‡Ï‡. —ËÏÔ‡Ú˘Ì˚È Ë ·ÂÒÔ˜Ì˚È „‡ÙÙËÚË
ƒ‡Ì˽θ ÊË‚ÂÚ ‚ üÓÔÂÌ„‡„ÂÌÂ Ë Á‡‡·‡Ú˚‚‡ÂÚ ÚÂÏ, ˜ÚÓ ÔÓ
Dagur Kari Pe tursson
Born 1973, Paris, France. Brought up in
Iceland. Graduate of the National Film School
Á‡Í‡Á‡Ï ‚β·ÎÂÌÌ˚ı ‡ÒÔËÒ˚‚‡ÂÚ ÒÚÂÌ˚ ‰ÓÏÓ‚
Ó·˙ˇÒÌÂÌˡÏË ‚ β·‚Ë. ŒÌ ‚˜ÌÓ ÍÓÏÛ-ÚÓ ‰ÓÎÊÂÌ Ë
of Denmark, 1999. Made three short films,
ÔÓÒÚÓˇÌÌÓ ÓÚ ÍÓ„Ó-ÚÓ ÒÍ˚‚‡ÂÚÒˇ, Â„Ó ‡Á˚ÒÍË‚‡ÂÚ ÔÓÎËˆËˇ
two of them award-winners: ´Old Spiceª
Ë Â„Ó ÒÓ‚ÒÂÏ Ì ‚ÓÎÌÛÂÚ, ˜ÚÓ ·Û‰ÂÚ Ò ÌËÏ Á‡‚Ú‡. » Ú‡Í ‰Ó
(1998), winner of Nordic Panoramaís Canal+
ÚÂı ÔÓ, ÔÓ͇ ÓÌ Ì ‚ÒÚ˜‡ÂÚ ‘‡ÌÒ ó Ó˜‡Ó‚‡ÚÂθÌÛ˛
Award, and ´Lost Weekendª (1999), recipient
‰Â‚Û¯ÍÛ Ë Ú‡ÍÛ˛ Ê ·ÂÒÔ˜ÌÛ˛, Í‡Í ÓÌÖ
of 14 international awards.
Kariís feature film debut, the Icelandic
coproduction ´Noi Albinoiª/ ´Noi the
Albinoª (2003), a box office success, was
awarded in 11 countries. ´Voksne
Menneskerª/ªDark Horseª (2005) was
selected for Un Certain Regard, Cannes.
- ´«ÓÎÓÚÓÈ »ËÒª ó ¡˛ÒÒÂθÒÍËÈ ÙÂÒÚË‚‡Î¸ ≈‚ÓÔÂÈÒÍÓ„Ó
ÍËÌÓ, 2005;
- Õ‡ˆËÓ̇θ̇ˇ ÍËÌÓÔÂÏˡ »Ò·̉ËË ´›‰‰‡ª Á‡ ÎÛ˜¯ËÈ
ÙËθÏ, ÎÛ˜¯ËÈ ÒˆÂ̇ËÈ, ÎÛ˜¯Ë Á‚ÛÍ Ë ÏÛÁ˚ÍÛ, ÎÛ˜¯Û˛
ÂÊËÒÒÛÛ 2005 „Ó‰‡;
- œËÁ˚ Á‡ ÎÛ˜¯ËÈ ÙËθÏ, ÎÛ˜¯Û˛ ÏÛÁ˚ÍÛ, ÎÛ˜¯ËÈ
ÒˆÂ̇ËÈ, ÎÛ˜¯ÂÏÛ ‡ÍÚÂÛ ‚ÚÓÓ„Ó Ô·̇ (ÕËÍÓÎ‡Ò ¡Ó),
ÎÛ˜¯ÂÈ ‡ÍÚËÒ ‚ÚÓÓ„Ó Ô·̇ (¡Ó‰Ëθ »Ó„ÂÌÒÂÌ) ó
–Ó·ÂÚ ‘ÂÒÚË‚‡Î¸, üÓÔÂÌ„‡„ÂÌ, ƒ‡Ìˡ, 2005;
- œËÁ Á‡ ÎÛ˜¯ËÈ ÙËÎ¸Ï ñ Ãü‘ ‚ À˛·ÎˇÌÂ, 2005;
- œËÁ ÎÛ˜¯ÂÏÛ Ò͇̉Ë̇‚ÒÍÓÏÛ ÙËθÏÛ ó Ãü‘ ‚
√ÂÚ·Ó„Â, 2006.
A comedy-drama about the charmingly irresponsible graffiti
artist, Daniel, who lives in Copenhagen and earns his living
painting declarations of love, on demand, on the walls of the
city. He is constantly on the run from parking tickets,
overdue bills and the police. Yet he still manages to lead a
carefree life. Until he meets and falls in love with the equally
irresponsible and charming, Franc.
- Golden Iris ó Brussels European Film Festival, 2005;
- Best Picture, Best Screenplay, Best Sound and Music, Best
Director of the Year ó Edda Awards, Iceland, 2005;
- Best Film, Best Music, Best Screenplay, Best Supporting
Actor (Nicolas Bro), Best Supporting Actress (Bodil
Jorgensen) ñ Robert Festival, Copenhagen, Denmark, 2005;
- Kingfisher Award ó Ljubljana International Film Festival,
2005;
- The Go··teborg Film Festival Nordic Film Award, 2006.
ÙÂÒÚË‚‡Î¸Ì˚ ·Û‡Ú˚
festival winners
‘≈—“»¬¿À‹
FESTIVAL
166
2005, ¬ÂÎËÍÓ·ËÚ‡Ìˡ, 107 ÏËÌ., ˆ‚., Dolby SRD
2005, UK, 107 min, colour, Dolby SRD
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ ›ÌÌË √ËÙÙËÌ
Scriptwriter and Director Annie Griffin
ŒÔÂ‡ÚÓ ƒ˝ÌËÂÎ üÓ˝Ì
Camera Daniel Cohen
’Û‰ÓÊÌËÍ “ÓÏ —˝ÈÂ
Production Designer Tom Sayer
üÓÒÚ˛Ï˚ ƒÊËÎÎ ’ÓÌ
Costume Designer Gill Horn
üÓÏÔÓÁËÚÓ ƒÊËÏ —‡ÁÂÎ˝Ì‰
Composer Jim Sutherland
ÃÓÌÚ‡Ê ”ËθˇÏ ”˝··
Cast: Amelia Bullmore, Billy Carter, Raquel Cassidy, Megan
¬ ÓΡı: ›ÏËÎˡ ¡‡ÎÎÏÓ, ¡ËÎÎË ü‡ÚÂ, –˝ÍÂÎ ü˝ÒÒˉË,
Dodds, Duncan Duff, Jonah Lotan, Meredith MacNeill,
Ä‡Ì ƒÓ‰‰Ò, ƒ‡ÌÍÂÌ ƒ‡ÙÙ, ƒÊÓ̇ ÀÓÚ‡Ì, ÃÂ‰ËÚ
Stephen Mangan, Lyndsey Marshal, Peter McDonald, Stuart
ÇÍÕËÎÎ, —ÚË‚ÂÌ Ã‡Ì„ÂÌ, ÀË̉ÒÂÈ Ã‡¯‡Î, œËÚÂ
Milligan, Daniela Nardini, Chris OíDowd
Ç̓Ó̇Ή, —Ú˛‡Ú ÃËÎÎË„‡Ì, ƒ‡ÌË· Õ‡‰ËÌË, üËÒ
Œíƒ‡Û‰
Producer Christopher Young
Production UK Film Council, FilmFour and Scottish Screen,
œÓ‰˛ÒÂ üËÒÚÓÙÂ flÌ„
Young Pirate Films production
œÓËÁ‚Ó‰ÒÚ‚Ó Young Pirate Films Production, UK Film
International Sales Pathe Pictures International
Council, FilmFour and Scottish Screen
œ‡‚‡ Pathe Pictures International
ÙÂÒÚË‚‡Î¸Ì˚ ·Û‡Ú˚
festival winners
›ÕÕ» √–»‘‘»Õ
ÒˆÂ̇ËÒÚ Ë ÂÊËÒÒÂ 4 ü‡Ì‡Î‡
(¬ÂÎËÍÓ·ËÚ‡Ìˡ), ‰Îˇ ÍÓÚÓÓ„Ó ÒÌËχ·
ÏÛÁ˚͇θÌ˚ ÙËθÏ˚ Ë ÒÂˇÎ˚. ‘ËθÏ
´‘ÂÒÚË‚‡Î¸ª ó ‰Â·˛Ú ‚ ÍËÌÓ.
‘ËθÏÓ„‡Ùˡ:
1996 ....√ˉ ÔÓ Í‡ÁËÌÓ ‰Îˇ ‰Â‚Ó˜ÂÍ (Ú‚)
1996 ....ŒÌ‡ Ú‡Ï ·˚· (Ú‚)
167
1997 ....Çθ˜ËÍË ÁÓÓχ„‡ÁË̇:
„‰Â-ÌË·Û‰¸ (Í/Ï)
1997 ....—Âϸ „ÂıÓ‚: „Ì‚ (Ú‚)
1999 ....—ÍÓÓ ÒÎÛ˜ËÚÒˇ (Ú‚)
2001 ....´üÌËÊÌ˚È ˇ‰ª (ÒÂˇÎ)
2005 ....‘ÂÒÚË‚‡Î¸
ANNIE GRIFFIN
is the writer-director of Channel 4 (UK).
FESTIVAL marks Griffinís feature debut.
Filmography:
1996 ....A Girlís Guide to Casinos (TV)
1996 ....Was She There (TV)
1997 ....Pet Shop Boys: Somewhere (short)
1997 ....Seven Sins: Wrath (TV)
1999 ....Coming Soon (TV)
2001 ....ìThe Book Groupî (TV Series)
2005 ....Festival
◊Â̇ˇ ÍÓωˡ.
Œ ̇‰Âʉ‡ı, Ϙڇı Ë ÓÔ‡ÒÂÌˡı β‰ÂÈ, ÍÓÚÓ˚ı ̇ ÍÓÓÚÍÓ ‚ÂÏˇ
Ó·˙‰ËÌˇÂÚ ÏÂʉÛ̇Ó‰Ì˚È ÍËÌÓÙÂÒÚË‚‡Î¸, ÂÊ„ӉÌÓ ÔÓıÓ‰ˇ˘ËÈ ‚ ‡‚„ÛÒÚÂ
‚ ¯ÓÚ·̉ÒÍÓÈ ÒÚÓÎˈ ñ „ÓӉ ›‰ËÌ·Û„ÂÖ
- œËÁ Á‡ ÎÛ˜¯ËÈ ÒˆÂ̇ËÈ ñ ‘ÂÒÚË‚‡Î¸ ·ËÚ‡ÌÒÍÓ„Ó ÍËÌÓ ‚ ƒË̇Â, 2005;
- œËÁ Á‡ ÎÛ˜¯ËÈ ÒˆÂ̇ËÈ ñ Ãü‘ ‚ —ÚÓÍ„ÓθÏÂ, 2005;
- œËÁ ËÏÂÌË ƒÛ„·҇ ’ËÍÓÍÒ‡ Á‡ ÂÊËÒÒÂÒÍËÈ ‰Â·˛Ú ñ œËÁ ¡ËÚ‡ÌÒÍÓ„Ó
ÌÂÁ‡‚ËÒËÏÓ„Ó ÍËÌÓ, 2005;
- ÀÛ˜¯ËÈ ÍÓωËÈÌ˚È ÙËÎ¸Ï ñ œÂÏˡ ´¡ËÚ‡ÌÒ͇ˇ ÍÓωˡª, 2005;
- œËÁ Á‡ ÎÛ˜¯Û˛ ÂÊËÒÒÛÛ Ë ÎÛ˜¯Û˛ ÏÛÊÒÍÛ˛ Óθ ‚ ¯ÓÚ·̉ÒÍÓÏ
ÙËθÏ ñ œÂÏˡ ¡ËÚ‡ÌÒÍÓÈ ¿Í‡‰ÂÏËË ÍËÌÓ Ë ÚÂ΂ˉÂÌˡ
(¯ÓÚ·̉ÒÍÓ ÍËÌÓ), 2005;
- —ÔˆˇθÌÓ ÛÔÓÏË̇ÌËÂ Ê˛Ë ñ Ãü‘ ‚ Ç ‰Âθ œÎ‡ÚÂ, ÒÂÍˆËˇ
´∆ÂÌ˘Ë̇ Ë ÍËÌÓª, 2006.
August in Edinburgh sees the population of the grand, historic Scottish capital
swell with actors, directors, street performers, comedians, media high flyers
and audiences. And so the lives of a dozen people intersect in a blackly comic
account of the hopes, dreams and fears attendant at festival time. From the
cut throat comedy world of the Fringe to the impassioned artistry of avant
garde theatre, with all points covered in between this ensemble tale captures a
peculiarly personal image of Edinburgh at a unique time of the year.
- Best Screenplay ó Dinard British Film Festival, 2005;
- Best Screenplay ñ Stockholm IFF, 2005;
- Douglas Hickox Award (for directorís debut) - British Independent Film
Awards, 2005;
- Best Comedy Film ó British Comedy Awards, 2005;
- Best Director and Best Actor in a Scottish film ñ BAFTA Scotland 2005;
- Special Jury Mention ñ Mar del Plata IFF, section ìWoman and Filmî, 2006.
ÙÂÒÚË‚‡Î¸Ì˚ ·Û‡Ú˚
festival winners
◊≈–Õ¿fl Ÿ≈“ü¿
BLACK BRUSH/ FEKETE KEFE
168
2005, ¬ÂÌ„ˡ, 83 ÏËÌ., ˜/·, 1:2.35, Dolby SRD
2005, Hungary, 83 min, black and white, 1:2.35, Dolby SRD
–ÂÊËÒÒÂ –Ó·̉ ¬‡ÌËÍ
Director Roland Vranik
¿‚ÚÓ˚ ÒˆÂ̇ˡ √Â„ÂÈ œÓı‡ÌÓÍ, –Ó·̉ ¬‡ÌËÍ
Scriptwriters Gergely Poharnok, Roland Vranik
ŒÔÂ‡ÚÓ √Â„ÂÈ œÓı‡ÌÓÍ
Camera Gergely Poharnok
’Û‰ÓÊÌËÍ œÂÚÂ Çڸˇ¯Ë
Art Director Peter Matyasi
ÃÛÁ˚͇ Realistic Crew
Music Realistic Crew
ÃÓÌÚ‡Ê ¬‡Ì‰‡ ü˯
Editing Wanda Kiss
¬ ÓΡı: œÂÚÂ ¿Î·ÂÚ, “‡Ï‡¯ ¡‡ÎËÍË, «ÓÎÚ‡Ì ¡‡‡·‡¯
Cast: Peter Albert, Tamas BalikÛ, Gergely Banki, Zoltan
ü˯, ü‡Ú‡ ¡‡Ú¯˜, ¿Ì̇ ¡Â‰Â ‘‡ÁÂ͇¯, ¡Âη ÷ËÙ‡,
Barabas Kis, Kata Bartsch, Anna Bede Fazekas, Bella Czifra,
fi‰ËÚ ƒÓ·Ó¯, ¡Ó˜‡ ›‰Â¯, »Ï ‘‡͇¯
Judit Dobos, Borcsa Erdes, Imre Farkas
œÓ‰˛ÒÂ˚ √‡·Ó üÓ‚‡˜, »¯Ú‚‡Ì ÇÈÓ,
Producers Gabor Kovacs, Istvan Major, Andras Muhi,
¿Ì‰‡¯ ÃÛıË, ¿„Ë œ‡Ú‡ÍË
Agi Pataki
œÓËÁ‚Ó‰ÒÚ‚Ó Filmpartners, Filmteam, Inforg St˙diÛ
Production Filmpartners, Filmteam, Inforg Studio
œ‡‚‡ Filmpartners
World Sales Filmpartners
www.feketekefe.hu
www.feketekefe.hu
ÙÂÒÚË‚‡Î¸Ì˚ ·Û‡Ú˚
festival winners
–ŒÀ¿Õƒ ¬–¿Õ»ü
–Ó‰ËÎÒˇ ‚ 1967 „Ó‰Û ‚ ¡Û‰‡Ô¯ÚÂ.
üËÌÓÂÊËÒÒÛÛ ÓÒ‚‡Ë‚‡Î ˜ÂÂÁ Ô‡ÍÚËÍÛ: Ò
1993 „Ó‰‡ ‚ ͇˜ÂÒÚ‚Â ‡ÒÒËÒÚÂÌÚ‡ ÂÊËÒÒÂ‡
‡·ÓڇΠ̇ ÏÛÁ˚͇θÌ˚ı,
˝ÍÒÔÂËÏÂÌڇθÌ˚ı Ë ıÛ‰ÓÊÂÒÚ‚ÂÌÌÓ‰ÓÍÛÏÂÌڇθÌ˚ı ÔÓÂÍÚ‡ı. ´◊Â̇ˇ
˘ÂÚ͇ª ó ÔÂ‚‡ˇ Ò‡ÏÓÒÚÓˇÚÂθ̇ˇ ‡·ÓÚ‡
ÂÊËÒÒÂ‡.
169
ROLAND VRANIK
Born in Budapest in 1967. Came to cinema
through practical work: since 1993 worked as
assistant director on musical, experimental,
artistic and documentary projects. ìBlack
Brushî is the directorís first independent work.
üÓωˡ ÔÓÎÓÊÂÌËÈ.
21 ‚ÂÍ, ¡Û‰‡Ô¯Ú. ◊ÂÚ‚ÂÓ ÏÓÎÓ‰˚ı β‰ÂÈ ‚ ÔÓËÒ͇ı
ÒÏ˚Ò· ÊËÁÌË, ÒÏÂÌË‚ Ó‰ÌÛ ‡·ÓÚÛ Á‡ ‰Û„ÓÈ, ‚ ÍÓ̈Â
ÍÓ̈ӂ ÔËÌËχ˛ÚÒˇ Á‡ ‡·ÓÚÛ ÚÛ·Ó˜ËÒÚÓ‚Ö
- √‡Ì-ÔË, ÔËÁ Á‡ ÎÛ˜¯Û˛ ÓÔÂ‡ÚÓÒÍÛ˛ ‡·ÓÚÛ, ÔËÁ
ÎÛ˜¯ËÏ ÔÓ‰˛ÒÂ‡Ï ñ Õ‰ÂΡ ‚ÂÌ„ÂÒÍÓ„Ó ÍËÌÓ,
¡Û‰‡Ô¯Ú, 2005;
- œËÁ Á‡ ÎÛ˜¯Û˛ ÂÊËÒÒÛÛ (ex aequo) ñ Ãü‘ ‚
—‡ÎÓÌË͇ı, 2005;
- œËÁ Á‡ ÎÛ˜¯Û˛ ÓË„Ë̇θÌÛ˛ ÏÛÁ˚ÍÛ ó Ãü‘ ‚ ¿ÌÓÌ˝,
2006.
Comedy of the situations.
Budapest, 21st century. Four young men in search of the
meaning of life constantly change jobs. At last, they take on
jobs as chimney-sweepers.
- Grand Prix, Best Cinematographer, Best Producers ó
Hungarian Film Week, 2005;
- Best director (ex aequo) ñ Thessaloniki International Film
Festival, 2005;
- Best original music prize ñ Annonay International Film
Festival, 2006.
170
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ÍËÌÓÒÓ·˚ÚËÂÏ Ô·ÌÂÚ˚. ≈„Ó ÍΡÌÛÚ,
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β·Ó„Ó ÒËÌÂÙË· ̇ Á̇ÏÂÌËÚÓÈ
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‚Â͇.
√Ó‚ÓËÚ¸ ÔÓ ˝ÚÓ ‚Ӊ ·˚ ÌÂÛ‰Ó·ÌÓ.
ÕÂÏÓ‰ÌÓ. ÀÛ˜¯Â ÍÓ˜ËÚ¸ ÛÒÚ‡ÎÛ˛
ÏËÌÛ Ë ˆÂ‰ËÚ¸ ÒÍ‚ÓÁ¸ ÁÛ·˚: ´ŒÔˇÚ¸
ü‡ÌÌ! ü‡Í ̇‰ÓÂÎÓ!ª. “ÂÏ ·ÓΠ˜ÚÓ
ÓÚ˜ÂÒÚ‚ÂÌÌ˚ı ÒËÌÂÙËÎÓ‚ ̇
À‡ÁÛÌ˚È ¡Â„ ‰‡‚ÌÓ ÛÊ Ì ÁÓ‚ÛÚ.
–ÓÒÒˡ Ô‰ÒÚ‡‚ÎÂ̇ Á‰ÂÒ¸ „·‚Ì˚Ï
Ó·‡ÁÓÏ ÍËÌÓ·ËÁÌÂÒÏÂ̇ÏË Ë
ÔÓ͇ژË͇ÏË, ÔËÓ·ÂÚ‡˛˘ËÏË
ÌÓ‚ËÌÍË ‰Îˇ ̇¯Ëı ÏÛθÚËÔÎÂÍÒÓ‚ Ë
Ú˘ÂÚÌÓ Ô˚Ú‡˛˘ËıÒˇ ÔÓ‰‡Ú¸
ÓÒÒËÈÒÍËÈ ÍËÌÓÚÓ‚‡.
ŒÚ˜ÂÒÚ‚ÂÌÌÓ ÍËÌÓ Á‰ÂÒ¸, ‚ Ó·˘ÂÏ, ÌÂ
ʇÎÛ˛Ú. ≈‰ËÌÒÚ‚ÂÌ̇ˇ «ÓÎÓÚ‡ˇ
œ‡Î¸Ï‡ ·ÎËÒÚ‡ÚÂθÌ˚Ï ´∆Û‡‚ÎˇÏª ‚
1958 „Ó‰Û, ÌÂÒÍÓθÍÓ ‰Û„Ëı ÔËÁÓ‚
̇¯ËÏ Í·ÒÒËÍ‡Ï ó ‚Ò ˝ÚÓ, Û‚˚, ‚
ÔÓ¯ÎÓÏ. —ÂȘ‡Ò ÓÒÒËÈÒÍÓ„Ó ÍËÌÓ Ì‡
üÛ‡ÁÂÚÚ ÎË·Ó ‚ÓÓ·˘Â ÌÂÚ, ÎË·Ó Â„Ó
ÔËÒÛÚÒÚ‚Ë ‚ ‚˚Ò¯ÂÈ ÒÚÂÔÂÌË
‰ÂÍÓ‡ÚË‚ÌÓ.
¬ËÌÓ‚‡Ú˚ ÎË ‚ ˝ÚÓÏ ÔÓËÁ‚Ó‰ËÚÂÎË?
¡ÂÁÛÒÎÓ‚ÌÓ. ÕÓ ‰ÓΡ ‚ËÌ˚ ÂÒÚ¸ Ë Ì‡
ÚÂı, ÍÚÓ ÓÔ‰ÂΡÂÚ Ì˚ÌÂ
ÙÂÒÚË‚‡Î¸ÌÛ˛ ÏÓ‰Û. ¬Â‰¸ ‰‡Ê ̇
√·‚ÌÓÏ ‘ÂÒÚË‚‡Î «ÂÏÎË ‚ÓÔÓÒ˚
ÏÓ‰˚ ËÏÂ˛Ú Ì ÔÓÒΉÌ Á̇˜ÂÌËÂ.
œ˄Ρ‰ËÏÒˇ Í ÚÂÏ ‰Â‚ˇÚË ÙËθχÏ,
˜ÚÓ ÒÓ·‡Ì˚ ‚ ˝ÚÓÈ ÂÚÓÒÔÂÍÚË‚Â.
ü‡Ê‰˚È ËÁ ÌËı ‚ Ò‚Ó ‚ÂÏˇ
Û‰ÓÒÚÓËÎÒˇ ‚˚Ò¯ÂÈ Ì‡„‡‰˚ ü‡Ì̇.
¬Ò ÎË ÓÌË ‚˚‰ÂʇÎË ÔÓ‚ÂÍÛ
‚ÂÏÂÌÂÏ? “ÓθÍÓ ÎË ÌÂÚÎÂÌÌ˚Â
¯Â‰Â‚˚ Á‰ÂÒ¸ ÒÓ·‡Ì˚?
» ˜ÚÓ Ú‡ÍÓ ‚ÓÓ·˘Â „·‚Ì˚È ÔËÁ
ÍËÌÓÙÂÒÚË‚‡Îˇ? ƒ‡Ê ü‡ÌÌÒÍÓ„Ó?
ƒÓÍÛÏÂÌÚ, Û‰ÓÒÚÓ‚Âˇ˛˘ËÈ, ˜ÚÓ ÔÂ‰
̇ÏË ó ÔÓËÁ‚‰ÂÌË ‚˚ÒÓÍÓ„Ó
ËÒÍÛÒÒÚ‚‡?
»ÎË ó ÂÁÛÎ¸Ú‡Ú ÒÚ˜ÂÌˡ ‡Á΢Ì˚ı,
‚ ÚÓÏ ˜ËÒΠ‚ÌÂıÛ‰ÓÊÂÒÚ‚ÂÌÌ˚ı
Ó·ÒÚÓˇÚÂθÒÚ‚?
—ÏÓÚËÚ ÙËθÏ˚ (ÚÂÏ ·ÓΠ˜ÚÓ
‰Ó·Û˛ ÔÓÎÓ‚ËÌÛ ËÁ ÌËı, Û˜‡˛Ò¸, ‚˚
ÌËÍÓ„‰‡ ‡Ì ̠‚ˉÂÎË) Ë ¯‡ÈÚÂ
Ò‡ÏË.
—Â„ÂÈ À‡‚ÂÌڸ‚
ÍÛ‡ÚÓ ÔÓ„‡ÏÏ˚
The Cannes Film Festival, whose 60th
anniversary we are marking this year,
remains the planetís main film event. It
is cursed by many and nasty things get
said about it, but every year in May the
film community from the entire world
strives towards the Croisette ñ only to
curse, once again, upon their return: to
say how roughly they were treated in
one of the queues... how inconvenient it
was to live in the neighbouring city and
travel by train... how awful the French
railwaymen are, going on strike
precisely during this great cinematic
holiday...
Very few people dare talk about that
sacred excitement that any cinephile
experiences on the famous seafront that
knows, without exception, every filmgenius of the past century.
It is almost embarrassing to speak about
it. Unfashionable. Itís better to pull a
tired face and say with gnashing teeth:
ëCannes again! I am so fed up!í Even
more so as Russiaís cinephiles have not
been invited to the Co^te díAzur for
quite a while. Russia is represented
there mainly through people from the
film business and distributors,
acquiring new films for multiplexes,
and trying ñ in vain ñ to sell Russian
cinema.
In very general terms, Russian cinema
is not Cannesís favourite. The only
Golden Palm for the brilliant ëThe
Cranes are Flyingí in 1958, and some
other prizes for ours classics; all this,
alas, lies in the past. Nowadays Russian
cinema is either completely absent from
the Croisette, or its presence is highly
decorative.
Are the producers to blame? Certainly.
But a share of the guilt also lies on the
trendsetters who determine the festival
fashion. In fact, even at the worldís
main festival questions of fashion play
no small part.
Letís look at the nine films gathered in
this retrospective. Each of them
received the supreme award in Cannes
in its own time. But have they all
passed the check of time? Are only
imperishable masterpieces collected
here?
What is, ultimately, this main prize of
a film festival? Even Cannes.
A document certifying that we have a
product of high art before us?
Or the result of a set of circumstances,
including non-artistic considerations?
Look at the films ñ over half from
them, I am sure, you have never seen
before ñ and decide for yourselves.
Sergei Lavrentiev
Programme Curator
9 ԇθÏ
9 palms
1955:
χÚË
MARTY
1956:
‚ ÏË ·ÂÁÏÓ΂ˡ
THE SILENT WORLD
1961:
ÒÚÓθ ‰Ó΄Ó ÓÚÒÛÚÒÚ‚ËÂ
THE LONG ABSENCE
1962:
ËÒÔÓÎÌˇ˛˘ËÈ Ó·ÂÚ
KEEPER OF PROMISES
1966:
‰‡Ï˚ Ë „ÓÒÔÓ‰‡
SIGNORE & SIGNORI
ÏÛʘË̇ Ë ÊÂÌ˘Ë̇
A MAN AND A WOMAN
1974:
‡Á„Ó‚Ó
THE CONVERSATION
1983:
·‡Î·‰‡ Ó Ì‡‡ÈˇÏÂ
BALLAD OF NARAYAMA
1984:
Ô‡ËÊ, ÚÂı‡Ò
PARIS, TEXAS
171
9 ԇθÏ
9 palms
ÿ–“»
MARTY
172
1955, —ÿ¿, 91 ÏËÌ., ˜/·, ÏÓÌÓ
1955, USA, 91 min, b/w, mono
–ÂÊËÒÒÂ ƒÂηÂÚ Ã‡ÌÌ
¿‚ÚÓ ÒˆÂ̇ˡ œ˝‰‰Ë ◊‡Â‚ÒÍËÈ
ŒÔÂ‡ÚÓ ∆ÓÁÂÙ À‡¯ÂÎÎ
’Û‰ÓÊÌËÍË “˝‰ ’‡ÛÓÚ,
”ÓÎÚÂ Ã.—‡ÈÏÓ̉Ò
üÓÒÚ˛Ï˚ ÕÓχ üÓı
ÃÛÁ˚͇ –ÓÈ ”˝··
«‚ÛÍ –Ó·ÂÚ ü‡·ÈÎ
Director Delbert Mann
Scriptwriter Paddy Chayefsky
Camera Joseph LaShelle
Art Directors Ted Haworth,
Walter M.Simonds
Costumes Norma Koch
Music Roy Webb
Sound Robert Carlisle
¬ ÓΡı: ›ÌÂÒÚ ¡Ó̇ÈÌ, ¡ÂÚÒË ¡Î˝, ›ÒÚÂ ÃË̘ËÓÚÚË,
Œ„‡ÒÚ‡ ◊ËÓÎÎË, ƒÊÓ Ã‡ÌÚÂÎÎ, ü‡ÂÌ —ÚËθ, ƒÊÂË œ‡ËÒ
Cast: Ernest Borgnine, Betsy Blair, Esther Minciotti, Augusta
Ciolli, Joe Mantell, Karen Steele, Jerry Paris
œÓ‰˛ÒÂ ’‡Óθ‰ ’ÂıÚ
œÓËÁ‚Ó‰ÒÚ‚Ó Hill-Hecht-Lancaster Productions
Producer Harold Hecht
Production Hill-Hecht-Lancaster Productions
ÇÚË œËÎÂÚÚË ÛÊ Á‡ Úˉˆ‡Ú¸, ÓÌ ‡·ÓÚ‡ÂÚ ÏˇÒÌËÍÓÏ Ë
ÊË‚ÂÚ ‚‰‚ÓÂÏ Ò Ï‡ÚÂ¸˛. ÇÚË Ú‡Í Á‡ÒÚÂ̘˂, ˜ÚÓ ÌÂ
¯‡ÂÚÒˇ Á̇ÍÓÏËÚ¸Òˇ Ò ‰Â‚ۯ͇ÏË. ¬ÒÂ Â„Ó ·‡Ú¸ˇ Ë ÒÂÒÚ˚
‰‡‚ÌÓ ÛÊ ӷÁ‡‚ÂÎËÒ¸ ÒÂϸˇÏË, ‡ ÓÌ ‚Ò ¢ ıÓÎÓÒÚ. Œ‰Ì‡Ê‰˚
ÓÌ Ë‰ÂÚ Ì‡ ڇ̈˚ Ë Ú‡Ï ‚ÒÚ˜‡ÂÚ ü·Û. »Ï ÔˡÚÌÓ ·˚Ú¸
‚ÏÂÒÚÂ. ÕÓ ü·‡ ‡·ÓÚ‡ÂÚ Û˜ËÚÂθÌˈÂÈ, Ë ÓÌË Ú‡ÍË ‡ÁÌ˚Â,
˜ÚÓ ¯‡ÌÒÓ‚ ̇ Ò˜‡ÒÚ¸Â Û ÌËı Ô‡ÍÚ˘ÂÒÍË ÌÂÚÖ
- ´«ÓÎÓÚ‡ˇ ԇθÏÓ‚‡ˇ ‚ÂÚ‚¸ª (‚Û˜‡ÂÚÒˇ ‚ÔÂ‚˚Â) ó Ãü‘ ‚
ü‡Ì̇ı, 1955; ˜ÂÚ˚ ÔÂÏËË ¿ÏÂË͇ÌÒÍÓÈ ÍËÌӇ͇‰ÂÏËË
Oscar, ÔÂÏˡ ´«ÓÎÓÚÓÈ „ÎÓ·ÛÒª, ÔÂÏˡ √Ëθ‰ËË
ÂÊËÒÒÂÓ‚ —ÿ¿, ÔÂÏˡ ÍËÚËÍÓ‚ Õ¸˛-…Ó͇ Ë ‰.
Marty Piletti is already over thirty, he works as a butcher and
lives together with his mother. Marty is so timid that he does
not dare to make the acquaintance of girls. All his brothers
and sisters have long got their own families, but he is still
single. One day he goes to the dances, where he casually meets
Clara. They like being together. But Clara works as a teacher,
and they are so different that there are practically no chances
for happiness Ö
- Golden Palm (awarded for the first time) Cannes
International Film Festival, 1955; four OSCAR Academy
Awards; Golden Globe; Prize of the Directors Guild of
America; New York Film Critics Circle Award, etc.
THE SILENT WORLD/LE MONDE DU SILENCE/ IL MONDO DEL SILENZIO
9 ԇθÏ
9 palms
¬ û–≈ ¡≈«ÃŒÀ¬»fl
173
1956, ‘‡ÌˆËˇ/ »Ú‡Îˡ, 86 ÏËÌ., ˆ‚., ÏÓÌÓ
1956, France/ Italy, 86 min, color, mono
–ÂÊËÒÒÂ˚ ∆‡Í-»‚ üÛÒÚÓ, ÀÛË Ã‡Î¸
Directors Jacques-Yves Cousteau, Louis Malle
¿‚ÚÓ ÒˆÂ̇ˡ ∆‡Í-»‚ üÛÒÚÓ
Scriptwriter Jacques-Yves Cousteau
√·‚Ì˚È ÓÔÂ‡ÚÓ ›‰ÏÓÌ —¯‡Ì
Principal Cinematographer Edmond Sechan
œÓ‰‚Ó‰Ì˚ Ò˙ÂÏÍË: ÀÛË Ã‡Î¸, ∆‡Í-»‚ üÛÒÚÓ,
Camera: Jacques-Yves Cousteau, Louis Malle,
¿Î¸·Â ‘‡Î¸ÍÓ, ‘‰ÂËÍ ƒ˛Ï‡
Albert Falco, Frederique Dumas
üÓÏÔÓÁËÚÓ »‚ ¡Ó‰ËÂ
Music Yves Baudrier
ÃÓÌÚ‡Ê ∆ÓÊ ¿ÎÂÔÂÈ
Film Editing Georges AlÈpÈe
—Ôˆ˝ÙÙÂÍÚ˚ ÕӽΠ–Ó·Â
Special Effects No∏l Robert
œÓËÁ‚Ó‰ÒÚ‚Ó FSJYC Production, Requins Associes, Societe
Production FSJYC Production, Requins Associes, Societe
Filmad, Titanus
Filmad, Titanus
ƒÓÍÛÏÂÌڇθ̇ˇ ËÒÚÓˡ Ó „ÛÔÔ Ù‡ÌˆÛÁÒÍËı ÔÎÓ‚ˆÓ‚-
A documentary film about a group of French swimmers and
‡Í‚‡Î‡Ì„ËÒÚÓ‚, ÍÓÚÓ‡ˇ ̇ ̇ۘÌÓ-˝ÍÒÔÂËÏÂÌڇθÌÓÏ
skin-divers on the scientific research vessel ´Calypsoª that
Òۉ̠´ü‡ÎËÔÒÓª Ôӯ· ˜ÂÂÁ —‰ËÁÂÏÌÓÂ Ë ü‡ÒÌÓÂ
navigated through the Mediterranean and the Red Sea, as well
ÏÓˇ, œÂÒˉÒÍËÈ Á‡ÎË‚ Ë »Ì‰ËÈÒÍËÈ Ó͇Ì. —
as the Gulf of Persia and the Indian Ocean. With a film
ÍËÌÓ‡ÔÔ‡‡ÚÓÏ ‚ Û͇ı ËÒÒΉӂ‡ÚÂÎË ÒÔÛÒ͇ÎËÒ¸ ̇
camera in their hands, the researchers descended to 70 meters
„ÎÛ·ËÌÛ ‰Ó 70 ÏÂÚÓ‚ Ë ÒÌËχÎË Ó·ËÚ‡ÚÂÎÂÈ ÏÓÒÍËı
and filmed the inhabitants at the depth of the sea. The
„ÎÛ·ËÌ. üËÌÂχÚÓ„‡ÙËÒÚ˚ ÔÓ·˚‚‡ÎË Ú‡ÍÊ ̇ Ì·Óθ¯ÓÏ
cinematographers also visited a small island, forgotten in the
ÓÒÚÓ‚Â, Á‡ÚÂˇÌÌÓÏ ‚ Ó͇ÌÂ.
midst of the ocean.
- ´«ÓÎÓÚ‡ˇ ԇθÏÓ‚‡ˇ ‚ÂÚ‚¸ª ó Ãü‘ ‚ ü‡Ì̇ı, 1956;
- Golden Palm, Cannes IFF, 1956;
- œÂÏˡ ¿ÏÂË͇ÌÒÍÓÈ ÍËÌӇ͇‰ÂÏËË Oscar, 1957 Ë ‰.
- OSCAR Academy Award, 1957, etc.
9 ԇθÏ
9 palms
—“ŒÀ‹ ƒŒÀ√Œ≈ Œ“—”“—“¬»≈/
THE LONG ABSENCE/ UNE AUSSI LONGUE/ABSENCE/
LíINVERNO TI FARA TORNARE
174
1961, ‘‡ÌˆËˇ/ »Ú‡Îˡ, 85 ÏËÌ., ˜/·, 1:2.35, ÏÓÌÓ
1961, France/ Italy, 85 min, b/w, 1:2.35, mono
–ÂÊËÒÒÂ ¿ÌË üÓθÔË
Director Henri Colpi
¿‚ÚÓ˚ ÒˆÂ̇ˡ Ç„‡ËÚ ƒ˛‡Ò, ∆Â‡ ∆‡ÎÓ
Scriptwriters Marguerite Duras, Gerard Jarlot
ŒÔÂ‡ÚÓ ÇÒÂθ ¬ÂÈÒ
Camera Marcel Weiss
’Û‰ÓÊÌËÍ ÃÓËÒ üÓ·ÒÓÌ
Art Director Maurice Colasson
üÓÏÔÓÁËÚÓ ∆ÓÊ ƒÂÎÂ˛
Music Georges Delerue
¬ ÓΡı: ¿Îˉ‡ ¬‡ÎÎË, ∆ÓÊ ¬ËθÒÓÌ, ∆‡Í ¿‰ÂÌ,
Cast: Alida Valli, Georges Wilson, Jacques Harden, Charles
ÿ‡θ ¡Î‡‚ÂÚ, ¿Ï‰ÂÈ, œÓÎ ‘˝‚¸, œ¸Â œ‡Âθ,
Blavette, Amedee, Paul Faivre, Pierre Parel, Catherine
ü‡ÚÂËÌ ‘ÓÌÚÂÌÂÈ, ƒË‡Ì‡ ÀÂÔÙËÂ, Õ‡Ì ∆ÂÏÓÌ
Fonteney, Diane Lepvrier, Nane Germon
œÓËÁ‚Ó‰ÒÚ‚Ó Procinex, Societe Cinematographique Lyre
Production Procinex, Societe Cinematographique Lyre
(‘‡ÌˆËˇ), Galatea Film (»Ú‡Îˡ)
(France), Galatea Film (Italy)
“ÂÂÁ‡ À‡Ì„ÎÛ‡ ÒÓ‰ÂÊËÚ Ì·Óθ¯Ó ͇Ù ̇ ÓÍ‡ËÌÂ
Therèse Langlois owns a small cafÈ in the suburbs of Paris.
œ‡Ëʇ. ŒÌ‡ Ó‰ËÌÓ͇. 16 ÎÂÚ Ì‡Á‡‰  ÏÛʇ, Û˜‡ÒÚÌË͇
She is lonely. Sixteen years ago her husband, a participant of
‰‚ËÊÂÌˡ —ÓÔÓÚË‚ÎÂÌˡ, ‡ÂÒÚÓ‚‡ÎË ÓÍÍÛÔ‡ÌÚ˚ Ë
the ìResistanceî movement, was arrested by the occupying
ÓÚÔ‡‚ËÎË ‚ ÍÓ̈·„Â¸. —Ή˚ ÏÛʇ “ÂÂÁ˚ Á‡ÚÂˇÎËÒ¸.
forces and sent to a concentration camp. The trace of
» Ӊ̇ʉ˚ ‚ ·Ó‰ˇ„Â, ÍÓÚÓ˚È Í‡Ê‰˚È ‰Â̸ ÔÓıÓ‰ËÎ
Therèseís husband was lost. And then, on day, the woman
ÏËÏÓ Â ͇ÙÂ, ÊÂÌ˘Ë̇ ÛÁ̇ÂÚ Ò‚ÓÂ„Ó ÏÛʇ...
recognizes her husband in a tramp who passed by her cafÈ
- ´«ÓÎÓÚ‡ˇ ԇθÏÓ‚‡ˇ ‚ÂÚ‚¸ª - Ãü‘ ‚ ü‡Ì̇ı, 1961;
every day...
- œËÁ ÀÛË ƒÂÎβ͇ ñ Prix Louis Delluc, ‘‡ÌˆËˇ, 1960;
- Golden Palm, Cannes IFF, 1961;
- œÂÏˡ ÍËÌÂχÚÓ„‡ÙËÒÚÓ‚ flÔÓÌËË ñ Kinema Junpo
- Prix Louis Delluc, France, 1960;
Awards, 1965
- Kinema Junpo Award (Japanese Film Prize), 1965
KEEPER OF PROMISES/ O PAGADOR DE PROMESSAS
9 ԇθÏ
9 palms
»—œŒÀÕflfiŸ»… Œ¡≈“ (´Œ·ÂÚª)
175
1962, ¡‡ÁËÎˡ/ œÓÚÛ„‡Îˡ, 98 ÏËÌ., ˜/·, ÏÓÌÓ
1962, Brazil/ Portugal, 98 min, b/w, mono
–ÂÊËÒÒÂ ¿ÌÒÂθÏÓ ƒÛ‡ÚÂ
Director Anselmo Duarte
¿‚ÚÓ˚ ÒˆÂ̇ˡ ¿ÌÒÂθÏÓ ƒÛ‡ÚÂ, ¿Î¸ÙÂ‰Ó ƒË‡Ò √ÓÏÂÒ
Scriptwriters Anselmo Duarte, Alfredo Dias Gomes
ŒÔÂ‡ÚÓ ◊ËÍ ‘‡ÛÎ
Camera Chick Fowle
’Û‰ÓÊÌËÍ ∆ÓÁ “ÂÁÂÈ‡ ƒÂ ¿‡ÛÊÓ
Art Director Jose Teixeira De Araujo
üÓÏÔÓÁËÚÓ √‡·˽θ ÃËθÓË
Music Gabriel Migliori
Sound Carlos Foscolo
¬ ÓΡı: ÀÂÓ̇‰Ó ¬Ëθˇ, √ÎÓˡ ÃÂÌÂÒÒÂÒ, ƒËÓÌËÒËÓ
¿Ò‚‰Ó, ∆Ë‡Î¸‰Û ƒÂθ –ÂÈ, ÕÓχ ¡ÂÌÊÂÎÎ, ü‡ÎÓÒ
Cast: Leonardo Villar, GlÛria Menezes, Dionisio Azevedo,
“ÓÂÒ, –Ó·ÂÚÓ ‘ÂÂÈ‡, ŒÚÓÌ ¡‡¯ÚÓÒ, ∆ËηÂÚÛ Ã‡ÍÂÒ
Geraldo Del Rey, Norma Bengell, Carlos Torres, Roberto
Ferreira, Othon Bastos, Gilberto Marques
œÓËÁ‚Ó‰ÒÚ‚Ó Cinedistri, Producõs Francisco de Castro
Producers Francisco de Castro, Anselmo Duarte,
Õ‡ Ô‡Á‰ÌÂÒÚ‚Â ‚ ˜ÂÒÚ¸ ·Ó„ËÌË flÌÒ‡Ì ÍÂÒÚ¸ˇÌËÌ «Â ‰‡ÂÚ
Oswaldo Massaini
Ó·ÂÚ ÓÚÌÂÒÚË ÍÂÒÚ ËÁ ‰‡ÎÂÍÓÈ ‰Â‚ÌË ‚ „ÓÓ‰, ‚ ˆÂÍÓ‚¸
Production Cinedistri, Producõs Francisco de Castro
Ò‚ˇÚÓÈ ¡‡·‡˚. «Â ËÒÔÓÎÌˇÂÚ Ó·ÂÚ, ÌÓ Í‡ÚÓ΢ÂÒÍËÈ
Ò‚ˇ˘ÂÌÌËÍ, ÛÁ̇‚, ˜ÚÓ ÍÂÒÚ¸ˇÌËÌ ÍΡÎÒˇ ÔÂ‰
On the holiday of the goddess Yansan, the peasant Ze vows to
ËÁÓ·‡ÊÂÌËÂÏ ˇÁ˚˜ÂÒÍÓÈ ·Ó„ËÌË, Ì ÔÛÒ͇ÂÚ Â„Ó ‚
carry the cross from the distant village to the city, to the
ˆÂÍÓ‚¸...
church Saint Barbara. Ze keeps his vow, but the Catholic
- ´«ÓÎÓÚ‡ˇ ԇθÏÓ‚‡ˇ ‚ÂÚ‚¸ª - Ãü‘ ‚ ü‡Ì̇ı, 1962;
priest, having found out that the peasant swore before the
- √·‚Ì˚È ÔËÁ Ãü‘ ‚ —‡Ì-‘‡ÌˆËÒÍÓ, 1962.
image of a pagan goddess, does not let him into the church...
- Golden Palm, Cannes IFF, 1962;
- Golden Gate Award, San Francisco IFF, 1962.
9 ԇθÏ
9 palms
ƒ¿Ã¤ » √Œ—œŒƒ¿
SIGNORE & SIGNORI/SIGNORE E SIGNORI/
BELLES DAMES, VILAINS MESSIEURS
176
1966, »Ú‡Îˡ/ ‘‡ÌˆËˇ, 115 ÏËÌ., ˜/·, ÏÓÌÓ
1966, Italy/ France,115 min, b/w, mono
–ÂÊËÒÒÂ œ¸ÂÚÓ ƒÊÂÏË
¿‚ÚÓ˚ ÒˆÂ̇ˡ ‘ÛËÓ —͇ÔÂÎÎË,
ÀÛ˜‡ÌÓ ¬Ë̘Â̈ÓÌË, œ¸ÂÚÓ ƒÊÂÏË
ŒÔÂ‡ÚÓ ¿ˇ˜Â œ‡ÓÎËÌ
’Û‰ÓÊÌËÍ ü‡ÎÓ ›‰ÊˉË
üÓÏÔÓÁËÚÓ ü‡ÎÓ –ÛÒÚËÍÂÎÎË
Director Pietro Germi
Scriptwriters Furio Scarpelli, Luciano Vincenzoni,
Pietro Germi
Camera Aiace Parolin
Art Director Carlo Egidi
Music Carlo Rustichelli
¬ ÓΡı: ¬Ë̇ ÀËÁË, √‡ÒÚÓÌ ÃÓÒÍËÌ, ÕÓ‡ –˘˜Ë,
¿Î¸·ÂÚÓ À¸ÓÌÂÎÎÓ, ŒÎ¸„‡ ¬ËÎÎË, ¡Â·‡ ÀÓ̘‡, ‘‡ÌÍÓ
‘‡·ˈË, ƒÊˉÊË ¡‡ÎÎËÒÚ‡
Cast: Virna Lisi, Gastone Moschin, Nora Ricci, Alberto
Lionello, Olga Villi, Franco Fabrizi, Beba Loncar, Gigi Ballista
œÓ‰˛ÒÂ˚ œ¸ÂÚÓ ƒÊÂÏË, –Ó·Â ¿‰Ê‡„
œÓËÁ‚Ó‰ÒÚ‚Ó Dear Film Produzione, Les Films du Siècle,
R.P.A. Cinematografica
üÓωˡ Ì‡‚Ó‚.
«‡ ·Î‡„ÓÔËÒÚÓÈÌ˚Ï Ù‡Ò‡‰ÓÏ ËڇθˇÌÒÍÓ„Ó ÔÓ‚Ë̈ˇθÌÓ„Ó
„ÓӉ͇ ÍËÔˇÚ ·ÛÌ˚ ÒÚ‡ÒÚË. “ÓÌË √‡ÒÔ‡ËÌË
ÔËÚ‚ÓˇÂÚÒˇ ËÏÔÓÚÂÌÚÓÏ, ˜ÚÓ·˚ ·ÂÁ·ÓˇÁÌÂÌÌÓ ÔÓ‰ÓÎʇڸ
β·Ó‚ÌÛ˛ Ò‚ˇÁ¸ Ò ÊÂÌÓÈ Ò‚ÓÂ„Ó ‚‡˜‡. ¡‡ÌÍÓ‚ÒÍËÈ
ÒÎÛʇ˘ËÈ ŒÒ‚‡Î¸‰Ó ¡ËÁË„‡ÚÓ ·ÓÒ‡ÂÚ Ò‚‡ÎË‚Û˛ ÊÂÌÛ,
˜ÚÓ·˚ ÓÚÍ˚ÚÓ ÊËÚ¸ Ò Î˛·Ó‚ÌˈÂÈ, ÌÓ ‚ÌË‚˚ ÏÛʸˇ
„ÓӉ͇ Ó·˙‰ËÌˇ˛ÚÒˇ, ˜ÚÓ·˚ ͇̇Á‡Ú¸ β·Ó‚ÌËÍÓ‚ Á‡ ÚÓ,
˜ÚÓ ÓÌË ‡Ù˯ËÛ˛Ú Ò‚ÓË ÓÚÌÓ¯ÂÌˡ. “ÂÏ ‚ÂÏÂÌÂÏ ‚ÒÂ
ÒÚÓÎÔ˚ ÏÂÒÚÌÓ„Ó Ó·˘ÂÒÚ‚‡ Ô˚Ú‡˛ÚÒˇ Òӷ·ÁÌËÚ¸ ˛ÌÛ˛
‰Â‚ˈÛ, ÓÚˆ ÍÓÚÓÓÈ ÌÂÓÊˉ‡ÌÌÓ Á‡ˇ‚ΡÂÚ, ˜ÚÓ Ó̇
ÌÂÒÓ‚Â¯ÂÌÌÓÎÂÚÌˇˇ, Ë Ó·‡˘‡ÂÚÒˇ ‚ ÒÛ‰...
- ´«ÓÎÓÚ‡ˇ ԇθÏÓ‚‡ˇ ‚ÂÚ‚¸ª - Ãü‘ ‚ ü‡Ì̇ı, 1966;
- œÂÏˡ ƒ‡‚ˉ‡ ‰Ë ƒÓ̇ÚÂÎÎÓ, 1966;
- ´«ÓÎÓÚÓÈ „ÎÓ·ÛÒª, —ÿ¿, 1967;
- œÂÏËË √Ëθ‰ËË ÍËÌÓÊÛ̇ÎËÒÚÓ‚ »Ú‡ÎËË, 1967.
Producers Pietro Germi, Robert Haggiag
Production Dear Film Produzione, Les Films du Siècle,
R.P.A. Cinematografica
Comedy of manners.
Passions are high behind the decent faÁade of a small,
provincial Italian town. Toni Gasparini pretends to be
impotent to continue, without worry, his affair with his
doctorís wife. The bank clerk Osvaldo Bisigato deserts his
quarrelsome wife in order to openly live with his mistress. But
the jealous husbands in the small town join forces to punish
the lovers for advertising their relationships. In the meantime
the pillars of the local society try to seduce a young girl,
whose father unexpectedly declares that she is not yet of age,
before taking the matter to court...
- Golden Palm ñ Cannes International Film Festival, 1966;
- David di Donatello Award, 1966;
- Golden Globe, USA, 1967;
- Silver Ribbon Award of Italian National Syndicate of Film
Journalists, 1967.
A MAN AND A WOMAN/UN HOMME ET UNE FEMME
9 ԇθÏ
9 palms
Ô∆◊»Õ¿ » ∆≈ÕŸ»Õ¿
177
1966, ‘‡ÌˆËˇ, 102 ÏËÌ., ˜/·, 1:1.85, ÏÓÌÓ
1966, France, 102 min, b/w, 1:1.85, mono
–ÂÊËÒÒÂ üÎÓ‰ ÀÂβ¯
Director Claude Lelouch
¿‚ÚÓ˚ ÒˆÂ̇ˡ üÎÓ‰ ÀÂÎÛ¯, œ¸Â fiÚÂıÓ‚ÂÌ
Scriptwriters Pierre Uytterhoeven, Claude Lelouch
√·‚Ì˚È ÓÔÂ‡ÚÓ üÎÓ‰ ÀÂÎÛ¯
Principal Camera Claude Lelouch
’Û‰ÓÊÌËÍ –Ó··Â ÀÛ¯‡
Production Designer Robert Luchaire
üÓÒÚ˛Ï˚ –˘‡‰ Ç‚ËÎ
Costumes Richard Marvil
ÃÛÁ˚͇ ‘˝ÌÒËÒ ÀÂ
Music Francis Lai
«‚ÛÍ ∆‡Ì ¡‡ÓÌÂ, Ã˯Âθ ‘‡ÌÓ
Sound Jean Baronnet, Michel Fano
¬ ÓΡı: ¿ÌÛÍ ›ÏÂ, ∆‡Ì-ÀÛË “ÂÌÚË̸ˇÌ, œ¸Â ¡‡Û,
Cast: Anouk Aimee, Jean-Louis Trintignant, Pierre Barouh,
¬‡ÎÂË À‡„‡ÌÊ, ¿ÌÚÛ‡Ì —ËÂ, —Û‡‰ ¿ÏˉÛ, ¿ÌË ÿÂÏËÌ,
Valerie Lagrange, Antoine Sire, Souad Amidou, Henri Chemin,
fl̇ ¡‡Ë, œÓΠΠœÂÒÓÌ, —ËÏÓÌ œ‡ËÒ, ∆Â‡ —ËÂ
Yane Barry, Paul Le Person, Simone Paris, Gerard Sire
œÓ‰˛ÒÂ üÎÓ‰ ÀÂÎÛ¯
Producer Claude Lelouch
œÓËÁ‚Ó‰ÒÚ‚Ó Les Films 13
Production Company Les Films 13
Love Story.
œÓÒΠÍÓÓÚÍÓ„Ó Á̇ÍÓÏÒÚ‚‡ ÏÂÊ‰Û ¿ÌÌ Ë ∆‡ÌÓÏ-ÀÛË
‚ÓÁÌË͇ÂÚ ‚Á‡ËÏ̇ˇ ÒËÏÔ‡Úˡ. –‡ÒÚÛ˘‡ˇ ÔË‚ˇÁ‡ÌÌÓÒÚ¸
ÌÂÁ‡ÏÂÚÌÓ ÔÂÂ‡ÒÚ‡ÂÚ ‚ β·Ó‚¸. ÃÛʘË̇ Ë ÊÂÌ˘Ë̇
Ò˜‡ÒÚÎË‚˚. ÕÓ ¿ÌÌ Ì ÏÓÊÂÚ Á‡·˚Ú¸ Ú‡„˘ÂÒÍË ÔÓ„Ë·¯Â„Ó
ÏÛʇ Ë ‚ ÒÏˇÚÂÌËË ÔÓÍˉ‡ÂÚ ∆‡Ì‡-ÀÛË. ”·ËÚ˚È „ÓÂÏ ÓÌ
‰ÂÚ ‚ œ‡ËÊ ‚ ̇‰Âʉ ‚ÌÓ‚¸ ۂˉÂÚ¸ ‚ÓÁβ·ÎÂÌÌÛ˛...
- ´«ÓÎÓÚ‡ˇ ԇθÏÓ‚‡ˇ ‚ÂÚ‚¸ª Ãü‘ ‚ ü‡Ì̇ı, 1966, ‰‚Â
ÔÂÏËË ¿ÏÂË͇ÌÒÍÓÈ ÍËÌӇ͇‰ÂÏËË Oscar, ‰‚ ÔÂÏËË
´«ÓÎÓÚÓÈ „ÎÓ·ÛÒª (Golden Globe) Ë ‰Û„Ë ÔËÁ˚.
Love Story.
After ‡ short acquaintance the mutual sympathy between
Anna and Jean-Louis grows. The attachment imperceptibly
develops into love. The man and the woman are happy. But
Anna cannot forget her husband, who died tragically;
confused, she leaves Jean-Louis. Heartbroken, he goes to Paris
in the hope of seeing his beloved again...
- Golden Palm, Cannes IFF, 1966; two OSCAR Academy
Awards; two Golden Globes and other prizes.
9 ԇθÏ
9 palms
–¿«√Œ¬Œ–
THE CONVERSATION
178
1974, —ÿ¿, 113 ÏËÌ, ˆ‚., mono/ Dolby SRD
1974, USA, 113 min, colour, mono/ Dolby SRD
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ ‘˝ÌÒËÒ ‘Ó‰ üÓÔÔÓ·
Scriptwriter and Director Francis Ford Coppola
ŒÔÂ‡ÚÓ ¡ËÎÎ ¡‡ÚÚÎÂ
Camera Bill Butler
’Û‰ÓÊÌËÍ ƒËÌ “‡‚Û·ËÒ
Production Designer Dean Tavoularis
üÓÒÚ˛Ï˚ ›„Ë √Â‡ –Ó‰ÊÂÒ
Costumes Aggie Guerard Rodgers
üÓÏÔÓÁËÚÓ ƒ˝È‚ˉ ÿË
Music David Shire
«‚ÛÍ Õ‡Ú‡Ì ¡ÓÍÒÂ, ÇÈÍÎ »‚¸Â, ¿Ú –Ó˜ÂÒÚÂ
Sound Nathan Boxer, Michael Evje, Art Rochester
¬ ÓΡı: ƒÊËÌ ’˝ÍχÌ, ƒÊÓÌ ü‡Á‡Î¸, ¿ÎÂÌ √‡ÙËΉ,
Cast: Gene Hackman, John Cazale, Allen Garfield, Frederic
‘‰ÂËÍ ‘ÓÂÒÚ, —ËÌ‰Ë ”ËθˇÏÒ, “ÂË √‡,
Forrest, Cindy Williams, Teri Garr, Harrison Ford
’‡ËÒÓÌ ‘Ó‰
Producer Francis Ford Coppola
œÓ‰˛ÒÂ ‘˝ÌÒËÒ ‘Ó‰ üÓÔÔÓ·
Production American Zoetrope, Paramount Pictures,
œÓËÁ‚Ó‰ÒÚ‚Ó American Zoetrope, Paramount Pictures,
The Coppola Company
The Coppola Company
ƒ‡Ï‡/ œÒËıÓÎӄ˘ÂÒÍËÈ ÚËÎÎÂ.
√‡Ë üÓÛÎ ó ËÁ‚ÂÒÚÌ˚È ÒÔˆˇÎËÒÚ ÔÓ ÔÓ‰ÒÎۯ˂‡˛˘ËÏ
ÛÒÚÓÈÒÚ‚‡Ï. ƒËÂÍÚÓ ÍÛÔÌÓÈ ÍÓÏÔ‡ÌËË Ì‡ÌËχÂÚ Â„Ó,
˜ÚÓ·˚ Á‡ÔËÒ‡Ú¸ ‡Á„Ó‚Ó ‰‚Ûı Ò‚ÓËı ÒÓÚÛ‰ÌËÍÓ‚. Œ‰Ì‡Ê‰˚
‚ Ò‚ˇÁË Ò ‰ÂÈÒڂˡÏË √‡Ë ÛÊ „Ë·ÎË Î˛‰Ë. » ÚÂÔÂ¸ Û
ÌÂ„Ó ÒÌÓ‚‡ ÂÒÚ¸ ÓÒÌÓ‚‡Ìˡ ÓÔ‡Ò‡Ú¸Òˇ ÍÛÔÌ˚ı
ÌÂÔˡÚÌÓÒÚÂÈ...
- ´«ÓÎÓÚ‡ˇ ԇθÏÓ‚‡ˇ ‚ÂÚ‚¸ª Ë ÔËÁ ˝ÍÛÏÂÌ˘ÂÒÍÓ„Ó Ê˛Ë
ó Ãü‘ ‚ ü‡Ì̇ı, 1974;
- œËÁ˚ ¡ËÚ‡ÌÒÍÓÈ ÍËÌӇ͇‰ÂÏËË ó BAFTA Awards, 1975 Ë ‰.
Harry Caul is a well-known expert on surveillance devices. The
director of a large company has hired him to record the
conversations of two of his employees. Some years previous,
Harryís work ha directly led to the death pf several people.
And now again he has reason to fear that it will happen
again...
- Golden Palm and Prize of the Ecumenical Jury,
Cannes IFF, 1974;
- Award of the British Film Academy (BAFTA), 1975, etc.
BALLAD OF NARAYAMA/NARAYAMA BUSHIKO
9 ԇθÏ
9 palms
¡¿ÀÀ¿ƒ¿ Œ Õ¿–¿…flÃ≈
179
1983, flÔÓÌˡ, 130 ÏËÌ., ˆ‚., ÏÓÌÓ
1983, Japan, 130 min, colour, mono
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ —∏ıÂÈ »Ï‡ÏÛ‡
Director and Scriptwriter Shohei Imamura
ŒÔÂ‡ÚÓ Ã‡Ò‡Ó “Ó¯ËÁ‡‚‡
Camera Masao Tochizawa
’Û‰ÓÊÌËÍË ÕÓ·Ûڇ͇ Ë “‡‰‡Ú‡Í‡ ®ÒËÌÓ
Production Designer Nobutaka Yoshino
üÓÒÚ˛Ï˚ üËÓÚÓ »Ò∏
Art Director Tadataka Yoshino
üÓÏÔÓÁËÚÓ ÿËÌ˘ËÓ »Í·Ë
Costumes Kyoto Isho
«‚ÛÍ üÂÌË˜Ë ¡ÂÌËÚ‡ÌË
Music Shinichiro Ikebe
Sound Kenichi Benitani
¬ ÓΡı: üÂÌ Œ„‡Ú‡, —ÛÏËÍÓ —‡Í‡ÏÓÚÓ, “‡ÍÂÓ ¿ÍË, “ÓÌÂÈ
’ˉ‡Ë, —ÂÈË üÛ‡Ò‡ÍË, ü‡ÓÛ —ËχÏÓË, –˛Ú‡Ó “‡ˆÛÏË,
Cast: Ken Ogata, Sumiko Sakamoto, Takejo Aki, Tonpei Hidari,
»ÌÍÓ “‡Í‡‰‡, ÕËÈÍÓ üË∏͇‚‡, ÃˈÛÍÓ ¡‡Ò∏, —∏Ë˜Ë ŒÁ‡‚‡
Seiji Kurasaki, Kaoru Shimamori, Ryutaro Tatsumi, Junko
Takada, Nijiko Kiyokawa, Mitsuko Baisho, Shoichi Ozawa
œÓËÁ‚Ó‰ÒÚ‚Ó Toei Co. Ltd.
Producers Goro Kusakabe, Jiro Tomoda
“‡„ËÍÓÏ˘ÂÒ͇ˇ ‰‡Ï‡/ œËÚ˜‡.
«‡ÚÂˇÌ̇ˇ ‰Â‚ۯ͇ „‰Â-ÚÓ ‚ „Ó‡ı. ¬‰Ó‚‡ „ÓÚÓ‚ËÚÒˇ
ÓÚÏÂÚËÚ¸ Ò‚Ó 70-ÎÂÚËÂ. œÓ Á‡ÍÓÌ‡Ï ‰Â‚ÌË ‚ ˝ÚÓÚ ‰Â̸ Ó̇
‰ÓÎÊ̇ ÓÚÔ‡‚ËÚ¸Òˇ ̇ „ÓÛ Õ‡‡ÈˇÏ‡, ˜ÚÓ·˚ Ú‡Ï ÛÏÂÂÚ¸.
¬ ‰Â‚Ì Ì ı‚‡Ú‡ÂÚ ÔÓ‰ÛÍÚÓ‚, Ë ÒÚ‡ËÍË, ‰ÓÊË‚¯Ë ‰Ó
ÒÂÏˉÂÒˇÚË, Ì ‰ÓÎÊÌ˚ Ó·ÂÏÂÌˇÚ¸ ÓÒڇθÌ˚ı ÊËÚÂÎÂÈ.
œÂ‰ ÛıÓ‰ÓÏ Ì‡ Õ‡‡ÈˇÏÛ ÒÚ‡‡ˇ ÊÂÌ˘Ë̇ ıÓ˜ÂÚ Û·‰ËÚ¸
‰Â· Ò‚ÓÂÈ ·Óθ¯ÓÈ ÒÂÏ¸Ë ó ÔÓÏÓ˜¸ ÒÚ‡¯ÂÏÛ Ò˚ÌÛ Ì‡ÈÚË
ÌÓ‚Û˛ ÊÂÌÛ; ‰Ó·ËÚ¸Òˇ ÓÚ Ò‰Ì„Ó, ˜ÚÓ·˚ ÓÌ ÒڇΠ̇ÍÓ̈
ÏÛʘËÌÓÈ; ‚‡ÁÛÏËÚ¸ ÒÚ‡¯Â„Ó ‚ÌÛ͇...
- ´«ÓÎÓÚ‡ˇ ԇθÏÓ‚‡ˇ ‚ÂÚ‚¸ª ó Ãü‘ ‚ ü‡Ì̇ı, 1983;
- œËÁ˚ flÔÓÌÒÍÓÈ ÍËÌӇ͇‰ÂÏËË, 1984 Ë ‰.
Production Toei Co. Ltd.
Tragicomedy. Parable.
A remote little village somewhere in the mountains. A widow
is preparing to mark her 70th birthday. Under the laws of the
village she has to leave on this day for the mountain
Narayama to die there. In the village there is no food, and old
people who have lived up to 70 should not burden the other
inhabitants. Before leaving for Narayama, the old woman
wants to settle the affairs of her big family: help the elder son
to find a new wife; get the middle son to become a man, at
last; bring her eldest grandson to see reason...
- Golden Palm, Cannes IFF, 1983;
- Prize of the Japanese Film Academy, 1984, etc.
9 ԇθÏ
9 palms
œ¿–»∆, “≈’¿—
PARIS, TEXAS
180
1984, ‘‡ÌˆËˇ/ ‘–√, 147 ÏËÌ., ˆ‚., 1:1.66, ÏÓÌÓ
1984, France/ West Germany, 147 min, color, 1:1.66, mono
–ÂÊËÒÒÂ ¬ËÏ ¬ẨÂÒ
Director Wim Wenders
¿‚ÚÓ ÒˆÂ̇ˡ —˝Ï ÿÂÔ‡‰
ŒÔÂ‡ÚÓ –Ó··Ë Ã˛ÎÎÂ
Scriptwriter Sam Shepard
··ller
Camera Robby Mu
’Û‰ÓÊÌËÍ ü˝ÈÚ ŒÎÚχÌ
Art Director Kate Altman
üÓÒÚ˛Ï˚ ¡Ë„ËÚÚ‡ ¡¸∏Í
Costumes Birgitta Bjerke
üÓÏÔÓÁËÚÓ –‡È üÛ‰Â
Music Ry Cooder
«‚ÛÍ ƒÓÏËÌËÍ Œ‚˝
Sound Dominique Auvray
¬ ÓΡı: √‡Ë ƒËÌ —ÚÂÌÚÓÌ, Õ‡ÒÚ‡Ò¸ˇ üËÌÒÍË, —˝Ï ¡˝Ë,
Cast: Harry Dean Stanton, Nastassja Kinski, Sam Berry,
¡Â̇ ¬ËÍË, ƒËÌ —ÚÓÍÛ˝ÎÎ, ¿‚Ó‡ üÎÂχÌ
Bernhard Wicki, Dean Stockwell, Aurore Clement
œÓËÁ‚Ó‰ÒÚ‚Ó Argos Films (‘‡ÌˆËˇ), Road Movies
Producers Anatole Dauman, Don Guest
Filmproduktion (‘–√)
Production Argos Films (France), Road Movies
Filmproduktion (West Germany)
ƒ‡Ï‡/ Road movie.
“‡„˘ÂÒ͇ˇ ËÒÚÓˡ ˜ÂÎÓ‚Â͇, ÍÓÚÓ˚È Ì ÏÓÊÂÚ
ÒÓ‚ÏÂÒÚËÚ¸ ÒÓ·ÒÚ‚ÂÌÌÛ˛ ΢ÌÓÒÚ¸ Ò ÓÍÛʇ˛˘ËÏ ÏËÓÏ.
√ÂÓÈ ÙËθχ “‚ËÒ ‰Ó·, ÔÓˇ‰Ó˜ÂÌ, ÌÓ ÂÏÛ Ì‡‰Ó ·˚ ÊËÚ¸
‚ ͇ÍÓÏ-ÌË·Û‰¸ Ô‡Úˇı‡Î¸ÌÓÏ Á‡ıÓÎÛÒÚ¸Â, ‡ Ì ‚
ÒÓ‚ÂÏÂÌÌÓÏ Ë̉ÛÒÚˇθÌÓÏ Ó·˘ÂÒÚ‚Â.
- ´«ÓÎÓÚ‡ˇ ԇθÏÓ‚‡ˇ ‚ÂÚ‚¸ª ó Ãü‘ ‚ ü‡Ì̇ı, 1984;
- œËÁ ËÏÂÌË ƒ‡‚ˉ‡ ‰Ë ƒÓ̇ÚÂÎÎÓ, »Ú‡Îˡ 1985;
- œËÁ √Ëθ‰ËË Ù‡ÌˆÛÁÒÍËı ÍËÌÓÍËÚËÍÓ‚, 1985;
- ´ÀÛ˜¯ËÈ ÙËÎ¸Ï „Ó‰‡ª (ALFS Award) ó ÔÓ ÔËÁ̇Ì˲
ÎÓ̉ÓÌÒÍÓÈ ÍËÚËÍË, 1985;
- ´ÀÛ˜¯ËÈ ÌÂψÍËÈ ÙËθϪ, ´ÀÛ˜¯‡ˇ ÌÂψ͇ˇ
͇ÏÂ‡ª ó Õ‡ˆËÓ̇θÌ˚ ÔÂÏËË ‘–√, 1985, Ë ‰.
Drama. Road movie.
About the complex destiny of a man, who cannot bring his
personality in alignment with the surrounding world. The
filmís hero, Travis, is kind and decent, but he should be living
in some patriarchal out-of-the-way place, and not in a modern
industrial society.
- Golden Palm, Cannes IFF, 1984;
- David di Donatello Award, Italy 1985;
- Prize of the French Syndicate of Cinema Critics, 1985;
- Best Film (ALFS Award), London Critics Circle Film
Award, 1985;
- Best German Film and Best German Camera, National
Awards of West Germany, 1985, etc.
ü–”√À¤≈ —“ŒÀ¤
¡ÛÌÓ ‡Á‚ËÚË ÓÒÒËÈÒÍÓ„Ó ÍËÌÂχÚÓ„‡Ù˘ÂÒÍÓ„Ó ˚Ì͇
‚ ÔÓÒΉÌËÈ „Ó‰ ÔË‚ÎÂ͇ÂÚ ‚ÌËχÌË ‚Ò ·ÓΠÒÂ¸ÂÁÌ˚ı
Á‡Û·ÂÊÌ˚ı ´Ë„ÓÍÓ‚ª. –ÓÒÒËÈÒÍÓ ÍËÌÓ ÔÓÒÚÂÔÂÌÌÓ ÒÚ‡ÌÓ‚ËÚÒˇ Á‡ÏÂÚÌ˚Ï ˇ‚ÎÂÌËÂÏ ‚ ‚ÓÔÂÈÒÍÓÏ ÔÓ͇ÚÂ. √ÓÎÎË‚Û‰ÒÍËÂ Ï˝È‰ÊÓ˚ Á‡‰ÛÏ˚‚‡˛ÚÒˇ Ó· ÓÚÍ˚ÚËË Ì‡ ÔÓÒÚÒÓ‚ÂÚÒÍÓÈ ÚÂËÚÓËË Ò‚ÓËı Ô‰ÒÚ‡‚ËÚÂθÒÚ‚, ‡ ‚ÓÔÂÈÒÍËÂ
ÔÓ‰˛ÒÂ˚, ̇ÍÓ̈, ̇˜Ë̇˛Ú ‡ÒÒχÚË‚‡Ú¸ –ÓÒÒ˲ Ì ‚
͇˜ÂÒÚ‚Â ÚÂËÚÓËË ˝ÍÁÓÚ˘ÂÒÍÓ„Ó ÚÛËÁχ, ÌÓ Í‡Í Ó‰ÌÛ ËÁ
ÒÚ‡Ì Ò ·Ó„‡Ú˚Ï ÍÓÏÏÂ˜ÂÒÍËÏ ÔÓÚÂ̈ˇÎÓÏ. »ÏÂÌÌÓ ‚ Ò‚ˇÁË Ò ˝ÚËÏË ËÁÏÂÌË‚¯ËÏËÒˇ Ó·ÒÚÓˇÚÂθÒÚ‚‡ÏË Ó‰ÌËÏ ËÁ ̇˷ÓΠËÌÚÂÂÒÌ˚ı Ë ÒÚ‡Ú„˘ÂÒÍË ‚‡ÊÌ˚ı ÏÂÓÔˡÚËÈ Ì‡
17-Ï ´üËÌÓÚ‡‚ª ӷ¢‡ÂÚ ·˚Ú¸ ´—ÂÏË̇ üÎÛ·‡ ‚ÓÔÂÈÒÍËı ÔÓ‰˛ÒÂÓ‚ª (6-7 Ë˛Ìˇ). ƒ‚Ûı‰Ì‚̇ˇ ÔÓ„‡Ïχ ‚ÂҸχ ̇Ò˚˘ÂÌ̇: Á‡Ô·ÌËÓ‚‡Ì˚ ‰ÓÍ·‰˚ ÓÒÒËÈÒÍËı Û˜‡ÒÚÌËÍÓ‚, Ó·ÒÛʉÂÌË ÔÓ·ÎÂÏ Ë ‚ÓÁÏÓÊÌÓÒÚÂÈ ÍÓÔÓ‰Û͈ËË,
ÔÂÒÓ̇θÌ˚ ‚ÒÚÂ˜Ë Ò ÓÒÒËÈÒÍËÏË ÂÊËÒÒÂ‡ÏË. ≈ÒÚ¸
̇‰Âʉ‡, ˜ÚÓ ÌÓ‚˚ ˇÍË ͇ÚËÌ˚, ‚ÓÁÌËͯË ‚ ÂÁÛθڇÚÂ
ÔÎÓ‰ÓÚ‚ÓÌÓ„Ó ÒÓÚÛ‰Ì˘ÂÒÚ‚‡ ̇ ÒÂÏË̇Â, Ï˚ ۂˉËÏ ‚
ÍÓÌÍÛÒÌÓÈ ÔÓ„‡ÏÏ ÒÎÂ‰Û˛˘Â„Ó ´üËÌÓÚ‡‚‡ª.
“‡ÍÊ ̇ 17 ´üËÌÓÚ‡‚ª ·Û‰ÂÚ ÔÓ‰ÓÎÊÂ̇ Ú‡‰ËˆËˇ ÔÓÙÂÒÒËÓ̇θÌ˚ı ÍÛ„Î˚ı ÒÚÓÎÓ‚ Ë Ó·ÒÛʉÂÌËÈ, ÔÓÒ‚ˇ˘ÂÌÌ˚ı
̇˷ÓΠ‡ÍÚۇθÌ˚Ï ÔÓ·ÎÂÏ‡Ï Ì˚̯ÌÂ„Ó ÓÒÒËÈÒÍÓ„Ó ÍËÌÂχÚÓ„‡Ù‡. ƒÎˇ ‰ËÒÍÛÒÒËÈ Ô‰ÎÓÊÂÌ˚ ÒÎÂ‰Û˛˘Ë ÚÂÏ˚:
ó ´ƒÂ‚ˇÌÓÒÚ˚Â Ë ´ÌÛ΂˚ª ó ˇÁ˚Í ÍËÌÓ Ë ÍËÌÓÔÓˆÂÒÒª
(8 Ë˛Ìˇ). ›Ú‡ ‚ÒÚ˜‡ ÔÓ‰‚‰ÂÚ ËÚÓ„Ë ÌÓ‚ÓÈ ÔÓ„‡ÏÏ˚ ÍËÌÓÙÂÒÚË‚‡Îˇ ñ ´ƒÂ‚ˇÌÓÒÚ˚Â. üËÌÓ, ÍÓÚÓÓ Ï˚ ÔÓÚÂˇÎ˪
(ÍÛ‡ÚÓ ÔÓ„‡ÏÏ˚ ñ ÍËÌӂ‰ À‡ËÒ‡ Ã‡Î˛ÍÓ‚‡). ¡ÂÒ‰Û
Ôӂ‰ÂÚ Ô‰Ò‰‡ÚÂθ √Ëθ‰ËË ÍËÌӂ‰ӂ Ë ÍËÌÓÍËÚËÍÓ‚
¬ËÍÚÓ ÇÚËÁÂÌ.
ó ´»ÚÓ„Ë ÍËÌÓÒÂÁÓ̇: ‡ÔÎÓ‰ËÒÏÂÌÚ˚ ÔÂʉ‚ÂÏÂÌÌ˚?ª (10
Ë˛Ìˇ): ‚ ÍÛ„ÎÓÏ ÒÚÓΠÔËÏÛÚ Û˜‡ÒÚËÂ: ÔÓ‰˛ÒÂ˚ ¿ÎÂÍ҇̉ –Ó‰ÌˇÌÒÍËÈ, »„Ó¸ “ÓÎÒÚÛÌÓ‚, üÓÌÒÚ‡ÌÚËÌ ›ÌÒÚ, ¬‡ÎÂËÈ “Ó‰ÓÓ‚ÒÍËÈ, —Â„ÂÈ —ÂθˇÌÓ‚, ≈ÎÂ̇ flˆÛ‡, ¬Î‡‰ËÏË ƒÓÒڇθ, ÂÊËÒÒÂ˚ ¿ÎÂÍÒÂÈ ”˜ËÚÂθ Ë ‘‰Ó ¡Ó̉‡˜ÛÍ, ‡ Ú‡ÍÊ ‰Û„Ë ÍÛÔÌÂȯË ÓÒÒËÈÒÍË ÍËÌӉ¡ÚÂÎË.
¬Â‰Û˘ËÈ ÍÛ„ÎÓ„Ó ÒÚÓ· ó ÒÓˆËÓÎÓ„ Ë ËÒÒΉӂ‡ÚÂθ ÍËÌÓ
ƒ‡ÌËËÎ ƒÓ̉ÛÂÈ.
ó üÛ„Î˚È ÒÚÓΠ̇ ÚÂÏÛ ´üËÌÓÙÂÒÚË‚‡ÎË Ë ÍËÌÓ·ËÁÌÂÒª (10
Ë˛Ìˇ) ӷ¢‡ÂÚ ÒÚ‡Ú¸ Ó‰ÌËÏ ËÁ ̇˷ÓΠÁ̇˜ËÏ˚ı ÏÂÓÔˡÚËÈ ÙÂÒÚË‚‡Îˇ. ¡ÂÁ ÍÓÏÏÂ˜ÂÒÍÓÈ ÒÓÒÚ‡‚Ρ˛˘ÂÈ ÛÊ Ì ӷıÓ‰ËÚÒˇ ÌË Ó‰ËÌ ÒÂ¸ÂÁÌ˚È ÍËÌÓÒÏÓÚ, Ë ´üËÌÓÚ‡‚ª Ì ÒÚ‡ÌÂÚ ËÒÍβ˜ÂÌËÂÏ. —‚Ó ÔËÒÛÚÒÚ‚Ë ̇ Á‡Ò‰‡ÌËË ÔÓ‰Ú‚Â‰ËÎË: ∆ÂÓÏ œ‡È· ó ‰ËÂÍÚÓ ü‡ÌÌÒÍÓ„Ó ÍËÌÓ˚Ì͇
(Marche du Film), ÇÚË̇ ¡Î‡ÈÒ ó Ô‰ÒÚ‡‚ËÚÂθ ¡ÂÎËÌÒÍÓ„Ó ˚Ì͇ ÍÓÔÓ‰Û͈ËË (Berlinale Co-Production Market),
›ÎËÒ ƒËÒÒÂÌ ó „·‚‡ Holland Film Meeting,Ó‰ÌÓ„Ó ËÁ ÍÛÔÌÂȯËı ‚ ≈‚ÓÔ ÏÂʉÛ̇Ó‰Ì˚ı ˚ÌÍÓ‚ ÔÓÂÍÚÓ‚, ÃË‡
—ڇ΂‡ ñ ‰ËÂÍÚÓ ÏÂʉÛ̇Ó‰ÌÓ„Ó ÔËÚ˜ËÌ„‡ ̇ Ãü‘ ‚ —ÓÙËË, —ÚÂÙ‡Ì À‡Û‰˚Ì ñ ‰ËÂÍÚÓ ¬‡¯‡‚ÒÍÓ„Ó Ãü‘ Ë ‰ËÂÍÚÓ ÍËÌÓ˚Ì͇ CentEast, œ‡Ò͇θ –‡ÏÓ̉‡ ñ ÛÍÓ‚Ó‰ËÚÂθ
ÙÂÒÚË‚‡Î¸ÌÓ„Ó Óډ· ÍËÌÓÍÓÏÔ‡ÌËË Celluloid Dreams.
ó œ‰ÒÚ‡‚ËÚÂθÌÓÏÛ Á‡Ò‰‡Ì˲ ·Û‰ÂÚ Ô‰¯ÂÒÚ‚Ó‚‡Ú¸ ÌÓ‚ÓÂ
‰Îˇ ̇¯Â„Ó ÙÂÒÚË‚‡Îˇ ÏÂÓÔˡÚË ñ ´œËÚ˜ËÌ„ª (9 Ë˛Ìˇ). Õ‡
˝ÚÓÈ ‚ÒÚ˜ ‚ÌËχÌ˲ ‚Â‰Û˘Ëı ÔÓ‰˛ÒÂÓ‚ ÓÚ˜ÂÒÚ‚ÂÌÌÓ„Ó
ÍËÌÓ ÏÓÎÓ‰˚ ÍËÌÂχÚÓ„‡ÙËÒÚ˚ Ô‰ÒÚ‡‚ˇÚ Ò‚ÓË Ë‰ÂË Ë ÒËÌÓÔÒËÒ˚ ·Û‰Û˘Ëı ͇ÚËÌ. Շ˷ÓΠ۷‰ËÚÂθÌ˚È Ë ÔÓÚÂ̈ˇθÌÓ ËÌÚÂÂÒÌ˚È ÔÓÂÍÚ ÔÓÎÛ˜ËÚ ‰ÂÌÂÊÌ˚È ÔËÁ, ‡ ÂÒÎË ÔÓ‰˛ÒÂ˚ Á‡ËÌÚÂÂÒÛ˛ÚÒˇ ‡ÎËÁ‡ˆËÂÈ Ô‰ÒÚ‡‚ÎÂÌÌ˚ı ÔÓÂÍÚÓ‚,
ÚÓ Ë ‚ÓÁÏÓÊÌÓÒÚ¸ ۂˉÂÚ¸ Ò‚Ó˛ ˉ² ‚ÓÔÎÓ˘ÂÌÌÓÈ Ì‡ ˝Í‡ÌÂ.
“‡ÍÊ ̇ ÙÂÒÚË‚‡Î ÔÓȉÂÚ Ú‡‰ËˆËÓÌ̇ˇ ‚ÒÚ˜‡ ˜ÎÂÌÓ‚
‘»œ–≈——» (11 Ë˛Ìˇ). ¬ ˝ÚÓÏ „Ó‰Û ÚÂχ ·ÂÒ‰˚ ó ´–ÛÒÒÍÓÂ
ÍËÌÓ: Ú‡‰ËˆËË, ‡‚‡Ì„‡‰, ÍÓÏÏÂˆË‡ÎËÁ‡ˆËˇ. œÓ¯ÎÓÂ,
̇ÒÚÓˇ˘ÂÂ, ·Û‰Û˘Âª. ¬ÒÚÂ˜Û Ôӂ‰ÂÚ ÔÂÁˉÂÌÚ
‘»œ–≈——» ¿Ì‰ÂÈ œÎ‡ıÓ‚.
ROUND TABLES
The rapid development of the Russian film market over the
last year has drawn the attention of more and more serious
foreign ìplayersî. Russian cinema has gradually become a
noticeable phenomenon in European distribution. The
Hollywood majors reflect on opening their branches in the
post-Soviet territories, and European producers, at last, begin
to consider Russia not as country for exotic tourism but as a
country with rich commercial potential. In connection with
these changed circumstances one of the most interesting and
strategically important events at the 17th ìKinotavrî is the
seminar of the ìClub of European Producersî (6-7 June). The
two-day program is quite dense: reports by Russian
participants, discussions of problems and opportunities for coproduction, and personal meetings with Russian directors are
planned. There it is hoped that new striking film that will
emerge as a result of the fruitful cooperation at this seminar
will be seen in the competition programme at the next
ìKinotavrî.
The 17th ìKinotavrî will also continue the traditional
professional round tables and discussions devoted to the most
topical problems of contemporary Russian cinema. The
following themes are suggested for discussions:
ó ìThe 90s and 00s: the language of cinema and the
cinematic processî (8 June). This meeting will sum up the new
programme of the film festival, ìThe 1990s: The Cinema that
we have Lostî (programme curated by the film scholar Larisa
Maliukova). Moderation: the chairman of the Guild of Film
Critics and Film Scholars, Victor Matizen.
ó ìResults of the cinematic season: applause premature?î (10
June). Participants of the round table: producers Alexander
Rodnyansky, Igor Tolstunov, Konstantin Ernst, Valeri
Todorovsky, Sergei Selianov, Elena Yatsura, Vladimir Dostal;
directors Alexei Uchitel and Fiodor Bondarchuk, as well as
other major Russian cinematographers. Moderation: sociologist
and researcher Daniil Dondurei.
ó Round table on the topic ìFilm festivals and film businessî
(10 June), which promises to become one of the most
significant events of the festival. Without the commercial
component no serious festival can manage, and ìKinotavrî is
no exception. Confirmed participants include: Jero^me Paillard,
director of the Cannes film market (Marche du Film); Martina
Bleis, representative of the Berlinale Co-Production Market;
Ellis Driessen, head of the Holland Film Meeting, one of the
largest international project markets in Europe; Mira Staleva,
director of the international pitching at the Sofia IFF; Stefan
Laudyn, director of the Warsaw IFF and director of the filmmarket CentEast; Pascale Ramonda, head of the festival
department of the film company Celluloid Dreams.
ó The main session will be preceded by a new event for our
festival: ìpitchingî (9 June). At this meeting young
cinematographers will present their ideas and synopses of
their future films to the attention of leading producers of
Russian cinema. The most convincing and potentially
interesting project will receive a monetary prize, and if
producers will be interested in the realization of the submitted
projects, they also receive the opportunity to see their idea
embodied on screen.
The traditional meeting of members of FIPRESCI will also
take place at the festival (11 June). This year the theme of the
conversation will be ìRussian cinema: traditions, avant-garde,
commercialization. Past, present, futureî. The meeting will be
moderated by FIPRESCI president Andrei Plakhov.
181
»Ì‰ÂÍÒ ÙËθÏÓ‚
Index of films
182
1919 ..............................................................................................44
9 –Œ“¿......................................................................................92, 93
977............................................................................................78, 79
GARPASTUM ............................................................................80, 81
HARD ............................................................................................45
¿Õ√≈À –”——üŒ… ÷≈–ü¬» œ–Œ“»¬ Œ“÷¿ ¬—≈’ Õ¿–ŒƒŒ¬ ..........126
¿Õ“ŒÀŒ√»fl –Œ——»…—üŒ√Œ ü»ÕŒ ........................................116, 117
¿–ÿ¬»– ....................................................................................138
¿‘–»ü¿Õ—ü¿fl üŒÀ¤¡≈À‹Õ¿fl ..................................................46
¡¿ÀÀ¿ƒ¿ Œ Õ¿–¿flÃ≈ ................................................................179
¡≈—À¿Õ. —¬»ƒ≈“≈À» ....................................................................47
¡ÀŒü¿ƒ¿ ....................................................................................127
¡ŒÀ‹ÿ¿fl Àfi¡Œ¬‹ ..................................................................94, 95
¬ «¿“ŒÕ≈ ....................................................................................127
¬ û–≈ ¡≈«ÃŒÀ¬»fl....................................................................173
¬ —ÀŒÃ¿ÕÕ¤… ûü–Œ—üŒœ ä ”¬»ƒ»Ã ü¿«¿Õ‹ ....................49
¬ƒŒ’ ¬¤ƒŒ’ ..........................................................................82, 83
¬≈ÿü» Õ¿ƒ –≈üŒ… ....................................................................128
¬Œ«¬–¿Ÿ≈ÕÕ¤≈ ÿ≈ƒ≈¬–¤ ................................................114, 115
¬ŒÀ√¿-¬ŒÀ√¿ ......................................................................120, 121
¬ŒÀ‹Õ¤… œ≈–≈¬Œƒ ................................................................12, 13
¬Œ–ŒÕ-Œ¡Ã¿ÕŸ»ü ......................................................................48
¬–≈Ãfl œ≈◊¿À» ≈Ÿ≈ Õ≈ œ–»ÿÀŒ ............................................139
¬—≈ ƒ≈“» –Œ∆ƒ¿fi“—fl «–fl◊»Ã» ..............................................128
¬¤ƒŒ’ ..........................................................................................50
¬›ÀÀ¿..........................................................................................129
√¿ƒü»≈ À≈¡≈ƒ»......................................................................14, 15
√¿ƒfiÿŒÕŒü ................................................................................51
√ƒ≈ «¿’¿–? ..................................................................................52
√–¿∆ƒ¿Õ—üŒ≈ —Œ—“ŒflÕ»≈ ........................................................129
√–”œœ¿ ü–Œ¬»............................................................................130
ƒ¿ ¡”ƒ”“ ƒÕ» Õ¿ÿ» ƒÀ»Õդû............................................130
ƒ¿Ã¤ » √Œ—œŒƒ¿ ......................................................................176
ƒ≈¬Œ◊ü» ......................................................................................53
ƒ≈Õ‹ œŒÀÕŒÀ”Õ»fl ....................................................................140
ƒ≈Õ‹ —ŒÀÕ÷¿ » ƒŒ∆ƒfl ............................................................150
ƒ»ü»…, ƒ»ü»… œÀfl∆. ∆¿– Õ≈∆Õ¤’ ................................84, 85
ƒÕ≈¬ÕŒ… ƒŒ«Œ– ......................................................................96, 97
ƒŒ¡–¤Õfl Õ»ü»“»◊ » «Ã≈… √Œ–¤Õ¤◊ ................................98, 99
∆≈—“¤Ö œ–»Ã»–≈Õ»≈ ................................................................54
∆≈—“‹ ..................................................................................100, 101
∆»¬Œ… ....................................................................................16, 17
«¿ ƒ≈Õ‹ ƒŒÖ ..............................................................................141
«¿fl÷ Õ¿ƒ ¡≈«ÕŒ… ..................................................................18, 19
«≈ÃÀfl » œ≈œ≈À ..................................................................154, 155
«≈–ÕŒ ¬ ”’≈ ........................................................................156, 157
«»ÃÕ»≈ ü¿Õ»ü”À¤ ....................................................................55
«À¤ƒÕ» ........................................................................................56
»√–Œü», »À» —≈…◊¿— ¬¤…ƒ≈“ ŒÀ≈√ ....................................86, 87
»«Œ¡–¿∆¿fl ∆≈–“¬” ..............................................................20, 21
»—œŒÀÕflfiŸ»… Œ¡≈“ ................................................................175
ü¿–“Œÿü¿ Õ¿ —¿À≈ ....................................................................57
ü¿—“»Õ√......................................................................................119
ü»ÕŒ¬≈ü —≈–√≈fl üŒÃ¿–Œ¬¿ ....................................................131
À≈—Õ¿fl ¡–¿“¬¿ ..................................................................102, 103
À»Ã¿Õ ..........................................................................................58
À»◊Õ¿fl ∆»«Õ‹ ü”«fl≈¬¿ ¬¿À≈Õ“»Õ¿ ....................................150
À”Õ¿“Õ¤≈ ”ÿ¿—“»ü» ..............................................................59
ÿ–—≈À‹≈«¿ ................................................................................60
ÿ–“» ........................................................................................172
Ã≈◊“¤ »ƒ»Œ“¿ ..........................................................................142
ÃÕ≈ Õ≈ ¡ŒÀ‹ÕŒ ......................................................................22, 23
ÃŒ» ¬Œ–ŒÕ¤ ..............................................................................131
ÃŒ… ü≈—À≈¬—ü»… ........................................................................61
ÃŒ–≈Ö ü¿ÃÕ»Ö » Àfi¡Œ¬‹ ........................................................62
ÃŒfl À”◊ÿ¿fl ÿÿ............................................................158, 159
Ô∆◊»Õ¿ » ∆≈ÕŸ»Õ¿ ............................................................177
Õ¿¬¿∆ƒ≈Õ»≈ «¿œ¿’¿ ................................................................63
Õ¿Õü»Õ—ü»… œ≈…«¿∆ ..........................................................24, 25
Õ≈Àfi¡Œ¬‹ ..................................................................................143
Õ≈œ–»fl“Õ¿fl »—“Œ–»fl ................................................................64
Õ»ü“Œ Õ≈ «Õ¿≈“ œ–Œ —≈ü— ................................................104, 105
ÕŒ√¿ ............................................................................................144
Œü–¿»Õ¿ ....................................................................................145
Œ–¿Õ∆≈¬¤… ƒ∆¿« ....................................................................146
Œ—“–Œ¬ ........................................................................................8, 9
Œ‘—¿…ƒ ................................................................................160, 161
Œ’Œ“¿ Õ¿ œ»–¿Õ‹fi ..........................................................106, 107
œ¿–»∆, “≈’¿—............................................................................180
œ¿–ü —Œ¬≈“—üŒ√Œ œ≈–»Œƒ¿ ..................................................26, 27
œ≈–≈√ŒÕ ..................................................................................28, 29
œ»“≈– FM ............................................................................108, 109
œŒü¿ ŒÕ À≈“¿À............................................................................65
œ–Œ¡”∆ƒ≈Õ»≈ ............................................................................66
–¿«√Œ¬Œ– ....................................................................................178
–ŒÃ¿ÿü» ....................................................................................67
—¬¿“Œ¬—“¬Œ ..................................................................................68
—¬Œ¡ŒƒÕŒ≈ œÀ¿¬¿Õ»≈ ..........................................................30, 31
—¬Œ…, ◊”∆Œ… ..............................................................................69
—¬ŒÀŒ◊» ..............................................................................110, 111
—¬fl«‹ ......................................................................................32, 33
—≈ƒ‹ÃŒ… —œ”“Õ»ü ....................................................................151
—≈Õ“≈Õ÷»» œ¿Õ“≈À≈fl ü¿–ÿՌ¬¿ ..........................................70
—Œ—≈ƒü¿ ¬¿…—ÿտ ....................................................................71
—œ¿—»¡Œ «¿ –¤¡”........................................................................72
———–-–Œ——»fl-“–¿Õ«»“ ................................................................132
—“¿–¿fl ƒ¿◊¿................................................................................73
—“ŒÀ‹ ƒŒÀ√Œ≈ Œ“—”“—“¬»≈ ........................................................174
—“–¿ÕÕ»ü ..............................................................................34, 35
—”ƒ≈¡Õ¤… »—œŒÀÕ»“≈À‹ ..................................................162, 163
—”ƒ‹¡¿ ûÀÀ»ŒÕ≈–¿ ¬ –Œ——»» ..............................................132
—”ÿ—ÿ≈ƒÿ»… œ–»Õ÷ ›—‘»–‹ ........................................122, 123
—÷≈Õ¿ ........................................................................................133
“≈ÃÕ¿fl ÀŒÿ¿ƒü¿ ..............................................................164, 165
“»Ã”–. »—“Œ–»fl œŒ—À≈ƒÕ≈√Œ œŒÀ≈“¿ ....................................133
“ŒœŒ–»Ÿ≈ ....................................................................................74
“Œ◊ü¿ ......................................................................................36, 37
“–¿√»“”–√»fl................................................................................75
‘≈—“»¬¿À‹ ..........................................................................166, 167
◊≈ÀŒ¬≈ü ¡≈«¬Œ«¬–¿“Õ¤… ....................................................38, 39
◊≈–Õ¿fl Ÿ≈“ü¿ ..................................................................168, 169
◊≈“¤–≈ —“–¿Õ»÷¤ ŒƒÕŒ… ÃŒÀŒƒŒ… ∆»«Õ»..........................151
ÿŒÿŒ ......................................................................................88, 89
›…‘Œ–»fl ................................................................................40, 41
fi«, ƒ∆¿«, »–ü¿ » œ≈— ..............................................................134
fl ü ¬¿Ã “–¿¬Œfi œ–Œ–¿—“”Ö ....................................................134
1919 ..............................................................................................44
977............................................................................................78, 79
9th COMPANY ............................................................................92, 93
AFRICAN LULLABY, AN..................................................................46
ALIVE ......................................................................................16, 17
ALL CHILDREN ARE BORN WITH SIGHT........................................128
AND AS GRASS I GROW UP TO YOUÖ............................................134
ANGEL OF THE RUSSIAN CHURCH AGAINST THE FATHER OF ALL PEOPLES, THE....126
ANTHOLOGY OF RUSSIAN CINEMA ........................................116, 117
ARMAVIR ....................................................................................138
AWAKENING ..................................................................................66
AXE HELVE, THE............................................................................74
BALLAD OF NARAYAMA ..............................................................179
BASTARDS ............................................................................110, 111
BESLAN. WITNESSES ......................................................................47
BIG LOVE ..................................................................................94, 95
BIG-EARED SLEEPWALKERS ..........................................................59
BLACK BRUSH ......................................................................168, 169
BLOCKADE ....................................................................................127
BLOOD TYPE ................................................................................130
CAMOMILES ....................................................................................67
CASTING, THE ..............................................................................119
CIVIL CONDITION, A......................................................................129
COLLECTOR, THE ..................................................................162, 163
CONVERSATION, THE ....................................................................178
COURTSHIP ....................................................................................68
Dark Horse ............................................................................164, 165
DAY BEFORE, THE ........................................................................141
DAY OF SUN AND RAIN, A............................................................150
DAY OF THE FULL MOON, THE......................................................140
DAY WATCH ............................................................................96, 97
DISLIKE, THE................................................................................143
DOBRYNIA AND DRAGON..........................................................98, 99
EARTH AND ASHES ..............................................................154, 155
ESTUARY........................................................................................58
EUPHORIA ................................................................................40, 41
EXHALE ........................................................................................50
FATE OF A MILLIONAIRE IN RUSSIA, THE ....................................132
FESTIVAL ..............................................................................166, 167
FILM-CENTURY OF SERGEY üŒÃ¿–Œ¬¿, THE ..............................131
FOUR PAGES OF A YOUNG LIFE ....................................................151
FREE FLOATING ........................................................................30, 31
FREE TRANSLATION ................................................................12, 13
FRIED POTATOES ............................................................................57
GADYUSHONOK ..............................................................................51
GARPASTUM ............................................................................80, 81
GESTURESÖ RECONCILIATION ........................................................54
GIRLS ............................................................................................53
GRAIN IN EAR ......................................................................156, 157
HARD ............................................................................................45
IDIOTíS DREAMS ..........................................................................142
In the Backwaters ..........................................................................127
INHALE EXHALE ......................................................................82, 83
ISLAND, THE ................................................................................8, 9
IT DOESNíT HURT......................................................................22, 23
JUNK ....................................................................................100, 101
KEEPER OF PROMISES ..................................................................175
LEG, THE ......................................................................................144
LET OUR DAYS BE LONG ..............................................................130
LONG ABSENCE, THE ....................................................................174
MAD PRINCE ESTHER ............................................................122, 123
MAN AND A WOMAN, A................................................................177
MAN OF NO RETURN, THE ........................................................38, 39
MARSEILLAISE ..............................................................................60
MARTY ........................................................................................172
MAXIMS OF PANTELEI KARMANOV, THE........................................70
MOTHER OF MINE..................................................................158, 159
MY CROWS ..................................................................................131
MY KIESLOWSKI ............................................................................61
NANKIN LANDSCAPE ................................................................24, 25
NOBODY KNOWS SEX ............................................................104, 105
HUNTING FOR PIRANHA........................................................106, 107
OFFSIDE ................................................................................160, 161
OLD DACHA, THE............................................................................73
OLEG WILL APPEAR NOW........................................................86, 87
ORANGE JAZZ ..............................................................................146
OURS, THEIRS ................................................................................69
OUTSKIRTS ..................................................................................145
OVER THE HEDGE..................................................................102, 103
PARIS, TEXAS ..............................................................................180
PITER FM ..............................................................................108, 109
PLAYING THE VICTIM ..............................................................20, 21
PRIVATE LIFE OF KUZIAYEV VALENTIN, THE ..............................150
RABBIT OVER THE VOID............................................................18, 19
RAVEN CHEAT, THE ......................................................................48
RELATIONS ..............................................................................32, 33
RETURNED MASTERPIECES....................................................114, 115
RODS ON THE RIVER ....................................................................128
SCENT OBSESSION ..........................................................................63
SEAÖ STONESÖ AND LOVE ............................................................62
SEVENTH COMPANION, THE..........................................................151
SHOSHO ....................................................................................88, 89
SIGNORE & SIGNORI ....................................................................176
SILENT WORLD, THE ....................................................................173
SOVIET PARK ............................................................................26, 27
SPOT, THE ................................................................................36, 37
STAGE, THE ..................................................................................133
THANKS FOR THE FISH ..................................................................72
TIME FOR SORROW HAS NOT YET COME, THE ..............................139
TIMUR. THE HISTORY OF THE LAST FLIGHT ................................133
TRAGITURGIA ................................................................................75
TRANSIT ..................................................................................28, 29
UGLY SWANS, THE ..................................................................14, 15
UNPLEASANT STORY ......................................................................64
USSR ñ RUSSIA TRANSIT ..............................................................132
VELLA ..........................................................................................129
VOLGA-VOLGA ......................................................................120, 121
WANDERER, THE ......................................................................34, 35
WE WILL SEE KAZAN IN THE BROKEN MICROSCOPE ......................49
WEISSMANíS NEIGHBOUR ..............................................................71
WHERE IS ZAKHAR? ......................................................................52
WHILE HE WAS FLYING ................................................................65
WICKED CREATURES......................................................................56
WILD, WILD BEACH. THE HEAT OF THE GENTLE ......................84, 85
WINTER VACATION, THE ................................................................55
YUZ, JAZZ, IRKA AND DOG ..........................................................134
Abdrashitov, Vadim ....................................................................138
Aronov, Grigory ..........................................................................151
Atanisian, Alexander ............................................................110, 111
Averbakh, Ilya ............................................................................150
Balabanov, Alexei ....................................................................22, 23
Bekmambetov, Timur ..............................................................96, 97
Bondarchuk, Fyodor ................................................................92, 93
Boretsky, Oleg ............................................................................141
Borisova, Elena ............................................................................59
Borts, Nikolai ..............................................................................74
Bosenko, Sergei ............................................................................51
Brashinsky Mikhail ......................................................................130
Bychenko, Svetlana ......................................................................131
Bychkova, Oksana ................................................................108, 109
Colpi, Henri ................................................................................174
Coppola, Francis Ford ..................................................................178
Cousteau, Jacques-Yves ................................................................173
Duarte, Anselmo..........................................................................175
Dykhovichny, Ivan ..................................................................82, 83
Erofeeva, Alexandra ......................................................................69
Esadze, Rezo ..............................................................................151
Falk, Feliks ........................................................................162, 163
Fedorchenko, Alexei ................................................................88, 89
Fenchenko Anna............................................................................68
Fiks, Dmitry ..........................................................................94, 95
Gai Germanika, Valeria ..................................................................53
Gerchikov, Vladimir ....................................................................129
German Jr., Alexei ..................................................................80, 81
German, Alexei ..........................................................................151
Germi, Pietro ..............................................................................176
Gimatdinova, Roza ........................................................................71
Gordeev, Alexei....................................................................104, 105
Griffin, Annie......................................................................166, 167
Grokhovskaia, Ekaterina ..........................................................38, 39
Guchmazov, Boris..........................................................................66
Gugueva, Natalia ........................................................................133
Gusman, Yuli ..........................................................................26, 27
Haro, Klaus ........................................................................158, 159
Imamura, Shohei ........................................................................179
Isaakian, Artiom ..........................................................................45
Isupov, Alexander........................................................................146
Izvolov, Nikolai....................................................................114, 115
Johnson, Tim ......................................................................102, 103
Karandashov, Sergei ................................................................34, 35
Kari, Dagur ........................................................................164, 165
Kavun, Andrei ....................................................................106, 107
Keosaian, Tigran......................................................................18, 19
Kessel, Alexander..........................................................................65
Khazanova, Elena ....................................................................12,13
Khlebnikov, Boris ....................................................................30, 31
Khomeriki, Nikolai ..................................................................78, 79
Kireeva, Marianna ................................................................116, 117
Kireeva, Marianna ......................................................................131
Kirkpatrick, Karey ..............................................................102, 103
Kogan, Arkady ............................................................................128
Kolesnikov, Alexei ......................................................................134
Kondrashina, Ksenia......................................................................57
Korshunov, Filipp ........................................................................67
Koval, Stepan ..............................................................................56
Kuznetsov, Andrei ........................................................................48
Kuznetsova, Varvara ....................................................................47
Labazov, Pavel ....................................................................120, 121
Lelouch, Claude ..........................................................................177
Lipovka, Lyudmila ........................................................................72
Litovets, Sergei ............................................................................49
Liznev, Boris ..............................................................................128
Lopushansky, Konstantin ..........................................................14, 15
Lounguine, Pavel ........................................................................8, 9
Loznitsa, Sergei ..........................................................................127
Lu, Zhang ..........................................................................156, 157
Lutsik, Pyotr ..............................................................................145
Magdich, Andrei ..........................................................................75
Malinin, Sasha ..............................................................................50
Malle, Louis ................................................................................173
Mann, Delbert ............................................................................172
Maslennikov, Igor ........................................................................150
Maximov, Ilya ........................................................................98, 99
Miakisheva, Vera ..........................................................................63
Miroshnichenko, Sergei ................................................................134
Moroz, Yuri ............................................................................36, 37
Mostovoy, Pyotr ..........................................................................133
Naumov, Alexander ......................................................................60
Nedorosleva, Leila ........................................................................44
Negreba, Alexander ....................................................................141
Neimand, Denis....................................................................100, 101
Nerezenko, Oksana ........................................................................62
Paiusova, Julia ............................................................................64
Panahi, Jafar ......................................................................160, 161
Paradjanov, Georgy......................................................................130
Parshchikov, Timofei ....................................................................58
Pichul, Vasily..............................................................................142
Rahimi, Atiq........................................................................154, 155
Rastorguev, Alexander ............................................................84, 85
Rasulzade, Chingiz ........................................................................54
Rogozhkin, Alexander ..............................................................28, 29
Rubinchik, Valery ............................................................24, 25, 143
Rudnitskaya, Alina ......................................................................129
Selianov, Sergei ..........................................................................139
Serebrennikov, Kirill ................................................................20, 21
Serov, Konstantin ........................................................................70
Shakhnazarov, Karen ..................................................................140
Shepotinnik, Peter ..................................................................86, 87
Shiller, Yuri ..............................................................................127
Silvestrov, Andrei ................................................................120, 121
Skvortsova, Elizaveta ....................................................................46
Smirnova, Avdotia ..................................................................32, 33
Sokolov, Victor............................................................................150
Stolpovskaya, Olga ......................................................................119
Stvolinsky, Andrei ........................................................................52
Tarasova, Anastasia ......................................................................73
Tiagunov, Nikita ........................................................................144
Tikhomirov, Dmitry ......................................................................55
Titov, Andrei ..............................................................................132
Trush, Marina ............................................................................131
Tukhvatullin, Vadim......................................................................60
Vasilieva, Irina............................................................................132
Veledinsky, Alexander ..............................................................16, 17
Volkova, Irina ..............................................................................61
Vranik, Roland ....................................................................168, 169
Vyrypaev, Ivan ........................................................................40, 41
Wenders, Wim ............................................................................180
Yukhananov, Boris ..............................................................122, 123
Zalotukha, Valery ........................................................................126
»Ì‰ÂÍÒ ÂÊËÒÒÂÓ‚
Index of directors
¿·‰‡¯ËÚÓ‚ ¬‡‰ËÏ ....................................................................138
¿‚Â·‡ı »Î¸ˇ ............................................................................150
¿ÓÌÓ‚ √Ë„ÓËÈ ........................................................................151
¿Ú‡ÌÂÒˇÌ ¿ÎÂÍ҇̉ ............................................................110, 111
¡‡Î‡·‡ÌÓ‚ ¿ÎÂÍÒÂÈ..................................................................22, 23
¡ÂÍχϷÂÚÓ‚ “ËÏÛ ................................................................96, 97
¡Ó̉‡˜ÛÍ ‘‰Ó ....................................................................92, 93
¡ÓˆÍËÈ ŒÎ„ ..........................................................................141
¡ÓËÒÓ‚‡ ≈ÎÂ̇ ............................................................................59
¡Óˆ ÕËÍÓÎ‡È ..............................................................................74
¡ÓÒÂÌÍÓ —Â„ÂÈ ............................................................................51
¡‡¯ËÌÒÍËÈ ÃËı‡ËÎ ..................................................................130
¡˚˜ÂÌÍÓ —‚ÂÚ·̇ ......................................................................131
¡˚˜ÍÓ‚‡ ŒÍ҇̇ ..................................................................108, 109
¬‡ÒË肇 »Ë̇ ........................................................................132
¬ÂΉËÌÒÍËÈ ¿ÎÂÍ҇̉ ..........................................................16, 17
¬ẨÂÒ, ¬ËÏ..............................................................................180
¬ÓÎÍÓ‚‡ »Ë̇ ............................................................................61
¬‡ÌËÍ, –Ó·̉ ..................................................................168, 169
¬˚˚ԇ‚ »‚‡Ì ......................................................................40, 41
√‡È √ÂχÌË͇ ¬‡ÎÂˡ ................................................................53
√ÂÏ‡Ì ¿ÎÂÍÒÂÈ ..........................................................................151
√ÂχÌ-ÏÎ. ¿ÎÂÍÒÂÈ ................................................................80, 81
√Â˜ËÍÓ‚ ¬Î‡‰ËÏË ....................................................................129
√ËχډËÌÓ‚‡ –ÓÁ‡ ........................................................................71
√Ó‰Â‚ ¿ÎÂÍÒÂÈ ..................................................................104, 105
ü‡‚ÛÌ ¿Ì‰ÂÈ ....................................................................106, 107
√ËÙÙËÌ, ›ÌÌË ..................................................................166, 167
√ÓıÓ‚Ò͇ˇ ≈͇ÚÂË̇ ............................................................38, 39
√Û„Û‚‡ Õ‡Ú‡Îˡ ........................................................................133
√ÛÒχÌ, fiÎËÈ ........................................................................26, 27
√ۘχÁÓ‚ ¡ÓËÒ ............................................................................66
ƒÊÂÏË, œ¸ÂÚÓ ........................................................................176
ƒÊÓÌÒÓÌ, “ËÏ ....................................................................102, 103
ƒÛ‡ÚÂ, ¿ÌÒÂθÏÓ ......................................................................175
ƒ˚ıӂ˘Ì˚È »‚‡Ì ..................................................................82, 83
≈ÓÙ‚‡ ¿ÎÂÍ҇̉‡....................................................................69
«‡ÎÓÚÛı‡ ¬‡ÎÂËÈ ......................................................................126
»Á‚ÓÎÓ‚ ÕËÍÓÎ‡È ................................................................114, 115
»Ï‡ÏÛ‡, —∏ıÂÈ..........................................................................179
»Ò‡‡ÍˇÌ ¿ÚÂÏ ............................................................................45
»ÒÛÔÓ‚ ¿ÎÂÍ҇̉ ......................................................................146
ü‡‡Ì‰‡¯Ó‚ —Â„ÂÈ ................................................................34, 35
ü‡Ë, ƒ‡„Û ........................................................................164, 165
üÂÓÒ‡ˇÌ “Ë„‡Ì ......................................................................18, 19
üÂÒÒÂθ ¿ÎÂÍ҇̉ ......................................................................65
üË‚‡ ÇˇÌ̇ ..............................................................116, 117
üË‚‡ ÇˇÌ̇ ......................................................................131
üËÍÔ‡ÚËÍ, ü˝Ë ............................................................102, 103
üÓ‚‡Î¸ —ÚÂÔ‡Ì..............................................................................56
üÓ„‡Ì ¿͇‰ËÈ ..........................................................................128
üÓÎÂÒÌËÍÓ‚ ¿ÎÂÍÒÂÈ ..................................................................134
üÓθÔË, ¿ÌË ............................................................................174
üÓ̉‡¯Ë̇ üÒÂÌˡ ....................................................................57
üÓÔÔÓ·, ‘˝ÌÒËÒ ‘Ó‰ ..............................................................178
üÓ¯ÛÌÓ‚ ‘ËÎËÔÔ ......................................................................67
üÛÁ̈ӂ ¿Ì‰ÂÈ..........................................................................48
üÛÁ̈ӂ‡ ¬‡‚‡‡ ......................................................................47
ÀËÚӂˆ —Â„ÂÈ ............................................................................49
üÛÒÚÓ, ∆‡Í-»‚ ..........................................................................173
À‡·‡ÁÓ‚ œ‡‚ÂÎ ....................................................................120, 121
ÀÂβ¯, üÎÓ‰ ............................................................................177
ÀËÁÌ‚ ¡ÓËÒ ............................................................................128
ÀËÔӂ͇ À˛‰ÏË· ........................................................................72
ÀÓÁÌˈ‡ —Â„ÂÈ ..........................................................................127
ÀÓÔÛ¯‡ÌÒÍËÈ üÓÌÒÚ‡ÌÚËÌ ......................................................14, 15
ÀÛ, ◊ʇÌ............................................................................156, 157
ÀÛÌ„ËÌ œ‡‚ÂÎ ............................................................................8, 9
ÀÛˆËÍ œÂÚ................................................................................145
Ç„‰Ë˜ ¿Ì‰ÂÈ ............................................................................75
ÇÍÒËÏÓ‚ »Î¸ˇ ......................................................................98, 99
ÇÎËÌËÌ —‡¯‡ ............................................................................50
Çθ, ÀÛË..................................................................................173
ÇÌÌ, ƒÂηÂÚ............................................................................172
ÇÒÎÂÌÌËÍÓ‚ »„Ó¸ ....................................................................150
ÃËÓ¯Ì˘ÂÌÍÓ —Â„ÂÈ ................................................................134
ÃÓÓÁ fiËÈ ..........................................................................36, 37
ÃÓÒÚÓ‚ÓÈ œÂÚ ..........................................................................133
ÃˇÍ˯‚‡ ¬Â‡............................................................................63
Õ‡ÛÏÓ‚ ¿ÎÂÍ҇̉........................................................................60
Õ„·‡ ¿ÎÂÍ҇̉ ....................................................................141
Õ‰ÓÓÒ΂‡ ÀÂÈ· ......................................................................44
ÕÂÈχ̉ ƒÂÌËÒ....................................................................100, 101
ÕÂÂÁÂÌÍÓ ŒÍ҇̇ ........................................................................62
œ‡Ì‡ıË, ƒÊ‡Ù‡ ................................................................160, 161
œ‡‡‰Ê‡ÌÓ‚ √ÂÓ„ËÈ ..................................................................130
œ‡˘ËÍÓ‚ “ËÏÓÙÂÈ ......................................................................58
œ‡˛ÒÓ‚‡, fiÎˡ ............................................................................64
œË˜ÛÎ ¬‡ÒËÎËÈ ..........................................................................142
–‡ÒÚÓ„Û‚ ¿ÎÂÍ҇̉..............................................................84, 85
–‡ÒÛÎÁ‡‰Â ◊ËÌ„ËÁ ........................................................................54
–‡ıËÏË, ¿ÚÚËÍ ....................................................................154, 155
–Ó„ÓÊÍËÌ ¿ÎÂÍ҇̉ ..............................................................28, 29
–Û·Ë̘ËÍ ¬‡ÎÂËÈ ..........................................................24, 25, 143
–Û‰Ìˈ͇ˇ ¿ÎË̇ ......................................................................129
—ÂθˇÌÓ‚ —Â„ÂÈ ........................................................................139
—Â·ÂÌÌËÍÓ‚ üËËÎÎ............................................................20, 21
—ÂÓ‚ üÓÌÒÚ‡ÌÚËÌ ........................................................................70
—Ëθ‚ÂÒÚÓ‚ ¿Ì‰ÂÈ ............................................................120, 121
—Í‚ÓˆÓ‚‡ ≈ÎËÁ‡‚ÂÚ‡ ....................................................................46
—ÏËÌÓ‚‡ ¿‚‰ÓÚ¸ˇ ..................................................................32, 33
—ÓÍÓÎÓ‚ ¬ËÍÚÓ ..........................................................................150
—Ú‚ÓÎËÌÒÍËÈ ¿Ì‰ÂÈ ....................................................................52
—ÚÓÎÔÓ‚Ò͇ˇ ŒÎ¸„‡ ......................................................................119
“‡‡ÒÓ‚‡ ¿Ì‡ÒÚ‡Òˡ ......................................................................73
“ËÚÓ‚ ¿Ì‰ÂÈ ............................................................................132
“ËıÓÏËÓ‚ ƒÏËÚËÈ ....................................................................55
“Û¯ ÇË̇ ............................................................................131
“Ûı‚‡ÚÛÎÎËÌ ¬‡‰ËÏ ......................................................................60
“ˇ„ÛÌÓ‚ ÕËÍËÚ‡..........................................................................144
‘‡Î¸Í, ‘ÂÎËÍÒ ....................................................................162, 163
‘‰Ó˜ÂÌÍÓ ¿ÎÂÍÒÂÈ ..............................................................88, 89
‘Â̘ÂÌÍÓ ¿Ì̇ ............................................................................68
‘ËÍÒ ƒÏËÚËÈ........................................................................94, 95
’‡Á‡ÌÓ‚‡ ≈ÎÂ̇ ......................................................................12, 13
’‡Ó, ü·ÛÒ ........................................................................158, 159
’ηÌËÍÓ‚ ¡ÓËÒ ....................................................................30, 31
’ÓÏÂËÍË ÕËÍÓÎ‡È ................................................................78, 79
ÿ‡ı̇Á‡Ó‚ ü‡ÂÌ......................................................................140
ÿÂÔÓÚËÌÌËÍ œÂÚ ..................................................................86, 87
ÿËÎÎÂ fiËÈ ............................................................................127
›Ò‡‰Á –ÂÁÓ ................................................................................151
fiı‡Ì‡ÌÓ‚ ¡ÓËÒ..................................................................122, 123
183
Œ„‡ÌËÁ‡ˆËË/ ÍÓÌÚ‡ÍÚ˚
—ompanies/ contacts
184
12¿ (Moscow, Russia)
Tel.: (495) 924-29-95, 925-76-45
Fax: (495) 925-59-97, 200-32-03
E-mail: studio_12a@mail.ru;
www.rolan.ru
1+1 Studio (Kiev, Ukraine)
Tel.: (044) 490-01-01;
fax: (044) 490-70-97
E-mail: fialko@base.1plus1.net;
www.1plus1.tv
A.G. Pictures Group (Moscow, Russia)/
¿.√..œË͘ÂÁ (ÃÓÒÍ‚‡)
Tel.: (495) 506-76-93; fax: 143-49-17
CTB (Moscow ñ St. Petersburg, Russia)/
—“¬ (ÃÓÒÍ‚‡ ñ —‡ÌÍÚ-œÂÚÂ·Û„)
Tel./ fax (Moscow): (495) 688-88-48,
684-58-17, 631-02-45;
Tel. (St. Petersburg): (812) 326-83-30,
8289; fax: (812) 326-83-31
E-mail: msk@ctb.ru, pr@ctb.ru;
www.ctb.ru
Courier (Moscow, Russia)/
üÛ¸Â (ÃÓÒÍ‚‡)
Tel.: (495) 143-4938; 143-93-36
A.K.V./ ¿.ü..¬. (St. Petersburg)
Tel.: (812) 237-04-72; 238-60-00; 230-94-89
Culture of Siberian People
(Novosibirsk, Russia)
üÛθÚÛ‡ ̇Ó‰Ó‚ —Ë·ËË
(ÕÓ‚ÓÒË·ËÒÍ)
E-mail: ernazarova@mail.ru
Absheron Artists (Moscow/ Russia)
Mob.: 916 1055625, e-mail:
super35@mail.ru
D-Film (Moscow, Russia)/
ƒ-ÙËÎ¸Ï (ÃÓÒÍ‚‡)
Tel. fax: (495) 745-28-88
AMA Film Company
(Moscow, Russia)/ ¿Ã¿ (ÃÓÒÍ‚‡)
Tel: (495) 143-94-90, 143-94-21
E-mail: amacinema@mail.ru
Doo Entertainment (South Korea)
Tel.: +82 2 3675 7536;
fax: +82 2 3675 7535
E-mail: filmdoo@yahoo.co.kr
Ark-Film (Moscow, Russia)/
¿Í-ÙËÎ¸Ï (ÃÓÒÍ‚‡)
Tel..: (495) 143-49-35; 143-92-43
E-mail: arkfilm@mosfilm.ru
Federal Agency for Culture
and Cinematography
‘‰Â‡Î¸ÌÓ ‡„ÂÌÚÒÚ‚Ó ÔÓ ÍÛθÚÛÂ
Ë ÍËÌÂχÚÓ„‡ÙËË
Tel.: (495) 629-37-04; www.mkmk.ru
Art Pictures Group (Moscow, Russia)
Tel.: (495) 143-49-44;
e-mail: artpict@co.ru
Artima Studio (Moscow, Russia)/
¿ÚËχ (ÃÓÒÍ‚‡)
Mob. (495) 792-76-73;
e-mail: marinatrush@mtu-net.ru
Atalanta (Moscow, Russia)/
¿Ú‡Î‡ÌÚ‡ (ÃÓÒÍ‚‡)
Tel.: (495) 739-43-48
Atlantic Studio (Moscow, Russia)/
¿Ú·ÌÚËÍ (ÃÓÒÍ‚‡)
Tel./fax: (495) 181-03-86; e-mail:
studio_atlantic@mail.ru
August (Moscow, Russia)/
¿‚„ÛÒÚ (ÃÓÒÍ‚‡)
Tel.: +095 707-27-99;
8-905 719-07-25 (mob.)
E-mail: mayram49@mail.ru
Bazelevs Production (Moscow, Russia)
Tel.: (495) 223-04-00, 143-71-64;
fax: (495) 143-17-23
E-mail: film@bazelevs.ru;
www.bazelevs.ru
Calendar (Moscow, Russia)/
ü‡ÎẨ‡¸ (ÃÓÒÍ‚‡)
Tel.: (495) 962-47-00
CDP (France)
Tel.: 0146050022; fax: 0146050259
E-mail: cdpdussart@aol.com
Celluloid Dreams (Paris, France)
Tel.: (33 1) 4970 0371;
fax: (33 1) 4970 0371
E-mail: info@celluloid-dreams.com;
www.celluloid-dreams.com
Central Partnership (Moscow, Russia) /
÷ÂÌÚ‡Î œ‡ÚÌÂ¯ËÔ (ÃÓÒÍ‚‡)
Tel: (495) 777-49-53, 777-49-61;
981-82-15; fax: (495) 799-56-70
E-mail: part@centpart.ru;
www.centpart.ru
Cine Fantom (Moscow, Russia)/
—ËÌ ‘‡ÌÚÓÏ (ÃÓÒÍ‚‡)
Tel: (495) 104-68-64;
www.cinefantom.ru
Channel One Russia (Moscow)/
œÂ‚˚È Í‡Ì‡Î (ÃÓÒÍ‚‡)
Tel.: (495) 617-73-87
E-mail: kino@1tv.ru; www.1tv.ru
Filmpartners ñ Ò/o Magyar Filmunio
Tel.: (36 1) 351 7760;
fax: (36 1) 352 6734
E-mail: kati.vajda@filmunio.hu;
www.filmunio.hu
Filmteam ñ Ò/o Magyar Filmunio
Tel.: (36 1) 351 7760;
fax: (36 1) 352 6734
E-mail: kati.vajda@filmunio.hu;
www.filmunio.hu
Films Distribution/
Mercure Int. (Paris, France)
Tel..: (33) 01 53 10 33 99/
fax: (33) 01 53 10 33 98
E-mail: info@filmsdistribution.com
www.filmsdistribution.com
Fishka-film (Moscow, Russia)/
‘˯͇-ÙËÎ¸Ï (ÃÓÒÍ‚‡)
Tel: (495) 241-70-58;
e-mail: a_radov@yandex.ru
Gemini Film (Moscow, Russia)/
√ÂÏËÌË ‘ËÎ¸Ï (ÃÓÒÍ‚‡)
Tel.: (495) 780-01-04;
fax: (495) 780-01-05
E-mail: press-centre@geminifilm.ru;
www.geminifilm.ru
Georgy Paradzhanov Film
(Moscow, Russia)
√ÂÓ„ËÈ œ‡‡‰Ê‡ÌÓ‚ (ÃÓÒÍ‚‡)
Tel.: 495 211-62-94; e-mail:
paradzhanov@mail..ru
HCSF ñ High Courses of
Scriptwriters and Film Directors
(Moscow)
¬ü—– ñ ¬˚үˠÍÛÒ˚ ÒˆÂ̇ËÒÚÓ‚
Ë ÂÊËÒÒÂÓ‚
Tel.: +095 253-64-88, 253-39-57;
fax: 095 253-87-09
E-mail: hcsf@aha.ru; www.kinobraz.ru
Inforg Studio ñ c/o Magyar Filmunio
Tel.: (36 1) 351 7760;
fax: (36 1) 352 6734
E-mail: kati.vajda@filmunio.hu;
www.filmunio.hu
Intercinema Art (Moscow, Russia)/
»ÌÚÂÒËÌÂχ ¿Ú (ÃÓÒÍ‚‡)
Tel: (495) 255-90-82; 255-94-21;
fax: (495) 255-90-52
E-mail: intercin@edunet.ru;
www.intercinema.ru
Internews (Moscow, Russia)/
»ÌÚÂ̸˛Ò (ÃÓÒÍ‚‡)
Tel.: (495) 956-22-48;
fax: (495) 291-21-74
E-mail: grigory@internews.ru
Kazan Film Studio
(Kazan, Tatarstan Republic, RF)
ü‡Á‡ÌÒ͇ˇ ÍËÌÓÒÚÛ‰Ëˇ (ü‡Á‡Ì¸)
Tel./ fax: +8432 422-820,
+8432 422-528
E-mail: kazan_docstudio@mail.ru
Kinotavr ñ ORFF in Sochi
(Moscow, Russia)
üËÌÓÚ‡‚ ñ Œ–ü‘ ‚ —Ó˜Ë (ÃÓÒÍ‚‡)
Tel.: (495) 543-18-12, 916-90-60
E-mail: info@kinotavr.ru;
www.kinotavr.ru
Kinoteatr.doc (Moscow, Russia)/
üËÌÓÚ‡Ú.doc (ÃÓÒÍ‚‡)
Tel. (495) 143 92 43;
mob. +7 910 409 40 81 (Mikhail Siniov)
E-mail: sinev@kinoteatrdoc.ru;
www.kinoteatrdoc.ru
Koktebel Film Company (Moscow, Russia)/
üÓÍÚ·Âθ (ÃÓÒÍ‚‡)
Tel.: (495) 708-81-19;
fax: (495) 708-80-51
E-mail: kino@cinemax.ru
Korshunov, Filipp (Moscow, Russia)
üÓ¯ÛÌÓ‚ ‘ËÎËÔÔ (ÃÓÒÍ‚‡)
Mob. 916-641-8916; E-mail:
fil_ko@hotmail.com
Krug (Moscow, Russia)/
üÛ„ (ÃÓÒÍ‚‡)
Tel: (495) 143-94-84;
fax: (495) 143-92-58
E-mail: krug@mosfilm.ru;
spirit@mosfilm.ru
Lenfilm (St. Petersburg, Russia)/
ÀÂÌÙËÎ¸Ï (—œ·)
Tel.: (812) 326-83-83/81;
Fax: (812) 232-88-81
E-mail: lenfilm@mail.ru
Maxim Gorky Film Studio
(Moscow, Russia)
üËÌÓÒÚÛ‰Ëˇ ËÏÂÌË
ÇÍÒËχ √Ó¸ÍÓ„Ó (ÃÓÒÍ‚‡)
Tel.: (495) 181-04-34;
181-01- 83, 181-04-30
E-mail: info@gorkyfilm.ru;
press@gorkyfilm.ru
MB Production (Moscow, Russia)
Tel.: (495) 540-66-36. 540-91-60;
fax: (495) 540-66-39
≈-mail: deep@mbpro.ru; www.mbpro.ru
Melnitsa Studio (St. Petersburg,
Russia)/ ÃÂθÌˈ‡ (—œ·)
Tel.: (812) 567-15-40;
fax: (812) 567-85-06
E-mail: ppmidic@mail.wplus.net;
www.melnitsa.com
Mercure International (Paris, France)
Tel.: (33 1) 5310 3399 /
Fax: (33 1) 5310 3398
E-mail: info@filmsdistribution.com
www.filmsdistribution.com
Metronome Films (Moscow, Russia)/
ÃÂÚÓÌÓÏ-‘ËÎ¸Ï (ÃÓÒÍ‚‡)
Tel.: (495) 181-05-84,
mob.: 8-916-486-39-83
E-mail: info@metronomefilms.ru,
agottlieb@rambler.ru
Mikhail Kalatozovís Fund
(Moscow, Russia)
‘Ó̉ ÃËı‡Ë· ü‡Î‡ÚÓÁÓ‚‡ (ÃÓÒÍ‚‡)
Tel.: (495) 259-10-72
Mosfilm (Moscow, Russia)/
ÃÓÒÙËÎ¸Ï (ÃÓÒÍ‚‡)
Tel.: +495 143-91-18, -19;
fax: (495) 938-20-83; 232-93-38
E-mail: mosfilm@mosfilm.ru
Motor Film Studio (Moscow, Russia)
ÃÓÚÓ ÙËÎ¸Ï ÒÚÛ‰Ëˇ (ÃÓÒÍ‚‡)
Tel.: (495) 209-73-63,
mob. 109-05-48 (Mikhail Kurbatov)
MRP Matila Rohr Productions Oy
(Finland)
Tel.: +358-9-540 7820;
fax: +358-9-540 78210
E-mail: mrp@matilarohr.com
Nashe Kino (Moscow, Russia)/
Õ‡¯Â ÍËÌÓ (ÃÓÒÍ‚‡)
Tel./fax: (495) 681-51-41
E-mail: nashekino@ctb.ru;
www.nashekino.ctb.ru
Nerezenko&Co (Moscow, Russia)
E-mail: onerezenko@yandex.ru
NETSKI Studio named
after Savva Kulish (Moscow, Russia)
üËÌÓÒÚÛ‰Ëˇ Õ›÷ü» ËÏÂÌË —‡‚‚˚
üÛÎ˯‡ (ÃÓÒÍ‚‡)
Tel./fax: (495) 617-87-49,
mob.: 974-52-30
E-mail: arnogis@mail.ru
Nordisk Film International Sales
Tel.: (45 36) 18 82 00;
fax: (45 36) 18 95 50
E-mail: contact@nordiskfilm.com,
www.sales.nordiskfilm.com
Novye Lyudi/ New Men
(Moscow, Russia)/
ÕÓ‚˚ β‰Ë (ÃÓÒÍ‚‡)
Mob.: (495) 789-50-12,
e-mail: mok69@mail..ru
Ostrov (Moscow, Russia)/
ŒÒÚÓ‚ (ÃÓÒÍ‚‡)
Tel.: (495) 245-44-67
Pack Line (Israel)
Tel.: +972-3-558 1534;
fax: +972-3-558 3635
E-mail: info@packline.com
Paradise (Moscow, Russia)/
œ‡‡‰ËÁ (ÃÓÒÍ‚‡)
Tel.: (495) 916-90-18
E-mail: pcparadiz@mail.ru
Pathe Pictures International
(London, UK)
Tel: (44 207) 462 4427,
fax: (44 207) 436 7891
E-mail: international.sales@pathe-uk.com
Pavel Lounguine Studio
(Moscow, Russia)
—ÚÛ‰Ëˇ œ‡‚· ÀÛÌ„Ë̇ (ÃÓÒÍ‚‡)
Tel.: (495) 143-93-88,
gidrat@mosfilm..ru
Pervoe Kinopartnerstvo
(Moscow, Russia)
œÂ‚Ó üËÌÓÔ‡ÚÌÂÒÚ‚Ó (ÃÓÒÍ‚‡)
Tel.: (495) 143-27-10; e-mail:
2plan2@inbox.ru
www.euphoria-film.com
PiEF (St. Petersburg, Russia)
œË›‘ ñ —ÚÛ‰Ëˇ ÔÂ‚Ó„Ó Ë
˝ÍÒÔÂËÏÂÌڇθÌÓ„Ó ÙËθχ (—œ·)
Tel.:/ fax: (812) 237-07-01, 237-07-09
E-mail: sever@pief.sp.ru;
chootko@mail.ru
ProFIT (Moscow, Russia)/
œÓ‘»“ (ÃÓÒÍ‚‡)
Tel.: (495) 915-33-01
E-mail: info@ntvprofit.ru;
pr@ntvprofit.ru
CTC Television (Moscow, Russia)/
—“— (ÃÓÒÍ‚‡)
Tel/: (495) 797-41-00;
fax: (495) 797-41-01
E-mail: ctc@ctc-tv.ru; www.ctc-tv.ru
Proline-film (St. Petersburg, Russia)
Tel.: (812) 233-95-61, 438-11-34;
E-mail: info@proline-film.ru
Telemost (Moscow, Russia)/
“ÂÎÂÏÓÒÚ
Tel.: (495) 928-70-13; e-mail:
studia_telemost@mail.ru
Protel (Moscow, Russia)/
œÓÚÂÎ (ÃÓÒÍ‚‡)
Tel.: (495) 916-93-49
E-mail: info@ntvprofit.ru;
pr@ntvprofit.ru
Telekino (Moscow, Russia)/
“ÂÎÂÍËÌÓ (ÃÓÒÍ‚‡)
Tel.: (495) 143-92-01,
143-92-00, 143-97-85
E-mail: mail@mosfilm.ru
Pygmalion Production Film Co
(Moscow, Russia)
œË„χÎËÓÌ œÓ‰‡Í¯Ì (ÃÓÒÍ‚‡)
Tel.: (495) 290-02-58; 234-30-41
E-mail: pgmfilm@bk.ru;
pr@pgmfilm..ru
TNT Television (Moscow, Russia)/
“Õ“ (ÃÓÒÍ‚‡)
Tel.: (495) 783-30-00;
fax: (495) 783-30-01
E-mail: regions@tnt-tv.tu
Racoon-TV (Moscow, Russia)/
–ÂÍÛÌ-“¬ (ÃÓÒÍ‚‡)
Tel.: (495) 774-21-13
E-mail: davidenkoDA@rtr-tv.ru
TochkaZrenia (Moscow, Russia)/
“Ә͇ ÁÂÌˡ (ÃÓÒÍ‚‡)
Tel./fax: (495)973-33-58
E-mail: tochkaz@yandex.ru
Risk (Moscow, Russia)/ –ËÒÍ (ÃÓÒÍ‚‡)
Tel.: (495) 209-40-55; 209-40-66
E-mail: movie@riskstudio.ru
Trust Film Sales ApS (Denmark)
Tel.: +45 3686 8788;
fax: +45 3677 4448
E-mail: post@trust-film.dk;
www.trust-film.dk
Ritm Studio (Moscow, Russia)/
–ËÚÏ (ÃÓÒÍ‚‡)
Tel.: (495) 147-63-86,
147-24-89, 143-90-48
E-mail: ritm@mosfilm.ru
Rock (Moscow ñ St. Petersburg, Russia)
–ÓÍ (ÃÓÒÍ‚‡ ñ —‡ÌÍÚ-œÂÚÂ·Û„)
Tel. (in Moscow): (495) 629-04-77
Tel. (in St. Petersburg): (812) 714-20-56
E-mail: rockfilmstudio@mail.ru
Rolan Bykovís Fund (Moscow, Russia)/
‘Ó̉ –Ó·̇ ¡˚ÍÓ‚‡ (ÃÓÒÍ‚‡)
Tel.: (495) 916-93-00; 924-40-51;
fax: (495) 200-32-20
E-mail: paradis@cityline.ru
RTR ñ Russia Television
(Moscow, Russia)
–“– ñ “ÂÎÂ͇̇Π´–ÓÒÒˡª (ÃÓÒÍ‚‡)
Tel.: (495) 955-86-42;
730-43-79; 955-81-53
E-mail: avsc.rtr@rtr-tv.ru;
www.rtr-tv.ru
SDF (St. Petersburg, Russia)/
—ƒ‘ (—œ·)
Tel: (812) 714-08-06; 714-53-12,
714-11-05, 714-53-12
Fax: (812) 714-33-04
E-mail: cinedoc@comset.net;
cinedoc@peterstar.ru
Slon Studio (Moscow, Russia)/
—ÎÓÌ (ÃÓÒÍ‚‡)
Tel.: (495) 181-03-86, 181-33-24;
fax: (495) 181-03-86
E-mail: studio_slon@bk.ru;
sabina_erem@mail.ru
Slovo Film Studio (Moscow, Russia)/
—ÎÓ‚Ó, ÍËÌÓÒÚÛ‰Ëˇ (ÃÓÒÍ‚‡)
Tel.: (495) 143-95-03; 143-97-98
E-mail: kinoslovo@kinoslovo.com;
murashova@kinoslovo.com
Slovo, Production Company
(Moscow, Russia)
—ÎÓ‚Ó, œÓ‰˛ÒÂÒ͇ˇ ÍËÌÓÍÓÏÔ‡Ìˡ
(ÃÓÒÍ‚‡)
Tel../fax: (495) 143-49-17; 97-25;
tÂÎ.: (495) 143-91-60
Email: kinoslovo@kinoslovo.ru
Snega/ Sky (Ekaterinburg, Russia)/
—Ì„‡ (≈͇ÚÂËÌ·Û„)
Tel.: (343) 261-39-12; e-mail:
snega@sky.ru
Soyuz (Moscow, Russia)/ —Ó˛Á (ÃÓÒÍ‚‡)
Tel: (495) 143-49-26; 147-23-10
TVP SA (Warsaw, Poland)
Tel: +48 22 547 6139;
fax: +48 22 547 7583
E-mail: sales@tvp.pl
Ukraine Media Group (Kiev, Ukraine)
”Í‡ËÌÒ͇ˇ ωËÈ̇ˇ „ÛÔÔ‡ (üË‚)
Tel.: (044) 454-19-38
UIP ñ United International Pictures
(USA)
Tel. (in Moscow, Russia):
(495) 981-07-63, 981-07-59, 981- 07-61
Fax (in Moscow, Russia): (495) 981-07-60
E-mail: info@uip.com; www.uip.com
Vertov &Co (Moscow, Russia)/
¬ÂÚÓ‚ Ë üÓ (ÃÓÒÍ‚‡)
Tel.: (495) 235-51-98, 235-42-41
E-mail: studio@vertov.ru;
www.vertov.ru
VGIK ñ Educational Studio of the
All-Russia Institute of
Cinematography (Moscow, Russia)
¬√»ü ËÏÂÌË —.¿.√Â‡ÒËÏÓ‚‡ (ÃÓÒÍ‚‡)
Tel: (495) 181-13-14;
fax: (495) 187-71-74
E-mail: vgik@mail.cnt.ru;
vgik_rektorat@mail.ru;
www.vgik-edu.ru
V.K. ñ Campaign (Moscow, Russia)/
V.ü ñ ü‡ÏÔ‡Ìˡ (ÃÓÒÍ‚‡)
Tel.: (495) 200-03-68
VOZ (Moscow, Russia)/ ¬Œ« (ÃÓÒÍ‚‡)
Mob. 8-926-525-6036; e-mail:
santamagda@mail.ru
VT Cinema (Moscow, Russia)
Tel.: (495) 603-09-43; 585-49-00
E-mail: info@arthouse-vt.ru,
alexandrnaumv@rambler.ru
West Company (Moscow, Russia)/
¬ÂÒÚ (ÃÓÒÍ‚‡)
Tel.: (495) 916-28-28, e-mail:
shneerson@westvideo.ru
YuG-TV (Moscow, Russia)/
fi√-“¬ (ÃÓÒÍ‚‡)
Tel.: (495) 506-76-93;
fax: (495) 143-49-17
ZGfilm (Moscow, Russia)
Tel./ fax: (495) 680-15-39, 680-15-21
E-mail: zgfilm@mail.ru; www.zgfilm
Œ„‡ÌËÁ‡ˆËË/ ÍÓÌÚ‡ÍÚ˚
—ompanies/ contacts
Ministry of Culture of Ukraine
(Kiev, Ukraine)
ÃËÌËÒÚÂÒÚ‚Ó ÍÛθÚÛ˚ ”Í‡ËÌ˚
(üË‚)
Tel.: (044) 226-26-45; 234-40-94;
fax: (044) 225-32-57
E-mail: dergkino@mincult.gov.ua
185
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ÿ¿Ã¤√»Õ” À‹¬”
SPECIAL
THANKS
TO THE GOVERNOR OF THE KRASNODAR REGION
ALEXANDER NIKOLAEVICH TKACHIOV
TO THE HEAD OF SOCHI CITY ADMINISTRATION
VICTOR VICTOROVICH KOLODIAZHNY
TO THE FEDERAL AGENCY FOR CULTURE AND
CINEMATOGRAPHY:
MIKHAIL EFIMOVICH SHVYDKOI
ALEXANDER ALEXEEVICH GOLUTVA
SERGEI VLADIMIROVICH LAZARUK
GALINA MARKOVNA STROCHKOVA
IRINA ANATOLIEVNA SOROKINA
TO GOSFILMOFOND:
NIKOLAI MIKHAILOVICH BORODACHEV
VLADIMIR YURIEVICH DMITRIEV
TO THE DEPUTY HEAD OF THE KRASNODAR
REGIONAL ADMINISTRATION
GALINA DMITRIEVNA ZOLINA
TO THE DEPARTMENT OF CULTURE OF THE
KRASNODAR REGION
TO THE HEAD OF THE DEPARTMENT OF CULTURE OF
THE KRASNODAR REGION
NATALIA GEORGIEVNA PUGACHEVA
TO AEROFLOT AIRLINES:
TO THE HEAD OF THE DEPARTMENT OF INCOME
MANAGEMENT OF THE RF AND CIS
EVGENI ANATOLIEVICH SKOROBOGATOV
TO THE HEAD OF THE DEPARTMENT OF GROUP
TRANSPORT
SVETLANA VALENTINOVNA KUZINA
TO THE MOTOR TRANSPORT AGENCY ìAGATHAî
IRINA VADIMOVNA ALADDINA
TO THE COMPANY ìKINOPROJECTî:
IGOR YURIEVICH KISELEV
ALEXANDER YURIEVICH RUBIN
TO THE COMPANY ìSOUD ñ SOCHI EXHIBITIONSî:
YURI ALEXANDROVICH ZAKHARCHENKO
INNA IVANOVNA ZAKHARCHENKO
TO SOCHI AIRPORT:
ALEXEI GEORGIEVICH BLIZNIUKOV
SVETLANA VASILIEVNA KUNAKHOVA
TO THE PRODUCTION BUREAU ìEXITî:
ANTON KALINKIN
VLADIMIR PONOMARENKO
TO THE ADVERTISING SERVICE OF SOCHI CITY
TO THE HEAD OF THE SECTION OF CINEMA OF THE
DEPARTMENT OF CULTURE OF THE KRASNODAR
REGION
TATIANA SERGEEVNA ARTASHEVICH
TO ÿX MEDIA GROUP
MIKHAIL MIKHAILOVICH MIKSHIS
TO THE CHAIRMAN OF THE CITY ASSEMBLY OF SOCHI
VALERI YAKOVLEVICH PODPOVETNY
TO THE AGENCY ìINTERCINEMA ARTî
RAISA KLIMENTIEVNA FOMINA
TO THE CULTURAL DIRECTORATE OF SOCHI CITY
ADMINISTRATION
CONCORD TRAVEL AGENCY
ANDREI ALEXEEVICH BRAGIN
TO THE HEAD OF THE CULTURAL DIRECTORATE OF
SOCHI CITY ADMINISTRATION
RUZANNA GEORGIEVNA BARSEGIAN
TO THE SECTION OF NATIONAL CINEMA AT THE FILM
INSTITUTE VGIK:
NATALIA GRIGORIEVNA CHERTOVA
TO THE CHIEF EXPERT OF THE CULTURAL
DIRECTORATE OF SOCHI CITY ADMINISTRATION
IGOR PETROVICH SMOLENTSEV
AND PERSONALLY TO
TO THE HOTEL COMPLEX ìZHEMCHUZHINAî:
YURI NIKOLAEVICH ARINTSEV
SERGEI VIKTOROVICH GRUSHKO
GENNADI EGOROVICH KOVALIOV
ELVIRA DZHONOVNA MKRTYCHAN
ELENA VALERIEVNA MAKAROVA
TO THE COMPANY ìHOUSE 2000î
MIKHAIL ZAKHAROVICH ITENBERG
TO THE AIRLINE ìVIM-AVIAî:
MIKHAIL ANATOLIEVICH GRIBKOV
ALEXEI VLADIMIROVICH MAMIN
ALEXEI GENNADIEVICH MAZEIN
TO THE CREATIVE ASSOCIATION
ìSOCHI PHILHARMONIC SOCIETYî
SERGEI SERGEEVICH TSEDRIK
GENNADI IVANOVICH IVOLGA
NATALIA EVGENIEVNA BEZNOSIUK
YURI SERGEEVICH DMITRIEV
TO THE EMBASSY OF FINLAND IN MOSCOW
KOVRIGINA ELENA,
CHIEF OF THE FOOD'S SERVICE
PERVUSHINA OLGA
CHIEF OF THE FILM BASE
ZHERNOVA ELENA,
KINOTAVR-TV
KUZNETSOVA ALLA,
KINOTAVR-TV
OBUKHOVA ELENA,
SECRETARY OF THE MANE COMPETITION'S JURY
KASIAN ELENA
CHIEF OF THE INFORMATION SERVICE
MATVEEV ALEXEI
SHAMYGIN LEV
187
–”üŒ¬Œƒ—“¬Œ »
MANAGEMENT
—À”∆¡¤ ‘≈—“»¬¿Àfl AND SERVICES
188
√ÂÌÂ‡Î¸Ì˚È ÔÓ‰˛ÒÂ
»„Ó¸ “ÓÎÒÚÛÌÓ‚
General producer
Igor Tolstunov
ƒËÂÍÚÓ ÍËÌÓÔÓ„‡ÏÏ
CËÚÓ‡ ¿ÎË‚‡
Programme director
Sitora Alieva
ŒÚ·ÓӘ̇ˇ ÍÓÏËÒÒˡ
≈‚„ÂÌËÈ Ã‡„ÓÎËÚ,
≈‚„ÂÌËÈ √ÛÒˇÚËÌÒÍËÈ
Selection committee
Evgeni Margolit,
Evgeni Gusiatinsky
ƒËÂÍÚÓ
≈ÎÂ̇ À‡ÔË̇
Executive director
Elena Lapina
üÓÏÏÂ˜ÂÒÍËÈ ‰ËÂÍÚÓ
œÓÎË̇ «Û‚‡
Commercial director
Polina Zueva
¿‰ÏËÌËÒÚ‡ÚË‚Ì˚È ‰ËÂÍÚÓ
ŒÍ҇̇ √‡ÎËÂÌÍÓ
Administrative director
Oksana Galienko
‘Ë̇ÌÒÓ‚˚È ‰ËÂÍÚÓ
À˛·Ó‚¸ œ‡ÒÚÛıÓ‚‡
Financial director
Liubov Pastukhova
–ÛÍÓ‚Ó‰ËÚÂθ Óډ· Promotion
¿Ì‡ÒÚ‡Òˡ ¡Û΄‡ÍÓ‚‡
Head of Promotion
Anastasia Bulgakova
–ÛÍÓ‚Ó‰ËÚÂθ PR-Óډ·
≈ÎÂ̇ üÛÔˡÌÓ‚‡
Head of PR
Elena Kupriyanova
–ÛÍÓ‚Ó‰ËÚÂθ ÒÎÛÊ·˚ ‡ÁÏ¢ÂÌˡ
Õ‡‰Âʉ‡ üÓÎÂÒÌËÍÓ‚‡
Head of Accreditation
Nadezhda Kolesnikova
–ÛÍÓ‚Ó‰ËÚÂθ ÒÎÛÊ·˚ ÔÓÚÓÍÓ·
Շڇθˇ flÍÛ¯ÍË̇
Head of Protocol
Natalia Yakushkina
ƒËÂÍÚÓ ÍÛθÚÛÌÓÈ ÔÓ„‡ÏÏ˚
¿ÎÂÍÒÂÈ ¿„‡Ìӂ˘
Culture Programme Director
Alexei Agranovich
VIP-ÒÎÛÊ·‡
Շڇθˇ ¡‡‡·‡ÌÓ‚‡
VIP Service
Natalia Barabanova
–ÛÍÓ‚Ó‰ËÚÂθ ÏÓÒÍÓ‚ÒÍÓ„Ó ¯Ú‡·‡
fiÎˡ ¿ÈÁÂÌ·Â„
Head of Moscow office
Julia Aisenberg
—ÔˆˇÎËÒÚ Óډ· Promotion
ƒ‡¸ˇ üÓ‚ˇÍÓ‚‡
Promotion
Daria Kroviakova
üÛ‡ÚÓ ÔÓ„‡ÏÏ-ÒÂÏË̇Ó‚
¿Ì̇ √Û‰ÍÓ‚‡
Curator of Seminar Programmes
Anna Gudkova
–ÛÍÓ‚Ó‰ËÚÂθ ÏÂʉÛ̇Ó‰ÌÓ„Ó Óډ·
ÕË̇ √Ó‚ÓÓ‚‡
Head of International Department
Nina Govorova
üÓÓ‰Ë̇ÚÓ ÍËÌÓÔÓ͇Á‡
≈͇ÚÂË̇ ü‡ÒÌÓ‚Ò͇ˇ
Screening Coordinator
Ekaterina Krasnovskaya
—ÎÛÊ·‡ ÍËÌÓÔÓ͇Á‡
√ÂÌ̇‰ËÈ ¿ÌËÒ¸ÍÓ
Screening Service
Gennadi Anisko
–ÛÍÓ‚Ó‰ËÚÂθ ÒÎÛÊ·˚ ÔÂ‚Ӊ‡
»Ë̇ Çڂ‚‡
Head of Translation Service
Irina Matveeva
–ÛÍÓ‚Ó‰ËÚÂθ Ú‡ÌÒÔÓÚÌÓÈ ÒÎÛÊ·˚
—Â„ÂÈ ÀÓÒ¸
Head of Transport Service
Sergei Los
œÓÏÓ˘ÌËÍ ‰ËÂÍÚÓ‡
»Ë̇ ◊ÂÒÚÌÓ‚‡
Assistant to the director
Irina Chestnova
œÓÏÓ˘ÌËÍ ÍÓÏÏÂ˜ÂÒÍÓ„Ó ‰ËÂÍÚÓ‡
“‡Ú¸ˇÌ‡ ƒÂ¯ÍÓ
Assistant to the commercial director
Tatiana Deshko
üÓÓ‰Ë̇ÚÓ ÒÎÛÊ· ÍËÌÓÙÂÒÚË‚‡Îˇ
¬‡ÎÂËÈ ◊Ë„‡‚
Coordinator of festival services
Valeri Chigarev
–ÛÍÓ‚Ó‰ËÚÂθ IT Óډ·
»Î¸ˇ ≈„ÓÓ‚
Head of IT department
Ilya Egorov
√·‚Ì˚È ·Ûı„‡ÎÚÂ
À‡ËÒ‡ ü‡Á‡ÌË̇
Chief accountant
Larisa Kazanina
ü¿“¿ÀŒ√
CATALOGUE
¬˚ÔÛÒ͇˛˘ËÈ ‰‡ÍÚÓ
ÃËÓÒ·‚‡ —„ˉ‡
Chief editor
Miroslava Segida
œÂ‚Ӊ
¡Ë„ËÚ ¡ÓÈÏÂÒ
Translation
Birgit Beumers
Œ·ÎÓÊ͇ Ë ÎÓ„ÓÚËÔ ÙÂÒÚË‚‡Îˇ
»„Ó¸ √Ûӂ˘
Cover Design and Festival Logo
Igor Gurovich
ÇÍÂÚ Ë ‚ÂÒÚ͇
ƒÏËÚËÈ »‚ΡÌÓ‚
Layout and Typesetting
Dmitry Ivlianov
üÓÂÍÚÓ
≈ÎÂ̇ üÓÔ˚΂‡
Proofreader
Elena Kopyleva