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ƒÓÓ„Ë ‰ÛÁ¸ˇ!
Dear friends!
ŒÚ ËÏÂÌË ÃËÌËÒÚÂÒÚ‚‡ ÍÛθÚÛ˚ –ÓÒÒËÈÒÍÓÈ
‘‰Â‡ˆËË ÔÓÁ‰‡‚Ρ˛ ‚‡Ò Ò Ì‡˜‡ÎÓÏ ‡·ÓÚ˚
19-„Ó ŒÚÍ˚ÚÓ„Ó ÓÒÒËÈÒÍÓ„Ó ÍËÌÓÙÂÒÚË‚‡Îˇ
"üËÌÓÚ‡‚".
‘ÂÒÚË‚‡Î¸ ‚ —Ó˜Ë ‚Ò„‰‡ ·˚Î Ò‡Ï˚Ï ˇÍËÏ,
Ò‡Ï˚Ï ÓÊˉ‡ÂÏ˚Ï, Ò‡Ï˚Ï Î˛·ËÏ˚Ï
Ô‡Á‰ÌËÍÓÏ Ë ÒÓ·˚ÚËÂÏ Ì‡ˆËÓ̇θÌÓ„Ó ÍËÌÓ.
Œ‰Ì‡ÍÓ ËÏÂÌÌÓ ÚÂÔÂ¸, ̇ ‚ÓÎÌ ‡Òˆ‚ÂÚ‡
ÓÚ˜ÂÒÚ‚ÂÌÌÓ„Ó ÍËÌÓËÒÍÛÒÒÚ‚‡, "üËÌÓÚ‡‚"
ÒÚ‡ÌÓ‚ËÚÒˇ „·‚ÌÓÈ ÔÓÙÂÒÒËÓ̇θÌÓÈ
Ô·ÚÙÓÏÓÈ ‰Îˇ ÔÂϸÂÌ˚ı ÔÓÒÏÓÚÓ‚,
‚ÒÚ˜ Ë ‰ËÒÍÛÒÒËÈ ‚ÒÂı Ú‚Ó˜ÂÒÍËı ÔÓÍÓÎÂÌËÈ
ÓÒÒËÈÒÍËı ÍËÌÂχÚÓ„‡ÙËÒÚÓ‚.
”˜‡ÒÚË ‚ ÍÓÌÍÛÒÌÓÈ ÔÓ„‡ÏÏ "üËÌÓÚ‡‚‡"
Ò‡ÏÓ ÔÓ Ò· ˇ‚ΡÂÚÒˇ ÛÒÔÂıÓÏ ‰Îˇ ÒÓÁ‰‡ÚÂÎÂÈ
͇ʉÓÈ ËÁ ‚˚·‡ÌÌ˚ı ÎÂÌÚ. œÓ·Â‰‡ ̇
"üËÌÓÚ‡‚Â" ÒÚ‡ÌÓ‚ËÚÒˇ ·ÂÒÒÔÓÌ˚Ï
‰Ó͇Á‡ÚÂθÒÚ‚ÓÏ ÌÓ‚‡ÚÓÒÚ‚‡ Ë Ï‡ÒÚÂÒÚ‚‡.
— ΄ÍÓÈ ÛÍË ÙÂÒÚË‚‡Îˇ Â„Ó ÚËÛÏÙ‡ÚÓ˚ Ë
Û˜‡ÒÚÌËÍË ËÁ „Ó‰‡ ‚ „Ó‰ ÓÚÔ‡‚Ρ˛ÚÒˇ ‚
ÔÛÚ¯ÂÒÚ‚Ë ÔÓ ‚ÒÂÏ ÒÚ‡Ì‡Ï ÏË‡,
Ô‰ÒÚ‡‚Ρˇ ÓÚ˜ÂÒÚ‚ÂÌÌÓ ÍËÌÓ Ì‡ Ò‡Ï˚ı
ÔÂÒÚËÊÌ˚ı ÍËÌÓÒÏÓÚ‡ı.
Δ·˛ ‚ÒÂÏ ÁËÚÂΡÏ, „ÓÒÚˇÏ Ë Û˜‡ÒÚÌË͇Ï
19-„Ó Œ–ü‘ "üËÌÓÚ‡‚" ‡‰ÓÒÚË ÓÚ ‚ÒÚÂ˜Ë Ò
ÌÓ‚˚ÏË Ë, ·ÂÁ ÒÓÏÌÂÌˡ, ÎÛ˜¯ËÏË ÙËθχÏË
˝ÚÓ„Ó „Ó‰‡.
”‰‡˜Ë ‚‡Ï, Ò˜‡ÒÚ¸ˇ Ë ÔÂÍ‡ÒÌÓ„Ó Ì‡ÒÚÓÂÌˡ.
On behalf of Ministry of Culture of the Russian
Federation I would like to congratulate you all on
the opening of the 19-th Open Russian Film
Festival "Kinotavr".
The Festival in Sochi has always been the most
vivid, most anticipated, most admired and most
celebrated event for national cinema. But it is
only now when domestic film industry is
blooming, "Kinotavr" has become the main
professional platform for the first-night showings,
meetings and discussions for all creative
generations of Russian cinematographers.
Participation in festival's programme is already an
achievement, already success for every creative
person in our film industry. To win at "Kinotavr"
beyond doubt means to receive the best ever proof
of innovation and craftsmanship and excellence.
The Festival becomes a virtual launch-pad for it's
winners and nominees who then successfully
participate and win at most prestigious
international film festivals around the world as
representatives of modern Russian cinema.
I am sure that all spectators, guests and
participants of the 19-th ORFF will enjoy the
encounter with new and indisputably best films of
the year.
¿.¿. ¿‚‰Â‚
ÃËÌËÒÚ ÍÛθÚÛ˚
–ÓÒÒËÈÒÍÓÈ ‘‰Â‡ˆËË
I wish you happiness, best of luck and joy.
A.A. Avdeev
Minister of Culture of
the Russian Federation
ƒÓÓ„Ë ‰ÛÁ¸ˇ!
”‚‡Ê‡ÂÏ˚ ۘ‡ÒÚÌËÍË Ë „ÓÒÚË ÙÂÒÚË‚‡Îˇ!
Dear friends!
Dear participants and visitors of the festival!
œÓÁ‰‡‚Ρ˛ ‚‡Ò Ò ÓÚÍ˚ÚËÂÏ ÙÂÒÚË‚‡Îˇ
´üËÌÓÚ‡‚ª! ƒ‡‚ÌÓ ÒÚ‡‚¯ËÈ Ú‡‰ËˆËÓÌÌ˚Ï, ‡ ‚
˜ÂÏ-ÚÓ Ë ÍÛθÚÓ‚˚Ï, ÓÌ ÔÓıÓ‰ËÚ Ì‡ ÍÛ·‡ÌÒÍÓÈ
ÁÂÏΠÛÊ ‚ ‰Â‚ˇÚ̇‰ˆ‡Ú˚È ‡Á!
¬ ·Û‰Û˘Û˛ ÒÚÓÎËˆÛ ÓÎËÏÔËÈÒÍËı Ë„
ÔËÂÁʇ˛Ú ÒÓÒÚˇÁ‡Ú¸Òˇ ÎÛ˜¯Ë Ô‰ÒÚ‡‚ËÚÂÎË
ÍËÌÂχÚÓ„‡Ù‡ ÒÓ ‚ÒÂÈ –ÓÒÒËË. » Ò Í‡Ê‰˚Ï
„Ó‰ÓÏ Ê·˛˘Ëı ÔËÌˇÚ¸ Û˜‡ÒÚË ‚
´üËÌÓÚ‡‚ª ÒÚ‡ÌÓ‚ËÚÒˇ ‚Ò ·Óθ¯Â.
›ÚÓÚ ÙÓÛÏ ÌÂËÁÏÂÌÌÓ ÓÚÍ˚‚‡ÂÚ ÌÓ‚˚ ËÏÂ̇.
ƒÎˇ ÏÌÓ„Ëı ÏÓÎÓ‰˚ı ÍËÌÂχÚÓ„‡ÙËÒÚÓ‚ ̇¯Ë
ÁËÚÂθÌ˚ Á‡Î˚ ÒÚ‡ÎË ÒÚ‡ÚÓ‚ÓÈ ÔÎÓ˘‡‰ÍÓÈ ‚
ÏË ·Óθ¯Ó„Ó ÍËÌÓ.
ƒÎˇ ÓÒÒËˇÌ ÒÓ˜ËÌÒÍËÈ ÍËÌÓÙÂÒÚË‚‡Î¸ ñ ˝ÚÓ
Â˘Â Ë Ì‡˜‡ÎÓ ÍÛÓÚÌÓ„Ó ÒÂÁÓ̇. ΔËÚÂÎË Ë
„ÓÒÚË ÎÂÚÌÂÈ ÒÚÓÎˈ˚ ‚ ˝ÚË ‰ÌË ÛÒÔ‚‡˛Ú
Ó‰ÌÓ‚ÂÏÂÌÌÓ ÓÍÛÌÛÚ¸Òˇ ‚ ÌÂÒÍÓθÍÓ ÏÓÂÈ: ‚
ÏÓ ÒÓÎ̈‡, ‚ ◊ÂÌÓ ÏÓ Ë, ÍÓ̘ÌÓ ÊÂ, ‚
ۉ˂ËÚÂθÌÓÂ Ë ˜Û‰ÂÒÌÓ ÏÓ ÍËÌÓ!
”‚ÂÂÌ, ˜ÚÓ Ë ‚ ˝ÚÓÏ „Ó‰Û ´üËÌÓÚ‡‚ª ÔÓ‡‰ÛÂÚ
Ò‚ÓËı „ÓÒÚÂÈ ÌÓ‚˚ÏË ÓÚÍ˚ÚˡÏË,
ڇ·ÌÚÎË‚˚ÏË Í‡ÚË̇ÏË Ë ÌÂËÁÏÂÌÌÓÈ
Ô‡Á‰Ì˘ÌÓÈ ‡ÚÏÓÒÙÂÓÈ!
Δ·˛ ‚‡Ï, ‰ÓÓ„Ë ‰ÛÁ¸ˇ, ÔÎÓ‰ÓÚ‚ÓÌÓÈ
‡·ÓÚ˚, ˇÍËı Ë ÌÂÁ‡·˚‚‡ÂÏ˚ı ‚Ô˜‡ÚÎÂÌËÈ!
œÛÒÚ¸ Û‰‡˜‡ ÒÓÔÛÚÒÚ‚ÛÂÚ Í‡Ê‰ÓÏÛ Û˜‡ÒÚÌËÍÛ
ÙÂÒÚË‚‡Îˇ!
I congratulate you on the opening of the festival
ìKinotavrî! This festival, which takes place on
the Kuban soil already for the 19th time, has a
long tradition and has become something of a
cult event. The representatives of Russiaís best
cinema arrive from all over Russia to compete
here, in the future capital of the Olympic Games.
And every year the number of those wishing to
participate in ìKinotavrî grows.
This forum invariably discovers new names. For
many young cinematographers our cinema
screens have became the launch pad for the
world of big cinema.
For Russians, the Sochi Film Festival is also the
beginning of the holiday season. Both
inhabitants and visitors of the summerís capital
now can plunge into several seas simultaneously:
the sea of the sun, the Black sea and, of course,
the surprising and wonderful sea of cinema!
I am confident that this year, too,ìKinotavrî
will bring new discoveries, talented films and a
continuous atmosphere of celebration!
I wish you, dear friends, productive work,
brilliant and unforgettable impressions! May
success accompany every participant of the
festival!
¿.Õ. “͇˜Â‚
√·‚‡ ‡‰ÏËÌËÒÚ‡ˆËË ü‡ÒÌÓ‰‡ÒÍÓ„Ó Í‡ˇ
A. N. Tkachev
Head of Administration
of the Krasnodar Region
1
2
ƒÓÓ„Ë ÍÓÎ΄Ë!
Dear colleagues!
ü‡ÊÂÚÒˇ, ‚ ˝ÚÓÏ „Ó‰Û ´üËÌÓÚ‡‚ª ÒڇΠÔÓ̇ÒÚÓˇ˘ÂÏÛ ‚‡ÊÌ˚Ï ‰Îˇ ÍËÌÂχÚÓ„‡ÙËÒÚÓ‚.
›ÚÓ ÒÚ‡ÎÓ ÔÓÌˇÚÌ˚Ï ÛÊ ̇ ÒÚ‡‰ËË ÓÚ·Ó‡
ÙËθÏÓ‚, „‰Â ÂÁÍÓ Ó·ÓÒÚË·Ҹ ÍÓÌÍÛÂÌˆËˇ Ë
̇ 15 ÏÂÒÚ ‚ ÍÓÌÍÛÒÌÓÈ ÔÓ„‡ÏÏ ÛÊÂ
ÔÂÚẨӂ‡ÎË 130 ÙËθÏÓ‚. «Ì‡˜ËÚÂθÌÓ ·Óθ¯Â,
˜ÂÏ ‚ Ô‰˚‰Û˘Ë „Ó‰˚. œËÚÓÏ ˜ÚÓ ÓÚ·ÓÓ˜ÌÓÈ
ÍÓÏËÒÒËÂÈ ‡ÒÒχÚË‚‡ÎËÒ¸ ÚÓθÍÓ ÔÂϸÂ˚ Ë
ÙËθÏ˚ Ò ˇÍÓ ‚˚‡ÊÂÌÌÓÈ ıÛ‰ÓÊÂÒÚ‚ÂÌÌÓÈ, ‡
Ì ÍÓÏÏÂ˜ÂÒÍÓÈ ‡Ï·ËˆËÂÈ.
Õ‡ ÔÓˇ‰ÍË ‚ÓÁÓÒÎÓ ÍÓ΢ÂÒÚ‚Ó
ÔÓÙÂÒÒËÓ̇ÎÓ‚, Ò˜ËÚ‡˛˘Ëı ÌÂÓ·ıÓ‰ËÏ˚Ï Ò‚ÓÂ
ÔËÒÛÚÒÚ‚Ë ̇ ÙÂÒÚË‚‡ÎÂ.
¡Óθ¯Ë ÍËÌÓÍÓÏÔ‡ÌËË ‚Ò ˜‡˘Â „ÓÚÓ‚ˇÚ Ë
Ó„‡ÌËÁÛ˛Ú ÒÔˆˇθÌ˚ ÒÓ·˚Úˡ, ÔÓÒ‚ˇ˘ÂÌÌ˚Â
Ò‚ÓËÏ ÌÓ‚˚Ï ÔÓÂÍÚ‡Ï.
¬Ò ÚÂÒÌ ÒÓÚÛ‰Ì˘‡ÂÚ ´üËÌÓÚ‡‚ª Ò
–ÓÒÒËÈÒÍËÏ ÏÂʉÛ̇Ó‰Ì˚Ï ÍËÌÓ˚ÌÍÓÏ, ‚
‡Ï͇ı ÍÓÚÓÓ„Ó ‚ ˝ÚÓÏ „Ó‰Û ·Û‰ÛÚ Ô‰ÒÚ‡‚ÎÂÌ˚
·ÓΠ1000 ÌÓ‚˚ı ÙËθÏÓ‚ Ë Ì‡ ÍÓÚÓÓÏ ÛÊÂ
‡ÍÍ‰ËÚÓ‚‡Ì˚ ·ÓΠ1000 Û˜‡ÒÚÌËÍÓ‚.
œË̈ËÔˇθÌÓ ‚‡ÊÌ˚Ï ˝ÎÂÏÂÌÚÓÏ ´üËÌÓÚ‡‚‡ª
ÒڇΠÍÓÌÍÛÒ ÍÓÓÚÍÓÏÂÚ‡ÊÌ˚ı ÙËθÏÓ‚.
ÀÛ˜¯ÂÈ ‚ÓÁÏÓÊÌÓÒÚË ‰Îˇ ÏÓÎÓ‰˚ı
ÍËÌÂχÚÓ„‡ÙËÒÚÓ‚ Á‡ˇ‚ËÚ¸ Ó Ò· ÚÛ‰ÌÓ
Ô‰ÒÚ‡‚ËÚ¸. » ÔÓÚÓÏÛ Ì‡Ò ÓÒÓ·Ó ‡‰ÛÂÚ
ÔÓˇ‚ÎÂÌË ´Ì‡¯Ëıª ÂÊËÒÒÂÓ‚,
‰Â·˛ÚËÓ‚‡‚¯Ëı ̇ ÙÂÒÚË‚‡ÎÂ Ò ÍÓÓÚÍËÏË
ÙËθχÏË Ë ÔÓÁ‰Ì ۘ‡ÒÚ‚Û˛˘Ëı ÛÊ ‚
ÍÓÌÍÛÒ ÔÓÎÌÓ„Ó ÏÂÚ‡. “‡ÍËı, Í ÔËÏÂÛ, ͇Í
¿ÎÂÍÒÂÈ ÃËÁ„Ë‚, ˜ÂÈ ÙËÎ¸Ï ´üÂÏÂ̸ª,
·ÛÂ‡Ú ´üËÌÓÚ‡‚‡ª 2007 „Ó‰‡, ÒڇΠÔËÁÂÓÏ
ÌÂÒÍÓθÍËı ÏÂʉÛ̇Ó‰Ì˚ı ÙÂÒÚË‚‡ÎÂÈ. ¿
̇˜Ë̇·Ҹ Â„Ó Ú‚Ó˜ÂÒ͇ˇ ͇¸Â‡
´”‚ÓθÌÂÌËÂϪ ‚ ÍÓÌÍÛÒ ´üËÌÓÚ‡‚. üÓÓÚÍËÈ
ÏÂÚª. ü‡Í Û˜‡ÒÚÌˈ‡ Ë ÍÓÓÚÍÓÏÂÚ‡ÊÌÓ„Ó, Ë
ÔÓÎÌÓÏÂÚ‡ÊÌÓ„Ó ÍÓÌÍÛÒÓ‚ ¬‡ÎÂˡ √‡È
√ÂχÌË͇, ˜¸ˇ ÌÓ‚‡ˇ ͇ÚË̇ ÓÚÓ·‡Ì‡ ‚
ÔÓ„‡ÏÏÛ ´Õ‰ÂΡ ÍËÚËÍ˪ ü‡ÌÌÒÍÓ„Ó
ÙÂÒÚË‚‡Îˇ 2008 „Ó‰‡. ü‡Í ÚÓ ۘ‡ÒÚÌËÍÓ‚
Ì˚̯ÌÂ„Ó ÓÒÌÓ‚ÌÓ„Ó ÍÓÌÍÛÒ‡, ‚ ÔÓ¯ÎÓÏ „Ó‰Û
ÒÚ‡‚¯Ë ·Û‡ڇÏË ´üÓÓÚÍÓ„Ó ÏÂÚ‡ª.
√·‚Ì˚È ÔËÁÂ »„Ó¸ ¬ÓÎÓ¯ËÌ ÍÓÏ ÚÓ„Ó ·˚Î
ÓÚÓ·‡Ì ‚ ÔÓ„‡ÏÏÛ ´‘ÓÛϪ 58-È ¡ÂÎË̇ÎÂ, ‡
‰ËÔÎÓχÌÚ˚ ÀÂÓÌˉ –˚·‡ÍÓ‚ Ë ¡‡ÍÛ ¡‡ÍÛ‡‰ÁÂ
ñ ‚ ÍÓÓÚÍÓÏÂÚ‡ÊÌ˚È ÍÓÌÍÛÒ ¬Â̈ˇÌÒÍÓ„Ó
ÙÂÒÚË‚‡Îˇ ‚ 2007-Ï Ë ü‡ÌÌÒÍËÈ ´ƒ‚Ûı̉ÂθÌËÍ
ÂÊËÒÒÂÓ‚ª ‚ 2008 „Ó‰Û ÒÓÓÚ‚ÂÚÒÚ‚ÂÌÌÓ.
◊ÂÁ‚˚˜‡ÈÌÓ ‚‡ÊÌÓ ‰Îˇ ´üËÌÓÚ‡‚‡ª, ˜ÚÓ
ÔËÚ˜ËÌ„ (ÍÓÌÍÛÒ ÔÓÂÍÚÓ‚) Ó˜Â̸ ·˚ÒÚÓ ÔËÌÂÒ
Ò‚ÓË Ô‡ÍÚ˘ÂÒÍË ÔÎÓ‰˚. » ‚ ÒÓ˜ËÌÒÍËı
ÔÓ„‡Ïχı ˝ÚÓ„Ó „Ó‰‡ ·Û‰ÛÚ ÔÓ͇Á‡Ì˚ ÙËθÏ˚
ÚÂı ÔÓ‰˛ÒÂÓ‚ ñ Û˜‡ÒÚÌËÍÓ‚ ÔÓ¯ÎӄӉ̄Ó
ÔËÚ˜ËÌ„‡ ñ ´œÎ˛Ò Ó‰Ë̪ ≈ÎÂÌ˚ √ÎËÍχÌ,
´◊ÂÚ˚ ‚ÓÁ‡ÒÚ‡ β·‚˪ Õ‡Ú‡ÎËË ÃÓÍˈÍÓÈ Ë
´–ÓÁ˚„˚¯ª œ‡‚· ÀÛÌ„Ë̇.
¬ ˝ÚÓÏ „Ó‰Û ‚ ‡Á΢Ì˚ı ÔÓ„‡Ïχı ÙÂÒÚË‚‡Îˇ
Ì‡Ò Ê‰ÛÚ ·ÓΠ100 ÙËθÏÓ‚, Âʉ̂Ì˚ ÔÂÒÒÍÓÌÙÂÂ̈ËË Ë Ï‡ÒÚÂ-Í·ÒÒ˚, ÔËÚ˜ËÌ„, ÚË
´ÍÛ„Î˚ı ÒÚÓ·ª, ÔÓÒ‚ˇ˘ÂÌÌ˚ ‚‡ÊÌ˚Ï ‰Îˇ
Ë̉ÛÒÚËË ÚÂχÏ, ÔÂÁÂÌÚ‡ˆËË ÌÓ‚˚ı ÔÓÂÍÚÓ‚ Ë
˜ÂÁ‚˚˜‡ÈÌÓ Ì‡Ò˚˘ÂÌ̇ˇ ÍÛθÚÛ̇ˇ
ÔÓ„‡Ïχ.
Ã˚ ÒÚ‡‡ÂÏÒˇ Ë ·Û‰ÂÏ ÒÚ‡‡Ú¸Òˇ ‰Â·ڸ ‚Ò ‰Îˇ
ÚÓ„Ó, ˜ÚÓ·˚ ´üËÌÓÚ‡‚ª ÒڇΠӉÌËÏ ËÁ Ò‡Ï˚ı
‚‡ÊÌ˚ı ̇ˆËÓ̇θÌ˚ı ÍËÌÓÒÓ·˚ÚËÈ,
Ô˘‡ÒÚÌÓÒÚ¸ Í ÍÓÚÓÓÏÛ ÔÓ‚˚¯‡ÂÚ ¯‡ÌÒ˚ ̇
ÔÓÚÂ̈ˇθÌ˚È ÛÒÔÂı. —Ó·ÒÚ‚ÂÌÌÓ, ÙÂÒÚË‚‡Î¸ Ë
ÒÛ˘ÂÒÚ‚ÛÂÚ ‰Îˇ ÚÓ„Ó, ˜ÚÓ·˚ ÙËθÏ˚ ۂˉÂÎË,
Ó·ÒÛ‰ËÎË, ÔÓÒÔÓËÎË Ë, Ú‡ÍËÏ Ó·‡ÁÓÏ,
ÒÎÓÊË·Ҹ Ëı ÒÛ‰¸·‡. ◊ÚÓ·˚ Ó‰ËÎËÒ¸ ÌÓ‚˚Â
ˉÂË, ÌÓ‚˚ ڂÓ˜ÂÒÍË ÒÓ˛Á˚, ÛÍÂÔËÎËÒ¸
ÔÂÊÌËÂ. » ÔÓ‰ÓÎÊËÎÓ Ò‚Ó ‡Á‚ËÚË ÒÚÓθ
‚‡ÊÌÓ ‰Îˇ Ì‡Ò ‚ÒÂı ÓÒÒËÈÒÍÓ ÍËÌÓ.
This yearís ìKinotavrî has become really important
for cinematographers. This became clear already at
the selection stage, where competition radically
increased: there were 130 films competing for 15
places in the main competition programme. This is
significantly greater competition than in previous
years, especially bearing in mind that the selection
committee considered only premieres and films
with a strongly articulated artistic rather than
commercial remit.
The amount of professionals considering the
presence at the festival necessary has also
increased significantly.
The large film companies more and more often
prepare and organize special events devoted to
their new projects.
ìKinotavrî co-operates even more closely with the
Russian International Film Market, which will
present this year over 1000 new films and at
which already more than 1000 participants have
been accredited.
An element of principal importance for ìKinotavrî
is the competition programme of short films. It is
hard to imagine a better opportunity for young
filmmakers to present themselves. Consequently,
we are especially pleased with the appearance of
ìourî directors, who debuted with short films at
the festival and later participated in the main
feature film competition. Thus, for example,
Alexei Mizgirev, whose film ìHard-Heartedî ñ a
winner at Kinotavr 2007 ñ received prizes at
several international festivals. Indeed, his creative
career had begun with the film ìDismissalî in the
ìKinotavr. Shortsî competition. Or Valeria Gai
Germanika, a participant of both the short and
feature competition, whose latest film has been
selected for the ìCriticsí Weekî (Semaine de la
Critique) at the Cannes Film Festival of 2008. Or
the three participants of the current competition,
who last year won prizes in the ìShortsî
competition. The previous prize winner Igor
Voloshin has been selected for the ìForumî of the
58th Berlinale, while the recipients of diplomas ñ
Leonid Rybakov and Bakur Bakuradze ñ took part
in the shorts competition of the Venice Film
Festival in 2007 and in the Directorsí Fortnight
(Quinzaine des R?alisateurs) in Cannes in 2008
respectively.
It is extremely important for ìKinotavrî that the
pitching (competition of projects) has already born
tangible fruits. This yearís Sochi programme
includes the works of three producers who
participated in last yearís pitching: ìPlus oneî
produced by Elena Glikman, ìFour Ages of Loveî
produced by Natalia Mokritskaya, and ìThe Jokeî
produced by Pavel Lungin.
This year, the various festival programmes hold in
store for us more than 100 films, as well as daily
press conferences and master classes, the pitching,
three round tables devoted to important issues of
the industry, the presentation of new projects and
an extremely rich cultural programme.
We try, and will continue to do so, to do
everything possible to make ìKinotavrî one of the
most important national cinematic events: an event
where participation raises the chances of success.
After all, the festival also exists just so that we
can see films, discuss, and argue, an thus define
their destiny; so that new ideas and new creative
unions are born, while old ones are strengthened;
and so that Russian cinema ñ which is so
important for all of us ñ may continue its
development.
¿ÎÂÍ҇̉ –Ó‰ÌˇÌÒÍËÈ
œ‰Ò‰‡ÚÂθ ÔÓÔ˜ËÚÂθÒÍÓ„Ó ÒÓ‚ÂÚ‡
ÍËÌÓÙÂÒÚË‚‡Îˇ ´üËÌÓÚ‡‚ª
Alexander Rodniansky
Chairman of the Board of Trustees of the film
festival ìKinotavrî
ƒÓÓ„Ë ‰ÛÁ¸ˇ, Û‚‡Ê‡ÂÏ˚ ÍÓÎ΄Ë!
Dear friends and colleagues!
¬ ̇ÒÚÓˇ˘Â ‚ÂÏˇ ‚ ÓÒÒËÈÒÍÓÏ ÍËÌÓ
Ó·ÓÁ̇˜Ë·Ҹ ÓÚ˜ÂÚÎË‚‡ˇ ÚẨÂÌˆËˇ, ÓÚ‡‰Ì‡ˇ
‰Îˇ ÏÂÌˇ Ë, ̇‰Â˛Ò¸, ‰Îˇ ÏÌÓ„Ëı
ÍËÌÓÔÓ‰˛ÒÂÓ‚. ¬ ÓÚ˜ÂÒÚ‚ÂÌÌÓÏ ÍËÌÂχÚÓ„‡ÙÂ
̇ÏÂÚË·Ҹ ÒÏÂ̇ ÔÓÍÓÎÂÌËÈ. ¬ ÍËÌÓ ÔËıÓ‰ˇÚ
ÌÓ‚˚ ÂÊËÒÒÂ˚: ‚˚ÔÛÒÍÌËÍË
ÔÓÙÂÒÒËÓ̇θÌ˚ı ¯ÍÓÎ Ë ‚ÛÁÓ‚ ËÎË ÛÊÂ
ÒÓÒÚÓˇ‚¯ËÂÒˇ χÒÚÂ‡ ÚÂÎÂË̉ÛÒÚËË.
—Â„Ó‰Ìˇ ÓÌË ñ ‰Â·˛Ú‡ÌÚ˚. ŒÌË ÒÌËχ˛Ú Ò‚ÓË
ÔÂ‚˚Â Ë ‚ÚÓ˚ ´ÔÓÎÌ˚ ÏÂÚ˚ª ñ Ë ‰Â·˛Ú ˝ÚÓ
ˇÍÓ, ڇ·ÌÚÎË‚Ó, Ò‡ÏÓ·˚ÚÌÓ. ÃÌÓ„Ó ÎÂÚ Ï˚
„Ó‚ÓËÎË: Ì‡Ï Ì ı‚‡Ú‡ÂÚ Ë‰ÂÈ Ë ÒˆÂ̇Ë‚, Û Ì‡Ò
ÔÓ˜ÚË ÌÂÚ ÏÓÎÓ‰˚ı ÂÊËÒÒÂÓ‚, ‚·‰Â˛˘Ëı
χÒÚÂÒÚ‚ÓÏ Ì‡ ÒÓ‚ÂÏÂÌÌÓÏ ÛÓ‚ÌÂ. Ã˚
ÔÓÌËχÎË, ˜ÚÓ ÔÂÂÏÒÚ‚ÂÌÌÓÒÚ¸ ‚ ÍËÌÓ ÚÓθÍÓ
̇˜Ë̇ÂÚ ‚ÓÒÒڇ̇‚ÎË‚‡Ú¸Òˇ, Ë Ê‰‡ÎË Ì‡¯ÂÈ
´ÌÓ‚ÓÈ ‚ÓÎÌ˚ª. ÃÌ ͇ÊÂÚÒˇ, ‰ÓÒÚ‡ÚÓ˜ÌÓ
ÔÓÒÏÓÚÂÚ¸ ̇ ÓÙˈˇθÌÛ˛ ÔÓ„‡ÏÏÛ ÙÂÒÚË‚‡Îˇ,
ÍÛ‰‡ ÓÚÓ·‡ÌÓ ÌÂχÎÓ ËÌÚÂÂÒÌ˚ı ‡·ÓÚ, ˜ÚÓ·˚
۷‰ËÚ¸Òˇ ‚ Ә‚ˉÌ˚ı ÔÂÂÏÂ̇ı. Ã˚ ̇‰ÂÂÏÒˇ
̇ ÓÚÍ˚Úˡ ‰Â·˛Ú‡ÌÚÓ‚, Ë ıÓ˜ÂÚÒˇ ‚ÂËÚ¸, ˜ÚÓ Ëı
ÙËθÏ˚ Ì ‡ÁÓ˜‡Û˛Ú Ì ÚÓθÍÓ ÙÂÒÚË‚‡Î¸ÌÛ˛
ÔÛ·ÎËÍÛ, ÌÓ Ë ÔÓÙÂÒÒËÓ̇ÎÓ‚ ÍËÌÓ˚Ì͇.
—ÓÚÛ‰Ì˘ÂÒÚ‚Ó ´üËÌÓÚ‡‚‡ª Ë –ÓÒÒËÈÒÍÓ„Ó
ÏÂʉÛ̇Ó‰ÌÓ„Ó ÍËÌÓ˚Ì͇, ̇˜‡‚¯ÂÂÒˇ ̇
ÏËÌÛ‚¯ÂÏ ÙÂÒÚË‚‡ÎÂ, ‚ ˝ÚÓÏ „Ó‰Û ÔÓ‰ÓÎʇÂÚÒˇ
Ë ‡Ò¯ËˇÂÚÒˇ. ƒÎˇ ÚÂı, ÍÚÓ ÒÌËχÂÚ ÍËÌÓ,
Ó˜Â̸ ‚‡ÊÌÓ, ˜ÚÓ·˚ Ëı ÙËθÏ˚ ‰ÓÒÚÓÈÌÓ
Ô‰ÒÚ‡‚ËÎË Ë ÔÓ͇Á‡ÎË ÁËÚÂΡÏ. »„Ó͇Ï
ÍËÌÓ˚Ì͇, ‚ Ò‚Ó˛ Ó˜Â‰¸, ‚‡ÊÌÓ Û‚Ë‰ÂÚ¸
Ò‚ÂÊË ÓÚ˜ÂÒÚ‚ÂÌÌ˚ ͇ÚËÌ˚, ÔÓ˜Û‚ÒÚ‚Ó‚‡Ú¸
ÚẨÂ̈ËË, ‚ÌˇÚÌÓ ÔÓˇ‚Ρ˛˘ËÂÒˇ ̇
ÙÂÒÚË‚‡ÎÂ. ¬Á‡ËÏÓ‰ÂÈÒÚ‚Ë ÍËÌÓ·ËÁÌÂÒ‡ Ë
ÍËÌÓËÒÍÛÒÒÚ‚‡ ÔËÓ·ÂÚ‡ÂÚ ÌÓ‚˚ ÙÓÏ˚, Ë Ï˚
˝ÚÓÏÛ ˜ÂÁ‚˚˜‡ÈÌÓ ‡‰˚.
At present we can see a distinct tendency in
Russian cinema, which is pleasant for me and
hopefully for many film producers. A change of
generations has begun in our cinema. There are
new directors: graduates of professional schools
and high schools, or already accomplished
masters of the trade.
Today they are debutants. They make their first
and second feature film, make it brilliantly, with
talent and originality. We have been saying for
many years that we do not have enough ideas
and scripts, that we have hardly any young
directors with up-to-date skills. We understood
that the continuity of cinema had only entered
the process of revival and waited for our own
ìnew waveî. It seems to me sufficient to look at
the official festival programme ñ which includes
a number of interesting works ñ, to be convinced
of the striking change. We hope to discover new
filmmakers here and would like to think that
their films will not disappoint either the festival
public or the professionals at the film-market.
The cooperation of ìKinotavrî with the Russian
International Film-market that was begun last
year continues this year and is even extended.
For filmmakers it is very important to have their
films adequately presented and shown to
audiences. The players of the film market, in
turn, value the possibility to see fresh home-made
films, to get a sense of the tendencies that
feature distinctly at the festival. The interaction
of film-business and cinema art thus acquires new
forms, and we are extremely glad about this.
»„Ó¸ “ÓÎÒÚÛÌÓ‚
√ÂÌÂ‡Î¸Ì˚È ÔÓ‰˛ÒÂ
ÍËÌÓÙÂÒÚË‚‡Îˇ ´üËÌÓÚ‡‚ª
General Producer of the
Igor Tolstunov
Film Festival ìKinotavrî
3
´ü»ÕŒ“¿¬–ª
ü¿ü ‘Œ–ÿ ü»ÕŒΔ»«Õ»
4
¬ ˝ÚÓÏ „Ó‰Û ‚ ÓÒÌÓ‚ÌÓÈ ÍÓÌÍÛÒ ·˚ÎÓ ÔÓ‰‡ÌÓ
·ÓΠ130 Á‡ˇ‚ÓÍ ñ ˝ÚÓ ÔÓıÓÊ ̇ ̇ÒÚÓˇ˘ËÈ
ÙÂÒÚË‚‡Î¸Ì˚È ·ÛÏ. fl ‡‰‡, ˜ÚÓ ÓÚ·ÓӘ̇ˇ
ÍÓÏËÒÒˡ Û‚Â΢Ë·Ҹ, ÔÓÚÓÏÛ ˜ÚÓ ‚
ÛÒÎÓÊÌË‚¯ÂÈÒˇ ÒËÚÛ‡ˆËË ÌÂÓ·ıÓ‰ËÏÓ
ÛÏÂ̸¯ËÚ¸ ËÒÍ ÒÛ·˙ÂÍÚË‚ËÁχ. ŒÚ·Ó ¯ÂÎ
‰ÓÎ„Ó Ë ÛÔÓÌÓ ñ Ò ‰Â͇·ˇ ÔÓ¯ÎÓ„Ó „Ó‰‡.
œÓÎۘ˂¯‡ˇÒˇ ‚ ÂÁÛθڇÚ ÍÓÌÍÛÒ̇ˇ
ÔÓ„‡Ïχ Ì‡Ï Ò‡ÏËÏ Ó˜Â̸ ËÌÚÂÂÒ̇,
ÔÓÒÍÓθÍÛ Ó̇, ̇ ̇¯ ‚Á„Ρ‰, ÚÓ˜ÌÓ Ë
‡ÎËÒÚ˘ÌÓ ÓÚ‡Ê‡ÂÚ ÒÂ„Ó‰Ìˇ¯Ì˛˛ ͇ÚËÌÛ
ÓÒÒËÈÒÍÓ„Ó ÍËÌÓ. Ã˚ „Ó‰ËÏÒˇ, ˜ÚÓ ÙÂÒÚË‚‡Î¸
Ì ÚÓθÍÓ Ô‰ÒÚ‡‚ΡÂÚ ÙËθÏ˚ ËÁ‚ÂÒÚÌ˚ı
ÂÊËÒÒÂÓ‚, ÌÓ Ë ÓÚÍ˚‚‡ÂÚ ˆÂÎÛ˛ Ó·ÓÈÏÛ
ÌÓ‚˚ı ËÏÂÌ. »Á 15 ͇ÚËÌ Ì˚̯ÌÂ„Ó ÍÓÌÍÛÒ‡
´üËÌÓÚ‡‚‡ª ¯ÂÒÚ¸ ñ ÔÂ‚˚ ÂÊËÒÒÂÒÍËÂ
‡·ÓÚ˚, ‡ ÚË ñ ‚ÚÓ˚Â, ˜ÚÓ ‚ ÏËÓ‚ÓÈ Ô‡ÍÚËÍÂ
ÚÓÊ ҘËÚ‡ÂÚÒˇ ‰Â·˛ÚÓÏ. “‡Í ˜ÚÓ ÔÓÎÓ‚ËÌÛ
ÓÚ·Ó‡ ˝ÚÓ„Ó „Ó‰‡ ÒÓÒÚ‡‚Ρ˛Ú ‰Â·˛Ú‡ÌÚ˚, ˜ÚÓ
ÔÓ͇Á‡ÚÂθÌÓ ‰Îˇ ÒÓ‚ÂÏÂÌÌÓ„Ó ÍËÌÓÔÓˆÂÒÒ‡, ‚
ÍÓÚÓÓÏ Ë‰ÂÚ ·Û̇ˇ ÒÏÂ̇ ÔÓÍÓÎÂÌËÈ. ƒÛ„‡ˇ
ÓÒÓ·ÂÌÌÓÒÚ¸ ñ ÔËÒÛÚÒÚ‚Ë ‚ ̇ˆËÓ̇θÌÓÏ
ÍÓÌÍÛÒ ÍÓÔÓ‰Û͈ËÈ. ƒÎˇ ÓÒÒËÈÒÍÓ„Ó ÍËÌÓ
Ó˜Â̸ ‚‡ÊÌÓ Ì‡Û˜ËÚ¸Òˇ ‡·ÓÚ‡Ú¸ Ò Á‡Û·ÂÊÌ˚ÏË
Ô‡ÚÌÂ‡ÏË. ›ÚÓ Ó·˚˜ÌÓ Ë‰ÂÚ Ì‡ ÔÓθÁÛ
͇˜ÂÒÚ‚Û, ˜ÚÓ ÛÊ ‰Ó͇Á‡Î‡ ≈‚ÓÔ‡, „‰Â ‰Ó‚ÓθÌÓ
ÚÛ‰ÌÓ ÓÔ‰ÂÎËÚ¸ ̇ˆËÓ̇θÌÓÒÚ¸ ÙËθχ. ›ÚÓ
ÂÒÚ¸ ÔˇÏÓ ÓÚ‡ÊÂÌË „ÎÓ·‡Î¸ÌÓ ÏÂÌˇ˛˘ÂÈÒˇ
ÏÂʉÛ̇Ó‰ÌÓÈ ÍËÌÓÒ‰˚. ≈˘Â ıÓ˜ÂÚÒˇ
ÓÚÏÂÚËÚ¸, ˜ÚÓ ‚ ÍÓÌÍÛÒ ÔÓÔ‡ÎË Ì ÔÓÒÚÓ
ÎÛ˜¯ËÂ, ÌÓ Ó˜Â̸ ‡ÁÌ˚Â Ë ÔÓÓÈ ÒÚ‡ÌÌ˚Â
͇ÚËÌ˚. Ã˚ ÒÔˆˇθÌÓ ÒÚ‡‡ÎËÒ¸ Ô‰ÒÚ‡‚ËÚ¸
‡·ÓÚ˚ ÌÂÓ‰Ë̇Ì˚Â, ‡‰Ë͇θÌÓ Ì ÔÓıÓÊËÂ
‰Û„ ̇ ‰Û„‡ Ë ‰‡Ê ÒÔÓˇ˘Ë ÏÂÊ‰Û ÒÓ·ÓÈ.
◊ÚÓ·˚ Ó·ÓÒÚËÚ¸ ÍÓÌÍÛÒÌÛ˛ ·Ó¸·Û, ‚
ÔÓ„‡ÏÏÛ ‚Íβ˜Â̇ ÔÓÎÌÓÏÂÚ‡Ê̇ˇ ÌÂË„Ó‚‡ˇ
͇ÚË̇ ¬ËÚ‡Îˡ ÇÌÒÍÓ„Ó. » ˝ÚÓ Ì ÓÚ
·Â‰ÌÓÒÚË ‚˚·Ó‡, ‡ ÓÚ ÒÚÂÏÎÂÌˡ Ô‰ÒÚ‡‚ËÚ¸
χÍÒËχθÌÓ ¯ËÓÍËÈ ÒÂÁ ̇¯Â„Ó
ÍËÌÂχÚÓ„‡Ù‡, ÒÓ ‚ÒÂÏË Â„Ó ÔÎ˛Ò‡ÏË Ë
ÏËÌÛÒ‡ÏË, ·˛‰ÊÂÚ‡ÏË, Ò˛ÊÂÚ‡ÏË Ë
ÔÓ·ÎÂχÏË.
œÓ·ÎÂχ ÌÓÏÂ Ó‰ËÌ ñ ‰Â̸„Ë. ƒÂÌÂÊ̇ˇ
χÒÒ‡, Ò‚‡ÎË‚¯‡ˇÒˇ Ô‡Û ÎÂÚ Ì‡Á‡‰ ̇ ÍËÌÓ,
Ì ÛÏÂ̸¯‡ÂÚÒˇ, ‡ Û‚Â΢˂‡ÂÚÒˇ. ≈ÒÎË ËÏÂÚ¸ ‚
‚Ë‰Û ÔÂÒÔÂÍÚË‚Û, ˝ÚÓ Á‡Ï˜‡ÚÂθÌÓ: ‡Á ‚
ÍËÌÓË̉ÛÒÚ˲ ‚ÎË‚‡˛ÚÒˇ ·Óθ¯Ë ‰Â̸„Ë, ÚÓ
‡ÌÓ ËÎË ÔÓÁ‰ÌÓ ÍÓ΢ÂÒÚ‚Ó ÔÂÂȉÂÚ ‚
͇˜ÂÒÚ‚Ó. Œ‰Ì‡ÍÓ ÔÓ͇ ÙË̇ÌÒÓ‚˚ ÔÓÚÓÍË ÌÂ
ÒËθÌÓ Ò͇Á‡ÎËÒ¸ ̇ ıÛ‰ÓÊÂÒÚ‚ÂÌÌÓÏ ÛÓ‚ÌÂ
ÒÌˇÚ˚ı ÙËθÏÓ‚. ÃÓÊÌÓ Ò Ó„Ó˜ÂÌËÂÏ
ÔËÁ̇ڸ, ˜ÚÓ ÒÂ„Ó‰Ìˇ ‚ ÍËÌÓ ‚ÂÏˇ ÒÍÓÂÂ
‡ÍÚË‚Ì˚ı β‰ÂÈ, ˜ÂÏ Ú‡Î‡ÌÚÎË‚˚ı. ¬Ò Á̇˛Ú,
Í‡Í ÌÂ΄ÍÓ ÌÂÁ‡‚ËÒËÏÓÏÛ ÂÊËÒÒÂÛ Ò ËÏÂÌÂÏ
Ë ÂÔÛÚ‡ˆËÂÈ Ì‡ÈÚË ‰Â̸„Ë Ì‡ ÔÓÂÍÚ. ¿ ÔË
˝ÚÓÏ ‚˚ÔÛÒ͇ÂÚÒˇ χÒÒ‡ ÙËθÏÓ‚, ÔÓ‰ÔËÒ‡ÌÌ˚ı
ÂÊËÒÒÂ‡ÏË Ë ÒˆÂ̇ËÒÚ‡ÏË, ÍÓÚÓ˚ ÌÂ
ËÏÂ˛Ú ‰‡Ê ·ÎËÁÍÓ„Ó Í ˝ÚËÏ ÔÓÙÂÒÒˡÏ
Ó·‡ÁÓ‚‡Ìˡ. «‡ÚÓ ‚ÏÂÒÚÓ ˝ÚÓ„Ó Û ÌËı ÂÒÚ¸
ÒÔÓÒÓ·ÌÓÒÚ¸ ۷‰ËÚ¸ ͇ÍÓÈ-ÌË·Û‰¸ ´‰ÂÌÂÊÌ˚È
͇χ̪ ÔÓÙË̇ÌÒËÓ‚‡Ú¸ ÙËθÏ, Ì‡Ó·Â˘‡‚
ÂÏÛ Ò ÚË ÍÓÓ·‡ ÔÓ ·Û‰Û˘ËÈ ·ÓÍÒ-ÓÙËÒ Ë
Û˜‡ÒÚË ‚ ÙÂÒÚË‚‡Îˇı. » ËÌ‚ÂÒÚÓ˚ ̇ ˝ÚÓ
ˉÛÚ, Ì Á‡‰ÛÏ˚‚‡ˇÒ¸ Ó ÂÁÛθڇÚÂ, ÔÓÒÍÓθÍÛ
Á‡ ÒÎÓ‚ÓÏ ´ÍËÌÓª ÔÓ-ÔÂÊÌÂÏÛ Ï‡ˇ˜ËÚ ÚÂ̸
ÒÚÓθ Ê·ÌÌÓ„Ó ËÏË „·ÏÛ‡. ›ÚÓ ÒÓ‚ÒÂÏ ÌÂ
ÓÁ̇˜‡ÂÚ, ˜ÚÓ ÍÓÏÔ‡Ìˡ-Ìӂ˘ÓÍ Ì ÒÔÓÒӷ̇
‚˚ÔÛÒÚËÚ¸ ڇ·ÌÚÎË‚˚È ÙËθÏ, ÌÓ ÚÂÏ ÌÂ
ÏÂÌ ÔÓ-ÔÂÊÌÂÏÛ ·Óθ¯‡ˇ ˜‡ÒÚ¸ ͇ÚËÌ,
ÓÚÓ·‡ÌÌ˚ı ̇ÏË ‚ ÍÓÌÍÛÒ, ÒÓÁ‰‡Ì‡
ËÁ‚ÂÒÚÌ˚ÏË ÍÓÏÔ‡ÌˡÏË, ‰‡‚ÌÓ Ëϲ˘ËÏË ‚ÂÒ
‚ Ë̉ÛÒÚËË, ÔÓ‰ÛχÌÌÛ˛ ÔÓÎËÚËÍÛ Ë
ÔÓÙÂÒÒËÓ̇θÌ˚È ‰‡ÍÚÓÒÍËÈ ÒÓÒÚ‡‚. ¿ ‚ÓÚ
ÏÌÓ„Ë ËÁ ÚÂı, ˜ÚÓ ÓÒÚ‡ÎËÒ¸ Á‡ ·ÓÚÓÏ, ˜‡ÒÚÓ ÌÂ
ÚÓ ˜ÚÓ Í ËÒÍÛÒÒÚ‚Û, ‰‡ÊÂ Í ÂÏÂÒÎÛ ÓÒÓ·Ó„Ó
ÓÚÌÓ¯ÂÌˡ Ì ËϲÚ, ÔÓ‚ÚÓˇˇ ÒıÂÏ˚ Ë
¯Ú‡ÏÔ˚ ÔËÏËÚË‚ÌÓ„Ó ÚÂÎÂÍËÌÓ.
ŒÚÒ˛‰‡ ‚ÓÁÌË͇ÂÚ ÔÓ·ÎÂχ ÌÓÏÂ ‰‚‡ ñ ӷˉ˚
ÚÂı, ÍÚÓ Ì ÔÓԇΠ‚ ÍÓÌÍÛÒ. ”‚˚, ÏÌÓ„ËÂ
ÒÚÂÏˇÚÒˇ ÔÓÔ‡ÒÚ¸ ̇ ´üËÌÓÚ‡‚ª, ˜ÚÓ·˚
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Ô‡‚ËθÌÓÒÚ¸ ͇ÔËÚ‡ÎÓ‚ÎÓÊÂÌËÈ. » ˝ÚÓ „ÛÒÚÌÓ:
ÙÂÒÚË‚‡Î¸ ‡ÒˆÂÌË‚‡˛Ú Í‡Í ÒÔÓÒÓ·
ÌÂÍÓÏÏÂ˜ÂÒÍÓÈ ÍÓÏÔÂÌÒ‡ˆËË, Ò‡ÏÓÔˇ‡. ÕÓ
ÒÂ„Ó‰Ìˇ Ï˚ ÊË‚ÂÏ ‚ Ë̉ÛÒÚˇθÌÓÈ ÒËÚÛ‡ˆËË.
» Ú‡ÍÓÈ ÙÂÒÚË‚‡Î¸, Í‡Í ´üËÌÓÚ‡‚ª, ·ÂÁÛÒÎÓ‚ÌÓ,
Û‚Â΢˂‡ÂÚ ·Û‰Û˘Û˛ ‡Û‰ËÚÓ˲ ͇ÚËÌ˚,
Ô‰ÓÒÚ‡‚Ρˇ ÂÈ Ò‚Ó˛ ÔÎÓ˘‡‰ÍÛ Ë ‚Îˡˇ
ÍÓÒ‚ÂÌÌ˚Ï Ó·‡ÁÓÏ Ì‡  ÒÛ‰¸·Û. œÓ‰˛ÒÂ˚ ˝ÚÓ
ÛÊ ÔÓÌËχ˛Ú ñ ÓÌË ÒÔˆˇθÌÓ ÔˉÂÊË‚‡˛Ú
Ò‚ÓË ÙËθÏ˚ ‰Îˇ ´üËÌÓÚ‡‚‡ª, ÓÚÍ·‰˚‚‡ˇ
ÔÓ͇Ú. » ÚÓ, ˜ÚÓ Î˛‰Ë ıÓÚˇÚ ÔÓÔ‡ÒÚ¸ ËÏÂÌÌÓ ‚
̇¯Ë ÔÓ„‡ÏÏ˚, ̇Í·‰˚‚‡ÂÚ ·Óθ¯Û˛
ÓÚ‚ÂÚÒÚ‚ÂÌÌÓÒÚ¸. ¬Â‰¸ ÏÌÓ„ËÏ ËÁ ÌËı ÔË
ÚÂÔÂ¯ÌÂÏ Ì‡Î˘ËË ‚˚·Ó‡ ÔËıÓ‰ËÚÒˇ
ÓÚ͇Á˚‚‡Ú¸. œ‡‚‰‡, ‰‡ÎÂÍÓ Ì ‚ÒˇÍËÈ ÙËθÏ, ÌÂ
ÓÚÓ·‡ÌÌ˚È ‚ ÍÓÌÍÛÒ, ˇ‚ΡÂÚÒˇ ÔÎÓıËÏ ËÎË
ÔÓ‚‡Î¸Ì˚Ï. œÓÒÚÓ ÔË ·ÛÌÓ ‡Á‚Ë‚‡˛˘ÂÈÒˇ
Ë̉ÛÒÚËË ÓÚÒ‚ ÌÂËÁ·ÂÊÂÌ: ËÁ ‰Â‚ˇÚË Í‡ÚËÌ
Ï˚ ‚˚·Ë‡ÎË Ó‰ÌÛ. ÃÌ ͇ÊÂÚÒˇ, ˜ÚÓ Ë ‡‚ÚÓ‡Ï,
Ë ÔÓ‰˛ÒÂ‡Ï ÔÓ‡ ÓÒÓÁ̇ڸ, ˜ÚÓ ÛÊÂ Ò‡Ï Ù‡ÍÚ
ÔÓÔ‡‰‡Ìˡ ‚ ÍÓÌÍÛÒ, ÏÓ‡Î¸Ì‡ˇ ˆÂ̇ Û˜‡ÒÚˡ
ÙËθχ ‚ ÙÂÒÚË‚‡Î ÒÚ‡ÌÓ‚ËÚÒˇ ‚ ˝ÚÓÈ ÒËÚÛ‡ˆËË
„Ó‡Á‰Ó ‚˚¯Â ñ Ó̇ ÔÓÒÚÂÔÂÌÌÓ ÔË·ÎËʇÂÚÒˇ Í
ÏÂʉÛ̇Ó‰ÌÓÈ. ŒÒÚ‡ÂÚÒˇ ‰Óʉ‡Ú¸Òˇ ÚÂı
‚ÂÏÂÌ, ÍÓ„‰‡ ÔÓÎÛ˜ÂÌË ÔËÁ‡ ̇ ´üËÌÓÚ‡‚ª
·Û‰ÂÚ „‡‡ÌÚËÓ‚‡Ú¸ Û‚Â΢ÂÌË ˚ÌÓ˜ÌÓÈ
ÒÚÓËÏÓÒÚË Ë ÍÓ΢ÂÒÚ‚‡ ÔÓ‰‡Ê ͇ÚËÌ˚. ÕÓ ˝ÚÓ
Á‡‰‡˜‡ Ì ÓÚ‰ÂθÌÓ„Ó ÙÂÒÚË‚‡Îˇ, ‡ ‚ÒÂÈ
ÍËÌÓË̉ÛÒÚËË.
“ÂÚ¸ˇ ÔÓ·ÎÂχ ñ Ô‡ÍÚ˘ÂÒÍË ÔÓÎÌÓÂ
ÓÚÒÛÚÒÚ‚Ë ͇˜ÂÒÚ‚ÂÌÌÓ„Ó ÏÂÈÌÒÚËχ,
‰ÓÒÚÓÈÌÓ„Ó ÍÓÌÍÛÒ‡. ” Ì‡Ò ‚ ˝ÚÓÏ „Ó‰Û ·˚Î
·Óθ¯ÓÈ Òӷ·ÁÌ Ë ‡θ̇ˇ ‚ÓÁÏÓÊÌÓÒÚ¸
҉·ڸ ˜ËÒÚÓ ‡Úı‡ÛÒÌÛ˛ ÔÓ„‡ÏÏÛ. Œ‰Ì‡ÍÓ
Á‡‰‡˜‡ „·‚ÌÓ„Ó Ì‡ˆËÓ̇θÌÓ„Ó ÙÂÒÚË‚‡Îˇ ñ
ÔÓ͇Á˚‚‡Ú¸ ‚ÂÒ¸ ʇÌÓ‚˚È Ë ÒÚË΂ÓÈ ÒÔÂÍÚ
ÍËÌÓÔÓ‰Û͈ËË. œÓ˝ÚÓÏÛ ‚ ÍÓÌÍÛÒ ÂÒÚ¸ Ë ÚÂ
ÙËθÏ˚, ÍÓÚÓ˚ ÒÌËχÎËÒ¸ Ì ‰Îˇ ÓÚ·ÓÓ˜ÌÓÈ
ÍÓÏËÒÒËË ËÎË ÍËÌÓÍËÚËÍÓ‚, ‡ ‰Îˇ ¯ËÓÍÓÈ
‡Û‰ËÚÓËË ñ Ò Û˜‡ÒÚËÂÏ ‡ÍÚÂÓ‚-Á‚ÂÁ‰, ‚
ÒÚÓ„Ëı ʇÌÓ‚˚ı ‡Ï͇ı. ü ÒÓʇÎÂÌ˲,
ËÌÚÂÂÒÌ˚ı ͇ÚËÌ Ú‡ÍÓ„Ó Ó‰‡ Ó˜Â̸ χÎÓ Ë
ÓÚ˚ÒÍË‚‡Ú¸ Ëı ÔËıÓ‰ËÚÒˇ ÔÓ‰ ÚÓÌ̇ÏË ÔÛÒÚÓÈ
ÔÓÓ‰˚. Õ‡‰Â˛Ò¸, ˜ÚÓ ‚ ÒÎÂ‰Û˛˘ÂÏ „Ó‰Û Ú‡ÍÓÈ
ÔÓÓ‰˚ ·Û‰ÂÚ ÏÂ̸¯Â, ‡ ÍÓÌÍÛÂÌˆËˇ ÙËθÏÓ‚
ÔË ÓÚ·Ó ÒÚ‡ÌÂÚ Â˘Â ÓÒÚÂÂ, ÌÓ ÙÂÒÚË‚‡Î¸
·Û‰ÂÚ ÔÓ‰ÓÎʇڸ ÒÓ‰ÂÈÒÚ‚Ó‚‡Ú¸ Ú‚Ó˜ÂÒÍÓÈ
ÔÓ‰ÔËÚÍÂ Ë ÓÚÍ˚‚‡Ú¸ ÌÓ‚˚ ËÏÂ̇.
œÓ‰˛ÒÂÒÚ‚Ó ·˚ÎÓ, ÂÒÚ¸ Ë ·Û‰ÂÚ ÁÓÌÓÈ
ÔÓ‚˚¯ÂÌÌÓ„Ó ËÒ͇. ÕÓ ·ÂÁ ËÒ͇ ÓÌÓ ÚÂˇÂÚ
Ò‚ÓÈ „·‚Ì˚È ÒÏ˚ÒÎ. –ËÒÍÛÈÚÂ, „ÓÒÔÓ‰‡
ÔÓ‰˛ÒÂ˚!
—ËÚÓ‡ ¿ÎË‚‡
ƒËÂÍÚÓ ÔÓ„‡ÏÏ
ìKINOTAVRî
AS A FORM OF FILM LIFE
This year more than 130 applications have been
submitted for the main competition: this is like a
genuine festival boom. I am glad that the
selection committee has increased in its number,
because in such a complex situation we have to
minimize the risk of subjectivity. The selection
process was long and elaborate, staring in
December of last year. The competition
programme that has resulted from this process is
very interesting for ourselves as well, because, in
our opinion, it reflects exactly and realistically
Russian cinema of today. We are proud that the
festival not only represents films of known
directors, but also discovers a range of new
names. From the 15 films in the competition of
ìKinotavrî, six are debuts and three are second
films, which could be considered a first in world
festival practice. Thus, half of this yearís
selection is made up of debuts, which is
indicative of the contemporary cinematic process
and the brisk change of generations that is
happening. Another specific feature is the
presence of co-productions at this national
competition. It is very important for Russian
cinema to learn how to work with foreign
partners. Such collaboration usually boosts the
quality, which has already been proven in Europe
where it is rather difficult to determine the
national origin of a film. This is a direct
reflection of the globally changing international
cinematic environment. We should also note that
we have not just the best, but also very different
and at times strange films in the competition.
We tried especially to include works that are not
ordinary, that radically differ from each other
and that even contradict each other. And to add
to the complexity of the competition, Vitali
Manskyís full-length documentary is included in
the programme. This is not because of a lack of
choice, but due to our aspiration to present a
maximally wide range of our cinema, with all its
pluses and minuses, budgets, plots and problems.
Problem No. 1: money. The monetary mass that
was showered upon cinema a couple of years ago
has not decreased, but increased. If one has in
mind prospect, this is wonderful: if money is
poured into the film-industry, then sooner or
later quantity will turn into quality. However,
thus far the financial streams have not
particularly affected the artistic level of films. It
is with distress that we can observe that in
contemporary cinema the period is characterised
by activity rather than talent. Everyone knows
how difficult it is for an independent director
with a name and a reputation to raise money for
a project. At the same time, a huge number of
films are produced and signed by directors and
scriptwriters without any professional education.
Instead, they possess the ability to convince some
ìmonetary pocketsî to finance their film, talking
nineteen to the dozen about the future box-office
and festival participation. And ñ the investors
fall for that without thinking about the result,
because behind the word ìcinemaî they see
looming only the shadow of much-desired
glamour. This does not mean to say that a new
company cannot produce a talented film.
Nevertheless the majority of films selected for
the competition have been made by established
companies that have shown their weight in the
industry for a long time, alongside a thoughtful
policy and professional editorial structures.
Many of those who were left out here have no
relation to the art or even the craft of
filmmaking, copying templates and schemes of
primitive television films
Whence arises problem No. 2: the insults of
those who have not made it into the
competition. Alas, many aspire to get to
ìKinotavrî and thus justify the capital
investments to their sponsors. Yet it is rather
sad to regard the festival as a way of noncommercial indemnification, of self-PR. But
then, today we live in an industrial world. A
festival such as ìKinotavrî certainly increases
the future audience for a film, giving it a
platform and influencing its fate indirectly.
Producers have already understood that: they
specially hold back their films for ìKinotavrî,
postponing their release. After all, peopleís
desire to get into our programmes is also a huge
responsibility. In fact, many films ñ given the
current range and choice ñ have to be turned
down. True, not every film that has been not
selected for competition is bad or disastrous.
But some elimination is inevitable in a briskly
developing industry: we chose one in nine
films. It seems to me that the time has come for
authors and producers to realize that in such a
situation, being in competition, or the moral
value of festival participation, become much
higher and gradually approach an international
level. We just have to wait for the time when
receiving a prize at ìKinotavrî will guarantee
an increase in the market value and the quantity
of sales. But that is not the task of a single
festival, but of the entire film-industry.
The third problem is the practically complete
lack of a qualitative mainstream worthy of
inclusion in the competition. This year we were
faced with the huge temptation and the real
opportunity to make an art house only
programme. However, the task of the main
national festival is to show all genres and styles
of film production. Therefore, there are also
films in the competition that were not made for
the selection committee or film critics, but for a
wide audience, with star actors and in strict
genre structures. Unfortunately, there are not
enough interesting films of this sort, and in
order to find them one has to search through
tons of dead rock. I hope that next year there
will be less such rock, and the competition of
films during the selection process will become
even sharper. But: the festival will continue
with its promotion of creative search and its
discovery of new names.
Film production was, is, and will be an area of
increased risk. But without risk it loses its
sense. Risk it, Messieurs Producers!
Sitora Alieva
Programme Director
5
œŒœ≈◊»“≈À‹—ü»…
—Œ¬≈“ ‘≈—“»¬¿Àfl
BOARD OF TRUSTEES
OF THE FESTIVAL
¿À≈ü—¿Õƒ– –ŒƒÕflÕ—ü»…
ÙÂÒÚË‚‡Îˇ ´üËÌÓÚ‡‚ª
ALEXANDER RODNIANSKY
Chairman of the Board of Trustees of the
Festival "Kinotavr"
œ≈“– ¿¬≈Õ
PETR AVEN
ŒÀ≈√ ƒ≈–»œ¿—ü¿
OLEG DERIPASKA
ŒÀ≈√ ƒŒ¡–Œƒ≈≈¬
OLEG DOBRODEEV
¬»“¿À»… »√Õ¿“≈ÕüŒ
VITALI IGNATENKO
¿À≈ü—¿Õƒ– “ü¿◊≈¬
ALEXANDER TKACHEV
û’¿»À ÿ¬¤ƒüŒ…
MIKHAIL SHVYDKOI
üŒÕ—“¿Õ“»Õ ›–Õ—“
KONSTANTIN ERNST
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‘≈—“»¬¿Àfl
FESTIVAL
DIRECTION
√ÂÌÂ‡Î¸Ì˚È ÔÓ‰˛ÒÂ
»√Œ–‹ “ŒÀ—“”ÕŒ¬
General Producer
IGOR TOLSTUNOV
œÓ„‡ÏÏÌ˚È ‰ËÂÍÚÓ
—»“Œ–¿ ¿À»≈¬¿
Programme Director
SITORA ALIEVA
ƒËÂÍÚÓ ÙÂÒÚË‚‡Îˇ
≈À≈Õ¿ À¿œ»Õ¿
Director of the Festival
ELENA LAPINA
ƒËÂÍÚÓ Õ‘ ´üËÌÓÚ‡‚ª
œŒÀ»Õ¿ «”≈¬¿
Director of the Noncommercial Fund ìKinotavrî
POLINA ZUEVA
–ÛÍÓ‚Ó‰ËÚÂθ PR-ÒÎÛÊ·˚
¿Õ¿—“¿—»fl ¡”À√¿üŒ¬¿
Head of PR-Service
ANASTASIA BULGAKOVA
–ÛÍÓ‚Ó‰ËÚÂθ ÒÎÛÊ·˚ ÔÓÚÓÍÓ·
Õ¿“¿À‹fl flü”ÿü»Õ¿
Head of Protocol Service
NATALIA YAKUSHKINA
‘Ë̇ÌÒÓ‚˚È ‰ËÂÍÚÓ
¬»“¿À»… ¡”◊»Õ—ü»…
Financial Director
VITALI BUCHINSKY
œ‰Ò‰‡ÚÂθ ÔÓÔ˜ËÚÂθÒÍÓ„Ó ÒÓ‚ÂÚ‡
6
40
COMPETITION
ü»ÕŒ“¿¬–. üŒ–Œ“ü»… Ã≈“–
KINOTAVR. SHORTS
ÒÓ‰ÂʇÌËÂ
contents
64
À≈“Õflfl ›…‘Œ–»fl
79
—œ≈÷»¿À‹Õ¤… œŒü¿«
85
ü»ÕŒ Õ¿ œÀŒŸ¿ƒ»
120
SUMMER EUPHORIA
SPECIAL SCREENING
CINEMA ON THE SQUARE
1958-2000. À”◊ÿ»≈ ‘»À‹Ã¤ » –≈Δ»——≈–¤
¬˚·Ó √Ëθ‰ËË ÍËÌӂ‰ӂ Ë ÍËÌÓÍËÚËÍÓ‚
1958-2000: THE BEST FILMS AND DIRECTORS
The Selection of the Guild of Film Critics and Film Scholars
156
ü»ÕŒ, üŒ“Œ–Œ≈ ä Õ≈ «¿Ã≈“»À»
161
¿Õ“ŒÀŒ√»fl –Œ——»…—üŒ√Œ ü»ÕŒ
162
«¿ü–¤“»≈
THE CINEMA WE FAILED TO NOTICE
ANTHOLOGY OF RUSSIAN CINEMA
CLOSING GALA
CÓ‰ÂʇÌËÂ
Contents
8
üŒÕü”–—
7
ÍÓÌÍÛÒ
competition
Δfi–» / JURY
œ‡‚ÂÎ ◊Ûı‡È
ÍËÌÓÂÊËÒÒÂ
ñ Ô‰Ò‰‡ÚÂθ Ê˛Ë
Pavel Chukhrai
film director
ñ jury chairman
–ÓχÌ
¡ÓËÒ‚˘
ÔÓ‰˛ÒÂ
ÇË̇
√ÓÎÛ·
‡ÍÚËÒ‡
fiËÈ
À˛·¯ËÌ,
ÍËÌÓÓÔÂ‡ÚÓ
Roman
Borisevich
producer
Marina
Golub
actress
Yuri
Liubshin
cinematographer
ÇË̇
–‡Á·ÂÊÍË̇
ÍËÌÓÂÊËÒÒÂ
≈ÎÂ̇
—Ú˯ӂ‡
ÍËÌÓÍËÚËÍ
¿ÚÂÏ
“͇˜ÂÌÍÓ
‡ÍÚÂ
Marina
Razbezhkina
film director
Elena
Stishova
Film critic
фото: www.spbfoto.ru
8
ÍÓÌÍÛÒ
competition
Artiom
Tkachenko
actor
ÊË‚Ë Ë ÔÓÏÌË
LIVE TO REMEMBER
·‡ÍÒ˚
ÍÓÌÍÛÒ
competition
Œ“ü–¤“»≈/ OPENING GALA
BAKSY
‰Â‚ÒÚ‚ÂÌÌÓÒÚ¸
VIRGINITY
‰ËÍÓ ÔÓÎÂ
WILD FIELD
ÌË‚‡Ì‡
NIRVANA
ÌÓ‚‡ˇ ÁÂÏΡ
TERRA NOVA
Ó͇Ì
OCEAN
ÔÎÂÌÌ˚È
CAPTIVE
ÔÎ˛Ò Ó‰ËÌ
PLUS ONE
Ò͇ÊË ÎÂÓ
SAY LEO
ÒÚ‡¯‡ˇ ÊÂ̇
THE ELDER WIFE
ÚÓÚ, ÍÚÓ „‡ÒËÚ Ò‚ÂÚ
HE WHO SWITCHES OFF THE LIGHTS
˜ÂÚ˚ ‚ÓÁ‡ÒÚ‡ β·‚Ë
FOUR AGES OF LOVE
¯ÛθÚÂÒ
SHULTES
˛¸Â‚ ‰Â̸
YURI'S DAY
9
ÍÓÌÍÛÒ
competition
Œ“ü–¤“»≈ / OPENING GALA
Δ»¬» » œŒÃÕ»
LIVE TO REMEMBER
10
2008, –ÓÒÒˡ, 95 ÏËÌ., ˆ‚., 1:1.85, Dolby Digital 5.1
2008, Russia, 95 min., col., 1:1.85, Dolby Digital 5.1
¿‚ÚÓ˚ ÒˆÂ̇ˡ ¿ÎÂÍ҇̉ –Ó‰ËÓÌÓ‚,
Scriptwriters Alexander Rodionov, Alexander Proshkin
¿ÎÂÍ҇̉ œÓ¯ÍËÌ
Director Alexander Proshkin
–ÂÊËÒÒÂ ¿ÎÂÍ҇̉ œÓ¯ÍËÌ
Directors of Photography Gennadi Kariuk, Alexander Kariuk
ŒÔÂ‡ÚÓ˚ √ÂÌ̇‰ËÈ ü‡˛Í, ¿ÎÂÍ҇̉ ü‡˛Í
Production Design Alexander Tolkachev
’Û‰ÓÊÌËÍ ¿ÎÂÍ҇̉ “ÓÎ͇˜Â‚
Costume Design Svetlana Medovaia
üÓÒÚ˛Ï˚ —‚ÂÚ·̇ Éӂ‡ˇ
Composer Roman Dormidoshin
üÓÏÔÓÁËÚÓ –ÓÏ‡Ì ƒÓÏˉӯËÌ
Sound Gennadi Panin
«‚ÛÍ ≈‚„ÂÌËÈ —ÎË‚˜ÂÌÍÓ, ÇÍÒËÏ –ÂÈÌ·‡ı
Editing Natalia Kucherenko
ÃÓÌÚ‡Ê Õ‡Ú‡Î¸ˇ üÛ˜ÂÂÌÍÓ
Cast: Daria Moroz, Mikhail Evlanov, Sergei Makovetsky,
¬ ÓΡı: ƒ‡¸ˇ ÃÓÓÁ, ÃËı‡ËÎ ≈‚·ÌÓ‚,
Anna Mikhalkova, Evgeniya Glushenko, Sergei Bekhterev,
—Â„ÂÈ Ã‡ÍӂˆÍËÈ, ¿Ì̇ ÃËı‡ÎÍÓ‚‡, ≈‚„ÂÌˡ √ÎÛ¯ÂÌÍÓ,
Daria Ekamasova, Oleg Kharitonov, Natalia Tetenova
—Â„ÂÈ ¡ÂıÚÂ‚, ƒ‡¸ˇ ≈͇χÒÓ‚‡, ŒÎ„ ’‡ËÚÓÌÓ‚,
Producers Ruben Dishdishian, Sergei Danielian, Aram
Õ‡Ú‡Îˡ “ÂÚÂÌÓ‚‡
Movsesian, Yuri Moroz
œÓ‰˛ÒÂ˚ –Û·ÂÌ ƒË¯‰Ë¯ˇÌ, —Â„ÂÈ ƒ‡ÌËÂΡÌ,
Production Courier, commissioned by Central Partnership
¿‡Ï ÃÓ‚ÒÂÒˇÌ, fiËÈ ÃÓÓÁ
Distribution CP Classics
œÓËÁ‚Ó‰ÒÚ‚Ó ´üÛ¸Âª ÔÓ Á‡Í‡ÁÛ ´÷ÂÌÚ‡Î œ‡ÚÌÂ¯ËÔª
œÓÍ‡Ú CP Classics
www.centpart.ru
www.centpart.ru
ÍÓÌÍÛÒ
competition
¿ÎÂÍ҇̉ œÓ¯ÍËÌ
–ÂÊËÒÒÂ ÍËÌÓ Ë ÚÂ΂ˉÂÌˡ, ÒˆÂ̇ËÒÚ.
Õ‡Ó‰Ì˚È ‡ÚËÒÚ –ÓÒÒËË, ·Û‡Ú
√ÓÒÛ‰‡ÒÚ‚ÂÌÌÓÈ ÔÂÏËË ———–, ÔËÁÂ
ÍËÌÓÙÂÒÚË‚‡ÎÂÈ. –Ó‰ËÎÒˇ 25.03.1940 ‚
ÀÂÌËÌ„‡‰Â. ŒÍÓ̘ËÎ ‡ÍÚÂÒÍËÈ Ù‡ÍÛθÚÂÚ
À√»“ÃËü‡ (1961, ÍÛÒ ¡.¬.«Ó̇). œÓÒÎÂ
ÓÍÓ̘‡Ìˡ ¬˚Ò¯Ëı ÂÊËÒÒÂÒÍËı ÍÛÒÓ‚
ÔË √ÓÒÚÂÎÂ‡‰ËÓ (1968) ñ ÂÊËÒÒÂ √·‚ÌÓÈ
‰‡ÍˆËË ÎËÚÂ‡ÚÛÌÓ-‰‡Ï‡Ú˘ÂÒÍËı
ÔÓ„‡ÏÏ ÷ÂÌÚ‡Î¸ÌÓ„Ó ÚÂ΂ˉÂÌˡ, Ò 1978
ñ ÚÂÎÂÓ·˙‰ËÌÂÌˡ ´›Í‡Ìª. «‡ „Ó‰˚ ‡·ÓÚ˚
̇ ÚÂ΂ˉÂÌËË ÔÓÒÚ‡‚ËÎ ·ÓΠÚˉˆ‡ÚË
ÚÂÎÂÒÔÂÍÚ‡ÍÎÂÈ Ë ÚÂÎÂÙËθÏÓ‚, Ò‰Ë
ÍÓÚÓ˚ı ˝Í‡ÌËÁ‡ˆËË ¯Â‰Â‚Ó‚ ÏËÓ‚ÓÈ
ÎËÚÂ‡ÚÛ˚. — 1987 ñ ÂÊËÒÒÂ ÍËÌÓÒÚÛ‰ËË
´ÃÓÒÙËθϪ, „‰Â ·˚· ÔÓÒÚ‡‚ÎÂ̇ ͇ÚË̇
´’ÓÎÓ‰ÌÓ ÎÂÚÓ ÔˇÚ¸‰ÂÒˇÚ ÚÂڸ„Ӫ
(√ÓÒÔÂÏˡ, ÔÂÏˡ ´ÕË͇ª), ÍÓÚÓ‡ˇ Òڇ·
ıËÚÓÏ Ì‡ˆËÓ̇θÌÓ„Ó ÍËÌÓÔÓ͇ڇ.
œÓÒΉÌË ÚË Í‡ÚËÌ˚ ÂÊËÒÒÂ‡ ÒÌˇÚ˚ ‚
ÍËÌÓÍÓÏÔ‡ÌËË ´÷ÂÌÚ‡Î œ‡ÚÌÂ¯ËÔª.
11
»Á·‡Ì̇ˇ ÙËθÏÓ„‡Ùˡ:
1975 ....ŒÎ¸„‡ —Â„‚̇ (ÒÂˇÎ)
1979 ....»ÌÒÔÂÍÚÓ √ÛÎÎ (Ú‚)
1981 ....ŒÔ‡ÒÌ˚È ‚ÓÁ‡ÒÚ (Ú‚)
1984ñ86 ...ÃËı‡ÈÎÓ ÀÓÏÓÌÓÒÓ‚ (ÒÂˇÎ)
1988 ....’ÓÎÓ‰ÌÓ ÎÂÚÓ ÔˇÚ¸‰ÂÒˇÚ ÚÂڸ„Ó
1990 ....ÕËÍÓÎ‡È ¬‡‚ËÎÓ‚ (Ú‚)
1992 ....”‚ˉÂÚ¸ œ‡ËÊ Ë ÛÏÂÂÚ¸
1995 ....◊Â̇ˇ ‚ۇθ
2000 ....–ÛÒÒÍËÈ ·ÛÌÚ
2003 ....“ËÓ
2005 ....ƒÓÍÚÓ ΔË‚‡„Ó (ÒÂˇÎ)
2008 ....ΔË‚Ë Ë ÔÓÏÌË
Alexander Proshkin
Director of cinema and television,
scriptwriter. Peopleís Actor of Russia (1995),
winner of the USSR State Prize (1989), and
prize-winner of festivals. Born 25 March
1940 in Leningrad. Graduated from the
acting faculty of the Leningrad Theatre and
Film Institute LGITMiK (1961, course of B.
Zon). After graduating from the Higher
Courses for Directors organized by the Soviet
State Radio and Television (Gosteleradio) he
was director of the Main Editorial Office of
literary and drama programmes on Central
TV (1968-78), since 1978 the television
association ëScreení. During his time in
television directed over 30 television plays
and films, among them adaptations of world
classics. Since 1987 director at the film
studio Mosfilm where he directed his film
ìThe Cold Summer of ë53î (State Prize, NIKA
Award), which became a hit in Russian film
distribution. A master of genre cinema, his
three most recent films were produced by
Central Partnership.
Select Directorís Filmography:
1975 ....Olga Sergeevna (serial)
1979 ....Inspector Gull (TV)
1981 ....A Dangerous Age (TV)
1984-86 ...Mikhail Lomonosov (serial)
1988 ....The Cold Summer of ë53
1990 ....Nikolai Vavilov (TV)
1992 ....To See Paris and Die
1995 ....The Black Veil
2000 ....The Russian Revolt (The Captainís
Daughter)
2003 ....The Trio
2005 ....Doctor Zhivago (serial)
2008 ....Live to Remember
œÓ Ó‰ÌÓËÏÂÌÌÓÈ ÔÓ‚ÂÒÚË ¬‡ÎÂÌÚË̇ –‡ÒÔÛÚË̇ (1974).
«Ëχ 1945 „Ó‰‡. ¬ ‰Â‚Ì ̇ ·ÂÂ„Û ¿Ì„‡˚ ÊÂÌ˘ËÌ˚ ʉÛÚ ‚ÓÁ‚‡˘ÂÌˡ Ò
ÙÓÌÚ‡ Ò‚ÓËı ÏÛÊÂÈ. ÃÓÎÓ‰ÓÈ ÒÓΉ‡Ú ¿Ì‰ÂÈ √ÛÒ¸ÍÓ‚, Ò·Âʇ‚¯ËÈ ËÁ
„ÓÒÔËڇΡ, ‚ÓÁ‚‡˘‡ÂÚÒˇ ‰ÂÁÂÚËÓÏ. Õ‡‚¢‡Ú¸ Â„Ó Ì‡ ÓÚ‰‡ÎÂÌÌÓ ÁËÏÓ‚¸Â
ıÓ‰ËÚ ÊÂ̇ Õ‡ÒÚÂ̇, ‰ËÌÒÚ‚ÂÌÌ˚È ˜ÂÎÓ‚ÂÍ, ÍÓÚÓÓÏÛ ÓÌ ÏÓÊÂÚ ‰Ó‚ÂËÚ¸
Ò‚Ó˛ ÊËÁ̸ ñ ÊËÁ̸ ‚˜ÌÓ„Ó ·Â„Έ‡, Ó·˜ÂÌÌÓ„Ó Ì‡ Ó‰ËÌÓ˜ÂÒÚ‚Ó. “ÓθÍÓ
Ó̇ Ӊ̇ β·ËÚ Â„Ó. ŒÌ‡ ÊË‚ÂÚ Ì‡ÒÚÓˇ˘ËÏ, ÔÓÏÌËÚ Ó ÔÓ¯ÎÓÏ Ë Ì ‚ÂËÚ ‚
·Û‰Û˘ÂÂ. ” Ì ·Û‰ÂÚ ·ÂÌÓÍ, Ë ‰Îˇ ‚ÒÂÈ ‰Â‚ÌË Ó̇ ñ Ì‚Â̇ˇ ÊÂ̇, ÌÂ
‰Óʉ‡‚¯‡ˇÒˇ ÏÛʇ...
Based on Valentin Rasputinís story of the same title (1974).
The winter of 1945. In a village on the Angara embankment the women await
the return of their husbands from the front. The young soldier Andrei Guskov,
who fled from the hospital, returns as a deserter. In his remote winter hut
only his wife Nastena visits him: she is the only person whom he can trust
with his life ñ the life of an eternal fugitive doomed to loneliness. Only she
loves him. She lives in the present, remembers the past and does not believe in
the future. She will have a child, and for the entire village she is an unfaithful
wife who did not wait for her husband to return...
ÍÓÌÍÛÒ
competition
¡¿ü—¤
BAKSY
12
2008, –ÓÒÒˡ/ü‡Á‡ıÒÚ‡Ì/‘‡ÌˆËˇ/√ÂχÌˡ, 87 ÏËÌ.,
2008, Russia/Kazakhstan/France/Germany, 87 min., 1:1.66,
1:1.66, Dolby Digital 5.1
Dolby Digital 5.1
¿‚ÚÓ˚ ÒˆÂ̇ˡ —Â„ÂÈ ¡Ó‰Ó‚, √Û͇ ŒÏ‡Ó‚‡
Scriptwriters Sergei Bodrov, Guka Omarova
–ÂÊËÒÒÂ √Û͇ ŒÏ‡Ó‚‡
Director Guka Omarova
ŒÔÂ‡ÚÓ –‡ÙËÍ √‡Î΂
Director of Photography Rafik Galleev
’Û‰ÓÊÌËÍ ¿Îχ„Ûθ ÃÂÌÎË·‡Â‚‡
Production Design Almagul Menlibaeva
üÓÒÚ˛Ï˚ Ç·ËÌÚ ¬‡Ì ‰Â ¡ÂÎÚ
Costume Design Mabinte van de Belt
«‚ÛÍ ¬Î‡‰ËÏË √ÓÎÓÛÌËÌ
Sound Vladimir Golounin
¬ ÓΡı: ÕÂÒËÔÍÛθ ŒÏ‡·ÂÍÓ‚‡, ‘‡ı‡Ú ¿Ï‡ÌÍÛÎÓ‚,
Cast: Nesipkul Omarbekova, Farkhat Amankulov,
¿ÎÏ‡Ú ¿ˇÌÓ‚, “ÓÎÂÔ·Â„ÂÌ ¡‡È͇҇ÎÓ‚, ¿ÒÂθ ¿·ÛÚÓ‚‡,
Almat Ayanov, Tolepbergen Baisakalov, Asel Abutova,
“ÓÍÚ‡ ¡ÂÍÒÂÌÓ‚, —‡ˇÚ ÃÂÂÍÂÌÓ‚, ŒÎÊ‡Ò ÕÛÒÛÔԇ‚
Toktar Beksenov, Sayat Merekenov, Olzhas Nusuppaev
œÓ‰˛ÒÂ˚ —Â„ÂÈ ¡Ó‰Ó‚, —Â„ÂÈ —ÂθˇÌÓ‚,
Producers Sergei Bodrov, Sergei Selianov, Anar Kashaganova,
¿Ì‡ ü‡¯‡„‡ÌÓ‚‡, Õ‡Ú‡¯‡ ƒÂ‚ËÈÂ
Natacha Devillers
—ÓÔÓ‰˛ÒÂ˚ ÇÎËÍ ≈ÒÂÌ·‡Â‚, ¿ÎÏ‡Ú ¿ıÏÂÚÓ‚
Co-Producers Malik Esenbaev, Almat Akhmetov
œÓËÁ‚Ó‰ÒÚ‚Ó üËÌÓÍÓÏÔ‡Ìˡ ´—“¬ª, ü‡Á‡ıÙËθÏ,
Production Film Company —“¬, Kazakhfilm, Les Petites
Les Petites Lumieres, ´üËÌÓÙ‡·Ë͇ª,
Lumieres, Kinofabrika, Cinetools Film,
´—ËÌÂÚÛÎÁ ‘ËθϪ, Caspian Beverage Holding
Caspian Beverage Holding
www.ctb.ru
www.ctb.ru
ÍÓÌÍÛÒ
competition
√Û͇ ŒÏ‡Ó‚‡
–ÂÊËÒÒÂ, ÒˆÂ̇ËÒÚ, ‡ÍÚËÒ‡. ¬ 1984
ÓÍÓ̘Ë· Ù‡ÍÛθÚÂÚ ÊÛ̇ÎËÒÚËÍË
ü‡Á‡ıÒÍÓ„Ó „ÓÒÛ‰‡ÒÚ‚ÂÌÌÓ„Ó ÛÌË‚ÂÒËÚÂÚ‡.
¬ 1986ñ88 ‡·Óڇ· ̇ ÚÂ΂ˉÂÌËË
‡‰ÏËÌËÒÚ‡ÚÓÓÏ Ë ‡ÒÒËÒÚÂÌÚÓÏ ÂÊËÒÒÂ‡.
¬ 1998 ÓÍÓ̘Ë· ¿Í‡‰ÂÏ˲ ËÒÍÛÒÒÚ‚ ‚
¿ÎχÚ˚ ÔÓ ÒÔˆˇθÌÓÒÚË ´ÂÊËÒÒÂ
‰ÓÍÛÏÂÌڇθÌÓ„Ó ÍËÌÓ Ë ÚÂ΂ˉÂÌˡª. —
13
2001 ÊË‚ÂÚ Ë ‡·ÓÚ‡ÂÚ ‚ √Óη̉ËË. œÂ‚‡ˇ
Ë„Ó‚‡ˇ ͇ÚË̇ ñ ´ÿËz‡ª ñ Òڇ·
ÍËÌÓÒÓ·˚ÚËÂÏ „Ó‰‡ Ë ËÏ· ·Óθ¯ÓÈ
ÙÂÒÚË‚‡Î¸Ì˚È ÛÒÔÂı (·ÓΠ‰ÂÒˇÚË ÔËÁÓ‚,
‚Íβ˜‡ˇ ÔËÁ Á‡ ÂÊËÒÒÂÒÍËÈ ‰Â·˛Ú ̇
´üËÌÓÚ‡‚Â-2004ª).
‘ËθÏÓ„‡Ùˡ ÂÊËÒÒÂ‡:
2001 ....À‡Ì‰¯‡ÙÚ˚ Ú·. √ÎËÌˇÌ˚È ÔÓÂÍÚ
(‰ÓÍ., Ò –Â̇ÚÓÏ üÓÒ‡ÂÏ)
2004 ....ÿËz‡
2008 ....¡‡ÍÒ˚
Guka Omarova
Director, scriptwriter, actress. In 1984
graduated from the faculty of journalism of
the Kazakh State University. From 1986-88
worked on television as manager and
assistant director. In 1998 she graduated
from the Academy of Arts in Almaty as
director of documentary cinema and
television. Since 2001 she lives and works in
ƒ‡Ï‡.
Holland. Her first feature film ìSchizoî
ΔËÁ̸ ·˚ÒÚÓÚ˜̇ Ë ÏÂÌˇÂÚÒˇ ͇ʉ˚È ‰Â̸. ÕÓ ÂÒÚ¸ ‚ ̇¯ÂÈ ÊËÁÌË ‚¢Ë,
became a major cinematic event and had huge
ÍÓÚÓ˚ ·˚ÎË, ÓÒÚ‡˛ÚÒˇ Ë ÓÒÚ‡ÌÛÚÒˇ ÌÂÁ˚·ÎÂÏ˚ÏË. ≈ÒÚ¸ β‰Ë, ÍÓÚÓ˚Â
festival success (over ten awards, including
ÒÛ˘ÂÒÚ‚Û˛Ú ‚Ì ÂÎË„ËÈ, ‚Ì ÒÓˆËÛÏÓ‚ Ë ‚Ì ‚ÂÏÂÌË. À˛‰Ë, ÍÓÚÓ˚Â
the prize for Directorís Debut at Kinotavr
Á̇˛Ú Ó ÊËÁÌË „Ó‡Á‰Ó ·Óθ¯Â, ˜ÂÏ ÓÒڇθÌ˚ ÒÏÂÚÌ˚Â, ñ ˝ÚÓ ¯‡Ï‡Ì˚,
2004).
Á̇ı‡Ë, χ„Ë. À˛‰Ë œËÓ‰˚, ƒÛı‡, —ËÎ˚. ´¡‡ÍÒ˚ª ñ ÔÓ-͇Á‡ıÒÍË
´¯‡Ï‡Ìª. ‘ËÎ¸Ï ‡ÒÒ͇Á˚‚‡ÂÚ Ó ÒÛ‰¸·Â ÒÚ‡ÛıË ¿È‰‡È. ü‡Í Ë ‚Ò ͇Á‡ıÒÍËÂ
Directorís Filmography:
2001 ....Body Landscapes. Clay Project
(doc., with Renat Kosai)
2004 ....Schizo
2008 ....Baksy
·‡ÍÒ˚, Ó̇ ÏÓÊÂÚ Ò͇Á‡Ú¸, „‰Â ÛÍ‡‰ÂÌÌ˚È ÒÍÓÚ, ΘËÚ¸ β‰ÂÈ Ë Ì‡ÈÚË
ÔÓÚÂˇÌÌÛ˛ ‰Û¯Û ˜ÂÎÓ‚Â͇...
Drama.
Life is fast and changes every day. But there are things in our life that have
always been there, that are there and will remain there. There are people who
exist outside religion, outside society and outside time; people who know much
more about life than other mortals: these are shamans, sorcerers, magicians.
People of Nature, Spirit, Force. ìBaksyî in Kazakh means ìshamanî. The film
tells about the destiny of the old Aidai. Like all Kazakh shamans, she can tell
where the stolen cattle is, she can treat people, she can find peopleís lost
souls...
ÍÓÌÍÛÒ
competition
ƒ≈¬—“¬≈ÕÕŒ—“‹
VIRGINITY
14
2008, –ÓÒÒˡ, 86 ÏËÌ., ˆ‚., 35 ÏÏ
2008, Russia, 86 min., col., 35 mm
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ ¬ËÚ‡ÎËÈ Ã‡ÌÒÍËÈ
Scriptwriter and Director Vitali Mansky
“ÂÍÒÚ ƒÏËÚËÈ ¡˚ÍÓ‚
Narrator Dmitri Bykov
ŒÔÂ‡ÚÓ »Ë̇ ÿ‡Ú‡ÎÓ‚‡
Director of Photography Irina Shatalova
œÂÒÌˇ ´≈Î͇ª
Song ìYolkaî
«‚ÛÍ ≈‚„ÂÌËÈ √ÓˇËÌÓ‚
Sound Evgeni Goryainov
ÃÓÌÚ‡Ê –ÓÏ‡Ì ÿÍÎÓ‚ÒÍËÈ
Editing Roman Shklovsky
œÓ‰˛ÒÂ˚ —Â„ÂÈ ÀË‚Ì‚, À‚ ÕËÍÓ·Û
Producers Sergei Livnev, Lev Nikolau
»ÒÔÓÎÌËÚÂθÌ˚È ÔÓ‰˛ÒÂ Շڇθˇ ÇÌÒ͇ˇ
Executive Producer Natalia Manskaya
œÓËÁ‚Ó‰ÒÚ‚Ó üËÌÓÍÓÏÔ‡Ìˡ ´ÀÂÓÔÓÎËÒª, ÒÚÛ‰Ëˇ ´¬ÂÚÓ‚.
Production Film Company Leopolis, Studio ìVertov. Real
–‡θÌÓ ÍËÌÓª
Cinemaî
www.vertov.ru
www.vertov.ru
ÍÓÌÍÛÒ
competition
¬ËÚ‡ÎËÈ Ã‡ÌÒÍËÈ
–ÂÊËÒÒÂ Ë ÔÓ‰˛ÒÂ, ÛÍÓ‚Ó‰ËÚÂθ ÒÚÛ‰ËË
´¬ÂÚÓ‚. –‡θÌÓ ÍËÌÓª. Œ‰ËÌ ËÁ Ò‡Ï˚ı
ËÁ‚ÂÒÚÌ˚ı ‰ÓÍÛÏÂÌÚ‡ÎËÒÚÓ‚ –ÓÒÒËË,
·ÛÂ‡Ú ÔÂÏËË ´À‡‚ª Ë ≈‚ÓÔÂÈÒÍÓ„Ó
ÔËÁ‡ ÍËÌÓ‰ÓÍÛÏÂÌÚ‡ÎËÒÚËÍË,
Û˜ÂʉÂÌÌÓ„Ó ≈‚Ó͇̇ÎÓÏ SAT,
ӷ·‰‡ÚÂθ ´—Â·ˇÌÓ„Ó „ÓÎÛ·ˇª
ÀÂÈԈ˄ÒÍÓ„Ó ÙÂÒÚË‚‡Îˇ Ë ‰Û„Ëı ÔËÁÓ‚.
15
»Á·‡Ì̇ˇ ÙËθÏÓ„‡Ùˡ (‰ÓÍ.):
1991-95 ›Ú˛‰˚ Ó Î˛·‚Ë. ◊‡ÒÚË 1-3
1991 ....≈‚ÂÈÒÍÓ Ҙ‡Òڸ (Ë„Ó‚ÓÈ)
1992 ....“ÂÎÓ ÀÂÌË̇
1993 ....—ÂÁÍË Ó˜Â‰ÌÓÈ ‚ÓÈÌ˚
1995 ....¡Î‡„Ó‰‡Ú¸
1999 ....◊‡ÒÚÌ˚ ıÓÌËÍË. ÃÓÌÓÎÓ„
(ÏÓÌÚ‡ÊÌ˚È)
2001 ....¡ÓËÒ ≈θˆËÌ. ƒÛ„‡ˇ ÊËÁ̸
2001 ....√Ó·‡˜Â‚ ÔÓÒΠËÏÔÂËË
2001 ....¬Î‡‰ËÏË œÛÚËÌ. ¬ËÒÓÍÓÒÌ˚È „Ó‰
2002 ....¡Ó‰‚ÂÈ. ◊ÂÌÓ ÏÓÂ
2003 ....¿.Õ.¿.“.Œ.Ã.».fl.T.A.T.U
2003 ....¬‡ÎÂÌÚË̇ ÀÂÓÌڸ‚‡
(Ò ŒÎ„ÓÏ üÓÒÓ·ÔÓ‚˚Ï)
2005 ....Õ‡¯‡ –Ó‰Ë̇
2005 ....¬˚ÒÓˆÍËÈ. —ÏÂÚ¸ ÔÓ˝Ú‡
Vitali Mansky
Director and producer, head of the studio
ìVertov. Real Cinemaî. One of the bestknown documentary filmmakers in Russia,
winner of the ìLaurelsî Award and European
prize of documentary cinema founded by
Eurochannel SAT, recipient of the ìSilver
Doveî of the Leipzig Film Festival and other
prizes.
Select Directorís Filmography (doc):
1991-95... Etudes about Love.
Part 1/ Part 2/Part 3
1991 .... Jewish Happiness (fiction)
1992 .... Leninís body
1993 .... Slices of Another War
1995 .... Good Fortune
1999 .... Private Chronicles. Monologue
(montage)
2001 .... Boris Yeltsin. Another Life
2001 .... Gorbachev after the Empire
2001 .... Vladimir Putin. A Leap-Year
2002 .... Broadway. Black Sea
2003 .... A.N.A.T.O.M.Y. T.A.T.U
2003 .... Valentina Leontieva (with Oleg
Kosolapov)
2005 .... Our Native Land
2005 .... Vysotsky. Death of a Poet
—ӈˇθ̇ˇ ‰ÓÍÛÏÂÌڇθ̇ˇ ‰‡Ï‡.
“Ë „ÂÓËÌË ñ ÚË ‰Â‚˜ÓÌÍË ËÁ ÔÓ‚Ë̈ËË. ü‡Ê‰‡ˇ ËÁ ÌËı ıÓ˜ÂÚ ÔÓÍÓËÚ¸
ÃÓÒÍ‚Û, Ë Û Í‡Ê‰ÓÈ Ò‚ÓÈ Ô·Ì. Œ‰Ì‡ ÒÚÂÏËÚÒˇ ÔÓÔ‡ÒÚ¸ ‚ ÏÓ‰ÌÓ ÚÂίÓÛ Ë
ÔÓÒÚÓËÚ¸ β·Ó‚¸ Ò „ÂÓÂÏ Ò‚ÓËı ‰Â‚˘¸Ëı ÒÌÓ‚, ÔÓÔÛÚÌÓ ÔÓ‰‡Ë‚ ÂÏÛ,
‡ Á̇˜ËÚ, Ë ‚ÒÂÏ ÚÂÎÂÁËÚÂÎˇÏ Ò‚Ó˛ ÌÂÔÓÓ˜ÌÓÒÚ¸. ƒÛ„‡ˇ ÏÌËÚ Ò·ˇ ÌÓ‚ÓÈ
ljÓÌÌÓÈ ñ ÌÓ‚ÓÈ ¬ÂÓÌËÍÓÈ ÀÛËÁÓÈ ◊ËÍÍÓÌÂ, ÔÓÔÒÓ‚ÓÈ ËÍÓÌÓÈ ÒÂÍÒ‡.
¿ ÚÂÚ¸ˇ „ÓÚÓ‚‡ ÔÓ‰‡Ú¸ ‰Â‚ÒÚ‚ÂÌÌÓÒÚ¸ Á‡ ‰Â̸„Ë, ˜ÚÓ·˚ ÔÓÚÓÏ ÔÓÈÚË
Û˜ËÚ¸Òˇ ñ ‚ ͇ÍÓÈ-ÌË·Û‰¸ ËÌÒÚËÚÛÚ, „·‚ÌÓ ñ ‚ ÏÓÒÍÓ‚ÒÍËÈ. ¬ÓÚ Ú‡Í‡ˇ
´ÃÓÒÍ‚‡ ÒÎÂÁ‡Ï Ì ‚ÂËÚª, ÚÓθÍÓ ÒÓ‚ÂÏÂÌ̇ˇ.
´›ÚÓÚ ÙËÎ¸Ï Ô˯ÂÎ Ò‡Ï ÒÓ·ÓÈ. fl ÒÌËχΠÒÓ‚ÒÂÏ ‰Û„Û˛ ͇ÚËÌÛ, ÍÓ„‰‡
‚‰Û„ ÔÓÌˇÎ, ˜ÚÓ ˇ ‰ÓÎÊÂÌ, ÏÓ„Û Ë ıÓ˜Û „Ó‚ÓËÚ¸ Ó· ˝ÚÓÏ. Œ˜Â̸ ‚‡ÊÌÓÏ
‰Îˇ ÏÂÌˇ ΢ÌÓ, ‰Îˇ ÏÓÂÈ ÒÂϸË, Ë ‰Îˇ ‚Ò„Ó, ˜ÚÓ ÏÂÌˇ ÓÍÛʇÂÚª
ñ¬ËÚ‡ÎËÈ Ã‡ÌÒÍËÈ.
Social documentary drama.
Three heroines: three girls from the provinces. Each of them wants to conquer
Moscow, and each of them has her own plan. One aspires to get onto a popular
television show and construe a love with the hero of her maiden dreams, in
passing giving him ñ as well as all the viewers ñ her purity. Another believes
to be the new Madonna, the new Louisa Veronika Ciccone, pop icon of sex. And
the third is ready to sell her virginity for money in order to study at some
institute, as long as it is in Moscow. This is a contemporary ìMoscow does not
Believe in Tearsî.
ìThis film came about by itself. I was making a completely different film when
I suddenly understood that I should, could and wanted to speak about this. It
is very important: for me personally, for my family, and for my surroundingsî
(Vitali Mansky).
ÍÓÌÍÛÒ
competition
ƒ»üŒ≈ œŒÀ≈
WILD FIELD
16
2008, –ÓÒÒˡ, 104 ÏËÌ., 1:1.85, Dolby Digital 5.1
2008, Russia, 104 min., 1:1.85, Dolby Digital 5.1
¿‚ÚÓ˚ ÒˆÂ̇ˡ œÂÚ ÀÛˆËÍ Ë ¿ÎÂÍÒÂÈ —‡ÏÓˇ‰Ó‚
Scriptwriters Petr Lutsik and Alexei Samoriadov
–ÂÊËÒÒÂ ÃËı‡ËÎ ü‡Î‡ÚÓÁ˯‚ËÎË
Director Mikhail Kalatozishvili
ŒÔÂ‡ÚÓ œÂÚ ƒÛıÓ‚ÒÍÓÈ
Director of Photography Petr Dukhovskoy
’Û‰ÓÊÌËÍ —Â„ÂÈ ¿‚ÒÚË‚ÒÍËı
Production Design Sergei Avstrievskikh
üÓÒÚ˛Ï˚ ŒÎ¸„‡ ‘‡‡ÙÓÌÓ‚‡
Costume Design Olga Farafonova
üÓÏÔÓÁËÚÓ ¿ÎÂÍÒÂÈ ¿È„Ë
Composer Alexei Aigi
«‚ÛÍ »„Ó¸ “ÂÂıÓ‚
Sound Igor Terekhov
¬ ÓΡı: ŒÎ„ ƒÓÎËÌ, ¿ÎÂÍ҇̉ »Î¸ËÌ-ÒÚ., ¿ÎÂÍ҇̉
Cast: Oleg Dolin, Alexander Ilyin Sr, Alexander Ilyin Jr.,
»Î¸ËÌ-ÏÎ., –ÓÏ‡Ì Ã‡‰ˇÌÓ‚, »Ë̇ ¡Ûڇ̇‚‡, ¿ÎÂÍ҇̉
Roman Madianov, Irina Butanaeva, Alexander Korshunov,
üÓ¯ÛÌÓ‚, ƒ‡Ì˽· —ÚÓˇÌӂ˘, œÂÚ —ÚÛÔËÌ, fiËÈ
Daniela Stoyanovich, Petr Stupin, Yuri Stepanov, Juris
—ÚÂÔ‡ÌÓ‚, fiËÒ À‡ÛˆË̸¯
Lautsinysh
œÓ‰˛ÒÂ˚ ÃËı‡ËÎ ü‡Î‡ÚÓÁ˯‚ËÎË, —Â„ÂÈ —ÌÂÊÍËÌ,
Producers Mikhail Kalatozishvili, Sergei Snezhkin,
¿Ì‰ÂÈ ¡Ó̉‡ÂÌÍÓ
Andrei Bondarenko
œÓËÁ‚Ó‰ÒÚ‚Ó ´‘Ó̉ ÃËı‡Ë· ü‡Î‡ÚÓÁÓ‚‡ª, ÍËÌÓÒÚÛ‰Ëˇ
Production ìMikhail Kalatozov Fundî, Studio Barmalei
´¡‡χÎÂȪ
www.kalatozov.ru
www.kalatozov.ru
ÍÓÌÍÛÒ
competition
ÃËı‡ËÎ ü‡Î‡ÚÓÁ˯‚ËÎË
–ÂÊËÒÒÂ-ÔÓÒÚ‡ÌÓ‚˘ËÍ, ÒˆÂ̇ËÒÚ,
ÔÓ‰˛ÒÂ, ‚˚ÔÛÒÍÌËÍ ¬√»ü‡, ÔÂÁˉÂÌÚ
17
´‘Ó̉‡ ÃËı‡Ë· ü‡Î‡ÚÓÁÓ‚‡ª, Û˜‡ÒÚÌËÍ Ë
ÔËÁÂ ÍËÌÓÙÂÒÚË‚‡ÎÂÈ.
‘ËθÏÓ„‡Ùˡ:
1981 ....ÃÂı‡ÌËÍ
1992 ....»Á·‡ÌÌËÍ
2000 ....ÃËÒÚÂËË
2001 ....ÃÌÂ “ËÙÎËÒ „Ó·‡Ú˚È ÒÌËÚÒˇ (‰ÓÍ.)
2001 ....ƒ‚‡ ‡ÚÓχ (‰ÓÍ.)
2008 ....ƒËÍÓ ÔÓÎÂ
Mikhail Kalatozishvili
Director, scriptwriter, producer, graduate of
the Film Institute VGIK, president of the
Mikhail Kalatozov Fund, participant and
prize-winner of film festivals.
Directorís Filmography:
1981 .... The Mechanic
1992 .... The Beloved
2000 .... Mysteries
2001 .... Tiflis, Humpbacked in my Dreams (doc.)
2001 .... Two Atoms (doc.)
2008 .... Wild Field
ƒ‡Ï‡.
´ÖÃËÚˇ ÒÚÓˇÎ Û ‚ÓÓÚ Ë „Ρ‰ÂÎ ‚ ÒÚÂÔ¸. ¬ÂÚÂ Á‡ Â„Ó ÒÔËÌÓÈ Â˘Â „ÓÌˇÎ ÔÓ
‰‚ÓÛ Ô˚θ Ë ÒÓÎÓÏÛ, ÒÚÛ˜‡Î „‰Â-ÚÓ ‚ ‰ÓÏ ÓÍÓÌÌÓÈ ÒÚ‚ÓÍÓÈ. ¬Ó ‰‚Ó ÎÂʇ·
‡Á̇ˇ ÛıΡ‰¸, ÒÚ‡‡ˇ ÚÂ΄‡, ͇ÍËÂ-ÚÓ „Ó¯ÍË, ÔÓ‰ ̇‚ÂÒÓÏ ÒÚӡΠÏÓÚÓˆËÍÎ Ò
ÍÓΡÒÍÓÈ. Õ‡‰ ‰ÓÏÓÏ, ̇ ‚˚ÒÓÍÓÏ ¯ÂÒÚ ‚ËÒÂÎ ·ÂÎ˚È Ò Í‡ÒÌ˚Ï ÍÂÒÚÓÏ Ù·„.
ÃËÚˇ ‚Ò ÒÏÓÚÂÎ, Ì ÓÚ˚‚‡ˇÒ¸, ‚ Ó‰ÌÛ ÚÓ˜ÍÛÖª. “‡Ï, „‰Â-ÚÓ ‚ ÍËÎÓÏÂÚ ÓÚ
Ì„Ó, ̇ „·Ì ıÓÎχ ÒÚӡΠ˜ÂÎÓ‚ÂÍ Ë ÚÓÊ ÒÏÓÚÂÎ ‚ Â„Ó ÒÚÓÓÌÛÖ ÃËÚˇ ñ
‚‡˜. ≈„Ó Ô‡ÍÚË͇ ÚÓθÍÓ Ì‡˜Ë̇ÂÚÒˇ. ¬ÒÍÓ ÔÓˇ‚ˇÚÒˇ ñ Ô‡ˆËÂÌÚ˚. œÂ‚˚Ï
ÔË‚ÂÁÛÚ ‰ÓÔË‚¯Â„ÓÒˇ ‰Ó ÔÓÎÛÒÏÂÚË ÏÛÊË͇. ƒÛ„ÓÈ ÔËÚ‡˘ËÚ ÍÓÓ‚Û,
ÔÓÚ·ӂ‡‚ ÌÂωÎÂÌÌÓ Â Î˜ËÚ¸. œËÒ͇˜ÂÚ Ô‡Â̸ ̇ ÍÓÌ ñ Ô‡ÒÚÛı‡ Û‰‡Ë·
ÏÓÎÌˡ. ≈˘Â ÔÓˇ‚ËÚÒˇ ‰Â‚ۯ͇-Í‡Ò‡‚ˈ‡, ´‰Ó˜¸ ÒÚÂÔ˪. ŒÌ ·Û‰ÂÚ Ì‡‰ÂˇÚ¸Òˇ ̇
ÚÓ, ˜ÚÓ Ì‚ÂÒÚ‡ Ò ÙÓÚÓ„‡ÙËË ÔˉÂÚ. Õ‚ÂÒÚ‡ ÔˉÂÚ, ÚÓθÍÓ Ì ̇‚Ò„‰‡Ö
Drama.
ìMitya stood at the gate and looked on to the steppe. The wind behind his back drove
the dust and straw across the courtyard, knocked at a window-shutter somewhere in
the house. In the courtyard old stuff is scattered about: an old cart and pots; a
motorcycle with a buddy-seat stood in the shed. On top of the roof, on a high pole
hung a white flag with a red cross. Without taking his eyes off it, Mitya stared at
one and the same pointÖî. There, about a kilometer away, on the crest of a hill,
there stood a man who looked in his directionÖ Mitya is a doctor. His practice has
only just opened. Soon the patients will come. First a man is brought here, who has
half drunk himself to his death; another drags along his cow, demanding for it to be
treated immediately. A man on horseback arrives: the shepherd was struck by
lightning. And a beautiful girl appears, ìthe daughter of the steppeî. He promises to
wait for his bride from the photo. The bride arrives, but not for everÖ
ÍÓÌÍÛÒ
competition
Õ»–¬¿Õ¿
NIRVANA
18
2008, –ÓÒÒˡ, 89 ÏËÌ., ˆ‚., 1: 2.35, Dolby Digital
2008, Russia, 89 min., col., 1:2.35, Dolby Digital
¿‚ÚÓ ÒˆÂ̇ˡ ŒÎ¸„‡ À‡ËÓÌÓ‚‡
Scriptwriter Olga Larionova
–ÂÊËÒÒÂ »„Ó¸ ¬ÓÎÓ¯ËÌ
Director Igor Voloshin
ŒÔÂ‡ÚÓ ƒÏËÚËÈ fl¯ÓÌÍÓ‚
Director of Photography Dmitri Yashonkov
’Û‰ÓÊÌËÍ œ‡‚ÂÎ œ‡ıÓÏÂÌÍÓ
Production Design Pavel Parkhomenko
üÓÒÚ˛Ï˚ Õ‡‰Âʉ‡ ¬‡ÒË肇
Costume Design Nadezhda Vasilieva
«‚ÛÍ ¿ÎÂÍ҇̉ üÓÔÂÈÍËÌ, —ÚÂÙ‡Ì ¿Î¸·ËÌÂ
Sound Alexander Kopeikin, Stefan Albine
ÃÓÌÚ‡Ê “‡Ú¸ˇÌ‡ üÛÁ¸Ï˘‚‡
Editing Tatiana Kuzmicheva
¬ ÓΡı: ŒÎ¸„‡ —ÛÚÛÎÓ‚‡, Çˡ ÿ‡Î‡Â‚‡,
Cast: Olga Sutulova, Maria Shalaeva, Arthur Smolianinov,
¿ÚÛ —ÏÓθˇÌËÌÓ‚, ÃËı‡ËÎ ≈‚·ÌÓ‚, ¿Ì‰ÂÈ ’‡·‡Ó‚,
Mikhail Evlanov, Andrei Khabarov, Dmitri Itskovich,
ƒÏËÚËÈ »ˆÍӂ˘, ¬Î‡‰ËÏË —ÓÓ͇ÎËÚ‡, ›ÏÏË œËÚÂÒ,
Vladimir Sorokalita, Emmy Piters, Tatiana Tkach, Tatiana
“‡Ú¸ˇÌ‡ “͇˜, “‡Ú¸ˇÌ‡ —‡ÏÓÈÎÓ‚‡, ŒÎ„ √‡ÍÛ¯‡,
Samoilova, Oleg Garkusha, Eduard Martsevich
›‰Û‡‰ ÇˆÂ‚˘
Producer Sergei Selianov
œÓ‰˛ÒÂ —Â„ÂÈ —ÂθˇÌÓ‚
Production Film Company —“¬
œÓËÁ‚Ó‰ÒÚ‚Ó üËÌÓÍÓÏÔ‡Ìˡ ´—“¬ª
Distribution Nashe kino
œÓÍ‡Ú üËÌÓÔÓ͇Ú̇ˇ „ÛÔÔ‡ ´Õ‡¯Â ÍËÌÓª
www.nirvana-film.ru
www.nirvana-film.ru
www.ctb.ru
www.ctb.ru
ÍÓÌÍÛÒ
competition
»„Ó¸ ¬ÓÎÓ¯ËÌ
–ÂÊËÒÒÂ, ·ÛÂ‡Ú Ì‡ˆËÓ̇θÌÓÈ ÔÂÏËË
´“ËÛÏÙª, Û˜‡ÒÚÌËÍ Ë ÔËÁÂ
ÍËÌÓÙÂÒÚË‚‡ÎÂÈ. –Ó‰ËÎÒˇ ‚ 1974 „Ó‰Û ‚
—‚‡ÒÚÓÔÓÎÂ. — 1992 ñ ‡ÍÚÂ ÃÓÎÓ‰ÂÊÌÓ„Ó
‰‡Ï‡Ú˘ÂÒÍÓ„Ó ´“‡Ú‡ ̇ ¡Óθ¯ÓÈ
ÃÓÒÍÓȪ Ô/ ¬.¿. Œ¯‡ÌÒÍÓ„Ó, ÓÍÓ̘ËÎ
ÙËΡΠflÓÒ·‚ÒÍÓ„Ó Ú‡Ú‡Î¸ÌÓ„Ó
ËÌÒÚËÚÛÚ‡ ‚ —‚‡ÒÚÓÔÓΠ(1996), Ù‡ÍÛθÚÂÚ
19
‰ÓÔÓÎÌËÚÂθÌÓ„Ó ÔÓÙÂÒÒËÓ̇θÌÓ„Ó
Ó·‡ÁÓ‚‡Ìˡ ¬√»ü‡ (ÔÓÒÚÛԇΠ‚ χÒÚÂÒÍÛ˛
‰‡Ï‡ÚÛ„ËË ¬.ü.◊ÂÌ˚ı Ë À.¿.◊ÂÌ˚ı,
ÓÍÓ̘ËΠχÒÚÂÒÍÛ˛ ÂÊËÒÒÛ˚ ‡‚ÚÓÒÍÓ„Ó
ÙËθχ, 2000). ´ÕË‚‡Ì‡ª ñ ‰Â·˛Ú ‚
Ë„Ó‚ÓÏ ÍËÌÓ.
‘ËθÏÓ„‡Ùˡ:
2000 ....ÃÂÒË‚Ó (Í/Ï, ‰ËÔÎÓÏ, ‰ÓÍ.)
2001 ....—Û͇ (Í/Ï, ‰ÓÍ.)
2003 ....ŒıÓÚ‡ ̇ Á‡ÈˆÂ‚ (Í/Ï, ‰ÓÍ.)
2005 ....√Û·˚ (Í/Ï, ‰ÓÍ.)
2008 ....üÓÁ‡ (Í/Ï, ‰ÓÍ.)
2008 ....ÕË‚‡Ì‡
Igor Voloshin
Director, winner of the national award
ìTriumphî, participant and the prize-winner
of festivals. Born in 1974 in Sevastopol.
Since 1992 actor of the Youth Drama Theatre
ìOn Bolshaya Morskaya Streetî under V.
Orshansky; graduated from the Yaroslavl
Theatre Institute in Sevastopol (1996),
faculty of additional vocational training of
the Film Institute VGIK (enrolled in the
drama workshop of V. and L. Chernykh,
graduated from the auteur cinema course in
2000). ìNirvanaî is his fiction film debut.
Directorís Filmography:
2000 ....Medley (short, diploma, doc.)
2001 ....The Bitch (short, doc.)
2003 ....Hare Hunting (short, doc.)
2005 ....Lips (short, doc.)
2008 ....Goat (short, dock.)
2008 ....Nirvana
—ӈˇθ̇ˇ ‰‡Ï‡.
20-ÎÂÚÌˇˇ ¿ÎËÒ‡ ÔËÂÁʇÂÚ ‚ œÂÚÂ·Û„,  ÒÓÒ‰ˇÏË ÔÓ ÍÓÏÏÛ̇θÌÓÈ
Í‚‡ÚË ÒÚ‡ÌÓ‚ˇÚÒˇ ‰Â‚ۯ͇ ÔÓ ËÏÂÌË ¬˝Î Ë ¬‡ÎÂ‡ ÃÂÚ‚˚È. ¬˝Î
‡·ÓÚ‡ÂÚ ·‡ÏÂÌÓÏ ‚ ÌÓ˜ÌÓÏ ÍÎÛ·Â Ë Ó‰Ì‡Ê‰˚ ÒÚ‡ÌÓ‚ËÚÒˇ ҂ˉÂÚÂÎÂÏ
ÒÏÂÚË. ƒ‡‚ÌÓ ‡ÁÛ‚ÂË‚¯‡ˇÒˇ ‚ β‰ˇı, Ó̇ ÔÓÌËχÂÚ, ˜ÚÓ ÓÚ ÌÂÂ
ÔÓÔ˚Ú‡˛ÚÒˇ ËÁ·‡‚ËÚ¸Òˇ. ¬‡ÎÂÛ Ó̇ β·ËÚ, ÌÓ Ë ÂÏÛ Ì ‚ÂËÚ. ” ¬˝Î
ÓÒÚ‡ÎÒˇ ÚÓθÍÓ Ó‰ËÌ ˜ÂÎÓ‚ÂÍ, ÍÓÚÓ˚È Ì Ô‰‡ÒÚ, Ë ˝ÚÓ ñ ¿ÎËÒ‡...
œÓÒÚ‡ˇ, Ú‡„˘ÂÒ͇ˇ Ë Ó˜Â̸ ÔÓıÓʇˇ ̇ Ô‡‚‰Û ËÒÚÓˡ Ó ‰ÛÊ·Â, β·‚Ë
Ë Ì‡ÍÓÚË͇ı ‡Á˚„‡Ì‡ ̇ ÛÎˈ‡ı ÒÓ‚ÂÏÂÌÌÓ„Ó œÂÚÂ·Û„‡ ‚
‚Â̈ˇÌÒÍËı χÒ͇ı Ë ÍÓÒÚ˛Ï‡ı-ÍË·ÂÔ‡ÌÍ, ËÒÚÓˡ Ó Î˛‰ˇı, ÍÓÚÓ˚Â
ÛÚ‡ÚËÎË ÒÏ˚ÒÎ ÊËÁÌË ‚ Ò‡ÏÓÏ Â ̇˜‡ÎÂ.
ñ ”˜‡ÒÚÌËÍ ‘ÓÛχ Ãü‘ ‚ ¡ÂÎËÌÂ, 2008.
Social drama.
The twenty-year-old Alisa comes to Petersburg. Her neighbours in the
communal apartment are a girl called Val and Valera Myortvy (the Dead). Val
works as barmaid in a nightclub, and here she witnesses a death. Having been
disillusioned by people for a long time, she understands that they will try to
get rid of her. She likes Valera but she does not trust him. Val has only one
person left who will not betray her: Alisa...
This simple, tragic and authentic story about friendship, love and drugs
unfolds in the streets of modern St Petersburg, donned in Venetian masks and
cyberpunk costumes. It is a story about people who have lost the meaning of
life at its very beginning.
ñ Participant of the Forum of the IFF Berlin, 2008.
ÍÓÌÍÛÒ
competition
ÕŒ¬¿fl «≈ÃÀfl
TERRA NOVA
20
2008, –ÓÒÒˡ, 143 ÏËÌ., ˆ‚., 1:2.35, Dolby Digital 5.1
2008, Russia, 143 min., col., 1:2.35, Dolby Digital 5.1
¿‚ÚÓ ÒˆÂ̇ˡ ¿ËÙ ¿ÎË‚
Scriptwriter Arif Aliev
–ÂÊËÒÒÂ ¿ÎÂÍ҇̉ ÃÂθÌËÍ
Director Alexander Melnik
ŒÔÂ‡ÚÓ »Î¸ˇ ƒÂÏËÌ
Director of Photography Ilya Demin
üÓÏÔÓÁËÚÓ˚ √η ÇڂÂȘÛÍ, ¿Ì‰ÂÈ üÓÏËÒÒ‡Ó‚
Production Design Sergei Gudilin, Vladimir Donskov
’Û‰ÓÊÌËÍË —Â„ÂÈ √Û‰ËÎËÌ, ¬Î‡‰ËÏË ƒÓÌÒÍÓ‚
Costume Design Giuliumzhan Beishenova
üÓÒÚ˛Ï˚ √˛Î˛ÏÊ‡Ì ¡ÂȯÂÌÓ‚‡
Composers Gleb Matveichuk, Andrei Komissarov
«‚ÛÍ ƒÏËÚËÈ Õ‡Á‡Ó‚
Sound Dmitri Nazarov
–ÂÊËÒÒÂ ÏÓÌڇʇ ŒÎ„ –‡Â‚ÒÍËÈ
Editing Oleg Raevsky
¬ ÓΡı: üÓÌÒÚ‡ÌÚËÌ À‡‚ÓÌÂÌÍÓ, ¿Ì‰ÂÈ ‘ÂÒ¸ÍÓ‚,
Cast: Konstantin Lavronenko, Andrei Feskov, Ingeborga
»Ì„·Ó„‡ ƒ‡ÔÍÛ̇ÈÚÂ, Ç‡Ú ¡‡¯‡Ó‚, —Â„ÂÈ ΔË„ÛÌÓ‚,
Dapkunaite, Marat Basharov, Sergei Zhigunov, Evgeni Titov,
≈‚„ÂÌËÈ “ËÚÓ‚, œ‡‚ÂÎ —·Ó˘ËÍÓ‚, “ÓÏÏË ÀËÒÚÂ, —Â„ÂÈ
Pavel Sborshchikov, Tommi Lister, Sergei Koltakov, Viktor
üÓÎÚ‡ÍÓ‚, ¬ËÍÚÓ Δ‡ÎÒ‡ÌÓ‚, ¬Î‡‰ËÒ·‚ ¿·‡¯ËÌ, «‡Á‡
Zhalsanov, Vladislav Abashin, Zaza Chichanidze, Nikolai
◊˘Ë̇‰ÁÂ, ÕËÍÓÎ‡È —ÚÓˆÍËÈ, »„Ó¸ œËÒ¸ÏÂÌÌ˚È
Stotsky, Igor Pismenny
œÓ‰˛ÒÂ ¿ÌÚÓÌ ÃÂθÌËÍ
Producer Anton Melnik
œÓËÁ‚Ó‰ÒÚ‚Ó œÓ‰˛ÒÂÒÍËÈ ˆÂÌÚ ´¿Ì‰‚ÒÍËÈ Ù·„ª
Production Producersí Centre ìAndreevsky Flagî
œÓÍ‡Ú ´Õ‡¯Â ÍËÌÓª
Distribution Nashe Kino
www.nkino.ru
www.nkino.ru
ÍÓÌÍÛÒ
competition
¿ÎÂÍ҇̉ ÃÂθÌËÍ
ñ ÍËÌÓÂÊËÒÒÂ. –Ó‰ËÎÒˇ 11 Ë˛Ìˇ 1958
„Ó‰‡ ‚ ¬ÓÓ¯ËÎÓ‚„‡‰ÒÍÓÈ Ó·Î‡ÒÚË. ¬ 1980Ï ÓÍÓ̘ËÎ Œ‰ÂÒÒÍËÈ
√ˉÓÏÂÚÂÓÓÎӄ˘ÂÒÍËÈ ËÌÒÚËÚÛÚ. ¬
1983ñ92 ‡·ÓڇΠÊÛ̇ÎËÒÚÓÏ ‚ „‡ÁÂÚÂ
´¬Â˜ÂÌËÈ ü˯ËÌ‚ª, ÔË҇ΠԸÂÒ˚ Ë
ÔÛ·ÎˈËÒÚ˘ÂÒÍË ‡ÒÒ͇Á˚. — 1984 „Ó‰‡
‡·ÓڇΠ̇ ÃÓΉ‡‚ÒÍÓÏ ÏÂÚ‡ÎÎÛ„˘ÂÒÍÓÏ
21
Á‡‚Ó‰Â, ˜ÚÓ·˚ ̇ÔËÒ‡Ú¸ Ó ÌÂÏ ÍÌË„Û
(´√Óˇ˜Â ÓÔÓ·Ó‚‡Ì˪). ¬ 1992-Ï,
ÔÂÂÂı‡‚ Ò ÃÓÒÍ‚Û, ÓÒÌÓ‚‡Î ËÁ‰‡ÚÂθÒÚ‚Ó
´¿Ì‰‚ÒÍËÈ Ù·„ª (ÒÂËË ´–ÛÒÒ͇ˇ
ÒÓ‚ÂÏÂÌ̇ˇ ÔÓÁ‡ª Ë ´–ÓÒÒËÈÒ͇ˇ ÏÓÒ͇ˇ
·Ë·ÎËÓÚÂ͇ª), ÔÓ‰˛ÒËÓ‚‡Î
‰ÓÍÛÏÂÌڇθÌ˚ ÙËθÏ˚, ÛÍÓ‚Ó‰ËÎ
Ò˙ÂÏ͇ÏË ÔˇÏ˚ı Ú‡ÌÒΡˆËÈ —ıÓʉÂÌˡ
·Î‡„Ó‰‡ÚÌÓ„Ó Ó„Ìˇ (Õ“¬, 2003ñ05). ¬ 2004-Ï
ÒÓÁ‰‡Î ÍËÌÓÍÓÏÔ‡Ì˲ ´¿Ì‰‚ÒÍËÈ Ù·„ª,
ÍÓÚÓ‡ˇ ‚ÔÓÒΉÒÚ‚ËË ÒÌˇÎ‡ ÙËθÏ˚
´Ã‡ˇÍª ÇËË —‡‡ÍˇÌ Ë ´ÃÓÌ„ÓΪ —Â„¡
¡Ó‰Ó‚‡-ÒÚ‡¯Â„Ó. “ÂÚËÈ ÙËθÏ
ÍËÌÓÍÓÏÔ‡ÌËË ñ ´ÕÓ‚‡ˇ ÁÂÏΡª ñ
ÂÊËÒÒÂÒÍËÈ ‰Â·˛Ú ¿ÎÂÍ҇̉‡ ÃÂθÌË͇.
Alexander Melnik
Film director. Born on 11 June 1958 in the
region of Voroshilovgrad. In 1980 graduated
from the Odessa Hydro-Meteorological
Institute. From 1983 to 1992 worked for the
newspaper ìEvening Kishinevî as journalist,
¿ÌÚËÛÚÓÔˡ.
whilst he also wrote plays and stories. Since
2013 „Ó‰. ¬Ó ‚ÒÂÏ ÏË ÛÊ ÓÚÏÂÌÂ̇ ÒÏÂÚ̇ˇ ͇Á̸. ÕÓ ˝ÚÓÚ ·Î‡„ÓÓ‰Ì˚È
1984 worked at Moldavian metal factory in
‡ÍÚ ‚ΘÂÚ ·Óθ¯Ë ÒÎÓÊÌÓÒÚË. œÓ ¯ÂÌ˲ ÏÂʉÛ̇Ó‰Ì˚ı Ó„‡ÌËÁ‡ˆËÈ
order to write a book about it, ìHot Testingî.
¯ÂÌÓ ÔÓ‚ÂÒÚË ‚ÂҸχ ËÒÍÓ‚‡ÌÌ˚È ˝ÍÒÔÂËÏÂÌÚ ñ ÒÓÁ‰‡Ú¸ ̇
In 1992 moved to Moscow and founded the
ÌÂÓ·ËÚ‡ÂÏÓÏ ÓÒÚÓ‚Â ü‡ÈÌÂ„Ó —‚Â‡ Ì·Óθ¯Ó ÔÓÒÂÎÂÌËÂ, „‰Â
publishing house ìAndreevsky Flagî
ÔÂÒÚÛÔÌËÍ‡Ï Ô‰ÓÒÚ‡‚ΡÂÚÒˇ ‚ÓÁÏÓÊÌÓÒÚ¸ ̇˜‡Ú¸ ÌÓ‚Û˛ ÊËÁ̸. Œ‰Ì‡ÍÓ ‚
(publisher of the series ìContemporary
˝ÚËı ÚÛ‰ÌÂȯËı ÔËÓ‰Ì˚ı ÛÒÎӂˡı ̇˜Ë̇ÂÚ ‰ÂÈÒÚ‚Ó‚‡Ú¸ ÒÚ‡¯Ì˚È
Russian Proseî and ìRussian Sea Libraryî);
Á‡ÍÓÌ, Òӄ·ÒÌÓ ÍÓÚÓÓÏÛ ‚˚ÊË‚‡˛Ú ÚÓθÍÓ Ò‡Ï˚ ÒËθÌ˚Â Ë Û‰‡˜ÎË‚˚Â.
he produced documentary films, supervised
œÓÌËχˇ ‚Ò˛ Ô‡„Û·ÌÓÒÚ¸ ÔÓ‰Ó·ÌÓ„Ó ÒÛ˘ÂÒÚ‚Ó‚‡Ìˡ, ÍÓÚÓÓ ÏÓÊÂÚ ÔË‚ÂÒÚË
the filming of live transmissions for the
Ì ÚÓθÍÓ Í ‡ÁÛ¯ÂÌ˲ ˜ÂÎӂ˜ÂÒÍÓÈ Î˘ÌÓÒÚË, ÌÓ Ë Í „Ë·ÂÎË ‚ÒÂı
programme ìConvergence of the Holy Fireî
Ó·ËÚ‡ÚÂÎÂÈ ÔÓÒÂÎ͇, „·‚Ì˚È „ÂÓÈ ‚ÒÚÛÔ‡ÂÚ ‚ ·Ó¸·Û Ò ÚÂÏË, ÍÚÓ ÒÓÁ‰‡ÂÚ
(NTV, 2003-05). In 2004 created the film
ÍÛÎ¸Ú „Û·ÓÈ ÒËÎ˚ Ë ÚÓÎ͇ÂÚ Î˛‰ÂÈ Ì‡ ˝ÚÓÚ ÒÚ‡¯Ì˚È ÔÛÚ¸.
company ìAndreevsky Flagî which
subsequently produced Maria Saakyanís ìThe
Anti-Utopia.
Lighthouseî and Sergei Bodrov Sr.ís ìThe
The year 2013. The death penalty has been abolished all over the world.
Mongolî. The third film of the company,
However, this noble act brings with it many complexities. International
ìTerra Novaî, is Alexander Melnikís
organizations decide to carry out a rather risky experiment: to create a small
directorial debut.
settlement on an uninhabited island in the Far North, where criminals have the
opportunity to begin a new life. However, in this harsh environment the
terrible law of the survival of the fittest kicks in. Fully aware of the
perniciousness of such an existence, capable of bringing about not only the
destruction of human personality but also the annihilation of the inhabitants in
the settlement, the main hero begins his fight against those who adhere to the
cult of brute force and who push people onto this terrible path.
ÍÓÌÍÛÒ
competition
Œü≈¿Õ
OCEAN
22
2008, –ÓÒÒˡ/ üÛ·‡, 118 ÏËÌ., 1:1.85, Dolby SRD
2008, Russia/Cuba, 118 min., 1:1.85, Dolby SRD
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ ÃËı‡ËÎ üÓÒ˚‚-ÕÂÒÚÂÓ‚
Scriptwriter and Director Mikhail Kosyrev-Nesterov
ŒÔÂ‡ÚÓ ŒÎ„ ÀÛ͢‚
Director of Photography Oleg Lukichev
’Û‰ÓÊÌËÍË Ã‡Ë̇ ¿Ì‡Ì¸Â‚‡, »Ë̇ ÀÛÌË̇
Production Design Marina Ananieva, Irina Lunina
«‚ÛÍ ≈‚„ÂÌËÈ ◊‡ÈÍÓ
Sound Evgeni Chaiko
ÃÓÌÚ‡Ê —Â„ÂÈ »‚‡ÌÓ‚
Editing Sergei Ivanov
¬ ÓΡı: ƒÊÓ‰Ê ÀÛËÒ ü‡ÒÚÓ, ÃÓÌÒ ƒÛ‡Ì √ÓÌÒ‡ÎÂÒ,
Cast: George Luis Castro, Monse Duane Gonzalez,
¿ÎË̇ –Ó‰Ë„ÂÒ –ÛËÒ, fl̇ÒË Œ‰ÓÌÂÒ ƒ‡Ì‡,
Alina Rodriguez Ruiz, Janasi Ordonez Dana,
Õ‡‰Ó ÃÂÒÚ ‘ÎÓÂÒ
Nardo Mestre Flores
œÓ‰˛ÒÂ ÃËı‡ËÎ üÓÒ˚‚-ÕÂÒÚÂÓ‚
Producer Mikhail Kosyrev-Nesterov
œÓËÁ‚Ó‰ÒÚ‚Ó ´Ãª-‘ËθϪ, ÔË Û˜‡ÒÚËË ICAIC (üÛ·‡)
Production M-Film with participation of ICAIC (Cuba)
‘Ë̇ÌÒÓ‚‡ˇ ÔÓ‰‰ÂÊ͇ ‘‰Â‡Î¸ÌÓ ‡„ÂÌÚÒÚ‚Ó ÔÓ ÍÛθÚÛÂ
With financial support from the Federal Agency of Culture
Ë ÍËÌÂχÚÓ„‡ÙËË
and Cinematography
ÃÂʉÛ̇Ó‰Ì˚È ÔÓÍ‡Ú Seagull Films
International Distribution Seagull Films
ÍÓÌÍÛÒ
competition
ÃËı‡ËÎ
üÓÒ˚‚-ÕÂÒÚÂÓ‚
œÓ‰˛ÒÂ, ÂÊËÒÒÂ, ÒˆÂ̇ËÒÚ. –Ó‰ËÎÒˇ
21.11.1963 ‚ ÃÓÒÍ‚Â. ŒÍÓ̘ËÎ ¬√»ü ËÏÂÌË
—.¿. √Â‡ÒËÏÓ‚‡ (1991, χÒÚÂÒ͇ˇ
».¬.“‡Î‡ÌÍË̇). — 1993 ñ ÔÓ‰˛ÒÂ
ÍËÌÓÒÚÛ‰ËË ´Ãª-‘ËθϪ, ÔÓ„‡ÏÏÌ˚È
‰ËÂÍÚÓ üËÌÓÙÂÒÚË‚‡Îˇ ÛÒÒÍÓÈ
Ù‡ÌÚ‡ÒÚËÍË (—ÿ¿, 2006). ´ŒÍ‡̪ ñ ‰Â·˛Ú
23
ÂÊËÒÒÂ‡ ‚ Ë„Ó‚ÓÏ ÍËÌÓ.
‘ËθÏÓ„‡Ùˡ ÂÊËÒÒÂ‡:
1988 ....¬Ë‰ÂÌË ÓÚÓÍÛ ÃËı‡ËÎÛ
(Í/Ï, ۘ·Ì˚È)
1995 ....“ÓÔ‡ (‰ËÔÎÓÏ)
2000 ....ՇχÒ͇‡ (‰ÓÍ.)
2005......œˇÚ¸ ‰ÌÂÈ ¬ˇ˜ÂÒ·‚‡ —‡ÏÓ‰ÛÓ‚‡ (‰ÓÍ.)
2008 ....ŒÍ‡Ì
Mikhail
Kosyrev-Nesterov
Producer, director, scriptwriter. Born on 21
November 1963 in Moscow. Graduated from
the Film Institute VGIK (1991, workshop of
Igor Talankin). Since 1993 producer of the
film studio M-Film, programme director of
the Film Festival of Russian Fantasy (US,
2006). ìOceanî is his debut as director of
fiction films.
Directorís Filmography:
1988 ....Vision of the Boy Michael
(short, course work)
1995 ....The Track (diploma)
2000 ....Namaskaar (doc.)
2005 ....Five Days of Viacheslav Samodurov
(doc.)
2008 ....Ocean
ƒ‡Ï‡.
ÇÎÂ̸͇ˇ ˚·‡ˆÍ‡ˇ ‰Â‚ۯ͇ ‰‡ÎÂÍÓ ÓÚ √‡‚‡Ì˚. ƒÊӽθ, ÒÚ‡¯ËÈ ·‡Ú ‚
·Â‰ÌÓÈ ÒÂϸ ÍÛ·ËÌÒÍËı ˚·‡ÍÓ‚, ‚β·ÎÂÌ ‚ ÇËÒ˝Î¸. —ÎÛ˜‡ÈÌÓ ÓÌ ÛÁ̇ÂÚ,
˜ÚÓ ÒÂϸˇ ‰Â‚Û¯ÍË Ô‰ÔÓ˜ËÚ‡ÂÚ ÂÏÛ ÔÓ„‡Ì˘ÌË͇ ¿ÌıÂΡ. ¬ ÔÓËÒ͇ı
ÌÓ‚ÓÈ ÊËÁÌË ƒÊӽθ ÓÚÔ‡‚ΡÂÚÒˇ ‚ √‡‚‡ÌÛ. ¬ ·Óθ¯ÓÏ „ÓӉ ÓÌ Ì‡‰ÂÂÚÒˇ
̇ Û‰‡˜Û, ÌÓ Ì‡ıÓ‰ËÚ ÚÓθÍÓ Ô‰‡ÚÂθÒÚ‚Ó Ë ‡ÁÓ˜‡Ó‚‡ÌËÂ. “‡„˘ÂÒ͇ˇ
ÍÓÌÙÓÌÚ‡ˆËˇ Ò Ó·ÒÚÓˇÚÂθÒÚ‚‡ÏË ÔË‚Ó‰ËÚ ƒÊӽΡ Í Â˘Â ·Óθ¯ÂÈ ‰‡ÏÂÖ
´ŒÍ‡̪ ñ ˝ÚÓ Â˘Â Ó‰Ì‡ ÔÓÔ˚Ú͇ ۂˉÂÚ¸ ˜ÂÎÓ‚Â͇ ‚ Ó·˘ÂÒÚ‚Â, „‰Â ·Óθ¯ËÂ
ϘÚ˚ ‰ÍÓ ÒÚ‡ÌÓ‚ˇÚÒˇ ‡θÌ˚ÏË.
Drama.
A small fishing village far from Havana. Joel, the elder brother in a poor
family of Cuban fishermen, is in love with Marisel. By chance he finds out that
the girlís family prefers the border-guard Angel to him. In search of a new life
Joel goes to Havana. He hopes to find success in the big city, but he
encounters only treachery and disappointment. A tragic confrontation with
circumstances bring Joel into an even greater dramaÖ ìOceanî is an attempt to
observe man in a society where great dreams rarely come true.
ÍÓÌÍÛÒ
competition
œÀ≈ÕÕ¤…
CAPTIVE
24
2008, –ÓÒÒˡ, 80 ÏËÌ., ˆ‚., 1:1.85, Dolby Digital 5.1
2008, Russia, 80 min., col., 1:1.85, Dolby Digital 5.1
¿‚ÚÓ ÒˆÂ̇ˡ ¬Î‡‰ËÏË Ç͇ÌËÌ,
Scriptwriter Vladimir Makanin, with participation of
ÔË Û˜‡ÒÚËË “ËÏÓÙ¡ ƒÂÍË̇
Timofei Dekin
–ÂÊËÒÒÂ ¿ÎÂÍÒÂÈ ”˜ËÚÂθ
Director Alexei Uchitel
ŒÔÂ‡ÚÓ fiËÈ üÎËÏÂÌÍÓ
Director of Photography Yuri Klimenko
’Û‰ÓÊÌËÍ ¿Ì‰ÂÈ ¬‡ÒËÌ
Production Design Andrei Vasin
üÓÒÚ˛Ï˚ √‡ÎË̇ ƒÂ‚‡, ÇÍ ÀË
Costume Design Galina Deeva, Mark Lee
üÓÏÔÓÁËÚÓ ÀÂÓÌˉ ƒÂÒˇÚÌËÍÓ‚
Composer Leonid Desiatnikov
«‚ÛÍ üËËÎÎ ¬‡ÒËÎÂÌÍÓ
Sound Kirill Vasilenko
ÃÓÌÚ‡Ê ≈ÎÂ̇ ¿Ì‰‚‡, √η ÕËÍÛθÒÍËÈ
Editing Elena Andreeva, Gleb Nikulsky
¬ „·‚Ì˚ı ÓΡı: »‡ÍÎËÈ Ãˆı‡Î‡ˇ, ¬ˇ˜ÂÒ·‚ √ÂÍÛÌÓ‚,
Cast: Irakli Mtskhalaya, Viacheslav Grekunov, Petr Logachev,
œÂÚ ÀÓ„‡˜Â‚, fiÎˡ œÂÂÒËθ‰
Julia Peresild
œÓ‰˛ÒÂ ¿ÎÂÍÒÂÈ ”˜ËÚÂθ
Producer Alexei Uchitel
œÓËÁ‚Ó‰ÒÚ‚Ó “œŒ ´–Œüª, ÔË Û˜‡ÒÚËË ‘‰Â‡Î¸ÌÓ„Ó
Production ROCK, with participation of the Federal Agency
‡„ÂÌÚÒÚ‚‡ ÔÓ ÍÛθÚÛÂ Ë ÍËÌÂχÚÓ„‡ÙËË
of Culture and Cinematography
œÓÍ‡Ú ´÷ÂÌÚ‡Î œ‡ÚÌÂ¯ËÔª
Distribution Central Partnership
www.rockfilm.ru
www.rockfilm.ru
ÍÓÌÍÛÒ
competition
¿ÎÂÍÒÂÈ ”˜ËÚÂθ
–ÂÊËÒÒÂ, ÔÓ‰˛ÒÂ. –Ó‰ËÎÒˇ 31.08.1951 ‚
ÀÂÌËÌ„‡‰Â. ŒÍÓ̘ËÎ ÓÔÂ‡ÚÓÒÍËÈ
Ù‡ÍÛθÚÂÚ ¬√»ü‡ (1975). –‡·ÓڇΠ͇Í
ÓÔÂ‡ÚÓ Ë ÂÊËÒÒÂ ̇ ÀÂÌËÌ„‡‰ÒÍÓÈ
ÒÚÛ‰ËË ‰ÓÍÛÏÂÌڇθÌ˚ı ÙËθÏÓ‚. ¬ ̇˜‡ÎÂ
90-ı ÓÒÌÓ‚‡Î Ú‚Ó˜ÂÒÍÓ-ÔÓËÁ‚Ó‰ÒÚ‚ÂÌÌÓÂ
Ó·˙‰ËÌÂÌË ´–Œüª. œÓ‰˛ÒÂ ÙËθÏÓ‚
´—Ó·‡Í‡ œ‡‚ÎÓ‚‡ª ≈͇ÚÂËÌ˚ ÿ‡„‡ÎÓ‚ÓÈ,
´—‚ˇÁ¸ª ¿‚‰ÓÚ¸Ë —ÏËÌÓ‚ÓÈ, ´»„‡ª
¿ÎÂÍ҇̉‡ –Ó„ÓÊÍË̇ Ë ‰Û„Ëı ÔÓÂÍÚÓ‚,
‚Íβ˜‡ˇ ÒÓ·ÒÚ‚ÂÌÌ˚ ÙËθÏ˚. Õ‡Ó‰Ì˚È
‡ÚËÒÚ –ÓÒÒËË, ·ÛÂ‡Ú ÔÂÏËË
ÍËÌӇ͇‰ÂÏËË ´ÕË͇ª, ÍËÌÓÔÂÏËË
´«ÓÎÓÚÓÈ ÓÂΪ, ÔËÁÂ ÏÂʉÛ̇Ó‰Ì˚ı Ë
ÓÒÒËÈÒÍËı ÍËÌÓÙÂÒÚË‚‡ÎÂÈ.
25
»Á·‡Ì̇ˇ ÙËθÏÓ„‡Ùˡ:
1978 ....—ÚÓ Ú˚Òˇ˜ ´flª (‰ÓÍ.)
1979 ....œÛÒÍ. œÓÚÂÚ Ó‰ÌÓ„Ó ÒÓ·˚Úˡ (‰ÓÍ.)
1983 ....¿ÍˆËˇ (‰ÓÍ.)
1986 ....œÎ‡ÌÂÚ‡ Õ‡Ú‡¯‡ (‰ÓÍ.)
1988 ....–ÓÍ (‰ÓÍ.)
1991 ....Œ·‚Ó‰Ì˚È Í‡Ì‡Î (‰ÓÍ.)
1993 ....¡‡ÚÚÂÙÎˇÈ (‰ÓÍ.)
1995 ....ÇÌˡ ΔËÁÂÎË
1997 ....›ÎËÚ‡ (‰ÓÍ.)
2000 ....ƒÌ‚ÌËÍ Â„Ó ÊÂÌ˚
2003 ....œÓ„ÛÎ͇
2005 ....üÓÒÏÓÒ Í‡Í Ô‰˜Û‚ÒÚ‚ËÂ
2008 ....œÎÂÌÌ˚È
Alexei Uchitel
Director, producer. Born on 31 August 1951
in Leningrad. Graduated from the
cinematography faculty of the Film Institute
VGIK (1975). Worked as cameraman and
director at the Leningrad studio of
documentary films. In the early 1990s formed
the creative production association ROCK.
Producer of the films ìPavlovís Dogî by
Ekaterina Shagalova, ìRelationî by Avdotia
Smirnova, ìThe Matchî by Alexander
Rogozhkin, and other projects, including his
own films. Peopleís Artist of Russia, winner
of prizes of the Film Academy NIKA, the
film prize ìGolden Eagleî, prize-winner of
international and Russian film festivals.
Select Directorís Filmography:
1978 ....A Hundred Thousand Meís (doc.)
1979......Starting Up. Portrait of an Event (doc.)
1983 ....Action (doc.)
1986 ....Planet Natasha (doc.)
1988 ....Rock (doc.)
1991 ....Obvodnoy Canal (doc.)
1993 ....Butterfly (doc.)
1995 ....Giselleís Mania
1997 ....Elite (doc.)
2000 ....His Wifeís Diary
2003 ....The Stroll
2005 ....Dreaming of Space
2008 ....Captive
ƒ‡Ï‡ ÔÓ ÔÓ‚ÂÒÚË ¬Î‡‰ËÏË‡ Ç͇ÌË̇ ´ü‡‚͇ÁÒÍËÈ ÔÎÂÌÌ˚Ȫ.
ƒÂÈÒÚ‚Ë ‡Á‚Ó‡˜Ë‚‡ÂÚÒˇ ‚Ó ‚ÂÏˇ ◊˜ÂÌÒÍÓÈ ‚ÓÈÌ˚. ƒ‚‡ ÛÒÒÍËı ÒÓΉ‡Ú‡
·ÂÛÚ ‚ ÔÎÂÌ ·Ó‚Ë͇, ÏÓÎÓ‰Ó„Ó ˜Â˜ÂÌÒÍÓ„Ó Ô‡Ìˇ. ¬ ÛÒÎӂˡı ‚ÓÈÌ˚ ÓÌË
ÒÎÂ‰Û˛Ú ÛÒÚ‡ÌÓ‚ÎÂÌÌ˚Ï Ô‡‚Ë·Ï, ÔÓÒÍÓθÍÛ ‚˚·Ó Û Í‡Ê‰Ó„Ó Ó‰ËÌ ñ
ÊËÁ̸ ËÎË ÒÏÂÚ¸. ÕÓ ÔÓ͇ ÓÌË Â„Ó ‚‰ÛÚ Í Ò‚ÓÂÈ ˜‡ÒÚË, Ëı ÓÚÌÓ¯ÂÌË Í
ÔÓËÒıÓ‰ˇ˘ËÏ ÒÓ·˚ÚËˇÏ ÏÂÌˇÂÚÒˇ ñ ÓÌË Ì‡˜Ë̇˛Ú ÔÓÌËχڸ ‰Û„ ‰Û„‡ Ë
ÒËÚÛ‡ˆË˛ ‚ ˆÂÎÓÏ...
Drama based on Vladimir Makaninís story ìThe Caucasian Captiveî.
The action unfolds during the Chechen war. Two Russian soldiers capture an
insurgent, young Chechen. In the conditions of the war they follow a set of
established rules, since everybody faces the same choice: life or death. But as
they lead him to their headquarters, their attitude towards the ongoing events
changes, and they begin to understand each other and the general situation...
ÍÓÌÍÛÒ
competition
œÀfi— Œƒ»Õ
PLUS ONE
26
2008, –ÓÒÒˡ, 96 ÏËÌ., ˆ‚., 1:1.85, Dolby Digital 5.1
2008, Russia, 96 min., col., 1:1.85, Dolby Digital 5.1
¿‚ÚÓ˚ ÒˆÂ̇ˡ Շ̇ √Ë̯ÚÂÈÌ, ŒÍ҇̇ ¡˚˜ÍÓ‚‡
Scriptwriters Nana Grinstein, Oksana Bychkova
–ÂÊËÒÒÂ ŒÍ҇̇ ¡˚˜ÍÓ‚‡
Director Oksana Bychkova
ŒÔÂ‡ÚÓ »‚‡Ì √Û‰ÍÓ‚
Director of Photography Ivan Gudkov
’Û‰ÓÊÌËÍ ŒÎ¸„‡ ’ηÌËÍÓ‚‡
Production Design Olga Khlebnikova
üÓÒÚ˛Ï˚ ŒÎ¸„‡ ¡˚˜ÍÓ‚‡
Costume Design Olga Bychkova
«‚ÛÍ —‡ÛÎ˛Ò ”·‡Ì‡‚˘˛Ò
Sound Saulius Urbanavicius
–ÂÊËÒÒÂ ÏÓÌڇʇ ƒ‡¸ˇ ƒ‡ÌËÎÓ‚‡
Editing Daria Danilova
¬ ÓΡı: ljÎÂÌ ƒÊ‡·‡ËÎÓ‚‡, ƒÊÂÚÓ —ÍËÌÌÂ,
Cast: Madeleine Dzhabrailova, Jethro Skinner, Vladimir Ilyin,
¬Î‡‰ËÏË »Î¸ËÌ, ÃËÓÒ·‚‡ ü‡Ôӂ˘, ≈‚„ÂÌËÈ ÷˚„‡ÌÓ‚,
Miroslava Karpovich, Evgeni Tsyganov, Yuri Kolokolnikov,
fiËÈ üÓÎÓÍÓθÌËÍÓ‚, œ‡‚ÂÎ ƒÂ‚ˇÌÍÓ, ÃËË‡Ï —ÂıÓÌ
Pavel Derevianko, Miriam Sekhon
œÓ‰˛ÒÂ˚ ≈ÎÂ̇ √ÎËÍχÌ, flÓÒ·‚ ΔË‚Ó‚
Producers Elena Glikman, Yaroslav Zhivov
œÓËÁ‚Ó‰ÒÚ‚Ó üËÌÓÍÓÏÔ‡Ìˡ ´“ÂÎÂÒÚÓª
Production Film Company Tele-Hundred
www.telestofilm.ru
www.telestofilm.ru
ÍÓÌÍÛÒ
competition
ŒÍ҇̇ ¡˚˜ÍÓ‚‡
–ÂÊËÒÒÂ Ë ÒˆÂ̇ËÒÚ. ŒÍÓ̘Ë· Ù‡ÍÛθÚÂÚ
ÊÛ̇ÎËÒÚËÍË –ÓÒÚÓ‚ÒÍÓ„Ó „ÓÒÛ‰‡ÒÚ‚ÂÌÌÓ„Ó
ÛÌË‚ÂÒËÚÂÚ‡ (1997), ‡·Óڇ· ̇ ‡‰ËÓ. ¬
2002 ÓÍÓ̘Ë· ¬˚үˠÍÛÒ˚ ÂÊËÒÒÂÓ‚ Ë
ÒˆÂ̇ËÒÚÓ‚ ñ ¬ü—– (χÒÚÂÒ͇ˇ œ.≈.
“Ó‰ÓÓ‚ÒÍÓ„Ó, Õ.¡. –ˇÁ‡ÌˆÂ‚ÓÈ).
ƒÂ·˛ÚËÓ‚‡Î‡ ÙËθÏÓÏ ´œËÚÂ FMª,
27
ÍÓÚÓ˚È ËÏÂÎ ÛÒÔÂı ‚ ÔÓ͇Ú (·ÓΠ$7
ÏÎÌ.) Ë ·˚Î ÓÚϘÂÌ ÍËÌÓÙÂÒÚË‚‡ÎˇÏË.
‘ËθÏÓ„‡Ùˡ ÂÊËÒÒÂ‡:
2001 ....ƒ‚ ÒÚÓÓÌ˚ ÒÚÂÍ· (Í/Ï)
2002 ....“Ë ÒÂÒÚ˚ (Í/Ï)
2005 ....œËÚÂ FM
2008 ....œÎ˛Ò Ó‰ËÌ
Oksana Bychkova
Director and scriptwriter. Graduated from
the Faculty of Journalism of Rostov State
University (1997), worked on the radio. In
2002 graduated from the Higher Courses for
Directors and Scriptwriters (workshop of Petr
Todorovsky and Natalia Riazantseva). She
debuted with the film ìPiter FMî, which was
a success in distribution (grossing over $7
million at the box office) and has been
noticed by a number of film festivals.
Directorís Filmography:
2001 ....Two Sides of Glass (short)
2002 ....Three Sisters (short)
2005 ....Piter FM
2008 ....Plus One
–ÓχÌÚ˘ÂÒ͇ˇ ÍÓωˡ.
»ÒÚÓˡ β·‚Ë ÏÛʘËÌ˚ Ë ÊÂÌ˘ËÌ˚. ü‡Ê‰˚È ËÁ ÌËı ÔÓ-Ò‚ÓÂÏÛ Ó‰ËÌÓÍ,
͇ʉ˚È Ë˘ÂÚ Î˛·‚Ë Ë ÔÓÌËχÌˡ. ǯ‡, ÏÓÎÓ‰‡ˇ Úˉˆ‡ÚËÎÂÚÌˇˇ
ÊÂÌ˘Ë̇, ÔÓÎÌÓÒÚ¸˛ ÔÓ„ÛÊÂ̇ ‚ ‡·ÓÚÛ Ì‡‰ ÔÂ‚ӉÓÏ ÒÂ¸ÂÁÌÓ„Ó
ÎËÚÂ‡ÚÛÌÓ„Ó ÔÓËÁ‚‰ÂÌˡ. ŒÌ‡ χÎÓ Ó·˘‡ÂÚÒˇ Ò Î˛‰¸ÏË ñ ÓÚ˜‡ÒÚË ÓÚ
ÔËÓ‰ÌÓÈ ÒÍÓÏÌÓÒÚË, ÓÚ˜‡ÒÚË ËÁ-Á‡ ÌÂÛ‰‡˜ÌÓ„Ó Á‡ÏÛÊÂÒÚ‚‡. Œ‰Ì‡Ê‰˚ ÂÈ
Ô‰·„‡˛Ú ÔÓ‡·ÓÚ‡Ú¸ ÔÂ‚Ӊ˜ËÍÓÏ Û ËÌÓÒÚ‡Ìˆ‡-ÍÛÍÎÓ‚Ó‰‡, ÍÓÚÓ˚È
ÔËÂÁʇÂÚ ‚ ÃÓÒÍ‚Û ‚ÂÒÚË ÒÂÏË̇˚ ‰Îˇ ÌÓ‚Ó„Ó ÍÛÍÓθÌÓ„Ó ¯ÓÛ. “‡Í ǯ‡
Á̇ÍÓÏËÚÒˇ Ò “ÓÏÓÏ √ËÌ‚Û‰ÓÏ, Ë ˝Ú‡ ‚ÒÚ˜‡ ÏÂÌˇÂÚ ‚Ò˛ Ëı ÊËÁ̸ ñ
ÔÓ¯ÎÛ˛, ̇ÒÚÓˇ˘Û˛, ·Û‰Û˘Û˛. ƒ‚‡ β·ˇ˘Ëı ˜ÂÎÓ‚Â͇ Û˜‡ÚÒˇ ÔÓÌËχڸ
‰Û„ ‰Û„‡ Ë ·˚Ú¸ Ò˜‡ÒÚÎË‚˚ÏËÖ
Romantic comedy.
The love story of a man and a woman. Each of them is lonely in their own
way; each of them searches for love and understanding. The thirty-year old
Masha is entirely absorbed in her translation of a serious literary work. She
communicates little with other people, partly because of her natural shyness,
partly because of her unhappy marriage. One day she is invited to interpret for
a foreign puppeteer who is visiting Moscow to give seminars for a new puppet
show. Thus Masha meets Tom Greenwood, and this meeting changes their
entire lives: the past, the present, and the future. Two people in love learn to
understand each other and to be happyÖ
ÍÓÌÍÛÒ
competition
—ü¿Δ» À≈Œ
SAY LEO
28
2008, –ÓÒÒˡ, 77 ÏËÌ., ˆ‚., 1:2.35, Dolby Digital 5.1
2008, Russia, 77 min., col., 1:2.35, Dolby Digital 5.1
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ ÀÂÓÌˉ –˚·‡ÍÓ‚
Scriptwriter and Director Leonid Rybakov
ŒÔÂ‡ÚÓ ¿ÚÂÏ œÓÎÓÒ‡Ú˚È
Director of Photography Artem Polosaty
’Û‰ÓÊÌËÍ fiÎˡ ◊‡‡Ì‰‡Â‚‡
Production Design Julia Charandaeva
üÓÒÚ˛Ï˚ ƒÂÌËÒ —Ëχ˜Â‚, «Óˇ œÓÒÂÍÓ‚‡
Costume Design Denis Simachev, Zoya Prosekova
«‚ÛÍ ƒÏËÚËÈ —Â„‚
Sound Dmitri Sergeev
–ÂÊËÒÒÂ ÏÓÌڇʇ ÇË̇ ¬‡ÒË肇
Editing Marina Vasilieva
¬ ÓΡı: ¿Ì‰ÂÈ ŸËÔ‡ÌÓ‚, ¿Ì̇ —Ú‡¯ÂÌ·‡ÛÏ,
Cast: Andrei Shchipanov, Anna Starshenbaum,
ÃËı‡ËÎ œ‡‚ÎËÍ, ¿Ì̇ ÃËı‡ÎÍÓ‚‡
Mikhail Pavlik, Anna Mikhalkova
√ÂÌÂ‡Î¸Ì˚ ÔÓ‰˛ÒÂ˚ ¿Ì̇ ÃËı‡ÎÍÓ‚‡,
General Producers Anna Mikhalkova, Maxim Korolev
ÇÍÒËÏ üÓÓ΂
Musical Producer Igor Pankov
ÃÛÁ˚͇θÌ˚È ÔÓ‰˛ÒÂ »„Ó¸ œ‡Ì¸ÍÓ‚
Production VVP Alliance
œÓËÁ‚Ó‰ÒÚ‚Ó ´¬¬œ ¿Î¸ˇÌÒª
www.say-leo.ru
www.say-leo.ru
ÍÓÌÍÛÒ
competition
ÀÂÓÌˉ –˚·‡ÍÓ‚
–ÂÊËÒÒÂ, ÒˆÂ̇ËÒÚ. –Ó‰ËÎÒˇ ‚ ü˯ËÌ‚Â
‚ 1959 „Ó‰Û. ŒÍÓ̘ËÎ ÃÓÒÍÓ‚ÒÍËÈ
ËÌÊÂÌÂÌÓ-ÙËÁ˘ÂÒÍËÈ ËÌÒÚËÚÛÚ ñ û‘»
(1983) Ë ÂÊËÒÒÂÒÍËÈ Ù‡ÍÛθÚÂÚ ¬√»ü‡
(1991, χÒÚÂÒ͇ˇ ¬.Õ.Õ‡ÛÏÓ‚‡).
üÓÓÚÍÓÏÂÚ‡ÊÌ˚È ÙËÎ¸Ï ´À˛‰Ë ËÁ
͇ÏÌˇª ·˚Î ÓÚϘÂÌ Ãü‘ ‚ ¬Â̈ËË
(ÒÔˆˇθÌÓ ÛÔÓÏË̇ÌËÂ Ê˛Ë), Œ–ü‘
29
´üËÌÓÚ‡‚. üÓÓÚÍËÈ ÏÂÚª (‰ËÔÎÓÏ Ê˛Ë
Ë ´¡ÂÎ˚È ÒÎÓ̪), Ãü‘ ‚ √ËÈÓÌ („·‚Ì˚È
ÔËÁ) Ë üÓÚ·ÛÒÂ.
‘ËθÏÓ„‡Ùˡ ÂÊËÒÒÂ‡:
1991 ....Ç‡ÍÛÚ‡
2004 ....œÓıËÚËÚÂÎË ÍÌË„
2007 ....À˛‰Ë ËÁ ͇ÏÌˇ (Í/Ï)
2008 ....—͇ÊË ÀÂÓ
Leonid Rybakov
Director, scriptwriter. Born in Kishinev in
1959. Graduated from the Moscow
Engineering and Physics Institute MIFI
(1983) and from the directorís faculty of the
Film Institute VGIK (1991, workshop of V.
Naumov). The short film ìStone Peopleî has
been shown at the IFF in Venice (Special
Mention of the Jury), at the Open Russian
Film Festival Kinotavr. Shorts (Jury Diploma
and ìWhite Elephantî award), at the IFF in
Gijon (main prize) and in Cottbus.
Directorís Filmography:
1991 ....Marakuta
2004 ....Book Thieves
2007 ....Stone People (short)
2008 ....Say Leo
“‡ÍÓ ÏÓÊÂÚ ÒÎÛ˜ËÚ¸Òˇ Ò Í‡Ê‰˚Ï ñ ÂÒÎË Ú· 18, ÂÒÎË Ú‚ÓË ‰ÛÁ¸ˇ ÛÊÂ
ÛÒÚÓËÎËÒ¸: ÍÚÓ Á‡‚ÂÎ Ò‚ÓÈ ·ËÁÌÂÒ, ÍÚÓ ÔÓԇΠ‚ ËÌÒÚËÚÛÚ, ‡ ÍÚÓ ‚ ‡ÏË˛Ö »
ÚÓθÍÓ Ú˚ ¢ Ì Á̇¯¸, ÍÂÏ ·˚Ú¸ ñ Í‡Í ‚ ‰ÂÚÒÚ‚Â: ÔÓʇÌËÍÓÏ ËÎË
ÎÂÚ˜ËÍÓÏ. » ÒÔÓÒËÚ¸ ÌÂÍÓ„Ó ñ Ú˚ ÛÊ ÔÓÎÊËÁÌË Ì ‡Á„Ó‚‡Ë‚‡Â¯¸ Ò
Ó‰ËÚÂΡÏË, ‡ χÎÂ̸͇ˇ ÒÂÒÚ‡ ¢ ÒÎ˯ÍÓÏ Ï‡Î‡. » ‰Îˇ Ú·ˇ ÓÒÚ‡ÎÓÒ¸
Î˯¸ Ó‰ÌÓ ÓÍÌÓ ‚ ÏË ñ ˝ÚÓ ˝Í‡Ì ÍÓÏÔ¸˛ÚÂ‡. ¿ Ú‡Ï ñ ‚ÌÛÚË ñ ‚Ò ÔÓ‰Û„ÓÏÛ: ÊËÁ̸ ‚ —ÂÚË, ÒÔÓÒӷ̇ˇ Ò‚ÂÒÚË Ì‡ ÌÂÚ ÏÌÓ„Ë ˜ÂÎӂ˜ÂÒÍËÂ
ÔÓˇ‚ÎÂÌˡ, Ì ÏÓÊÂÚ Û·ËÚ¸ Ê·ÌË ‰ÛÊËÚ¸, β·ËÚ¸, ˜Û‚ÒÚ‚Ó‚‡Ú¸.
This can happen to anyone ñ if you are 18, if your friends have already
settled: some have started their business, some got into the college, and some
in the armyÖ And only you donít yet know what you want to be, like in
childhood: a fireman or a pilot. And there is nobody to ask; you havenít been
talking to your parents for ages, and your little sister is too little. There is
only one window left to the world, and that is the computer screen. There,
inside, everythingís different: the life in the net, which can bring to naught
many human aspects, cannot destroy the desire for friendship, love and
emotion.
ÍÓÌÍÛÒ
competition
—“¿–ÿ¿fl Δ≈Õ¿
THE ELDER WIFE
30
2008, –ÓÒÒˡ, 90 ÏËÌ., ˆ‚., 1:2.35, Dolby Digital 5.1
2008, Russia, 90 min., col., 1:2.35, Dolby Digital 5.1
¿‚ÚÓ˚ ÒˆÂ̇ˡ «Óˇ üÛ‰ˇ, ¿ÎÂÍ҇̉ ƒÁ˛·ÎÓ
Scriptwriters Zoya Kudrya, Alexander Dziublo
–ÂÊËÒÒÂ »‚‡Ì —ÓÎÓ‚Ó‚
Director Ivan Solovov
ŒÔÂ‡ÚÓ ¬Î‡‰ËÏË üÎËÏÓ‚
Director of Photography Vladimir Klimov
’Û‰ÓÊÌËÍ ¿ÎÂÍ҇̉ üËÏ
Art Director Alexander Kim
üÓÏÔÓÁËÚÓ ¿ÎÂÍÒÂÈ ¿È„Ë
Composer Alexei Aygi
«‚ÛÍ ¿Ì‰ÂÈ ¡ÎÛ‰Û¯ÍËÌ
Sound Andrei Bludushkin
–ÂÊËÒÒÂ ÏÓÌڇʇ ¿Î¸·Ë̇ ¿ÌÚËÔÂÌÍÓ
Editing Albina Antipenko
¬ ÓΡı: »Ë̇ –ÓÁ‡ÌÓ‚‡, ¿Ì‰ÂÈ œ‡ÌËÌ, ¿ÎÂÍ҇̉
Cast: Irina Rozanova, Andrei Panin, Alexander Domogarov,
ƒÓÏÓ„‡Ó‚, Àˉˡ ¬ÂÎÂÊ‚‡, ¡ÂÌËı‡ ›„ÛÚË, ¿ÎÂÍ҇̉
Lydia Velezheva, Beniha Eguti, Alexander Bashirov, Ivan
¡‡¯ËÓ‚, »‚‡Ì ÿ‡·‡ÎÚ‡Ò, Ç‡Ú ¡‡¯‡Ó‚,
Shabaltas, Marat Basharov, Mikhail Bagdasarov
ÃËı‡ËÎ ¡‡„‰‡Ò‡Ó‚
General Producers Ivan Solovov, Oleg Goncharov
√ÂÌÂ‡Î¸Ì˚ ÔÓ‰˛ÒÂ˚ »‚‡Ì —ÓÎÓ‚Ó‚, ŒÎ„ √Ó̘‡Ó‚
Production "Mentor Cinema", "ObjectiveArt"
œÓËÁ‚Ó‰ÒÚ‚Ó ´ÃÂÌÚÓ —ËÌÂχª, ´Œ·˙ÂÍÚË‚¿Úª
www.mentor-cinema.ru
www.mentor-cinema.ru
ÍÓÌÍÛÒ
competition
»‚‡Ì —ÓÎÓ‚Ó‚
–ÂÊËÒÒÂ, ÔÓ‰˛ÒÂ, ÒˆÂ̇ËÒÚ, ˜ÎÂÌ
≈‚ÓÔÂÈÒÍÓÈ üËÌӇ͇‰ÂÏËË (EFA),
«‡ÒÎÛÊÂÌÌ˚È ‰ÂˇÚÂθ ËÒÍÛÒÒÚ‚ –‘, ÔËÁÂ
ÏÂʉÛ̇Ó‰Ì˚ı Ë ÓÚ˜ÂÒÚ‚ÂÌÌ˚ı
ÍËÌÓÙÂÒÚË‚‡ÎÂÈ. –Ó‰ËÎÒˇ 29 ÓÍÚˇ·ˇ 1952
„Ó‰‡ ‚ „. ›Ì„ÂθÒ —‡‡ÚÓ‚ÒÍÓÈ Ó·Î‡ÒÚË.
ŒÍÓ̘ËÎ Ù‡ÍÛθÚÂÚ ÊÛ̇ÎËÒÚËÍË
À¸‚Ó‚ÒÍÓ„Ó ‚˚Ò¯Â„Ó ‚ÓÂÌÌÓ-ÔÓÎËÚ˘ÂÒÍÓ„Ó
Û˜ËÎˢ‡, ÒˆÂ̇Ì˚È Ë ÂÊËÒÒÂÒÍËÈ
Ù‡ÍÛθÚÂÚ˚ ¬√»ü‡. ¿‚ÚÓ Ë ÂÊËÒÒÂ ·ÓÎÂÂ
40 ‰ÓÍÛÏÂÌڇθÌ˚ı Ë Ë„Ó‚˚ı ÙËθÏÓ‚. ¬
1988 ÒÓÁ‰‡Î Ë ‚ÓÁ„·‚ËÎ üËÌÓÍÓÏÔ‡Ì˲
´ÃÂÌÚÓ —ËÌÂχª, Ëϲ˘Û˛ ÒÓ·ÒÚ‚ÂÌÌÛ˛
ÚÂıÌ˘ÂÒÍÛ˛ ·‡ÁÛ ÔÓÎÌÓ„Ó ÚÂıÌÓÎӄ˘ÂÒÍÓ„Ó
ˆËÍ·. œÓ‰˛ÒÂ ·ÓΠ20 ÒÂˇÎÓ‚ Ë
ÍËÌÓÙËθÏÓ‚, ‚Íβ˜‡ˇ ÏÂʉÛ̇Ó‰Ì˚Â
ÔÓÂÍÚ˚: ´“ÓÈÌÓÈ ‡„ÂÌÚª ›Ë͇ –ÓÏÂ‡ ñ
ÍÓÌÍÛÒ ¡ÂÎËÌÒÍÓ„Ó ÙÂÒÚË‚‡Îˇ; ´20 ÌÓ˜ÂÈ
Ë Ó‰ËÌ ‰ÓʉÎË‚˚È ‰Â̸ª À‡Ï ÀË; ´ΔË‚‡ˇ
‚Ó‰‡ª ¿Ë͇ ü‡ÔÎÛ̇ Ë ‰.
31
»Á·‡Ì̇ˇ ÙËθÏÓ„‡Ùˡ (Ë„Ó‚Ó ÍËÌÓ):
1991 ....√ÎÛıÓχ̸
1991 ....ü‡‡‚‡Ì ÒÏÂÚË
1992 ....¿ ÒÔ‡Ú¸ Ò ˜ÛÊÓÈ ÊÂÌÓÈ ıÓÓ¯Ó!?.
1998 ....√Óˇ˜‡ˇ ÚӘ͇
1998 ....◊ÂÌ˚È Ó͇Ì
1999 ....—‚ˇÚÓÈ Ë „¯Ì˚È
2001 ....À‡‚Ë̇
2002 ....ÃÓˇ „‡Ìˈ‡ (ÒÂˇÎ)
2003 ....ΔÂÎÂÁÌÓ‰ÓÓÊÌ˚È ÓχÌÒ
2004 ....—ÎÓ‚‡ Ë ÏÛÁ˚͇
2007 ....ŒÚˆ
Ivan Solovov
Director, producer, scriptwriter, member of
the European Film Academy (EFA), Honoured
Artist of the Russian Federation, prizewinner of international and national film
festivals. Born on 29 October 1952 in Engels
in the Saratov area. Graduated from the
Faculty of Journalism of Lvov Higher
Military-Political School, then from the
scriptwritersí and directorsí faculties of the
Film Institute VGIK. Author and director of
over 40 documentary and fiction films. In
1988 created the Film Company ìMentor
Cinemaî, which he heads; the company has
its own full-cycle technical base. Producer of
over 20 serials and films, including
international projects such as ìTriple Agentî
by Eric Rohmer (in competition of the Berlin
IFF); ìTwenty Nights and a Rainy Dayî by
Lam Le; ìWater of Lifeî by Arik Kaplun, etc.
›ÚÌ˘ÂÒ͇ˇ ÔËÚ˜‡.
¬ ͇ÎÏ˚ˆÍÓÏ ‡ÛΠÊË‚ÂÚ ÔÓÒÚ‡ˇ ÒÂϸˇ ñ ¡‡Ë‡ Ë Â ÏÛÊ —˙ÂÁ‰. ŒÌË
β·ˇÚ ‰Û„ ‰Û„‡, ‚ÏÂÒÚ ÒÚË„ÛÚ Ë ÔÓ‰‡˛Ú ·‡‡ÌÓ‚, ‚‰ÛÚ ıÓÁˇÈÒÚ‚Ó,
ÌËÍÓ„‰‡ Ì ‡ÒÒÚ‡˛ÚÒˇ Ë ‰Û„ÓÈ ÊËÁÌË Ì Á̇˛Ú. ÕÓ Ó‰Ì‡Ê‰˚ —˙ÂÁ‰
ÔË‚Ó‰ËÚ ‚ ‰ÓÏ ‚ÚÓÛ˛ ÊÂÌÛ ñ ӷ¢‡Î ÒÓ҉͠ÔÂ‰ ÒÏÂÚ¸˛ ÊÂÌËÚ¸Òˇ ̇
 ‚ÌÛ˜ÍÂ. ¬Ì͇ۘ ñ ÏÓÎÓ‰‡ˇ Í‡Ò‡‚ˈ‡, ‰‡ Â˘Â Ë ·ÂÂÏÂÌ̇ˇ. œÓ˜Û‚ÒÚ‚Ó‚‡‚
Ò·ˇ Î˯ÌÂÈ, ¡‡Ë‡ ÔÓÍˉ‡ÂÚ Ó‰ÌÓÈ ‡ÛÎ Ë Ë‰ÂÚ, ÍÛ‰‡ „·Á‡ „Ρ‰ˇÚ ñ ‚
„ÓÓ‰. ¿ Ú‡Ï ¡‡Ë‡ ·Û‰ÂÚ Ë ‚ ˝ÈÙÓËË ÓÚ Ò˜‡ÒÚ¸ˇ, Ë Ì‡ ‚ÓÎÓÒÍ ÓÚ ÒÏÂÚË.
ŒÌ‡ ‰‡Ê ÔÓ˜Û‚ÒÚ‚ÛÂÚ Ò·ˇ «ÓÎÛ¯ÍÓÈ, ÍÓ„‰‡  ÔÓβ·ˇÚ. ÕÓ ÒÚ‡¯‡ˇ ÊÂ̇
Ô˯· ‚ „ÓÓ‰ Ì ÔÓÒÚÓ Ú‡Í. ≈ ˆÂθ ñ ̇ÈÚË Ò‰ÒÚ‚Ó, ˜ÚÓ·˚ ÊÂÒÚÓÍÓ
ÓÚÓÏÒÚËÚ¸ ÏÛÊÛ...
Ethnic parable.
In a Kalmyk aul lives a simple family: Baira and her husband Syezd (literally,
ìCongressî). They like each other, and together they shave and sell rams,
conduct the household, never leave each other and do not know a different way
Select Directorís Filmography (fiction films):
1991 ....Backwoods
1991 ....Caravan of Death
1992 ..Is it OK to Sleep with Another
Manís Wife!?
1998 ....Hotpoint
1998 ....Black Ocean
1999 ....Sacred and Guilty
2001 ....The Avalanche
2002 ....My Border (serial)
2003 ....A Railway Romance
2004 ....Words and Music
2007 ....The Father
of life. But once Syezd brings a second wife to the house: he promised the
neighbour before her death to marry her granddaughter. The granddaughter is
a young beauty, moreover she is pregnant. Feeling superfluous, Baira leaves
the native aul and goes to the city. There Baira is both in joyful euphoria and
on close to death. She feels like Cinderella when a fairy-tale prince falls for
her. But... the elder wife came to town not just like that. Her purpose is to
find a way to take a terrible revenge on her husband...
ÍÓÌÍÛÒ
competition
“Œ“, ü“Œ √¿—»“ —¬≈“
HE WHO SWITCHES OFF THE LIGHTS
32
2008, –ÓÒÒˡ, 86 ÏËÌ., ˆ‚., 1:2.35, Dolby Digital 5.1
2008, Russia, 86 min., col., 1:2.35, Dolby Digital 5.1
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ ¿Ì‰ÂÈ ÀË·ÂÌÒÓÌ
Scriptwriter and Director Andrei Libenson
—˛ÊÂÚ ŒÎ„ ŒÒËÔÓ‚ (´“ÂÏ̇ˇ ‚Ó‰‡ª)
Theme by Oleg Osipov (ìDark Waterî)
ŒÔÂ‡ÚÓ —Â„ÂÈ Ã‡˜ËθÒÍËÈ
Director of Photography Sergei Machilsky
’Û‰ÓÊÌËÍ ¬Î‡‰ËÏË fiʇÍÓ‚
Production Design Vladimir Yuzhakov
üÓÒÚ˛Ï˚ “‡Ú¸ˇÌ‡ œÓˇÍÓ‚‡
Costumes Tatiana Poiarkova
üÓÏÔÓÁËÚÓ fiËÈ œÓÚÂÂÌÍÓ
Composer Yuri Poteenko
«‚ÛÍ –ÓÒÚËÒ·‚ ¿ÎËÏÓ‚, ¿ÎÂÍÒÂÈ ¡‡‰˚„Ó‚
Sound Rostislav Alimov, Alexei Badygov
–ÂÊËÒÒÂ ÏÓÌڇʇ ¿ÎÂÍÒÂÈ Ã‡Í·ÍÓ‚
Editing Alexei Maklakov
¬ ÓΡı: ¿ÎÂÍÒÂÈ √ÛÒ¸ÍÓ‚, fiËÈ »ˆÍÓ‚, »‚‡Ì üÓÍÓËÌ,
Cast: Alexei Guskov, Yuri Itskov, Ivan Kokorin, Ekaterina
≈͇ÚÂË̇ –‰ÌËÍÓ‚‡, ¿ÚÛ —ÏÓθˇÌËÌÓ‚, ¿ÎÂÍÒÂÈ
Rednikova, Arthur Smolianinov, Alexei Gorbunov, Ekaterina
√Ó·ÛÌÓ‚, ≈͇ÚÂË̇ ¬ËÎÍÓ‚‡, ¿Ì‰ÂÈ —ÏÓΡÍÓ‚,
Vilkova, Andrey Smoliakov, Piotr Semak, Andrei Zibrov,
œÂÚ —ÂχÍ, ¿Ì‰ÂÈ «Ë·Ó‚, ÀÂ̇ »‚‡˘Â‚‡
Lena Ivashcheva
œÓ‰˛ÒÂ˚ —Â„ÂÈ ÃÂθÍÛÏÓ‚, ƒÏËÚËÈ ÃÂÒıË‚,
Producers Sergei Melkumov, Dmitri Meskhiev,
—Â„ÂÈ ÿÛχÍÓ‚
Sergei Shumakov
œÓËÁ‚Ó‰ÒÚ‚Ó ´Non-Stop Productionª, ´◊ÂÂÔ‡ı‡ª ÔÓ Á‡Í‡ÁÛ –“–
Production Non-Stop Production, Cherepakha (Turtle),
œÓÍ‡Ú ´Õ‡¯Â ÍËÌÓª
on commission of RTR
Distribution Nashe Kino
www.nonstop-kino.ru
www.nkino.ru
www.nonstop-kino.ru
www.nkino.ru
ÍÓÌÍÛÒ
competition
¿Ì‰ÂÈ ÀË·ÂÌÒÓÌ
—ˆÂ̇ËÒÚ, ÂÊËÒÒÂ. –Ó‰ËÎÒˇ ‚ ÀÂÌËÌ„‡‰Â
8 ˇÌ‚‡ˇ 1975 „Ó‰‡. ŒÍÓ̘ËÎ —‡ÌÍÚœÂÚÂ·Û„ÒÍËÈ ÛÌË‚ÂÒËÚÂÚ ÍËÌÓ Ë
ÚÂ΂ˉÂÌˡ ñ —œ·√”üË“ (1999,
χÒÚÂÒ͇ˇ À.».ÃÂ̇ÍÂ‡), ·˚Î ‡ÒÒËÒÚÂÌÚÓÏ
ÂÊËÒÒÂ‡ ̇ ÙËθÏ ¬‡ÎÂˡ
Œ„ÓÓ‰ÌËÍÓ‚‡ ´ü‡ÒÌÓ Ì·Ó, ˜ÂÌ˚È ÒÌ„ª,
ÒÌˇÎ ÍÎËÔ ‰Îˇ „ÛÔÔ˚ ´ÀÂÌËÌ„‡‰ª,
33
ÒÓ‡‚ÚÓ ˇ‰‡ ÒˆÂ̇Ë‚ (´—ÚËÚÂÈÒÂ˚ª,
ÒÂˇ· ´fl ‚Ò Â¯Û Ò‡Ï‡ª Ë ‰.). ´“ÓÚ,
ÍÚÓ „‡ÒËÚ Ò‚ÂÚª ñ ÂÊËÒÒÂÒÍËÈ ‰Â·˛Ú.
Andrei Libenson
Scriptwriter, director. Born in Leningrad on
8 January 1975. Graduated from St.
Petersburg University of Cinema and
Television (1999, workshop of L. Menaker),
then assistant director to Valeri
Ogorodnikovís film ìRed Sky, Black Snowî.
He made a clip for the group ìLeningradî, is
co-author of several scripts (ìStreet Racersî,
serial ìI decide myselfî) and others. ìHe who
Switches off the Lightsî is the directorís
debut.
“ËÎÎÂ.
Õ‚ÂÓˇÚ̇ˇ ÊÂÒÚÓÍÓÒÚ¸ χ̸ˇÍ‡ ÔÓ„ÛʇÂÚ œÂÚÂ·Û„ ‚ ÒÓÒÚÓˇÌËÂ
·ÂÒÔ‰ÂθÌÓ„Ó Ûʇ҇. –Ó‰ËÚÂÎË ·ÓˇÚÒˇ ÓÚÔÛÒ͇ڸ ‰ÂÚÂÈ Ì‡ ÛÎËˆÛ ·ÂÁ
ÒÓÔÓ‚ÓʉÂÌˡ. œÂÒÒ‡ ̇„ÌÂÚ‡ÂÚ ‡ÚÏÓÒÙÂÛ ÒÚ‡ı‡ Ë ËÒÚÂËË, ÍËÚËÍÛÂÚ
ÒÔˆÒÎÛÊ·˚, Ì ÒÔÓÒÓ·Ì˚ ÔÓÈχڸ χ̸ˇÍ‡. ÷ÂÔ¸ ÌÂÓ·˙ˇÒÌËÏ˚ı Û·ËÈÒÚ‚
ÔË‚Ó‰ËÚ ÒΉӂ‡ÚÂΡ œÂÚ‡ ÃÓËÒ‚‡ ‚ ÔÓ‚ËÌˆË˛. ◊ÚÓ·˚ ‰ÓÍÓÔ‡Ú¸Òˇ ‰Ó
ËÒÚËÌ˚ Ë Ì‡ÈÚË Ï‡Ì¸ˇÍ‡, ÃÓËÒ‚ ‰ÓÎÊÂÌ ‡Á„‡‰‡Ú¸ Ú‡ÈÌ˚ χÎÂ̸ÍÓ„Ó
—‚ÂÚÎÓ„ÓÒÍ‡Ö ΔÂÒÚ͇ˇ Ë ·ÂÒÍÓÏÔÓÏËÒÒ̇ˇ ËÒÚÓˡ Ó ÚÓÏ, ÍÛ‰‡ ÏÓÊÂÚ
ÔË‚ÂÒÚË ˜ÂÎÓ‚Â͇ ÒÚ‡ı.
Thriller.
The incredible cruelty of a maniac immerses Petersburg in a state of boundless
horror. Parents are afraid to let their children into the street without
accompaniment. The press enforces an atmosphere of fear and hysteria,
criticizes the special forces incapable of catching the maniac. The chain of
inexplicable murders leads inspector Petr Moiseev to the provinces. In order to
get to the bottom of the truth and to find the maniac, Moiseev has to solve the
secrets of the small town of SvetlogorskÖ A harsh and uncompromising story
about the impact of human fear.
ÍÓÌÍÛÒ
competition
◊≈“¤–≈ ¬Œ«–¿—“¿ Àfi¡¬»
FOUR AGES OF LOVE
34
2008, –ÓÒÒˡ, 100 ÏËÌ., ˆ‚., 1:1.85, Dolby Digital
2008, Russia, 100 min., col., 1:1.85, Dolby Digital
¿‚ÚÓ ÒˆÂ̇ˡ ¿ÎÂÍÒÂÈ √ÓÎÓ‚˜ÂÌÍÓ
Scriptwriter Alexei Golovchenko
–ÂÊËÒÒÂ —Â„ÂÈ ÃÓÍˈÍËÈ
Director Sergei Mokritsky
ŒÔÂ‡ÚÓ ¿Î˯Â ’‡ÏˉıӉʇ‚
Director of Photography Alisher Khamidkhodzhaev
’Û‰ÓÊÌËÍ ¬‡ÎÂËÈ ¿ıËÔÓ‚
Production Design Valeri Arkhipov
üÓÒÚ˛Ï˚ Õ‡‰Âʉ‡ ¡Ó„‰‡ÌÓ‚‡
Costume Design Nadezhda Bogdanova
«‚ÛÍ fiÎˡ ≈„ÓÓ‚‡
Sound Julia Egorova
ÃÓÌÚ‡Ê ŒÎ¸„‡ √Ë̯ÔÛÌ
Editing Olga Grinshpun
¬ ÓΡı: Àˡ ¿ı‰ʇÍÓ‚‡, »„Ó¸ flÒÛÎӂ˘,
Cast: Lia Akhidzhakova, Igor Yasulovich, Roman Shmakov,
–ÓÏ‡Ì ÿχÍÓ‚, Շڇθˇ —ÛÍÓ‚‡, ≈ÎÂ̇ ÃÓÓÁÓ‚‡,
Natalia Surkova, Elena Morozova, Alexei Serebriakov, Julia
¿ÎÂÍÒÂÈ —Â·ˇÍÓ‚, fiÎˡ –ÛÚ·Â„, ¬‡‰ËÏ ƒÂϘӄ,
Rutberg, Vadim Demchog, Artus Kaiminysh, Sasha
¿ÚÛÒ ü‡ÈÏË̸¯, —‡¯‡ √ÓÌÚ‡ÂÌÍÓ
Gontarenko
√·‚Ì˚È ÔÓ‰˛ÒÂ Õ‡Ú‡¯‡ ÃÓÍˈ͇ˇ
General Producer Natasha Mokritskaya
œÓ‰˛ÒÂ ”θˇÌ‡ —‡‚Â肇
Producer Uliana Savelieva
œÓËÁ‚Ó‰ÒÚ‚Ó üËÌÓÍÓÏÔ‡Ìˡ ´ÕÓ‚˚ β‰Ëª, ÔË Û˜‡ÒÚËË
Production: Film Company ìNew Peopleî, with participation
üËÌÓÍÓÏÔ‡ÌËË ´“‚Ë̪
of the Film Company ìTwinî
‘Ë̇ÌÒÓ‚‡ˇ ÔÓ‰‰ÂÊ͇ ‘‰Â‡Î¸ÌÓ ‡„ÂÌÚÒÚ‚Ó ÔÓ ÍÛθÚÛÂ
Financial support from the Federal Agency of Culture and
Ë ÍËÌÂχÚÓ„‡ÙËË
Cinematography
ÍÓÌÍÛÒ
competition
—Â„ÂÈ ÃÓÍˈÍËÈ
ŒÔÂ‡ÚÓ-ÔÓÒÚ‡ÌÓ‚˘ËÍ, ÂÊËÒÒÂ. –Ó‰ËÎÒˇ
‚ 1961 „Ó‰Û ‚ ”Í‡ËÌÂ. ŒÍÓ̘ËÎ
ÓÔÂ‡ÚÓÒÍËÈ Ù‡ÍÛθÚÂÚ ¬√»ü‡ (1991,
χÒÚÂÒ͇ˇ ¿.¬. √‡Î¸ÔÂË̇). ŒÔÂ‡ÚÓ
·ÓΠÚˉˆ‡ÚË Ë„Ó‚˚ı Ë ‰ÓÍÛÏÂÌڇθÌ˚ı
ÙËθÏÓ‚, ÒÂˇÎÓ‚ Ë ÚÂÎÂÔÓ„‡ÏÏ, Ò‰Ë
ÍÓÚÓ˚ı ÙËθÏ˚ üËËη —Â·ÂÌÌËÍÓ‚‡
(´»ÁÓ·‡Ê‡ˇ ÊÂÚ‚Ûª, ´–ÓÒÚÓ‚-Ô‡Ô‡ª Ë
35
´ƒÌ‚ÌËÍ Û·ËȈ˚ª) Ë –ÛÒڇχ ’‡Ï‰‡ÏÓ‚‡
(´¬Ó͇θÌ˚ ԇ‡ÎÎÂÎ˪). ´◊ÂÚ˚ ‚ÓÁ‡ÒÚ‡
β·‚˪ ñ ÂÊËÒÒÂÒÍËÈ ‰Â·˛Ú.
Sergei Mokritsky
Director of photography, director. Born 1961
in Ukraine. Graduated from the faculty of
cinematography of the Film Institute VGIK
(1991, workshop pf A. Galperin). Filmed
about thirty fiction and documentary films,
serials and television programmes, among
them Kirill Serebrennikovís films (ìPlaying
the Victimî, ìRostov-Daddyî and ìDiary of a
Murdererî) and Rustam Khamdamov (ìVocal
Parallelsî). ìFour Ages of Loveî is the
directorís debut.
ÃÂÎÓ‰‡Ï‡ ‚ ˜ÂÚ˚Âı ÌÓ‚Âηı, ‡ÒÒ͇Á˚‚‡˛˘‡ˇ Ó Ì‡¯Ëı ÒÓ‚ÂÏÂÌÌË͇ı,
ÍÓÚÓ˚Â, ÌÂÒÏÓÚˇ ̇ ˛Ì˚È ËÎË ÔÂÍÎÓÌÌ˚È ‚ÓÁ‡ÒÚ, ˢÛÚ Ë Ì‡ıÓ‰ˇÚ Ò‚Ó˛
‰ËÌÒÚ‚ÂÌÌÛ˛ β·Ó‚¸.
Melodrama in four novellas about our contemporaries who, despite their young
or old age, search and find love. Each short story is based on a classical myth.
ÍÓÌÍÛÒ
competition
ÿ”À‹“≈—
SHULTES
36
2008, –ÓÒÒˡ, 100 ÏËÌ., ˆ‚., 1: 1.85, Dolby Digital
2008, Russia, 100 min, col., 1:1.85, Dolby Digital
¿‚ÚÓ ÒˆÂ̇ˡ ¡‡ÍÛ ¡‡ÍÛ‡‰ÁÂ
Scriptwriter Bakur Bakuradze, with the participation
ÔË Û˜‡ÒÚËË Õ‡ËÎË Ã‡Î‡ıÓ‚ÓÈ
of Nail Malakhova
–ÂÊËÒÒÂ ¡‡ÍÛ ¡‡ÍÛ‡‰ÁÂ
Director Bakur Bakuradze
ŒÔÂ‡ÚÓ˚ ÇË̇ √ÓÌÓÒڇ‚‡, ÕËÍÓÎ‡È ¬‡‚ËÎÓ‚
Directors of Photography Marina Gornostaeva,
’Û‰ÓÊÌËÍ üËËÎÎ ÿÛ‚‡ÎÓ‚
Nikolai Vavilov
üÓÒÚ˛Ï˚ ¬Î‡‰ËÏË üÛÔˆÓ‚
Production Design Kirill Shuvalov
«‚ÛÍ ¿ÒÂÌËÈ “ÓˈÍËÈ
Costume Design Vladimir Kuptsov
ÃÓÌÚ‡Ê ¡‡ÍÛ ¡‡ÍÛ‡‰ÁÂ
Sound Arseni Troitsky
¬ ÓΡı: √· ◊ËÚ‡‚‡, –ÛÒÎ‡Ì √·ÂÌÍËÌ, À˛·Ó‚¸ ‘ËÒÓ‚‡,
Editing Bakur Bakuradze
—ÂÒËθ œÎÂÊÂ, ¬‡‰ËÏ —ÛÒÎÓ‚, ÕÓ¯‚‡Ì “‡‚ıÂÎˉÁÂ, ¬‡‰ËÏ
Cast: Gela Chitava, Ruslan Grebenkin, Liubov Firsova,
÷‡Î·ÚË, –ÛÒÎ‡Ì —Û¯ÓÌ, ¿Ì̇ —ÓÓ͇, ¿ÎÂÍ҇̉ ¿·˜Ë̈,
Cecile Plaige, Vadim Suslov, Noshrevan Tavkhelidze, Vadim
üÓÌÒÚ‡ÌÚËÌ ¡ÛÒÎÓ‚, —Â„ÂÈ ¡ÓÎÓڇ‚, »‚‡Ì À·‰‚
Tsallati, Ruslan Sushon, Anna Soroka, Alexander Abchinets,
œÓ‰˛ÒÂ˚ —Â„ÂÈ —ÂθˇÌÓ‚, fiÎˡ Ã˯ÍËÌÂÌÂ
Konstantin Buslov, Sergei Bolotaev, Ivan Lebedev
œÓËÁ‚Ó‰ÒÚ‚Ó üËÌÓÍÓÏÔ‡Ìˡ ´—“¬ª, ÍÓÏÔ‡Ìˡ
Producers Sergei Selianov, Julia Mishkinene
´—‡Î¸‚‡‰Ó Dî, ÒÚÛ‰Ëˇ ´ÀËÏÓ̪
Production Film Company —“¬, Company Salvador D,
œÓÍ‡Ú üËÌÓÔÓ͇Ú̇ˇ „ÛÔÔ‡ ´Õ‡¯Â ÍËÌÓª
Limon Stutio
Distribution Nashe Kino
www.ctb.ru
www.nkino.ru
www.nkino.ru
www.ctb.ru
ÍÓÌÍÛÒ
competition
¡‡ÍÛ ¡‡ÍÛ‡‰ÁÂ
–ÂÊËÒÒÂ Ë„Ó‚Ó„Ó Ë ‰ÓÍÛÏÂÌڇθÌÓ„Ó ÍËÌÓ,
ÒˆÂ̇ËÒÚ. –Ó‰ËÎÒˇ 16.03.1969 ‚ “·ËÎËÒË.
ŒÍÓ̘ËÎ ÃÓÒÍÓ‚ÒÍËÈ ‡‚ÚÓ‰ÓÓÊÌ˚È
ËÌÒÚËÚÛÚ ñ ÿƒ» (1993), ÂÊËÒÒÂÒÍËÈ
Ù‡ÍÛθÚÂÚ ¬√»ü‡ (1998, χÒÚÂÒ͇ˇ
Ã.Ã.’ۈ˂‡). —Ú‡‚¯ËÈ ÙÂÒÚË‚‡Î¸Ì˚Ï,
ÙËÎ¸Ï ´ÃÓÒÍ‚‡ª ·˚Î ÓÚϘÂÌ Ë ‰ËÔÎÓÏÓÏ
Ê˛Ë ÍÓÌÍÛÒ‡ ´üÓÓÚÍËÈ ÏÂÚª ̇
37
´üËÌÓÚ‡‚ª (2007). ´ÿÛθÚÂÒª ñ ‰Â·˛Ú ‚
Ë„Ó‚ÓÏ ÍËÌÓ.
‘ËθÏÓ„‡Ùˡ ÂÊËÒÒÂ‡:
1997 ....¡ÂÁ ‰ÂÌ„ (Í/Ï)
2001 ....—‰‚ËÌÛÚ˚È
(“¬, ÒÓÂÊËÒÒÂ ¿ÎÂÍ҇̉‡ ¡‡ÒÓ‚‡)
2001 ....¿ÎÂÍ҇̉ ¬ÓÎÍÓÚÛ·Ó‚
(Ò ¿. ¡‡ÒÓ‚˚Ï, ‰ÓÍ.)
2001 ....÷ÂÌÓÈ Ò‚ÓÂÈ ÊËÁÌË (‰ÓÍ.)
2002 ....¬ÂÏˇ ÃËÌÙË̇. 200 ÎÂÚ Ì‡ ÒÎÛÊ·Â
ŒÚ˜ÂÒÚ‚Û (‰ÓÍ.)
2003 ....¬ˇ˜ÂÒ·‚ œËÎËÔÂÌÍÓ
(Ò ¿. ¡‡ÒÓ‚˚Ï, ‰ÓÍ.)
2003 ....üÛ„Ó‚˚ ‰‚ËÊÂÌˡ ¬.≈.
Ë ÓÊˉ‡Ìˡ Œ.≈. (Í/Ï)
2005 ....¿ÎχÁÌ˚È ÔÛÚ¸ (‰ÓÍ.)
2007 ....ÃÓÒÍ‚‡ (Í/Ï, Ò ƒÏËÚËÂÏ Ã‡ÏÛÎˡ)
2008 ....ÿÛθÚÂÒ
Bakur Bakuradze
Director of fiction and documentary films,
scriptwriter. Born 16 March 1969 in Tbilisi.
Graduated from the Moscow Road Institute
(MADI, 1993), then from the Faculty of
üËÏË̇θ̇ˇ ‰‡Ï‡.
Directing at the Film Institute VGIK (1998,
¬ ·Óθ¯ÓÏ „ÓӉ ÊË‚ÂÚ ÌÂÁ‡ÏÂÚÌ˚È ÏÓÎÓ‰ÓÈ ˜ÂÎÓ‚ÂÍ ÒÓ Ò‚ÓÂÈ ÒÚ‡ÓÈ
workshop of M. Khutsiev). The short film
χÚÂ¸˛. ŒÌ ·Â„‡ÂÚ ÔÓ ÛÚ‡Ï ‚ Ô‡ÍÂ, ıÓ‰ËÚ ‚ Ó‰ËÌ Ë ÚÓÚ Ê χ„‡ÁËÌ,
ëMoscowí, shown at numerous festivals,
ÒÏÓÚËÚ ÔÓ ‚˜Â‡Ï ÒÔÓÚË‚Ì˚È Í‡Ì‡Î ÚÂ΂ËÁÓ‡. œÓ˜ÚË ‚ÒÂ, ˜ÚÓ ÓÌ ‰Â·ÂÚ,
received the Juryís Diploma in the Shorts
‰Ó‚‰ÂÌÓ ‰Ó ‡‚ÚÓχÚËÁχ. œÓ˜ÚË, ÌÓ Ì ‚ÒÂ. ¬ Â„Ó ı‡‡ÍÚÂ ñ Ì ‚˚‡Ê‡Ú¸
Competition at Kinotavr 2007.
Ò‚ÓËı ˝ÏÓˆËÈ, Ë ÌËÍÚÓ ËÁ ÓÍÛʇ˛˘Ëı Ì Á̇ÂÚ Ó ÚÓÏ, ÓÚÍÛ‰‡ Û ÌÂ„Ó ‰Â̸„Ë
Directorís Filmography
1997 ....Without Money (short)
2001 ....Shifted
(TV, co-directed by Alexander Basov)
2001 ....Alexander Volkotrubov (with
Alexander Basov, doc.)
2001 ....For the Price of Oneís Life (doc.)
2002 ....The Time of the Ministry of Finance.
200 Years of Service to the
Fatherland (doc.)
2003 ....Viacheslav Pilipenko
(with A. Basov, doc.)
2003 ....Circular Movements of ¬.≈. and
the Expectation of Œ.≈ (short)
2005 ....The Diamond Way (doc.)
2007 ....Moscow
(short, with Dmitri Mamuliya)
2008 ....Shultes
̇ ÊËÁ̸. ÕËÍÚÓ Ì Á̇ÂÚ, ˜ÚÓ Ì‡ÔËÒ‡ÌÓ ‚ Â„Ó ·ÎÓÍÌÓÚÂ, ÍÓÚÓ˚È ÓÌ ‚ÒÂ
‚ÂÏˇ ÌÓÒËÚ Ò ÒÓ·ÓÈ. ÕÂÒÍÓθÍÓ ‰ÌÂÈ ÊËÁÌË ¿ÎÂÍÒ¡ ÿÛθÚÂÒ‡ ÔË‚Ó‰ˇÚ
Â„Ó Í ÔÓÌËχÌ˲, ˜ÚÓ ÓÌ ÌÂ Ú‡Í Á‡·˚‚˜Ë‚, Í‡Í ÂÏÛ ·˚ ˝ÚÓ„Ó ıÓÚÂÎÓÒ¸.
ñ ”˜‡ÒÚÌËÍ ÔÓ„‡ÏÏ˚ ´ƒ‚Ûı̉ÂθÌËÍ ÂÊËÒÒÂÓ‚ª, Ãü‘ ‚ ü‡Ì̇ı, 2008.
Drama.
An ordinary young man lives with his old mother in a big city. In the
mornings he runs in the park, he goes to the same shop, and in the evenings
he watches the sports channel on television. Almost all of his actions are
performed on autopilot ñ almost all, but not quite all. In keeping with his
character he does not express emotions, so none of the people around him
know whence he gets his money for a living. Nobody knows what he writes in
his notebook that he carries with him at all times. Several days from the life
of Alexei Shultes make him realize that he is not as forgetful as he would like
to be.
ñ World premiere at the IFF Cannes 2008, ìQuinzaine des realisateursî.
ÍÓÌÍÛÒ
competition
fi–‹≈¬ ƒ≈Õ‹
YURIíS DAY
38
2008, –ÓÒÒˡ/ ‘–√, 130 ÏËÌ., ˆ‚., 1:2.35, Dolby SR
2008, Russia/ Germany, 130 min., col., 1:2.35, Dolby SR
¿‚ÚÓ ÒˆÂ̇ˡ fiËÈ ¿‡·Ó‚
Scriptwriter Yuri Arabov
–ÂÊËÒÒÂ üËËÎÎ —Â·ÂÌÌËÍÓ‚
Director Kirill Serebrennikov
ŒÔÂ‡ÚÓ ŒÎ„ ÀÛ͢‚
Director of Photography Oleg Lukichev
’Û‰ÓÊÌËÍ fiËÈ √Ë„Óӂ˘
Production Design Yuri Grigorovich
üÓÒÚ˛Ï˚ »Ë̇ √‡Ê‰‡ÌÍË̇
Costume Design Irina Grazhdankina
üÓÏÔÓÁËÚÓ —Â„ÂÈ Õ‚ÒÍËÈ
Composer Sergei Nevsky
«‚ÛÍ Tilo Feinermann
Sound Tilo Feinermann
–ÂÊËÒÒÂ ÏÓÌڇʇ ŒÎ¸„‡ √Ë̯ÔÛÌ
Editing Olga Grinshpun
¬ ÓΡı: üÒÂÌˡ –‡ÔÔÓÔÓÚ, ≈‚„ÂÌˡ üÛÁ̈ӂ‡,
Cast: Ksenia Rappoport, Evgeniya Kuznetsova,
—Â„ÂÈ —ÓÒÌÓ‚ÒÍËÈ, –ÓÏ‡Ì ÿχÍÓ‚, —Â„ÂÈ Ã‰‚‰‚,
Sergei Sosnovsky, Roman Shmakov, Sergei Medvedev,
»„Ó¸ ’ËÔÛÌÓ‚,
Igor Khripunov,
√·‚Ì˚È ÔÓ‰˛ÒÂ Õ‡Ú‡¯‡ ÃÓÍˈ͇ˇ
General Producer Natasha Mokritskaya
œÓ‰˛ÒÂ ”θˇÌ‡ —‡‚Â肇
Producer Uliana Savelieva
—ÓÔÓ‰˛ÒÂ˚ ÃË· –ÓÁ‡ÌÓ‚‡, Karsten Stoeter,
Co-Producers Mila Rozanova, Karsten Stoeter,
Benny Drechsel
Benny Drechsel
œÓËÁ‚Ó‰ÒÚ‚Ó üËÌÓÍÓÏÔ‡Ìˡ ´ÕÓ‚˚ β‰Ëª, ÔË Û˜‡ÒÚËË:
Production: Film Company ìNew Peopleî, with participation
Rohfilm (√ÂχÌˡ), ´Õ‡ˆËÓ̇θ̇ˇ ÂÁÂ‚̇ˇ ÍÓÔÓ‡ˆËˇª
of Rohfilm (Germany), ìNational Reserve Corporationî
‘Ë̇ÌÒÓ‚‡ˇ ÔÓ‰‰ÂÊ͇ ‘‰Â‡Î¸ÌÓ ‡„ÂÌÚÒÚ‚Ó ÔÓ
Financial support from the Federal Agency of Culture and
ÍÛθÚÛÂ Ë ÍËÌÂχÚÓ„‡ÙËË –‘, Mitteldeutsche
Cinematography of the Russian Federation, Mitteldeutsche
Medienfoerderung (MDM)
Medienforderung (MDM)
ÍÓÌÍÛÒ
competition
üËËÎÎ —Â·ÂÌÌËÍÓ‚
–ÂÊËÒÒÂ Ú‡Ú‡, ÍËÌÓ Ë ÚÂ΂ˉÂÌˡ,
·ÛÂ‡Ú ÃÂʉÛ̇Ó‰ÌÓÈ Ú‡Ú‡Î¸ÌÓÈ
ÔÂÏËË —Ú‡ÌËÒ·‚ÒÍÓ„Ó, ÔÂÏËË “›‘» Ë
‰Û„Ëı ÔÓÙÂÒÒËÓ̇θÌ˚ı ÔÂÏËÈ,
ӷ·‰‡ÚÂθ „·‚ÌÓ„Ó ÔËÁ‡ Œ–ü‘
´üËÌÓÚ‡‚ª Ë Ãü‘ ‚ –ËÏ (2006 ñ
´»ÁÓ·‡Ê‡ˇ ÊÂÚ‚Ûª). –Ó‰ËÎÒˇ 7 ÒÂÌÚˇ·ˇ
1969 „Ó‰‡ ‚ –ÓÒÚÓ‚Â-̇-ƒÓÌÛ. ŒÍÓ̘ËÎ
39
ÙËÁËÍÓ-χÚÂχÚ˘ÂÒÍËÈ Ù‡ÍÛθÚÂÚ
–ÓÒÚÓ‚ÒÍÓ„Ó ÛÌË‚ÂÒËÚÂÚ‡. –ÂÊËÒÒÂÒÍÛ˛
Ô‡ÍÚËÍÛ Ì‡˜Ë̇Π̇ –ÓÒÚÓ‚ÒÍÓÏ
ÚÂ΂ˉÂÌËË, ‚ ÓÒÚÓ‚ÒÍËı Ú‡Ú‡ı ÒÚ‡‚ËÎ
ÔÂ‚˚ ÒÔÂÍÚ‡ÍÎË. — 1997 „Ó‰‡ ÊË‚ÂÚ Ë
‡·ÓÚ‡ÂÚ ‚ ÃÓÒÍ‚Â. “‡Ú‡Î¸Ì‡ˇ
‰ÂˇÚÂθÌÓÒÚ¸ ‚ ÓÒÌÓ‚ÌÓÏ Ò‚ˇÁ‡Ì‡ Ò Ã’“
ËÏÂÌË ◊ÂıÓ‚‡. Œ‰ËÌ ËÁ ÓÒÌÓ‚‡ÚÂÎÂÈ
Ú‡Ú‡Î¸ÌÓ„Ó ÙÂÒÚË‚‡Îˇ ´“ÂËÚÓˡª. —
2008 „Ó‰‡ ÛÍÓ‚Ó‰ËÚ Ï‡ÒÚÂÒÍÓÈ ‚ ÿÍÓÎÂÒÚÛ‰ËË Ã’“.
»Á·‡Ì̇ˇ ÙËθÏÓ„‡Ùˡ:
2000 ....–ÓÒÚÓ‚-Ô‡Ô‡ (“¬)
2002 ....ƒÌ‚ÌËÍ Û·ËȈ˚ (“¬)
2003 ....œÓÒÚÂθÌ˚ ҈ÂÌ˚ (“¬)
2006 ....»ÁÓ·‡Ê‡ˇ ÊÂÚ‚Û
2008 ....fi¸Â‚ ‰Â̸
Kirill Serebrennikov
Theatre director, film and television director,
winner of the Stanislavsky International
Theatre Award, the TEFI award and other
œÒËıÓÎӄ˘ÂÒÍËÈ ÚËÎÎÂ/ ƒ‡Ï‡ ÔÓ˘‡Ìˡ.
professional prizes, recipient of the main
≈ ÁÓ‚ÛÚ À˛·Ó‚¸. ŒÌ‡ ñ ÓÔÂ̇ˇ ‰Ë‚‡. ” Ì ÂÒÚ¸ ‚Ò ñ ڇ·ÌÚ, ·Ó„‡ÚÒÚ‚Ó,
prize of the Open Russian Film Festival
ÏËÓ‚‡ˇ Ò·‚‡. ≈˘Â Û Ì ÂÒÚ¸ Ò˚Ì, Ë ÂÒÚ¸ χ·ˇ Ó‰Ë̇ ñ Á‡·˚ÚÓ ¡Ó„ÓÏ
Kinotavr and the IFF in Rome (2006, for
ÏÂÒÚÓ, ÍÓÚÓÓ Ò˚Ì ‰ÓÎÊÂÌ Û‚Ë‰ÂÚ¸ Ë Ò ÍÓÚÓ˚Ï Ó̇ ıÓ˜ÂÚ ÔÓÒÚËÚ¸Òˇ,
ìPlaying the Victimî). Born on 7 September
ÔÂʉ ˜ÂÏ ÔÓÍËÌÛÚ¸ Ò‚Ó˛ ÒÚ‡ÌÛ. «‡ ÌÂÒÍÓθÍÓ ‰ÌÂÈ Ó̇ ÔÓÚÂˇÂÚ Ò˚̇,
1969 in Rostov-on-Don. Graduated from the
ËÏˇ Ë ‚ÒÂ, ˜ÚÓ ÒÓÒÚ‡‚ΡÎÓ ÒÏ˚ÒΠ ÊËÁÌËÖ
physics and mathematics faculty of Rostov
University. His directorís career began on the
Psychological thriller/ Farewell drama.
Rostov television and at Rostovís theatres,
Her name is Liubov (Love). She is an opera diva. She has everything: talent,
where he staged his first productions. Since
wealth, world fame. She also has a son, and her small native land ñ a place
1997 lives and works in Moscow. His
forgotten by God, which the son should see and to which she wishes to bid
theatrical activity is mainly connected with
farewell before leaving her country. In the curse of a few days she will lose her
the Chekhov Moscow Art Theatre. One of the
son, her name and everything that created the meaning of her life, its
founders of the theatre festival ìTerritoryî.
essenceÖ
Since 2008 supervises a workshop at the
Moscow Arts Theatre School.
Select Directorís Filmography:
2000 .... Rostov-Daddy (TV)
2002 .... The Diary of a Murderer (TV)
2003 .... Bad Bed Scenes (TV)
2006 .... Playing the Victim
2008 .... Iuri's Day (St Georgeís Day)
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
40
ÍËÌÓÚ‡‚
ÍÓÓÚÍËÈ ÏÂÚ
kinotavr
shorts
Δfi–» / JURY
¿Ì̇ ÃÂÎËÍˇÌ ÍËÌÓÂÊËÒÒÂ
ñ Ô‰Ò‰‡ÚÂθ Ê˛Ë
Anna Melikian Film director
ñ jury chairperson
Շڇθˇ
ÃÓÍˈ͇ˇ
ÔÓ‰˛ÒÂ
Natalia
Mokritskaya
Producer
ÀÂÓÌˉ
œ‡‚β˜ËÍ
ÊÛ̇ÎËÒÚ,
ÍËÌÓÍËÚËÍ
Leonid
Pavliuchik
Journalist,
film critic
‡Ì„ÂÎ˚ „Âı‡ vol. 4 (dee l'do)
ANGELS OF SIN VOL. 4 (DEE L'DO)
·Û肇
BOULEVARD
‚ˉ ̇ „Ó˚
A VIEW ON THE MOUNTAINS
„‡¸
CINDERS
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
pal/secam
„‡Ú‡
GATA
Ê‰Û Ú·ˇ
WAITING FOR YOU
Á‰‡‚Ìˈ‡
SANATORIUM
ÍÓ̈
VI
„·‚˚
THE END OF CHAPTER 6
Í‡ÚÍË ҂‰ÂÌˡ ÔÓ ÌÂÍÓÚÓ˚Ï ˝ÔËÁÓ‰‡Ï
SHORT INFOMATION ON SOME EPISODES
χڇÒÓÌËÍ
MATASONIC
ÌÂÌÛÊÌ˚È ÔÓ‰‡ÓÍ
THE UNNECESSARY GIFT
ÌÓ‚˚Â ÚÂıÌÓÎÓ„ËË
NEW TECHNOLOGIES
ÔÓÔ·‚ÓÍ
FLOAT
ÔÛÒÚÓÚ‡
EMPTINESS
ÔˇÚ̇¯ÍË
TAG
˚·‡
THE FISH
ÒԇȉÂ
SPIDER
ÒÚ‡‡ˇ ÌÓ‚‡ˇ ÓÒÒË
OLD NEW ROSSI
Ú‡ÒÒ‡ Ï8
HIGHWAY Ã8
ÛÚÓ ‰Û„ËÏË „·Á‡ÏË
THE MORNING, WITH DIFFERENT EYES
41
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
42
ÀÛ˜¯Â ÏÂ̸¯Â ‰‡ ÎÛ˜¯Â
œËÌˇ‚ ¯ÂÌË ËÁÏÂÌËÚ¸ ‚ ˝ÚÓÏ „Ó‰Û ÙÓÏ‡Ú ÍÓÌÍÛÒ‡ "üËÌÓÚ‡‚. üÓÓÚÍËÈ
ÏÂÚ", Ï˚ ‰ÛχÎË, ˜ÚÓ ËÒÍÛÂÏ Ó͇Á‡Ú¸Òˇ ‚ ÒËÚÛ‡ˆËË, ÍÓ„‰‡ ÌÂ˜Â„Ó ‚˚·Ë‡Ú¸.
≈ÒÎË ÒÛ‰ËÚ¸ ÔÓ Ô‰˚‰Û˘ËÏ „Ó‰‡Ï, ÔÂ‚˚ ÔÓ·˚ ÏÓÎÓ‰˚ı ÂÊËÒÒÂÓ‚ ‚ "χÎÓÏ"
Ë„Ó‚ÓÏ ÍËÌÓ ˇ‚ÌÓ ÔÓË„˚‚‡ÎË ÍËÌÓ ‰ÓÍÛÏÂÌڇθÌÓÏÛ, Û ÍÓÚÓÓ„Ó Í‡Í ÏËÌËÏÛÏ
ÂÒÚ¸ ‚ ‚ˉ ÍÓÁ˚ÌÓÈ Í‡Ú˚ Ú‡Í Ì‡Á˚‚‡Âχˇ "Ô‡‚‰‡ ÊËÁÌË". ƒ‡ Ë ÍÓ΢ÂÒÚ‚Ó
Ô‰ÒÚ‡‚ÎÂÌÌ˚ı ̇ ÓÚ·Ó Ë„Ó‚˚ı ÙËθÏÓ‚ Ó·˚˜ÌÓ ·˚ÎÓ Ì‚ÂÎËÍÓ. Œ‰Ì‡ÍÓ ‚ÒÂ
ÓÔ‡ÒÂÌˡ ‡ÒÒ¡ÎËÒ¸ - Ì‡Ï ÔËÒ·ÎË ÓÍÓÎÓ ÔÓÎÛÚÓ‡ ÒÓÚÂÌ ‡·ÓÚ, ÔÓ˝ÚÓÏÛ
ÍÓÌÍÛÂÌˆËˇ ·˚· Ú‡ÍÓÈ Ê ÊÂÒÚÍÓÈ, Í‡Í ‚ ÔÓÎÌÓÏ ÏÂÚÂ.
¿ ÍÓÌÍÛÂÌˆËˇ, Í‡Í ÔÓ͇Á˚‚‡ÂÚ Ô‡ÍÚË͇, ‚¢¸ ıÓÓ¯‡ˇ. œÓËÒÍÓÏ ÌÓ‚˚ı ËÏÂÌ
Á‡ÌËχÂÚÒˇ Ì ÚÓθÍÓ Ì‡¯ ÙÂÒÚË‚‡Î¸, ÌÓ Ë ÏÂʉÛ̇Ó‰Ì˚ ÓÚ·Ó˘ËÍË Ë
ÔÓ‰˛ÒÂ˚, ÍÓÚÓ˚ ÔËÂÁʇ˛Ú ‚ —Ó˜Ë. –‡Á‚ËÚË Ë̉ÛÒÚËË ÔÓÓ‰ËÎÓ Í‡‰Ó‚˚È
„ÓÎÓ‰. œÓ˝ÚÓÏÛ Û ÏÓÎÓ‰˚ı ÂÒÚ¸ ‡θÌ˚È ÒÚËÏÛÎ Ì ÔÓÒÚÓ ÒÌËχڸ Ò‚ÓË
ÍÓÓÚÍÓÏÂÚ‡ÊÍË Í‡Í ‡ÍÍÛ‡ÚÌ˚ ¯ÍÓΡÒÍË ÓÚÔËÒÍË ‡‰Ë ‰ËÔÎÓχ, ‡
ÔÓÒÚ‡‡Ú¸Òˇ ҉·ڸ ˜ÚÓ-ÚÓ ‚˚·Ë‚‡˛˘ÂÂÒˇ ËÁ ˇ‰‡, ÒÔÓÒÓ·ÌÓ Á‡ˆÂÔËÚ¸ ‰‡ÊÂ
Ò‡Ï˚È Ì‡ÒÏÓÚÂÌÌ˚È „·Á. ≈ÒÎË ÓÒÌÓ‚ÌÓÈ ÍÓÌÍÛÒ ÏÓÊÌÓ Ò‡‚ÌËÚ¸ Ò ‚˚ÒÚ‡‚ÍÓÈ
‰ÓÒÚËÊÂÌËÈ Ì‡Ó‰ÌÓ„Ó ıÓÁˇÈÒÚ‚‡, ÚÓ ÍÓÓÚÍËÈ ÏÂÚ - ˝ÚÓ ·Ëʇ ÚÛ‰‡.
–ÂÁÛθڇÚ˚ ÔÓ¯ÎÓ„Ó‰ÌÂ„Ó ÍÓÌÍÛÒ‡ ÔÓ͇Á‡ÎË, ˜ÚÓ Û˜‡ÒÚË ‚ ÒÓ‚ÌÓ‚‡ÌËË
ÍÓÓÚÍÓÏÂÚ‡ÊÂÍ ‰‡ÂÚ ‡θÌ˚È ÒÚ‡Ú Ë ‚ ÏÂʉÛ̇Ó‰Ì˚ ÔÓ„‡ÏÏ˚, Ë Í
·Óθ¯ËÏ ÔÓÂÍÚ‡Ï. “Ó Ôӷ‰ËÚÂÎÂÈ 2007 „Ó‰‡ ÛÊ ÒÂ„Ó‰Ìˇ Û˜‡ÒÚ‚Û˛Ú ‚
ÓÒÌÓ‚ÌÓÏ ÍÓÌÍÛÒ - »„Ó¸ ¬ÓÎÓ¯ËÌ, ÀÂÓÌˉ –˚·‡ÍÓ‚ Ë ¡‡ÍÛ ¡‡ÍÛ‡‰ÁÂ, ˜ÂÈ
ÒÓ‡‚ÚÓ ƒÏËÚËÈ Ã‡ÏÛÎˡ ÔÓÒÚÓ Ì ÛÒÔÂÎ Á‡ÍÓ̘ËÚ¸ Ò‚ÓÈ ÔÓÎÌÓÏÂÚ‡ÊÌ˚È
‰Â·˛Ú Ë Ô‰ÒÚ‡‚ËÚ¸ Â„Ó ÓÚ·ÓÓ˜ÌÓÈ ÍÓÏËÒÒËË.
¬ ˝ÚÓÏ „Ó‰Û, Í Ò˜‡ÒÚ¸˛, Ì‡Ï ÚÓÊ ۉ‡ÎÓÒ¸ ӷ̇ÛÊËÚ¸ ‚ Ó·˘ÂÏ ÔÓÚÓÍ ˆÂÎ˚È ˇ‰ ËÌÚÂÂÒÌ˚ı ‡·ÓÚ. œ‡‚ËθÌÓÒÚ¸ ̇¯Â„Ó
‚˚·Ó‡ ·˚· ÔÓ‰Ú‚ÂʉÂ̇ ÏÂʉÛ̇Ó‰Ì˚ÏË ˝ÍÒÔÂÚ‡ÏË ü‡ÌÌÒÍÓ„Ó ÙÂÒÚË‚‡Îˇ Ë ÒÚÛ‰Â̘ÂÒÍÓ„Ó "ŒÒ͇‡". ƒ‡ Ë Ó·˘ËÈ ÛÓ‚Â̸
‰Â·˛ÚÌ˚ı ÙËθÏÓ‚ ˇ‚ÌÓ ÒڇΠ‚˚¯Â, ÂÒÎË ËÏÂÚ¸ ‚ ‚Ë‰Û ÔÓÙÂÒÒËÓ̇θÌÛ˛ ÔÓ‰„ÓÚÓ‚ÍÛ. Œ‰Ì‡ÍÓ ÔÓ-ÔÂÊÌÂÏÛ ÏÌÓ„ËÂ
Ô‰ÒÚ‡‚ÎÂÌÌ˚ ‰Îˇ ÓÚ·Ó‡ ÒÚÛ‰Â̘ÂÒÍË ÓÔ˚Ú˚ Ì ÔÓËÁ‚Ó‰ˇÚ ‚Ô˜‡ÚÎÂÌˡ Ò‚ÂÊÂÒÚË ÓÚÌÓ¯ÂÌËÈ ÏÓÎÓ‰˚ı ‡‚ÚÓÓ‚ Ò
ÍËÌÂχÚÓ„‡ÙÓÏ. œÂ‚ÓÂ, ˜ÚÓ ·ÓÒ‡ÂÚÒˇ ‚ „·Á‡ ÔË ÔÓÒÏÓÚÂ, - ·‡Ì‡Î¸ÌÓÒÚ¸ Ï˚¯ÎÂÌˡ, ‰ÂÏÛ˜‡ˇ ÒÂ¸ÂÁÌÓÒÚ¸, ·ÓˇÁ̸
ÓÒÚÛÔËÚ¸Òˇ, ÔÓˇ‚ËÚ¸ Ò·ˇ ‚ ÔÓÎÌÛ˛ ÒËÎÛ Ë Í‡Í ÒΉÒÚ‚Ë - ÓÚÒÛÚÒÚ‚Ë ‡‚ÚÓÒÍÓÈ Î˘ÌÓÒÚË Ì‡ ˝Í‡ÌÂ. œÂ˜‡Î¸ÌÓ Ë ÚÓ, ˜ÚÓ Ú‡Ï ÌÂÚ
ÓÚÔ˜‡Ú͇ ̇¯Â„Ó ‚ÂÏÂÌË - ÌË ‚ ÔÓ·ÎÂχÚËÍÂ, ÌË ‚ ÒÔÓÒÓ·‡ı Ò˙ÂÏÍË, ÌË ‚ ‡·ÓÚÂ Ò ‡ÍÚÂ‡ÏË. œÓıÓÊË ÙËθÏ˚ ÏÓ„ÎË ·˚Ú¸
ÒÌˇÚ˚ Ë ‚ 70-Â, Ë ‚ 80-Â, Ë ‚ 90- „Ó‰˚. ƒÛχ˛, ˜ÚÓ ‚ Ú‡ÍÓÏ ÛÌ˚ÎÓÏ ÂÏÂÒÎÂÌÌ˘ÂÒÚ‚Â ÂÒÚ¸ ‚Ë̇ ̇¯Ëı ÍËÌÓ¯ÍÓÎ, ÍÓÚÓ˚Â,
·‡ÁËÛˇÒ¸ ̇ ‰ÓÒÚËÊÂÌˡı ÔÓ¯ÎÓ„Ó, Ì ÓËÂÌÚËÛ˛Ú ÒÚÛ‰ÂÌÚÓ‚ ̇ ÒÓ‚ÂÏÂÌÌ˚È ÏËÓ‚ÓÈ ÍËÌÓÔÓˆÂÒÒ, Ì ‡ÒÍÂÔÓ˘‡˛Ú
ÏÓÎÓ‰˚ı ·ˇÚ, ‚˚·Ë‡˛˘Ëı Ò‚Ó˛ ‰ÓÓ„Û ‚ ÍËÌÓ, ‡ ̇ӷÓÓÚ, Á‡„ÓÌˇ˛Ú Ëı ‚ ‡ÏÍË ÔÓ˜ÚÂÌÌ˚ı Ó·‡ÁˆÓ‚ Ë ¯Ú‡ÏÔÓ‚.
›ÚÓ Ì ÚÓθÍÓ Ì‡¯‡ ÔÓ·ÎÂχ. fl ‚ÒÚ˜‡Î‡Ò¸ ̉‡‚ÌÓ Ò ¿Ì‰ÊÂÂÏ ¬‡È‰ÓÈ, Ë ÓÌ ÒÂÚÓ‚‡Î ̇ ÚÓ˜ÌÓ Ú‡ÍÛ˛ Ê Ô‡ÍÚ˘ÌÛ˛
ÓÒÚÓÓÊÌÓÒÚ¸ ÒÚÛ‰ÂÌÚÓ‚ Ò‚ÓÂÈ ÍËÌÓ¯ÍÓÎ˚, ÔËÂÁʇ˛˘Ëı ÒÓ ‚ÒÂÈ ≈‚ÓÔ˚. üÓ̘ÌÓ, ÒÏÂÎÓÒÚË, Í‡Í Ë Ú‡Î‡ÌÚÛ, ̇ۘËÚ¸
ÌÂθÁˇ. ÕÓ Í‡Ê‰˚È, ÍÚÓ ¯ËÎ ÔÓÒ‚ˇÚËÚ¸ Ò·ˇ ÂÊËÒÒÛÂ, ‰ÓÎÊÂÌ Ò‡Ï Ì‡ÈÚË ‚ Ò· ÒÏÂÎÓÒÚ¸ ÔÓ͇Á‡Ú¸ Ò‚ÓÈ Ú‡Î‡ÌÚ.
»Ë̇ À˛·‡Ò͇ˇ,
ÍÛ‡ÚÓ ÔÓ„‡ÏÏ˚
The Importance of not Being Serious
When we took the decision to change the format for this yearís competition ìKinotavr. Shortsî, we thought that we would risk
getting into a situation where we would have nothing to choose from. Going by the experience of previous years, the first
attempts of young directors in the ìsmallî fiction film format obviously lost out against documentary cinema, which could hold
up its trump card of the so-called ìtruth of lifeî. Moreover, the number of short fiction films submitted for the selection was
usually not great. However, all those fears dissipated: we received about 150 works, and therefore the competition among shorts
was as hard as in the full-length competition.
And competition, as experience shows, is a thing good: not only our festival engages in the search of new names, but also
international selectors and producers who come to Sochi. The development of the industry has generated a famine for new names
in the film world. Therefore young people have a real incentive to make their shorts not simply as an accurate scholastic and
formal response to the requirements for their diploma, but to make something extraordinary that will catch even the most
experienced eye. If the main competition can be compared with an exhibition of achievements of the national economy, then the
short films competition is an exchange. The results of last yearís competition have shown that participation in the shorts
competition provides a genuine base for international programmes and large-scale projects. Three winners of 2007 participate in
the main competition this year: Igor Voloshin, Leonid Rybakov and Bakur Bakuradze, whose co-author Dmitri Mamuliya simply
has not had the time to finish his full-length debut and present it to the selection committee.
This year, fortunately, we also managed to locate in the general stream a number of interesting works. Our choice has been
confirmed by international experts, such as the Cannes festival and the student ìOscarî. The overall level of debut films has
obviously grown as far as professional preparation is concerned. However, many student trials submitted for selection still do
not impress with fresh attitudes of the young filmmakers. The first thing that is evident from the viewings is the banality of
thought, the primeval seriousness, the fear of stumbling and of full exposure and, as a consequence, the absence of the authorís
personality on the screen. It is also sad that there is no imprint of our time, neither in the problems nor in the ways of filming,
nor in work with actors. Similar films could have been made in the 1970s or 1980s. I think that our film schools are to blame
for such sad craftsmanship: they are based on achievements of the past, without orienting the students to the modern world
cinema process; they do not liberate the young people who have chosen the road of cinema, but instead they force them into the
established frameworks of respectable examples and clichÈs.
This is not only our problem. I recently met Andrzej Wajda, who complained about precisely the same cautiousness of students
at the film school, coming from all over Europe. Of course, neither boldness nor talent can be taught. But everyone who has
decided to devote themselves to directing should find the boldness to show that talent.
Irina Liubarskaya,
Programme Curator
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
PAL/SECAM
43
ƒÏËÚËÈ œÓ‚ÓÎÓˆÍËÈ
–Ó‰ËÎÒˇ ‚ ÃÓÒÍ‚Â, ÓÍÓ̘ËÎ
’ÓÂÓ„‡Ù˘ÂÒÍÓ ۘËÎˢ ÔË
¡Óθ¯ÓÏ Ú‡ÚÂ, ÛÂı‡Î ̇ „‡ÒÚÓÎË ‚
¿ÏÂËÍÛ. œÓÒΠÓÍÓ̘‡Ìˡ
ƒÊÛΡ‰ÒÍÓÈ ¯ÍÓÎ˚ Ó„‡ÌËÁÓ‚‡Î
Ò‚Ó˛ ڇ̈‚‡Î¸ÌÛ˛ „ÛÔÔÛ Ë Ì‡˜‡Î
‡·ÓÚ‡Ú¸ ıÓÂÓ„‡ÙÓÏ, ÒÂϸ ÎÂÚ ·˚Î
ڇ̈ӂ˘ËÍÓÏ ‚ ŒÔÂ ÃÂÚÓÔÓÎËÚ˝Ì.
¬ 2003 ÒÌˇÎ Ò‚ÓÈ ÔÂ‚˚È
ÍÓÓÚÍÓÏÂÚ‡ÊÌ˚È ÙËθÏ, ·ÓÒËÎ
ڇ̈‚‡Î¸ÌÛ˛ ͇¸ÂÛ Ë ÔÓÒÚÛÔËÎ ‚
üËÌÓ¯ÍÓÎÛ üÓÎÛÏ·ËÈÒÍÓ„Ó
ÛÌË‚ÂÒËÚÂÚ‡, „‰Â Ë ÒÌˇÎ Ò‚ÓÈ
‰ËÔÎÓÏÌ˚È ÙËÎ¸Ï ´Pal/ Secamª.
2008, —ÿ¿/ –ÓÒÒˡ, 14 ÏËÌ, 16:9,
2008, USA/Russia, 14 min, 16:9, Dolby
Dolby Digital 2.1
Digital 2.1
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ
Scriptwriter and Director
ƒÏËÚËÈ œÓ‚ÓÎÓˆÍËÈ
Dmitri Povolotsky
ŒÔÂ‡ÚÓ √„ÓË ÃËÚÌËÍ
Director of Photography
«‚ÛÍ üËËÎÎ —ËχÍÓ‚
Gregory Mitnick
¬ ÓΡı: ¬Î‡‰ËÒ·‚ üÛÁ̈ӂ,
Sound Kirill Simakov
¿Îˇ ¿‡·˜ËÍÓ‚‡, √Ë„ÓËÈ œÂÂθ,
Cast: Vladislav Kuznetsov,
–ÓÏ‡Ì ÃËı‡ÈÎÓ‚ÒÍËÈ,
Alya Arabchikova, Grigori Perel,
¿Ì‡ÒÚ‡Òˡ À‡ÔË̇, ¬‡ÎÂÌÚËÌ —‡ÏÓıËÌ
Roman Mikhailovsky, Anastasia Lapina,
œÓËÁ‚Ó‰ÒÚ‚Ó Dreamusfilm
Valentin Samokhin
Production Dreamusfilm
‘ËθÏÓ„‡Ùˡ (Í/Ï):
2003 ....The Roof
2004 ....Final Cut
2005 ....If you see something, say
something
2008 ....Pal/ Secam
Dmitri Povolotsky
Born in Moscow, graduated from the
Choreographic School of the Bolshoi
Theatre, toured the US. After
completing the Juilliard School he
organized his own dance group and
worked as choreographer; for seven
years dancer at the Metropolitan Opera.
In 2003 made his first short film,
abandoned his dancing career and
enrolled in the Film School of Colombia
University, where he made his diploma
film ìPal/Secamî.
Filmography (shorts):
2003 .... The Roof
2004 .... Final Cut
2005 .... If you See Something, Say
Something
2008 .... Pal/Secam
Õ‡ Á‡ œÂÂÒÚÓÈÍË, χÎÂ̸ÍËÈ
At the beginning of perestroika the
¡ÓËÒ, Ó‰ÂÊËÏ˚È ÔÓ‰ÓÒÚÍÓ‚˚ÏË
little Boris, in the grip of teenage
„ÓÏÓ̇ÏË, Òӷ·ÁÌˇÂÚ ÒԇθÌ˚È
hormones, tempts his neighbours in the
‡ÈÓÌ Ï‡ÏËÌ˚Ï ‚ˉÂÓχ„ÌËÚÓÙÓÌÓÏÖ
Moscow suburbs with his mumís videorecorderÖ
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
¿Õ√≈À¤ √–≈’¿ VOL. 4 (Dee LíDo)
ANGELS OF SIN VOL. 4 (Dee LíDo)
44
2007, –ÓÒÒˡ, 14 ÏËÌ., ˜/·, 16:9, ÒÚÂÂÓ
2007, Russia, 14 min., b/w, 16:9, stereo
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ
Scriptwriter and Director
¬ËÍÚÓ œÓÎÚÓ‡ˆÍËÈ
Viktor Poltoratsky
ŒÔÂ‡ÚÓ ŒÎ„ ´Floppyª ÃÓ˘ÂÎÍÓ‚
Director of Photography
«‚ÛÍ ƒÏËÚËÈ üÓÁÎÓ‚, ƒÏËÚËÈ
Oleg ìFloppyî Moshchelkov
—Û‚ÓÓ‚, ¬ËÍÚÓ ≈χÍÓ‚
Sound Dmitri Kozlov, Dmitri Suvorov,
ÃÓÌÚ‡Ê ¬ËÍÚÓ œÓÎÚÓ‡ˆÍËÈ ÔË
Viktor Ermakov
Û˜‡ÒÚËË ƒÏËÚˡ üÓÁÎÓ‚‡
Editing Viktor Poltoratsky, with
»ÒÔÓÎÌËÚÂθ ÓÎÂÈ üËËÎÎ œ‡Ô‡ÍÛθ
participation of Dmitri Kozlov
œÓ‰˛ÒÂ ¬ËÍÚÓ œÓÎÚÓ‡ˆÍËÈ
Actor Kirill Papakul
œÓËÁ‚Ó‰ÒÚ‚Ó Studio 1606 Right
Producer Viktor Poltoratsky
Production Studio 1606 Right
¬ËÍÚÓ œÓÎÚÓ‡ˆÍËÈ
–Ó‰ËÎÒˇ ‚ üË‚ 20 Ù‚‡Îˇ 1970
„Ó‰‡. ŒÍÓ̘ËÎ üË‚ÒÍËÈ ÛÌË‚ÂÒËÚÂÚ
ÍÛθÚÛ˚ Ë ËÒÍÛÒÒÚ‚ (2000),
‡ÒÔË‡ÌÚÛÛ ˝ÚÓ„Ó ÛÌË‚ÂÒËÚÂÚ‡
(2006), ¬˚үˠÍÛÒ˚ ÒˆÂ̇ËÒÚÓ‚ Ë
ÂÊËÒÒÂÓ‚ ‚ ÃÓÒÍ‚Â (2007,
χÒÚÂÒ͇ˇ ¿.». —ÛËÍÓ‚ÓÈ, ¬.œ.
‘ÓÍË̇).
¬ 1993-95 ñ ‡ÍÚÂ Ú‡Ú‡-ÒÚÛ‰ËË
´◊ÂÌ˚È Í‚‡‰‡Úª, ‚ 1999-2000 ñ
Ú‡Ú‡ ´¡ÂÌÂÙËÒª, ‚ 1997-2005 ñ
ÒÓÚÛ‰ÌËÍ ÍË‚ÒÍÓ„Ó ÂÊẨÂθÌË͇
Ò‚ÂÚÒÍÓÈ ıÓÌËÍË ´¡Û肇ª. —ÌˇÎÒˇ ‚
·ÓΠ˜ÂÏ ‰ÂÒˇÚË ÙËθχı Ë
ÚÂÎÂÔÓÂÍÚ‡ı.
‘ËθÏÓ„‡Ùˡ ÂÊËÒÒÂ‡:
2006 ....¿‚ÚÓÔÓÚÂÚ (‰ÓÍ.)
2006 ....¿Ì„ÂÎ˚ „Âı‡. Vol. 2
2006 ....—Ú‡Ì̇ˇ ËÒÚÓˡ ¬ÚÓÓÈ
ÏËÓ‚ÓÈ ‚ÓÈÌ˚ (‰ÓÍ.)
2007 ....¿Ì„ÂÎ˚ „Âı‡. Vol. 4
(Dee LíDo)
2008 ....Ò˛ÊÂÚ ‚ ÍËÌÓÊÛ̇ÎÂ
´≈‡Î‡¯ª
√‰Â-ÚÓ ‰‡ÎÂÍÓ-‰‡ÎÂÍÓ ˜ÂÚ‚ÂÓ
Somewhere far-far away four
Ô‰ÒÚ‡‚ËÚÂÎÂÈ ÏÂÒÚÌÓ„Ó
representatives of the local criminal
ÍËÏË̇θÌÓ„Ó ÏË‡ Á‡Ú‚‡ÎË Ò‚ÓÂ
world conceive yet another ominous
Ó˜Â‰ÌÓ ÁÎӂ¢Â ÔÂÒÚÛÔÎÂÌË Ë
crime and wait for somethingÖ A black-
˜Â„Ó-ÚÓ Ê‰‡ÎËÖ ◊ÂÌÓ-·Â·ˇ
and-white grotesque stylization of the
„ÓÚÂÒÍÓ‚‡ˇ ÒÚËÎËÁ‡ˆËˇ ÌÛ‡-ÙËθÏÓ‚
noir film about gangsters, dedicated to
Ó „‡Ì„ÒÚÂ‡ı Ò ÔÓÒ‚ˇ˘ÂÌËÂÏ üÛίӂÛ
Kuleshov and Eisenstein ñ the great
Ë ›ÈÁÂ̯ÚÂÈÌÛ, ‚ÂÎËÍËÏ
experimenters of montage.
˝ÍÒÔÂËÏÂÌÚ‡ÚÓ‡Ï ÏÓÌڇʇ.
Viktor Poltoratsky
Born in Kiev on 20 February 1970.
Graduated from Kiev University of
Culture and Arts (2000), postgraduate
study at the same university (2006),
Higher Courses for Scriptwriters and
Directors in Moscow (2007, workshop of
A. Surikova and V. Fokin). From 199395 actor of the theatre studio ìBlack
Squareî, from 1999-2000 at the theatre
ìBeneficeî, from 1997-2005 at the Kiev
weekly journal ìBoulevardî. Acted in
over ten films and television projects.
Directorís Filmography:
2006 .... Self-portrait (doc.)
2006 .... Angels of Sin. Vol. 2
2006 .... The Strange History of World
War II (doc.).
2007 .... Angels of Sin. Vol. 4
(Dee LíDo)
2008 .... episode in the newsreel
ìEralashî
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
¡”À‹¬¿–
BOULEVARD
45
¿ÎËÒ‡ ’ÏÂθÌˈ͇ˇ
2008, –ÓÒÒˡ, 7 ÏËÌ., ˆ‚., 1:1.85,
2008, Russia, 7 min., col., 1:1.85,
ÒÚÂÂÓ
stereo
ÍËÌӂ‰˜ÂÒÍËÈ Ù‡ÍÛθÚÂÚ ¬√»ü‡
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ
Scriptwriter and Director
(1994). –‡·Óڇ· ‚ „‡ÁÂÚ ´›Í‡Ì Ë
¿ÎËÒ‡ ’ÏÂθÌˈ͇ˇ
Alisa Khmelnitskaya
—ˆÂ̇ª. ¬ ̇ÒÚÓˇ˘Â ‚ÂÏˇ Û˜ËÚÒˇ ̇
ŒÔÂ‡ÚÓ ¿Î˯Â ’‡ÏˉıӉʇ‚
Director of Photography
¬˚Ò¯Ëı ÍÛÒ‡ı ÒˆÂ̇ËÒÚÓ‚ Ë
¬ ÓΡı: »Ë̇ –ÓÁ‡ÌÓ‚‡,
Alisher Khamidkhodzhaev
ÂÊËÒÒÂÓ‚ (χÒÚÂÒ͇ˇ ¬.¬.
Çˡ ÿ‡Î‡Â‚‡, ¿ÎÂÍ҇̉ —ËËÌ
Cast: Irina Rozanova, Maria Shalaeva,
ÃÂ̸¯Ó‚‡). —Ó‡‚ÚÓ ÒˆÂ̇ˡ
œÓËÁ‚Ó‰ÒÚ‚Ó ´¬‚˚Ò¸ª,
Alexander Sirin
ÚÂÎÂÒÂˇ· ´9 ÏÂÒˇˆÂ‚ª (ÂÊËÒÒÂ Ë
´÷ÂÌÚ‡Î œ‡ÚÌÂ¯ËÔª
Production Vvys, Central Partnership
¡Û肇. ƒ‚ ÊÂÌ˘ËÌ˚, Òˉˇ˘Ë ̇
A boulevard. Two women sit on a bench.
·‚Ó˜ÍÂ. Œ‰Ì‡ Û‚ÂÂ̇, ˜ÚÓ Ì‡‰Ó
One is sure that one has to wait. The
ʉ‡Ú¸. ¬ÚÓ‡ˇ ÚÓ˜ÌÓ Á̇ÂÚ, ˜ÚÓ Ê‰‡Ú¸
other knows precisely that there is
Ûʠ̘„Ó. ¬ÂÓˇÚÌÓ, ӯ˷‡˛ÚÒˇ Ó·Â.
nothing to wait for. Probably, both are
–Ӊ˷Ҹ ‚ ÀÂÌËÌ„‡‰Â 23 Ù‚‡Îˇ
1970 „Ó‰‡. ŒÍÓ̘Ë· ÒˆÂ̇ÌÓ-
ÒÓ‡‚ÚÓ –ÂÁÓ √Ë„ËÌÂȯ‚ËÎË).
Alisa Khmelnitskaya
Born in Leningrad on 23 February
1970. Graduated from the scriptwriting
and film research faculty of the Film
Institute VGIK (1994). Worked for the
newspaper ìScreen and Stageî.
Currently studies on the Higher Courses
for Scriptwriters and Directors
(workshop of V. Menshov). Co-author of
the script for the television serial ìNine
Monthsî (director and co-author Rezo
Gigineishvili).
wrong.
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
¬»ƒ Õ¿ √Œ–¤
A VIEW ON THE MOUNTAINS
46
2008, –ÓÒÒˡ, 32 ÏËÌ., ˆ‚., ÒÚÂÂÓ, 16 ÏÏ
2008, Russia, 32 min., col., stereo, 16 mm
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ
Scriptwriter and Director
«Ë̇ˉ‡ œÓ̘ÂÌÍÓ
Zinaida Pronchenko
ŒÔÂ‡ÚÓ »‚‡Ì À·‰‚
Director of Photography
«‚ÛÍ ¿ÌÚÓÌ —ÂÏÂÌÓ‚
Ivan Lebedev
¬ ÓΡı: —Â„ÂÈ ÃÛÁËÌ,
Sound Anton Semenov
—Â„ÂÈ ≈Ô˯‚, ÇÍÒËÏ «‡ÏÓËÌ,
Cast: Sergei Murzin, Sergei Epishev,
¿ÎÂÍ҇̉‡ ü‡Ï˚¯Ó‚‡,
Maxim Zamorin, Alexandra Kamyshova,
ƒ‡ÏË ÇÏËÌÓ‚
Damir Maminov
œÓ‰˛ÒÂ ¿Ì‰ÂÈ —ÚÂÏÔÍÓ‚ÒÍËÈ
Producer Andrei Stempkovsky
œÓËÁ‚Ó‰ÒÚ‚Ó STF films, ¬ü—–
Production STF Films, Higher Courses
for Scriptwriters and Directors
Œ‰Ì‡Ê‰˚ Ó‰ËÌ ÒÓ‚Â¯ÂÌÌÓ
One day a completely ordinary man
Ó·˚ÍÌÓ‚ÂÌÌ˚È ˜ÂÎÓ‚ÂÍ ÛÁ̇Î, ˜ÚÓ
finds out that is fatally ill. Reflecting
ÒÏÂÚÂθÌÓ ·ÓÎÂÌ. «‡‰Ûχ‚¯ËÒ¸ Ó
upon his last will, he understands that
Á‡‚¢‡ÌËË, ÓÌ ÔÓÌˇÎ, ˜ÚÓ Û Ì„Ó
he has nobody. And here he decides to
ÌËÍÓ„Ó ÌÂÚ. » ÚÓ„‰‡ ÓÌ ¯ËÎ ‰‡Ú¸
place an advert in a newspaperÖ
Ó·˙ˇ‚ÎÂÌË ‚ „‡ÁÂÚÛÖ
«Ë̇ˉ‡ œÓ̘ÂÌÍÓ
–Ӊ˷Ҹ ‚ ÀÂÌËÌ„‡‰Â ‚ 1981 „Ó‰Û.
ŒÍÓ̘Ë· —‡ÌÍÚ-œÂÚÂ·Û„ÒÍÛ˛
‡Í‡‰ÂÏ˲ ıÛ‰ÓÊÂÒÚ‚ (Ù‡ÍÛθÚÂÚ
ÚÂÓËË Ë ËÒÚÓËË ËÒÍÛÒÒÚ‚),
‡ÒÔË‡ÌÚÛÛ ÔË ≈‚ÓÔÂÈÒÍÓÏ
ÛÌË‚ÂÒËÚÂÚÂ, ‡ÒÔË‡ÌÚÛÛ ÔË
√ÓÒÛ‰‡ÒÚ‚ÂÌÌÓÏ ›ÏËÚ‡ÊÂ Ë ¬˚Ò¯ËÂ
ÍÛÒ˚ ÒˆÂ̇ËÒÚÓ‚ Ë ÂÊËÒÒÂÓ‚ ‚
ÃÓÒÍ‚Â (χÒÚÂÒ͇ˇ œ.≈. “Ó‰ÓÓ‚ÒÍÓ„Ó
Ë Õ.¡. –ˇÁ‡ÌˆÂ‚ÓÈ). —ÌˇÎ‡
ÍÓÓÚÍÓÏÂÚ‡ÊÍË ´◊ÛÊË ÒÂÒÚ˚ª
(2006) Ë ´¬Ë‰ ̇ „Ó˚ª (2008).
Zinaida Pronchenko
Born in Leningrad in 1981. Graduated
from the St. Petersburg Academy of
Arts (faculty of art theory and history),
postgraduate study at the European
University, postgraduate study at the
State Hermitage and the Higher Courses
for Scriptwriters and Directors
(workshop of P. Todorovsky and N.
Riazantseva). Made the short films
ìStrange Sistersî (2006) and ìA View
on the Mountainsî (2008).
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
√¿–‹
CINDERS
47
—Â„ÂÈ ü‡‚Ú‡‡‰ÁÂ
–Ó‰ËÎÒˇ ‚ ÃÓÒÍ‚Â ‚ 1977 „Ó‰Û. ŒÍÓ̘ËÎ
ËÒÚÓ˘ÂÒÍËÈ Ù‡ÍÛθÚÂÚ Ã√” ËÏ.
Ã.¬.ÀÓÏÓÌÓÒÓ‚‡ (1999), ˛ˉ˘ÂÒÍËÈ
Ù‡ÍÛθÚÂÚ ÃÂʉÛ̇Ó‰ÌÓ„Ó
ÛÌË‚ÂÒËÚÂÚ‡ (2001), ͇̉ˉ‡Ú
ËÒÚÓ˘ÂÒÍËı ̇ÛÍ (2002). ¿‚ÚÓ ÍÌË„Ë
´›ÚÌÓÔÓÎËÚ˘ÂÒÍË ÍÓÌÙÎËÍÚ˚ ̇
ÔÓÒÚÒÓ‚ÂÚÒÍÓÏ ÔÓÒÚ‡ÌÒڂª. Õ‡
ÔÓÚˇÊÂÌËË ˇ‰‡ ÎÂÚ ‡·ÓڇΠ‚ ÒÙÂÂ
ÔÓÎËÚ-ÍÓÌÒ‡ÎÚËÌ„‡ ‚ –ÓÒÒËË Ë Á‡
Û·ÂÊÓÏ. ¬ 2007 ÓÍÓ̘ËÎ ¬˚Ò¯ËÂ
ÍÛÒ˚ ÒˆÂ̇ËÒÚÓ‚ Ë ÂÊËÒÒÂÓ‚ ñ
χÒÚÂÒÍÛ˛ Ë„Ó‚Ó„Ó ÍËÌÓ
».ü‚ËË͇‰ÁÂ Ë ¿.ƒÓ·Ó‚ÓθÒÍÓ„Ó.
2007, –ÓÒÒˡ, 21 ÏËÌ., ˆ‚., 4:3, ÒÚÂÂÓ
2007, Russia, 21 min., col., 4:3, stereo
¿‚ÚÓ ÒˆÂ̇ˡ, ÂÊËÒÒÂ Ë ÔÓ‰˛ÒÂ
Scriptwriter, Director and Producer
—Â„ÂÈ ü‡‚Ú‡‡‰ÁÂ
Sergei Kavtaradze
ŒÔÂ‡ÚÓ √Ë„ÓËÈ ¿Ô‡ÎˇÈÒ
Director of Photography Grigori
«‚ÛÍ ¡ÓËÒ ÕÓ‚ËÍÓ‚
Apalyais
¬ „·‚Ì˚ı ÓΡı: ŒÎ„ ÇÏ˚ÍËÌ,
Sound Boris Novikov
ƒÏËÚËÈ Ã‡ÒβÍ, »‚‡Ì Ç·ıÓ‚
Cast: Oleg Mamykin, Dmitri Masliuk,
Ivan Malakhov
‘ËθÏÓ„‡Ùˡ:
2005 ....¿Ì‰ÂÈ-ËÌÚÂ‰ÂÌËÂ
(ۘ·̇ˇ ‡·ÓÚ‡, Í/Ï)
2006 ....ƒË‚‡Ì (ÍÛÒÓ‚‡ˇ ‡·ÓÚ‡, Í/Ï)
2007 ....√‡¸ (Í/Ï)
Sergei Kavtaradze
Born in Moscow in 1977. Graduated
from the faculty of history of
Lomonosov State University, Moscow
(1999), from the faculty of law of the
International University (2001), and
received an M.A. in historical sciences
(2002). Author of the book ìEthnoPolitical Conflicts in post-Soviet Spaceî.
For several years worked in political
consultancy in Russia and abroad. In
2007 graduated from the Higher
Courses for Scriptwriters and Directors
(workshop for fiction films of I.
Kvirikadze and A. Dobrovolsky).
Filmography:
2005 .... Andrei (course work, short)
2006 .... The Sofa (course work, short)
2007 .... Cinders (short)
œÓ‚Ë̈ˇθÌ˚È ÓÒÒËÈÒÍËÈ „ÓÓ‰ÓÍ.
A small, provincial Russian town. A
¬ÓÍÛ„ Á‡‚Ó‰‡ ˉÂÚ ·Ó¸·‡ ÏÂʉÛ
struggle at a factory between the local
ÏÂÒÚÌ˚ÏË ÒÓ·ÒÚ‚ÂÌÌË͇ÏË Ë
proprietors and some Moscow
ÏÓÒÍÓ‚ÒÍËÏË ·ËÁÌÂÒÏÂ̇ÏË. Õ‡
businessmen. For several months the
ÔÓÚˇÊÂÌËË ÌÂÒÍÓθÍËı ÏÂÒˇˆÂ‚
workers have not received a salary and
‡·Ó˜Ë Ì ÔÓÎÛ˜‡˛Ú Á‡Ô·ÚÛ Ë
they hold spontaneous meetings. In
‚˚ıÓ‰ˇÚ ̇ ÒÔÓÌÚ‡ÌÌ˚ ÏËÚËÌ„Ë. ƒÎˇ
order to attract the attention of the
Ô˂ΘÂÌˡ ‚ÌËχÌˡ ‚·ÒÚÂÈ Í
authorities to the factory the
ÒËÚÛ‡ˆËË Ì‡ Á‡‚Ӊ ´ÏÓÒ͂˘˪
ìMuscovitesî decide to stage the self-
¯‡˛Ú ËÌÒˆÂÌËÓ‚‡Ú¸ Ò‡ÏÓÒÓÊÊÂÌËÂ
immolation of a worker during a
‡·Ó˜Â„Ó Ì‡ ÏËÚËÌ„ÂÖ Õ‡ ˝ÚÓÏ ÙÓÌÂ
meetingÖ Against this backdrop unfolds
‡Á‚Ë‚‡ÂÚÒˇ ËÒÚÓˡ ‡·Ó˜Â„Ó Ë Â„Ó
the story of the worker and his sonÖ
Ò˚̇Ö
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
√¿“¿
GATA
48
2008, –ÓÒÒˡ, 33 ÏËÌ., ˆ‚., 4:3, ÏÓÌÓ
2008, Russia, 33 min., col., 4:3, mono
¿‚ÚÓ ÒˆÂ̇ˡ, ÂÊËÒÒÂ, ÏÓÌÚ‡Ê
Scriptwriter, Director, Editor
ƒË‡Ì‡ ÃÍÚ˜ˇÌ
Diana Mkrtchian
ŒÔÂ‡ÚÓ fiËÈ »Òı‡ÍÓ‚
Director of Photography Yuri Iskhakov
«‚ÛÍ ¿È˚Ï »·‡„ËÏÓ‚‡
Sound Aiym Ibragimova
¬ ÓΡı: √ÂÌËı ¡ËÌˇÚÓ‚,
Cast: Genrikh Biniatov, Karen
ü‡ÂÌ Ã‡ÚËÓÒˇÌ, ¿Ï‡Îˡ
Martirosian, Amalia Shakhidzhanova,
ÿ‡ıˉʇÌÓ‚‡, ÀÛÒËÌ ¬‡‰‡ÌˇÌ,
Lusine Vardanian, Artak Shoginian
¿Ú‡Í ÿÓ„ËÌˇÌ
ƒË‡Ì‡ ÃÍÚ˜ˇÌ
–Ӊ˷Ҹ ‚ √ÛÁËË (¿ı‡Î͇·ÍË) ‚
1978 „Ó‰Û, ‚˚ÓÒ· ‚ ¿ÏÂÌËË („ÓÓ‰
√˛ÏË), ÊË‚ÂÚ ‚ –ÓÒÒËË. ¬
ÍËÌÂχÚÓ„‡Ù Ô˯· ËÁ ‡‰ËÓÊÛ̇ÎËÒÚËÍË. ¬ 2002 ÓÍÓ̘Ë·
ËÒÚÓ˘ÂÒÍËÈ Ù‡ÍÛθÚÂÚ ÃÓÒÍÓ‚ÒÍÓ„Ó
Ô‰‡„ӄ˘ÂÒÍÓ„Ó ÛÌË‚ÂÒËÚÂÚ‡, ‚ 2007
ñ ¬˚үˠÍÛÒ˚ ÒˆÂ̇ËÒÚÓ‚ Ë
ÂÊËÒÒÂÓ‚ (χÒÚÂÒ͇ˇ ¿.Ã.
ƒÓ·Ó‚ÓθÒÍÓ„Ó Ë ».Ã. ü‚ËË͇‰ÁÂ).
‘ËÎ¸Ï ´√‡Ú‡ª ñ ‰ËÔÎÓÏ̇ˇ ‡·ÓÚ‡,
ÔÂ‚˚È ÓÔ˚Ú ‚ Ë„Ó‚ÓÏ ÍËÌÓ.
‘ËθÏÓ„‡Ùˡ:
2006 ....üË‚ÒÍËÈ Ì‡ üÛÒÍÓÏ (‰ÓÍ.)
2006 ....—‚ˇÚÓÈ √ÂÓ„ËȪ (‰ÓÍ., –“–)
2007 ....—‡‰ (‰ÓÍ.)
2008 ....flÔÓÌˡ. √ÓÌÍÓÌ„. ƒ‡
Ò‚ˇÚËÚÂΡ ÕËÍÓ·ˇ (‰ÓÍ., –“–)
2008 ....√‡Ú‡ (Í/Ï)
—Âϸˇ ‡ÏˇÌÒÍËı ·ÂÊÂ̈‚ ËÁ ¡‡ÍÛ
A family of Armenian refugees from
ÊË‚ÂÚ ‚ ÔÓ‰ÏÓÒÍÓ‚ÌÓÏ Ó·˘ÂÊËÚËË.
Baku lives in a hostel in the Moscow
ƒÂ‰ Ë ·‡·Û¯Í‡ ÒÒÓˇÚÒˇ ËÁ-Á‡
suburbs. The grandfather and
ËÌÊËÓ‚Ó„Ó ‰Â‚‡, ÓÒÚ‡‚ÎÂÌÌÓ„Ó ‚
grandmother quarrel over the fig tree
Ò‡‰Û. ŒÌË ÔÂ˜ËÒΡ˛Ú ÒÓÚ‡ Ò‡ı‡‡,
left in their garden. They list the kinds
ÍÓÚÓ˚È ÔÓÍÛÔ‡ÎË ‚ ¡‡ÍÛ, Ë ËÏÂ̇
of sugar they bought in Baku,
Ò‚ÓËı Ó‰ÌÓÍÛÒÌËÍÓ‚, ÓÌË
remember the names of their
ÓÚ͇Á˚‚‡˛ÚÒˇ ‡ÒÔ‡ÍÓ‚˚‚‡Ú¸
classmates, and they refuse to unpack
˜ÂÏÓ‰‡Ì˚ Ë Ê‰ÛÚÖ
their suitcases, but wait insteadÖ The
‘ËÎ¸Ï ÒÌˇÚ ‚
‡θÌ˚ı ´ËÌÚÂ¸Â‡ıª Ò Û˜‡ÒÚËÂÏ
film was shot in authentic interiors
Ò‡ÏËı ·ÂÊÂ̈‚.
with the participation of the refugees.
ñ ”˜‡ÒÚÌËÍ ÔÓ„‡ÏÏ˚ Cinefondation
First shown in the Cinefondation
ü‡ÌÌÒÍÓ„Ó ÙÂÒÚË‚‡Îˇ, 2008.
programme at the Cannes IFF 2008
Diana Mkrtchian
Born in Georgia (Akhalkalaki) in 1978,
grew up in Armenia (Gumri), lives in
Russia. She came to cinema from radio
journalism. In 2002 graduated from the
faculty of history of the Moscow
Pedagogical University, in 2007 from
the Higher Courses for Scriptwriters
and Directors (workshop of A.
Dobrovolsky and I. Kvirikadze). The
film ìGataî is her diploma work, her
first experience in fiction film.
Directorís Filmography:
2006 .... Kiev on Kursk (doc.)
2006 .... Saint George (doc., RTR)
2007 .... The Garden (doc.)
2008 .... Japan. Hong Kong. The Gift of
Prelate Nikolai (doc, RTR)
2008 .... Gata (short)
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
Δƒ” “≈¡fl
WAITING FOR YOU
49
Çˡ ¿„‡Ìӂ˘
2008, –ÓÒÒˡ, 14 ÏËÌ., ˆ‚., 1:1.66, 35 ÏÏ
2008, Russia, 14 min., col., 1:1.66, 35 mm
ÍËÌÓÓÔÂ‡ÚÓ‡ ÃËı‡Ë· ¿„‡Ìӂ˘‡.
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ
Scriptwriter and Director
¬ 9 ÎÂÚ Ó͇Á‡‚¯ËÒ¸ ̇ Ò˙ÂÏÓ˜ÌÓÈ
Çˡ ¿„‡Ìӂ˘
Maria Agranovich
ÔÎÓ˘‡‰ÍÂ Û √η‡ œ‡ÌÙËÎÓ‚‡, Ú‚Â‰Ó
ŒÔÂ‡ÚÓ »‚‡Ì À·‰‚
Director of Photography Ivan Lebedev
¯Ë·, ˜ÚÓ ·Û‰ÂÚ ÂÊËÒÒÂÓÏ. ü 16
’Û‰ÓÊÌËÍ ƒÏËÚËÈ ÕÂÍ‡ÒÓ‚
Art Director Dmitry Nekrasov
„Ó‰‡Ï ÛÒÔ· ÔÓ‡·ÓÚ‡Ú¸ ‚ ‡ÁÌ˚ı
«‚ÛÍ »Î¸ˇ œÛÁËÍÓ‚
Sound Ilya Puzikov
‰ÓÎÊÌÓÒÚˇı ‚ ÌÂÒÍÓθÍËı ÏÓÒÍÓ‚ÒÍËı
¬ ÓΡı: Շڇθˇ –‚‡-–ˇ‰ËÌÒ͇ˇ,
Cast: Natalia Riova-Riadinskaya,
ÒÚÛ‰Ëˇı Ë ÓÍÓ̘ËÚ¸ ˝ÍÒÚÂÌÓÏ ¯ÍÓÎÛ.
—Ú‡ÌËÒ·‚ –ˇ‰ËÌÒÍËÈ, ¬ËÚˇ “ÛÛÎËÌ
Stanislav Riadinsky, Vitia Turulin
¬ 2005 ÔÓÒÚÛÔË· ̇ ÂÊËÒÒÂÒÍËÈ
œÓËÁ‚Ó‰ÒÚ‚Ó ¬√»ü
Production VGIK
Œ·˚ÍÌÓ‚ÂÌÌÓ ÛÚÓ, Ó·˚˜Ì‡ˇ ÒÂϸˇ ñ
A family ñ husband, wife and a small
ÏÛÊ, ÊÂ̇ Ë Ï‡ÎÂ̸ÍËÈ ·ÂÌÓÍ. ŒÌ
child. A normal morning: he leaves to
ÛıÓ‰ËÚ ÔÓÏÓ˜¸ ‰Û„Û, Ó̇ ÒÚ‡‡ÂÚÒˇ
help a friend, she tries to fry potatoes
ÔÓʇËÚ¸ ÂÏÛ Í‡ÚÓ¯ÍÛ Ú‡Í, ˜ÚÓ·˚
so that they have a crust. Nothing
Ó̇ ·˚· Ò ÍÓÓ˜ÍÓÈ. ÕË˜Â„Ó ÌÂ
foretells troubles. But the beloved
Ô‰‚¢‡ÂÚ ·Â‰˚. “ÓθÍÓ Î˛·ËÏ˚È
husband does not return home, and on
ÏÛÊ ‚Ò ÌËÍ‡Í Ì ÔËıÓ‰ËÚ, ‡ ÔÓ
television runs a never-ending
ÚÂ΂ËÁÓÛ ñ ÌÂÒÍÓ̘‡ÂÏÓ ´À·‰ËÌÓÂ
production of ìSwan LakeîÖ
–Ӊ˷Ҹ ‚ ÃÓÒÍ‚Â (1989), ‚ ÒÂϸÂ
Ù‡ÍÛθÚÂÚ ¬√»ü‡. «‡ ‚ÂÏˇ Ó·Û˜ÂÌˡ
ÒÌˇÎ‡ ˜ÂÚ˚ ÍÓÓÚÍÓÏÂÚ‡ÊÌ˚Â
‡·ÓÚ˚.
Maria Agranovich
Born in Moscow (1989), in the family of
the cameraman Mikhail Agranovich. At
the age of 9 she appeared on the set of
Gleb Panfilov and firmly decided that
she would be a director. By the age of
16 she managed to work in different
roles in several Moscow studios and to
finish school (extramural studies). In
2005 enrolled in the directorís faculty
of the Film Institute VGIK. During her
training she made four shorts.
ÓÁÂÓªÖ
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
«ƒ–¿¬Õ»÷¿
SANATORIUM
50
2008, –ÓÒÒˡ, 19 ÏËÌ., ˆ‚., 1:1.66,
2008, Russia, 19 min., col., 1:1.66,
ÏÓÌÓ, 35 ÏÏ
mono, 35mm
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ
Scriptwriter and Director
Շڇθˇ √Ó‚ÓË̇
Natalia Govorina
ŒÔÂ‡ÚÓ À˛·Ó‚¸ üÌˇÁ‚‡
Director of Photography
ÃÛÁ˚͇ ¬»¿ ´ƒËÒÍÓª, ƒ‡ÎÂ Õ‡Á‡Ó‚
Liubov Kniazeva
«‚ÛÍ À˛‰ÏË· ƒ‡ÌËÎÓ‚‡
Music ìDiscoî, Daler Nazarov
¬ ÓΡı: ¿Ì‰ÂÈ ‘ËÎËÔÔ‡Í,
Sound Liudmila Danilova
üËËÎÎ üˇÓ, ÀËÎˡ ΔÛ‡‚΂‡,
Cast: Andrei Filippak, Kirill Kiaro,
—Â„ÂÈ ÀˇÔËÌ
Lilia Zhuravleva, Sergei Liapin
œÓËÁ‚Ó‰ÒÚ‚Ó ¬√»ü
Production VGIK
›ÚÓ ÒÎÛ˜ËÚÒˇ Ò Í‡Ê‰˚Ï ËÁ Ì‡Ò ñ ‡ÌÓ
It happens to all of us, sooner or laterÖ
ËÎË ÔÓÁ‰ÌÓÖ
The story is based on motives of the
»ÒÚÓˡ ÔÓ ÏÓÚË‚‡Ï ÔÓËÁ‚‰ÂÌËÈ
works of Sasha Sokolov and Venedikt
—‡¯Ë —ÓÍÓÎÓ‚‡ Ë ¬ẨËÍÚ‡ ≈ÓÙ‚‡.
Erofeev.
Շڇθˇ √Ó‚ÓË̇
–Ӊ˷Ҹ ‚ „ÓӉ “ÓÏÒÍ ‚ 1982 „Ó‰Û.
ŒÍÓ̘Ë· “ÓÏÒÍËÈ „ÓÒÛ‰‡ÒÚ‚ÂÌÌ˚È
ÛÌË‚ÂÒËÚÂÚ (2003, ÙËÎÓÎӄ˘ÂÒÍËÈ
Ù‡ÍÛθÚÂÚ, ÓÚ‰ÂÎÂÌË ÊÛ̇ÎËÒÚËÍË),
ÿÍÓÎÛ ÍËÌÓ Ë ÚÂ΂ˉÂÌËÂ
´»ÌÚÂ̸˛Òª (2004), Ò 2004 ñ
ÒÚÛ‰ÂÌÚ͇ Ù‡ÍÛθÚÂÚ‡ ÂÊËÒÒÛ˚
Ë„Ó‚Ó„Ó ÍËÌÓ ¬√»ü‡ (χÒÚÂÒ͇ˇ
¬.». ’ÓÚËÌÂÌÍÓ Ë ¬.¿. ‘Â̘ÂÌÍÓ).
‘ËθÏ˚ (Í/Ï): ´ƒÊ‡Áª (2007),
´«‰‡‚Ìˈ‡ª (2008).
Natalia Govorina
Born in Tomsk in 1982. Graduated from
Tomsk State University (2003, faculty
of philology, section of journalism);
from the School of Cinema and
Television ìInternewsî (2004); since
2004 student of the faculty of direction
of fiction films at the Film Institute
VGIK (workshop of V. Khotinenko and
V. Fenchenko). Films (short): ìJazzî
(2007), ìSanatoriumî (2008).
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
üŒÕ≈÷ VI √À¿¬¤
THE END OF CHAPTER 6
51
¿Ì‰ÂÈ —Û‰ËÎÓ‚ÒÍËÈ
— 1991 ñ ÂÊËÒÒÂ-ÔÓÒÚ‡ÌÓ‚˘ËÍ “œŒ
´–Œ—“ª (‰ÂÚÒ͇ˇ ‰‡ÍˆËˇ –“–),
ÒÌËχΠÒ͇ÁÍË, ÚÂ΂ËÁËÓÌÌ˚Â
ÒÔÂÍÚ‡ÍÎË Ë ÍÓÓÚÍÓÏÂÚ‡ÊÌ˚Â
ÙËθÏ˚ ‰Îˇ ‰ÂÚÂÈ. ŒÍÓ̘˂
‰‚Ûı„Ӊ˘Ì˚ ÍÛÒ˚ ¬»œœü
(χÒÚÂÒ͇ˇ —. ≈‚·ı˯‚ËÎË Ë ¿.
ƒÓ·Ó‚ÓθÒÍÓ„Ó) Ë ÔÓÎۘ˂ ‰ËÔÎÓÏ
ÂÊËÒÒÂ‡ ıÛ‰ÓÊÂÒÚ‚ÂÌÌ˚ı ÔÓ„‡ÏÏ
“¬, ‡·ÓڇΠ̇ ÒÚÛ‰ËË ´ƒÂÚÒÍËÈ
̇ˆËÓ̇θÌ˚È Í‡Ì‡Îª, Ò 2003 ñ
ÂÊËÒÒÂ-ÔÓÒÚ‡ÌÓ‚˘ËÍ ´—ÚÛ‰ËË
ÒÔˆÔÓÂÍÚÓ‚ Ë ˝ÍÒÔÂËÏÂÌڇθÌ˚ı
ÔÓ„‡ÏϪ ÚÂÎÂ͇̇· ´üÛθÚÛ‡ª. ¬
2007 „Ó‰Û ÓÍÓ̘ËÎ ¬ü—– (χÒÚÂÒ͇ˇ
¿. —ÛËÍÓ‚ÓÈ Ë ¬. ‘ÓÍË̇).
Andrei Sudilovsky
Since 1991 director at the Company
ROST (Growth), the childrenís edition
of RTR television, where he stages fairy
tales, television performances and short
films for children. After the two-year
course of the Russian Institute for ReQualifications in Cinema (workshop of
S. Evlakhishvili and A. Dobrovolsky)
and receiving the diploma of director of
art programs for television, he worked
at the studio ìChildrenís National
Channelî. Since 2003 director at the
ìStudio for Special Projects and
Experimental Programmesî of the
television channel Kultura. In 2007
graduated from the Higher Courses for
Scriptwriters and Directors (workshop
of A. Surikova and V. Fokin).
2008, –ÓÒÒˡ, 30 ÏËÌ., ˆ‚., 16:9,
2008, Russia, 30 min., col., 16:9,
ÒÚÂÂÓ, HDV
stereo, HDV
¿‚ÚÓ˚ ÒˆÂ̇ˡ ≈‚„ÂÌËÈ —ÛÎÂÒ,
Scriptwriters Evgeny Sules,
¿Ì‰ÂÈ —Û‰ËÎÓ‚ÒÍËÈ,
Andrei Sudilovsky, Evgeny Krivorutsky
≈‚„ÂÌËÈ üË‚ÓÛˆÍËÈ
Director Andrei Sudilovsky
–ÂÊËÒÒÂ ¿Ì‰ÂÈ —Û‰ËÎÓ‚ÒÍËÈ
Director of Photography
ŒÔÂ‡ÚÓ »„Ó¸ ¡Â肉ÂÒÍËÈ
Igor Belvedersky
’Û‰ÓÊÌËÍ ¿ÎÂ̇ “Û·‡Â‚‡
Art Director Aliona Trubaeva
«‚ÛÍ √‡ÎË̇ —Ë‚Â
Sound Galina Siver
¬ ÓΡı: —Â„ÂÈ ƒÓÓ„Ó‚, üÓÌÒÚ‡ÌÚËÌ
Cast: Sergei Dorogov, Konstantin
—ÏÓθÌËÍÓ‚, Շڇθˇ ƒÓÏÂˆ͇ˇ,
Smolnikov, Natalia Domeretskaya,
¿ÎÂÍ҇̉ «ÂÌÓ‚, “‡Ú¸ˇÌ‡ ¬¸˛ÍÓ‚‡,
Alexander Zernov, Tatiana Viukova,
“‡Ú¸ˇÌ‡ —‡ÌÚË, √Ó¯‡ ÷‡Ì‡‚‡, üËËÎÎ
Tatiana Santi, Gosha Tsanava,
¿Ì‰‚
Kirill Andreev
œÓ‰˛ÒÂ ¬ˇ˜ÂÒ·‚ ¡‡ÚÛı
Producer Viacheslav Bratukh
œÓËÁ‚Ó‰ÒÚ‚Ó —ÚÛ‰Ëˇ ´Ã‰ˇ ÏËΉª
Production Media-Mild
”˜ËÚÂθ ÎËÚÂ‡ÚÛ˚ ¿Ì‰ÂÈ
On his birthday, the literature teacher
ÃËı‡ÈÎӂ˘ œÓÎÚÓ‡ˆÍËÈ ‚ ‰Â̸
Andrei Mikhailovich Poltoratsky finds
Ò‚ÓÂ„Ó ÓʉÂÌˡ Ó͇Á‡ÎÒˇ Á‡Í˚Ú˚Ï ‚
himself locked into the ventilation
‚ÂÌÚËΡˆËÓÌÌ˚ı ıÓ‰‡ı ÒÚ‡ÓÈ
corridors of the old Moscow school
ÏÓÒÍÓ‚ÒÍÓÈ ¯ÍÓÎ˚, ‚ ÍÓÚÓÓÈ
where he had worked for many years.
ÔÓ‡·ÓڇΠÏÌÓ„Ó ÎÂÚ. ¬ ÂÁÛθڇÚÂ
As a result of his adventures he finds
˝ÚÓ„Ó ÔËÍβ˜ÂÌˡ ÓÌ ÛÁ̇ÂÚ ÏÌÓ„Ó
out a lot of about himselfÖ
ÌÓ‚Ó„Ó Ó Ò·ÂÖ
Based on the motives of a story by Yuri
œÓ ÏÓÚË‚‡Ï ‡ÒÒ͇Á‡ fiˡ —ÓÚÌË͇.
Sotnik.
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
ü–¿“ü»≈ —¬≈ƒ≈Õ»fl
œŒ Õ≈üŒ“Œ–¤Ã ›œ»«Œƒ¿Ã
SHORT INFOMATION ON SOME EPISODES
52
2007, –ÓÒÒˡ, 18 ÏËÌ., ˆ‚., ÏÓÌÓ, 35 ÏÏ
2007, Russia, 18 min., col., mono, 35 mm
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ
Scriptwriter and Director
»„Ó¸ ’ÓÏÒÍËÈ
Igor Khomsky
ÇÒÚÂ ¬‡‰ËÏ ¿·‰‡¯ËÚÓ‚
Supervisor Vadim Abdrashitov
ŒÔÂ‡ÚÓ »‚‡Ì ¡Û·ÍÓ‚
Director of Photography Ivan Burlakov
’Û‰ÓÊÌËÍ ÕËÍËÚ‡ flÍÛÌËÌ
Production Design Nikita Yakunin
¬ ÓΡı: “‡‡Ò ≈ÔËه̈‚,
Cast: Taras Epifantsev, Liudmila
À˛‰ÏË· üÓÎÂÒÌËÍÓ‚‡,
Kolesnikova, Elena Bortnik, Pavel
≈ÎÂ̇ ¡ÓÚÌËÍ, œ‡‚ÂÎ œÓÎÛ¯ÍËÌ,
Polushkin, Ivan Stebunov, Anastasia
»‚‡Ì —Ú·ÛÌÓ‚, ¿Ì‡ÒÚ‡Òˡ —ÚÂÔ‡ÌÓ‚‡,
Stepanova, Timofei Ukhov,
“ËÏÓÙÂÈ ”ıÓ‚, ¬ËÍÚÓ —Â‰˛Í
Viktor Serdiuk
œÓËÁ‚Ó‰ÒÚ‚Ó ¬√»ü
Production VGIK
´œÓÚÂÚ „ÂÓˇ ÏÓÂ„Ó ‚ÂÏÂÌ˪.
ìA portrait of a hero of my timeî.
Õ‰Óۘ˂¯ËÈÒˇ ÒÚÛ‰ÂÌÚ, ÏÂÎÍËÈ
A student who did not complete his
̇ÍÓ‰ËÎÂ, ÌÂÒÓÒÚÓˇ‚¯ËÈÒˇ ÓÚˆ
studies, a drug dealer, a man who never
ÒÂÏÂÈÒÚ‚‡, ÓÌ ‚Ó‰Â Ë ‡‰ ̇˜‡Ú¸
had a family: he is almost glad to start
ÌÓ‚Û˛ ÊËÁ̸ ñ Ë ‰‡Ê Ô˚Ú‡ÂÚÒˇ ˜ÚÓ-
a new life, and even tries to do
ÚÓ Ô‰ÔËÌˇÚ¸...
something...
»„Ó¸ ’ÓÏÒÍËÈ
–Ó‰ËÎÒˇ ‚ ÃÓÒÍ‚Â ‚ 1976 „Ó‰Û, ‚ ÒÂϸÂ
ÍËÌÓÂÊËÒÒÂ‡. ¬ ̇ÒÚÓˇ˘Â ‚ÂÏˇ ñ
ÒÚÛ‰ÂÌÚ-‰ËÔÎÓÏÌËÍ ¬√»ü‡
(χÒÚÂÒ͇ˇ ¬.fi.¿·‰‡¯ËÚÓ‚‡).
‘ËθÏ˚ (Í/Ï, ÔËÁÂ˚ ÒÚÛ‰Â̘ÂÒÍËı
ÍËÌÓÙÓÛÏÓ‚): ´»ÒÚÓˡ πª (2006),
´ü‡ÚÍË ҂‰ÂÌˡ ÔÓ ÌÂÍÓÚÓ˚Ï
˝ÔËÁÓ‰‡Ïª (2007).
Igor Khomsky
Born in Moscow in 1976, in the family
of a film director. Currently studies at
the Film Institute VGIK (workshop of
V. Abdrashitov). Films (short, prizewinners of student film forums):
ìHistory No. 11î (2006), ìShort
Information on Some Episodesî (2007).
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
ÿ“¿—ŒÕ»ü
MATASONIC
53
¿ÎÂÍÒÂÈ ◊ËÊÓ‚
2007, –ÓÒÒˡ, 17 ÏËÌ., ˆ‚., 4:3, ÏÓÌÓ,
2007, Russia, 17 min., col., 4:3, mono,
16 ÏÏ
16 mm
ü‡Á‡ÌÒÍÓÏ ÍÓÏËÍ-Ú‡Ú ´”ÌËÒÓ̪,
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ
Scriptwriter and director
Í‡Í ÔÓÒÚ‡ÌÓ‚˘ËÍ Ë ‡ÍÚÂ ÍÓωËÈÌ˚ı
¿ÎÂÍÒÂÈ ◊ËÊÓ‚
Alexei Chizhov
ÌÓÏÂÓ‚. ƒÓ 1996 „‡ÒÚÓÎËÓ‚‡Î Ò
ÇÒÚÂ ¬‡ÎÂËÈ ÀÓÌÒÍÓÈ
Supervisor Valeri Lonskoy
Ú‡ÚÓÏ ‚ —ÿ¿, ≈‚ÓÔÂ Ë ü‡Ì‡‰Â.
ŒÔÂ‡ÚÓ ¿ÎÂÍÒÂÈ Ã‡ÎËÌÍӂ˘
Director of Photography
–‡·ÓڇΠÂÊËÒÒÂÓÏ Ë ‡ÍÚÂÓÏ Ì‡ Œ–“
üÓÏÔÓÁËÚÓ Ë Á‚ÛÍÓÂÊËÒÒÂ
Alexei Malinkovich
Ë –“– ñ ÒÌˇÎ ‰‚‡‰ˆ‡Ú¸ ÍÓωËÈÌ˚ı
“ËÏÛ »·‡ÚÛÎÎËÌ
Composer and Sound Timur Ibatullin
ÚÂÎÂÙËθÏÓ‚ ‰Îˇ ‰ÂÚÂÈ. ¬ 2008 „Ó‰Û
¬ „·‚ÌÓÈ ÓÎË
Cast: Alexandra Vinogradova
ÓÍÓ̘ËÎ ¬√»ü, χÒÚÂÒÍÛ˛
¿ÎÂÍ҇̉‡ ¬ËÌÓ„‡‰Ó‚‡
Production VGIK
¬.fl.ÀÓÌÒÍÓ„Ó (‘ƒœŒ ñ Ù‡ÍÛθÚÂÚ
œÓËÁ‚Ó‰ÒÚ‚Ó ¬√»ü
œÓÎۘ˂ ˝ÍÓÌÓÏ˘ÂÒÍÓ ӷ‡ÁÓ‚‡ÌËÂ,
‡·ÓڇΠÏẨÊÂÓÏ, Á‡ÚÂÏ ñ ‚
‰ÓÔÓÎÌËÚÂθÌÓ„Ó ÔÓÙÂÒÒËÓ̇θÌÓ„Ó
Ó·‡ÁÓ‚‡Ìˡ). ´Ã‡Ú‡ÒÓÌËͪ ñ
‰ËÔÎÓÏ̇ˇ ‡·ÓÚ‡.
Alexei Chizhov
After an education in economics worked
as manager; then at the Kazan comedy
theatre ìUnisonî as director and actor
of comedy numbers. Until 1996 toured
with the theatre in the US, Europe and
Canada. Worked as director and actor
on ORT and RTR, made twenty comedy
television films for children. In 2008
graduated from the Film Institute VGIK
(workshop of V. Lonskoy; faculty of
additional vocational training).
ìMatasonicî is his diploma work.
¬ÂÒ·ˇ ÔËÚ˜‡ ÔÓ Ó·ÓÚ‡ Ë ˜ÂÎÓ‚Â͇ ñ
A cheerful parable about a robot and
ÌÂÏÌÓ„Ó Ó Ó·ÓÚÂ, ÌÂÏÌÓ„Ó Ó ˜ÂÎÓ‚ÂÍÂ,
man: a little bit about the robot, a little
ÌÂÏÌÓ„Ó Ó ÍËÌÓ ñ ‰Îˇ ‰ÂÚÂÈ, ‰Îˇ
bit about man, a little bit about cinema;
‚ÁÓÒÎ˚ı ‰ÂÚÂÈ Ë ‰Îˇ ´üËÌÓÚ‡‚‡ª.
for children, grown-up children and
œ‡Ӊˡ ̇ action movies.
ìKinotavrî. A parody on action movies.
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
Õ≈Õ”ΔÕ¤… œŒƒ¿–Œü
THE UNNECESSARY GIFT
54
2008, –ÓÒÒˡ, 13 ÏËÌ., ˆ‚., 16:9, ÒÚÂÂÓ
2008, Russia, 13 min., col., 16:9, stereo
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ
Scriptwriter and Director
—ÚÂÔ‡Ì ΔË‚Ó‚
Stepan Zhivov
ŒÔÂ‡ÚÓ À‚ ◊ÂÒÌÓ‚
Director of Photography Lev Chesnov
’Û‰ÓÊÌËÍË ŒÎ¸„‡ ÷˚·‡
Production Design Olga Tsyba and
Ë ¿ÎÂÍ҇̉‡ œÓÎˉË
Alexander Polidi
«‚ÛÍ ¬ËÓÎÂÚÚ‡ ÀÂÓ̇‚˘˛ÚÂ
Sound Violetta Leonaviciute
¬ ÓΡı: ¿ÎÂÍ҇̉‡ ü‡Ï˚¯Ó‚‡,
Cast: Alexandra Kamyshova,
¬‡ÎÂËÈ »‚‡ÍÓ‚
Valeri Ivakov
œÓ‰˛ÒÂ —ÚÂÔ‡Ì ΔË‚Ó‚
Producer Stepan Zhivov
œÓËÁ‚Ó‰ÒÚ‚Ó —ÚÂÔ‡Ì ΔË‚Ó‚, ÔË
Production Stepan Zhivov, with support
ÔÓ‰‰ÂÊÍ ‘Ó̉‡ ÃËı‡Ë· ü‡Î‡ÚÓÁÓ‚‡
from the Mikhail Kalatozov Fund
¬ ÚÂÏÌ˚ı ı‡ÌËÎˢ‡ı
In the dark repositories of the State
„ÓÒÛ‰‡ÒÚ‚ÂÌÌ˚ı Á‡Ô‡ÒÌËÍÓ‚ ı‡ÌËÚÒˇ
store-rooms many things are kept.
ÏÌÓ„Ó ‚¢ÂÈ, Ë Û Í‡Ê‰ÓÈ ËÁ ÌËı,
Apart from the record card in the
ÍÓÏ ͇ÚÓ˜ÍË ‚ ͇ڇÎÓ„Â, ÂÒÚ¸ Ò‚Óˇ
catalogue, each of them has its own
ÒÛ‰¸·‡ Ë ËÒÚÓˡ.
destiny and history.
—ÚÂÔ‡Ì ΔË‚Ó‚
–Ó‰ËÎÒˇ ‚ ÃÓÒÍ‚Â 28 ÒÂÌÚˇ·ˇ 1974
„Ó‰‡. –‡·ÓڇΠÙÓÚÓ„‡ÙÓÏ,
ÙÓÚÓ‰‡ÍÚÓÓÏ Ë ÊÛ̇ÎËÒÚÓÏ. ¬
2005 „Ó‰Û ÔÓÒÚÛÔËΠ̇ ¬˚үˠÍÛÒ˚
ÒˆÂ̇ËÒÚÓ‚ Ë ÂÊËÒÒÂÓ‚, ‚
χÒÚÂÒÍÛ˛ œ.≈. “Ó‰ÓÓ‚ÒÍÓ„Ó. ¬Ó
‚ÂÏˇ ۘ·˚ ҉·ΠÏÓÌÚ‡ÊÌ˚È ÙËθÏ
´«ÂÏΡ ñ –‡Èª Ë ‰Û„Ë ۘ·Ì˚Â
‡·ÓÚ˚. ´ÕÂÌÛÊÌ˚È ÔÓ‰‡Óͪ ñ
ÂÊËÒÒÂÒÍËÈ ‰Â·˛Ú.
Stepan Zhivov
Born in Moscow on 28 September 1974.
Worked as photographer, photo editor
and journalist. In 2005 enrolled on the
Higher Courses for Scriptwriters and
Directors (workshop of P. Todorovsky).
During his study made the montage
film ìEarth ñ Paradiseî and other films
as course work. ìThe Unnecessary Giftî
is the directorís debut.
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
ÕŒ¬¤≈ “≈’ÕŒÀŒ√»»
NEW TECHNOLOGIES
55
—Â„ÂÈ √ÓÁÌÓ‚
–Ó‰ËÎÒˇ ‚ ÃÓÒÍ‚Â 16 ˇÌ‚‡ˇ 1973
„Ó‰‡. ŒÍÓ̘ËÎ ÃÓÒÍÓ‚ÒÍËÈ
Ô‰‡„ӄ˘ÂÒÍËÈ ÛÌË‚ÂÒËÚÂÚ ÔÓ
ÒÔˆˇθÌÓÒÚË ´Û˜ËÚÂθ-ÎÓ„ÓÔ‰ª
(2000), Û˜ËÎÒˇ ‚ ÀËÚÂ‡ÚÛÌÓÏ
ËÌÒÚËÚÛÚ ËÏÂÌË Ã.√Ó¸ÍÓ„Ó Ì‡
ÓÚ‰ÂÎÂÌËË ÔÓ˝ÁËË (1998ñ2003),
ÓÍÓ̘ËÎ ¬ü—– (2006, χÒÚÂÒ͇ˇ
¿.Õ.√Â‡ÒËÏÓ‚‡ Ë
¿.Ã.ƒÓ·Ó‚ÓθÒÍÓ„Ó). –‡·ÓڇΠ‚ÚÓ˚Ï
ÂÊËÒÒÂÓÏ Ì‡ ÒÂˇÎ ´ÿÍÓ· π1ª
(—“—). œËÁÂ »ÌÚÂÌÂÚ-ÍÓÌÍÛÒÓ‚
´üËÌÓ Connectª.
‘ËθÏÓ„‡Ùˡ:
2004 ....À˛·ËÚÂθÒÍÓ ‚ˉÂÓ
(ۘ·̇ˇ ‡·ÓÚ‡, Í/Ï)
2006......ŒÌ, Ó̇ Ë ÓÌ (Ò ÕËÍÓ·ÂÏ ¡Ó„‰‡ÌÓ‚˚Ï, ÍÛÒÓ‚‡ˇ ‡·ÓÚ‡, Í/Ï)
2008 ....ÕÓ‚˚Â ÚÂıÌÓÎÓ„ËË (Í/Ï)
Sergei Groznov
Born in Moscow on 16 January 1973.
Graduated from the Moscow Pedagogical
University as teacher and speech
therapist (2000), studied poetry at the
Gorky Literary Institute (1998-2003),
and graduated from the Higher Courses
for Scriptwriters and Directors (2006,
workshop of A. Gerasimov and A.
Dobrovolsky). Worked as assistant
director on the serial ìSchool No. 1î
(STS/CTC). Prize-winner of the Internet
competition ìKino Connectî.
Directorís Filmography:
2004 .... Amateur video
(course work, short)
2006 .... He, She and He (with Nikolai
Bogdanov, course work, short)
2008 .... New Technologies (short)
2008, –ÓÒÒˡ, 13 ÏËÌ., ˆ‚., 16:9, ÒÚÂÂÓ
2008, Russia, 13 min., col., 16:9, stereo
¿‚ÚÓ ÒˆÂ̇ˡ ≈‚„ÂÌËÈ flˆÂ‚
Director Sergei Groznov
–ÂÊËÒÒÂ —Â„ÂÈ √ÓÁÌÓ‚
Scriptwriter Evgeni Yartsev
ŒÔÂ‡ÚÓ˚ »‚‡Ì ‘ËÌӄ‚,
Director of Photography
√Ë„ÓËÈ –Û‰‡ÍÓ‚
Ivan Finogeev, Grigori Rudakov
ÃÛÁ˚͇ Piano Sonato
Music Piano Sonato
«‚ÛÍ —Â„ÂÈ √ÓÁÌÓ‚
Sound Sergei Groznov
¬ ÓΡı: —Â„ÂÈ √Ó·‡˜Â‚,
Cast: Sergei Gorbachev,
ÀËÁ‡ ¬Ó‰Ó·ÁÒ͇ˇ, œÓÎË̇ ¡ÂÎÂ̸͇ˇ,
Liza Vodolazskaya, Polina Belenkaya,
»Î¸ˇ ü‡Á‡ÌÍÓ‚, ƒÏËÚËÈ üÓÒÂÌÍËÌ,
Ilya Kazankov, Dmitri Kosenkin,
œÓÎË̇ ŒÎ¸‰ÂÌ·Û„,
Polina Oldenburg, Dmitri Korshunov
ƒÏËÚËÈ üÓ¯ÛÌÓ‚
ŒÌ ıÓ˜ÂÚ ÒÚ‡Ú¸ ´Á‚ÂÁ‰ÓȪ, ÌÓ ÔÛÚ¸ Í
He wants to become a star, but the path
ÛÒÔÂıÛ ÚÛ‰ÂÌ Ë ÚÂÌËÒÚ ñ ÌÛÊÌ˚
to success is difficult and thorny: new
ÌÓ‚˚Â ÔÓ‰ıÓ‰˚ Ë ÌÓ‚˚Â ÚÂıÌÓÎÓ„ËË...
approaches and new technologies are
needed...
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
œŒœÀ¿¬Œü
FLOAT
56
2007, –ÓÒÒˡ, 15 ÏËÌ., ˆ‚., 16:9,
2007, Russia, 15 min., col., 16:9, Dolby
Dolby SR, DVD
SR, DVD
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ
Scriptwriter and Director
“‡Ú¸ˇÌ‡ »¯Ë̇
Tatiana Ishina
ŒÔÂ‡ÚÓ ¿ÎÂÍ҇̉ «‡ÚÓ̇
Director of Photography
’Û‰ÓÊÌËÍ “‡Ú¸ˇÌ‡ ÿ͇Ë̇
Alexander Zatona
«‚ÛÍ Õ‡Ú‡Î¸ˇ œÂÒÚÂÌÒ͇ˇ
Production Design Tatiana Shkarina
¬ „·‚Ì˚ı ÓΡı: √ÂÓ„ËÈ ÿÚËθ,
Sound Natalia Prestenskaya
»Ë̇ œ‡Ú‡ÍÓ‚‡
Cast: Georgi Shtil, Irina Patrakova
œÓ‰˛ÒÂ üËËÎÎ ÀÓ·‡˜Â‚
Producer Kirill Lobachev
œÓËÁ‚Ó‰ÒÚ‚Ó üËÌÓÍÓÏÔ‡Ìˡ ´À»ƒª
Production LID Film Company
¬ Ô‡Á‰Ì˘Ì˚È ‰Â̸ 9 χˇ ‰Ó˜¸,
On the holiday of 9 May, a young
ÛÒÚ‡‚¯‡ˇ ÔÓÒΠ·ÂÒÒÓÌÌÓÈ ÌÓ˜Ë ÓÚ
woman, tired after a sleepless night of
ÔÂÂÔËÒ˚‚‡Ìˡ ÌÓÚ, ‚ÓÁËÚÒˇ Ò ·ÓθÌ˚Ï
copying notes, attends to her sick
ÓÚˆÓÏ. ” Ì ÛÊ ‰‡‚ÌÓ ÌÂÚ Î˘ÌÓÈ
father. She has not had a private life
ÊËÁÌË Ë Ô‡Á‰Ì˘ÌÓ„Ó Ì‡ÒÚÓÂÌˡ
for a long time and she is in no
ÚÓÊ ÌÂÚ. ŒÚˆ Ô˚Ú‡ÂÚÒˇ Û„Ó‰ËÚ¸
celebratory mood. The father tries to
‰Ó˜ÂË, ÌÓ Â„Ó ÔÓÔ˚ÚÍË Ì ËϲÚ
please his daughter, but without
ÛÒÔÂı‡. ŒÌË ÒÒÓˇÚÒˇ, ˜ÚÓ·˚ ÓÔˇÚ¸
success. They quarrel again only to be
ÔÓÏËËÚ¸Òˇ, ÔÓÚÓÏÛ ˜ÚÓ ÌÛÊÌ˚ ÚÓθÍÓ
reconciled, because they need each
‰Û„ ‰Û„Û.
other.
“‡Ú¸ˇÌ‡ »¯Ë̇
ŒÍÓ̘Ë· üË‚ÒÍËÈ ÛÌË‚ÂÒËÚÂÚ
ËÏÂÌË üÓÌÂȘÛ͇ ÔÓ ÒÔˆˇθÌÓÒÚË
´ÂÊËÒÒÂ Ú‡Ú‡ª (1992). œÓÒÚ‡‚Ë·
ÌÂÒÍÓθÍÓ ÒÔÂÍÚ‡ÍÎÂÈ ‚ –ÛÒÒÍÓÏ
‰‡Ï‡Ú˘ÂÒÍÓÏ Ú‡Ú —Ó‚ÂÚÒÍÓÈ
‡ÏËË œË͇Ô‡ÚÒÍÓ„Ó ‚ÓÂÌÌÓ„Ó
ÓÍÛ„‡, ‡·Óڇ· Á‚ÛÍÓÂÊËÒÒÂÓÏ Ë
‡ÒÒËÒÚÂÌÚÓÏ ÂÊËÒÒÂ‡ ‚ ÏÓÒÍÓ‚ÒÍÓÏ
“‡ÚÂ-Îˈ ´÷‡ˈ˚ÌÓª. ŒÍÓ̘Ë·
ÿÍÓÎÛ ÍËÌÓ Ë ÚÂ΂ˉÂÌˡ
´»ÌÚÂ̸˛Òª (2003, χÒÚÂÒ͇ˇ
¬.».’ÓÚËÌÂÌÍÓ). — 2004 ‡·ÓÚ‡ÂÚ
‡ÒÒËÒÚÂÌÚÓÏ ÂÊËÒÒÂ‡ ÔÓ ‡ÍÚÂ‡Ï Ë
‚ÚÓ˚Ï ÂÊËÒÒÂÓÏ Ì‡ ´ÀÂÌÙËθϪ.
‘ËθÏÓ„‡Ùˡ:
2000 ....œˇÚ¸ „ÓÓ‰Ó‚ –ÓÒÒËË (‰ÓÍ.)
2002 ....≈‚ÂË Á‡ »ËÒÛÒ‡. üÚÓ ÓÌË?
(‰ÓÍ.)
2003 ....ƒÂ̸ ÔÂÁˉÂÌÚ‡
(‰ÓÍ., »Á‡Ëθ)
2006 ....–‡Á·Ë‡ˇ ÒÚ‡˚ ÙÓÚÓ͇ÚÓ˜ÍË
(‰ÓÍ.)
2007 ....œÓÔ·‚ÓÍ
2007 ....ÿ‡„ ‚ ·ÂÁ‰ÌÛ (‰ÓÍ.)
2008 ....ΔËÁ̸ Ò‡ÔÂ‡ (‰ÓÍ.)
Tatiana Ishina
Graduated from Korneichuk Kiev
University as director of theatre (1992).
Staged several performances at the
Russian Drama Theatre of the Soviet
Army in the Prikarpatsky military
district; worked as sound producer and
assistant director in the Moscow
Theatre Lyceum ìTsaritsynoî.
Graduated from the School of Cinema
and TV ìInternewsî (2003, class of V.
Khotinenko). Since 2004 works as
assistant director for actors and as
second director at Lenfilm.
Filmography:
2000 .... Five Russian Cities (doc.)
2002 .... Jews for Jesus. Who are they?
(doc.)
2003 .... Day of the President
(doc., Israel)
2006 .... Sorting Old Photographs (doc.)
2007 .... Float
2007 .... A Step into the Void (doc.)
2008 .... The Life of a Sapper (doc.)
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
œ”—“Œ“¿
EMPTINESS
57
¿ÎÂÍ҇̉ ü‡„‡Î¸ˆÂ‚
2007, –ÓÒÒˡ, 10 ÏËÌ., ˆ‚., 16:9,
2007, Russia, 10 min., col., 16:9,
ÒÚÂÂÓ, HD
stereo, HD
ÔÓÌˇÎ, ˜ÚÓ ıÓ˜ÂÚ ÒÌËχڸ ÍËÌÓ, ñ Ë
¿‚ÚÓ ÒˆÂ̇ˡ, ÂÊËÒÒÂ Ë
Scriptwriter, Director and Producer
ÔÓÒÚÛÔËÎ ‚ χÒÚÂÒÍÛ˛ ¬Î‡‰ËÏË‡
ÔÓ‰˛ÒÂ ¿ÎÂÍ҇̉ ü‡„‡Î¸ˆÂ‚
Alexander Kargaltsev
»‚‡Ìӂ˘‡ ’ÓÚËÌÂÌÍÓ (¬√»ü).
ŒÔÂ‡ÚÓ ÇÍÒËÏ ΔÛÍÓ‚
Director of Photography
¬ ÓΡı: »Ë̇ –ÓÈ,
Maxim Zhukov
¬Î‡‰ËÒ·‚ ü‡ÔÚÛ
Cast: Irina Roy, Vladislav Kaptur
œÓËÁ‚Ó‰ÒÚ‚Ó ¬√»ü
Production VGIK
œÓÔ˚Ú͇ ÒÓ‚ÏÂÒÚËÚ¸ ‚ËÁۇθÌ˚È
An attempt to combine the visual
Í‡ÚË‚ ÂÍ·Ï˚ Ò ‰ÓÒÚ‡ÚÓ˜ÌÓ
creativeness of advertising with a
ÌÂÔÓÒÚ˚Ï Ò˛ÊÂÚÓÏ.
complex plot.
–Ó‰ËÎÒˇ ‚ ÃÓÒÍ‚Â ‚ 1985 „Ó‰Û. ”˜ËÎÒˇ
‚ ‰‚Ûı ËÌÒÚËÚÛÚ‡ı, Ó·‡ Ì ÓÍÓ̘ËÎ, ÌÓ
Alexander Kargaltsev
Born in Moscow in 1985. Studied at two
institutes without graduating from
either of them, but understood that he
wanted to make a film. Enrolled in
Vladimir Khotinenkoís workshop at the
Film Institute VGIK.
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
œfl“Õ¿ÿü»
TAG
58
2008, –ÓÒÒˡ, 13 ÏËÌ., ˆ‚., 16:9
2008, Russia, 13 min., col., 16:9
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ
Scriptwriter and Director Natalia
Շڇθˇ ”„ÎˈÍËı
Uglitskikh
ŒÔÂ‡ÚÓ ¿ÎÂÍÒÂÈ ÀÂÒËÌ
Director of Photography Alexei Lesin
’Û‰ÓÊÌËÍ ¿ÎÂÍÒÂÈ ΔÂÌÓ‚
Production Design Alexei Zhernov
üÓÏÔÓÁËÚÓ ƒÏËÚËÈ ÿËˇÂ‚
Composer Dmitri Shiryaev
«‚ÛÍ ƒÏËÚËÈ ÿËˇÂ‚
Sound Dmitri Shiryaev
¬ ÓΡı: “‡Ú¸ˇÌ‡ œ‡¯Ë̇,
Cast: Tatiana Parshina, Igor Gudev,
»„Ó¸ √ۉ‚, ¿Ì‰ÂÈ ¿‚Â¸ˇÌÓ‚
Andrei Averianov
œÓ‰˛ÒÂ —Ú‡ÌËÒ·‚ üÓÌÓÌÓ‚
Producer Stanislav Kononov
œÓËÁ‚Ó‰ÒÚ‚Ó —ÚÛ‰Ëˇ ´œ‡Ò-ωˇª
Production Pas-Media Studio
Õ‚ÂÓˇÚ̇ˇ ËÒÚÓˡ, ÌÂÎÂÔ‡ˇ
Situational comedy.
ÒËÚÛ‡ˆËˇ Ë ÌÂÓ·˚˜Ì˚È ÒÔÓÒÓ· ÂÂ
The improbable story of how you can
‡Á¯ÂÌˡ ñ ÍÓωˡ ÔÓÎÓÊÂÌËÈ.
get into a ridiculous situation and find
a way out in an unusual wayÖ
Շڇθˇ ”„ÎˈÍËı
–Ӊ˷Ҹ 21 ÌÓˇ·ˇ 1973 „Ó‰‡
(Œ‰ÂÒÒ͇ˇ Ó·Î.). ¬ 1997 Ó„‡ÌËÁÓ‚‡Î‡
Ú‚Ó˜ÂÒÍÓ ӷ˙‰ËÌÂÌË ´ÕÂÔÚÛÌ “¬ª,
ÒÌËχÎË ÂÍ·ÏÌ˚ ÓÎËÍË, Á‡Í‡ÁÌ˚Â
‰ÓÍÛÏÂÌڇθÌ˚ ÙËθÏ˚ ‰Îˇ ÏÂÒÚÌÓ„Ó
ÚÂ΂ˉÂÌˡ, Ò 2000 ñ
ËÒÔÓÎÌËÚÂθÌ˚È ÔÓ‰˛ÒÂ ÔÓÂÍÚÓ‚
ÍËÌÓÍÓÏÔ‡ÌËË ´Õ‡¯Â ÍËÌÓª, ‚ÚÓÓÈ
ÂÊËÒÒÂ ˇ‰‡ ÚÂÎÂÒÂˇÎÓ‚. ¬ 2004
ÔÓÎۘ˷ ‰ËÔÎÓÏ ÔÓ ÒÔˆˇθÌÓÒÚË
ÂÊËÒÒÂ ÚÂ΂ˉÂÌˡ ‚ üË‚ÒÍÓÏ
̇ˆËÓ̇θÌÓÏ ËÌÒÚËÚÛÚ ÍÛθÚÛ˚ Ë
ËÒÍÛÒÒÚ‚, Ò 2006 ñ ÒÎÛ¯‡ÚÂθÌˈ‡
¬˚Ò¯Ëı ÍÛÒÓ‚ ÒˆÂ̇ËÒÚÓ‚ Ë
ÂÊËÒÒÂÓ‚. «‡ ‚ÂÏˇ Ó·Û˜ÂÌˡ ÒÌˇÎ‡
ÍÓÓÚÍÓÏÂÚ‡ÊÌ˚ ÙËθÏ˚:
´œˇÚ̇¯Í˪, ´—‡ÏÓ͇ڪ.
Natalia Uglitskikh
Born on 21 November 1973, Odessa
Region. In 1997 organized the creative
association ìNeptune TVî, made
advertising clips, commissioned
documentary films for the local
television station; since 2000 executive
producer for projects of the film
company ìNashe Kinoî, assistant
director for several television serials. In
2004 received her diploma as director of
TV at the Kiev National Institute of
Culture and Arts, since 2006 attends
the Higher Courses for Scriptwriters
and Directors. During her study she
made the short films ìTagî and
ìSkateboardî.
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
–¤¡¿
THE FISH
¿ÎÂÍ҇̉ üÓÚÚ
–ÂÊËÒÒÂ-ÔÓÒÚ‡ÌÓ‚˘ËÍ, ÔËÁÂ
ÍËÌÓÙÂÒÚË‚‡ÎÂÈ. –Ó‰ËÎÒˇ ‚ ÃÓÒÍ‚Â
22.02.1973.
ŒÍÓ̘ËÎ ÂÊËÒÒÂÒÍËÈ Ù‡ÍÛθÚÂÚ
¬√»ü‡ (1999, χÒÚÂÒ͇ˇ
¬.».’ÓÚËÌÂÌÍÓ), ÔÓ¯ÂÎ
χÒÚÂ-Í·ÒÒ ¿Ì‰Ê¡ ¬‡È‰˚ ‚ ü‡ÍÓ‚Â
(1997).
‘ËθÏÓ„‡Ùˡ ÂÊËÒÒÂ‡:
1997 ....‘ÓÚÓ„‡Ù (Í/Ï, ۘ·̇ˇ)
1997 ....¿ÎÂÌۯ͇ (Í/Ï)
1997 ....œÛÚ¯ÂÒÚ‚Ë (Í/Ï)
1998 ....¬Â‚͇ (Í/Ï, ‚ˉÂÓ)
1999 ....œÛ„‡ÎÓ (Í/Ï, ‰ËÔÎÓÏ)
2001 ....≈ı‡ÎË ‰‚‡ ¯ÓÙÂ‡
2002 ....÷ËÍ (ÒÂˇÎ)
2002 ....’‡ (ÙËθÏ˚ ÒÂˇ·)
2003 ....¬ÂÎËÍ‡Ì (Í/Ï)
2003 ....À˘Ì˚ ÚÛ‰ÌÓÒÚË (Í/Ï,
‡Î¸Ï‡Ì‡ı ´—ÔËÒÓÍ
‚β·ÎÂÌÌ˚ı –‘ª)
2004 ....üÓÌ‚ÓÈ PQ-17 (ÒÂˇÎ)
2006 ....œÂ˜ÓËÌ (ÒÂˇÎ)
2007 ....–˚·‡ (Í/Ï)
2007 ....œÓÒÚÓÓÌÌËÈ (Ú‚)
Alexander Kott
Director, prize-winner of film festivals.
Born in Moscow on 22 February 1973.
Graduated from the directorís faculty of
the Film Institute VGIK (1999,
workshop of V. Khotinenko), attended
Andrzej Wajdaís master class in
Krakow (1997).
Directorís Filmography:
1997 .... The Photographer (short,
course work)
1997 .... Alyonushka (short)
1997 .... The Journey (short)
1998 .... The Cord (short, video)
1999 .... The Scarecrow (short, diploma)
2001 .... Two Drivers
2002 .... Circus (serial)
2002 .... Ha (episode of a serial)
2003 .... Giant (short)
2003 .... Personal Difficulties (short,
almanac ìList of Lovers of the
Russian Federationî)
2004 .... Convoy PQ-17 (serial)
2006 .... Pechorin (serial)
2007 .... The Fish (short)
2007 .... The Stranger (TV)
59
2007, –ÓÒÒˡ, 15 ÏËÌ., ˆ‚., ÒÚÂÂÓ, 16 ÏÏ
2007, Russia, 15 min., col., stereo, 16mm
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ
Scriptwriter and Director
¿ÎÂÍ҇̉ üÓÚÚ
Alexander Kott
ŒÔÂ‡ÚÓ œÂÚ ƒÛıÓ‚ÒÍÓÈ
Director of Photography
’Û‰ÓÊÌËÍ ›‰Û‡‰ √‡ÎÍËÌ
Petr Dukhovskoy
¬ ÓΡı: ¿ÎÂÍÒÂÈ ¡ÓÊÍÓ,
Production Design Eduard Galkin
fiÎˡ Ç͇Ó‚‡, »Î¸ˇ ¡ÓÊÍÓ
Cast: Alexei Bozhko, Julia Makarova,
œÓ‰˛ÒÂ ¬Î‡‰ËÒ·‚ ŸÂÔËÌ
Ilya Bozhko
œÓËÁ‚Ó‰ÒÚ‚Ó ´œËÎÓڇʪ
Producer Vladislav Shchepin
Production Pilotage
«Ëχ. ’ÓÎÓ‰ÌÓ. “ÓθÍÓ Ì‡‰Âʉ‡ ÏÓÊÂÚ
Winter. It is cold. Only hope is capable
‡ÒÚÓÔËÚ¸ Ή.
of melting the ice.
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
—œ¿…ƒ≈–
SPIDER
60
2008, –ÓÒÒˡ, 17 ÏËÌ., ˆ‚., 1:1.85,
2008, Russia, 17 min., col., 1:1.85,
Dolby Digital 5.1
Dolby Digital 5.1
¿‚ÚÓ ÒˆÂ̇ˡ ¬ÂÓÌË͇ ”ÚÍË̇
Scriptwriter Veronika Utkina
–ÂÊËÒÒÂ —Â„ÂÈ œÓÎÛˇÌÓ‚
Director Sergei Poluyanov
ŒÔÂ‡ÚÓ —ÚÂÔ‡Ì üÓ‚‡ÎÂÌÍÓ
Director of Photography
’Û‰ÓÊÌËÍ ƒË̇ ÀÓ„‚ËÌÓ‚‡
Stepan Kovalenko
üÓÏÔÓÁËÚÓ ¬ËÍÚÓ ‘‡È̯ÚÂÈÌ
Production Design Dina Logvinova
«‚ÛÍ ¬Î‡‰ËÏË √ÓÎÓÛÌËÌ
Composer Viktor Fainshtein
¬ ÓΡı: ƒÊÛΡÌÓ ‰Ë ü‡ÔÛ‡,
Sound Vladimir Golounin
¬Î‡‰ËÏË üÓÒÏˉ‡ÈÎÓ, ƒÏËÚËÈ
Cast: Giuliano di Capua, Vladimir
¿‚ÂËÌ, ¬Î‡‰ËÏË œÓÎÓÁÓ‚, ƒÏËÚËÈ
Kosmidailo, Dmitri Averin, Vladimir
«‚Â‚, “‡Ú¸ˇÌ‡ flÍӂ΂‡, ¿Ì̇
Polozov, Dmitri Zverev, Tatiana
√ÓÏÂÌÍÓ, ÕËÍÓθ ÃÛ̸¯ÛÎË
Yakovleva, Anna Gromenko, Nicole
œÓ‰˛ÒÂ —Â„ÂÈ —ÂθˇÌÓ‚
Munieshuli
œÓËÁ‚Ó‰ÒÚ‚Ó üËÌÓÍÓÏÔ‡Ìˡ ´—“¬ª
Producer Sergei Selianov
—Â„ÂÈ œÓÎÛˇÌÓ‚
–Ó‰ËÎÒˇ 21 ˲Ρ 1973 „Ó‰‡ ‚ flÎÚÂ,
¯ÍÓÎÛ ÓÍÓ̘ËÎ ‚ ÀÂÌËÌ„‡‰Â, ‚ 1998
„Ó‰Û ÔÓÒÚÛÔËΠ̇ ÂÊËÒÒÂÒÍËÈ
Ù‡ÍÛθÚÂÚ —‡ÌÍÚ-œÂÚÂ·Û„ÒÍÓ„Ó
ÛÌË‚ÂÒËÚÂÚ‡ ÍËÌÓ Ë ÚÂ΂ˉÂÌˡ ‚
χÒÚÂÒÍÛ˛ ¬ËÚ‡Îˡ ¿ÍÒÂÌÓ‚‡,
‰ËÔÎÓÏ ÔÓÎÛ˜ËÎ ‚ 2004-Ï. –ÂÊËÒÒÂÒÚ‡ÊÂ ̇ ͇ÚË̇ı ¿ÎÂÍÒ¡ √Âχ̇
´“Û‰ÌÓ ·˚Ú¸ ¡Ó„ÓϪ, ¿Ì‰¡
ü‡‚˜Û͇ ´»Ú‡Î¸ˇÌˆª Ë ´¿‰ÏË‡Î
üÓΘ‡Íª. ‘ËθÏ˚ (Í/Ï): ´œÂ‚˚È
‰Â̸ ÎÂÚ‡ª (‰ËÔÎÓÏ), ´—ԇȉÂª
(‰Â·˛Ú, ÌÓ‚Âη ‚ ÍËÌӇθχ̇ıÂ).
Production Film Company —“¬
“‡„ËÍÓωˡ.
Tragicomedy.
»Á‚ÂÒÚÌÓ„Ó Ù‡ÌˆÛÁÒÍÓ„Ó ‚ÂıÓ·Á‡,
The well-known French steeplejack
´˜ÂÎÓ‚Â͇-Ô‡Û͇ª, Á‡‰ÂÊË‚‡˛Ú Á‡
ìspider manî is detained for yet another
Ó˜Â‰ÌÓ ÌÂÒ‡Ì͈ËÓÌËÓ‚‡ÌÌÓÂ
unauthorized climb. At the police
‚ÓÒıÓʉÂÌËÂ. ¬ Û˜‡ÒÚÍ ̇˜Ë̇ÂÚÒˇ
station the interrogation begins. The
‰ÓÔÓÒ, Á‡‚ˇÁ˚‚‡ÂÚÒˇ ‡Á„Ó‚Ó, ÔÓÒÎÂ
ensuing conversation forces the
˜Â„Ó ÏËÎˈËÓÌÂ Á‡‰ÛÏ˚‚‡ÂÚÒˇ Ó Ò‚ÓÂÈ
policeman to reflect on his own life, to
ÊËÁÌË Ë ‰‡Ê Ô˚Ú‡ÂÚÒˇ  ËÁÏÂÌËÚ¸...
try and change itÖ
Sergei Poluyanov
Born on 21 July 1973 in Yalta; finished
school in Leningrad; in 1998 enrolled at
the directorís faculty of the St.
Petersburg University of Cinema and
TV in Vitali Aksenovís workshop;
received his diploma in 2004. Trainee
director on the films of Alexei German,
ìIt is Difficult to be Godî; Andrei
Kravchuk ìThe Italianî and ìAdmiral
Kolchakî. Films (shorts): ìThe First
Day of Summerî (diploma), ìSpiderî
(debut, novella in a film almanac).
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
—“¿–¿fl ÕŒ¬¿fl –Œ——»
OLD NEW ROSSI
61
¿ÎÂÍ҇̉ ü‡‡‚‡Â‚
–Ó‰ËÎÒˇ ‚ ÃÓÒÍ‚Â ‚ 1979 „Ó‰Û. ”˜ËÎÒˇ
̇ ÒˆÂ̇Ì˚ı ÍÛÒ‡ı ´¿Á·Û͇
ÔÓÙÂÒÒË˪, Ó„‡ÌËÁÓ‚‡ÌÌ˚ı ̇
ÒˆÂ̇ÌÓ-ÍËÌӂ‰˜ÂÒÍÓÏ Ù‡ÍÛθÚÂÚÂ
¬√»ü‡, Á‡ÚÂÏ ÔÓÒÚÛÔËÎ ‚ χÒÚÂÒÍÛ˛
Õ. ¡. –ˇÁ‡ÌˆÂ‚ÓÈ. Œ·Û˜ÂÌËÂ
ÔÓ‰ÓÎʇڸ Ì ÒÏÓ„ ÔÓ ÙË̇ÌÒÓ‚˚Ï Ë
ÒÂÏÂÈÌ˚Ï Ó·ÒÚÓˇÚÂθÒÚ‚‡Ï. –‡·ÓÚ‡Î
ÍÓÂÒÔÓ̉ÂÌÚÓÏ, Û˜‡ÒÚ‚Ó‚‡Î ‚
̇ÔËÒ‡ÌËË ÒˆÂ̇Ë‚ ÌÂÒÍÓθÍËı
ÍÓÓÚÍÓÏÂÚ‡ÊÌ˚ı ‡·ÓÚ. ¬ 2007
ÓÍÓ̘ËÎ —‡ÌÍÚ-œÂÚÂ·Û„ÒÍËÈ
„ÓÒÛ‰‡ÒÚ‚ÂÌÌ˚È ÛÌË‚ÂÒËÚÂÚ ÍËÌÓ Ë
ÚÂ΂ˉÂÌˡ (χÒÚÂÒ͇ˇ ¬.‘.
—ÂÏÂÌ˛Í‡ Ë ¬.≈. ¿ÍÒÂÌÓ‚‡). ´—Ú‡‡ˇ
ÌÓ‚‡ˇ –ÓÒÒ˪ ñ ‚ÚÓÓÈ Ë„Ó‚ÓÈ
ÍÓÓÚÍÓÏÂÚ‡ÊÌ˚È ÙËθÏ.
Alexander Karavaev
Born in Moscow in 1979. Studied on the
scriptwriting courses of ìTrade
Alphabetî organized by the script and
film research faculty of the Film
Institute VGIK; then enrolled in the
workshop of N. Riazantseva. Unable to
complete his education due to financial
and personal circumstances. Worked as
correspondent, took part in the writing
of scripts for several short films. In
2007 graduated from the St. Petersburg
State University of Cinema and
Television (workshop of V. Semeniuk
and V. Aksenov). ìOld New Rossiî is
his second short fiction film.
2008, –ÓÒÒˡ, 30 ÏËÌ., ˜/·, 16:9,
2008, Russia, 30 min., b/w, 16:9,
ÏÓÌÓ, 35 ÏÏ
mono, 35 mm
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ
Scriptwriter and Director
¿ÎÂÍ҇̉ ü‡‡‚‡Â‚
Alexander Karavaev
ŒÔÂ‡ÚÓ ÕËÍÓÎ‡È ¡Ó„‡˜Â‚
Director of Photography
«‚ÛÍ »‚‡Ì ΔÛÔ‡ÌÓ‚
Nikolai Bogachev
¬ ÓΡı: ¿ÎÂÍ҇̉ ≈¯Ó‚, ‘ËÎËÔÔ
Sound Ivan Zhupanov
≈¯Ó‚, ¿ÎÂÍ҇̉ ¡Ó„Û‰Ó‚˘, fiËÈ
Cast: Alexander Ershov, Filipp Ershov,
“‡‡·‡ÌÓ‚, –ÓÏۇθ‰ Ç͇ÂÌÍÓ,
Alexander Bogurdovich, Yuri
ŒÎ¸„‡ Ç͇Ó‚‡
Tarabanov, Romuald Makarenko, Olga
œÓËÁ‚Ó‰ÒÚ‚Ó —œ·√”üË“, “‚Ó˜ÂÒÍÓÂ
Makarova
Ó·˙‰ËÌÂÌË ´ÕÓÌÍ·ÒÒË͇ª
Production St Petersburg State
University for Cinema and Television,
Creative Association ìNonklassikaî
Œ‰ËÒÒ¡ Ó‰ÌÓ„Ó ‰Ìˇ ñ ËÒÚÓˡ ‰‚Ûı
The odyssey of one day: the story of two
·‡Ú¸Â‚, ÍÓÚÓ˚ ÌËÍ‡Í Ì ÏÓ„ÛÚ
brothers who cannot find a common
̇ÈÚË Ó·˘ËÈ ˇÁ˚Í ‰Û„ Ò ‰Û„ÓÏ.
language. The death of their
—ÏÂÚ¸ ·‡·Û¯ÍË Ó·Ì‡Ê‡ÂÚ ‰‡‚ÌËÈ
grandmother exposes an old conflict,
ÍÓÌÙÎËÍÚ, ÍÓÚÓ˚È ‡ÒÍ˚‚‡ÂÚ
which lays bare the teenagersí uneasy
ÌÂÔÓÒÚ˚ ı‡‡ÍÚÂ˚ ÔÓ‰ÓÒÚÍÓ‚, Ë
characters and helps them, temporarily,
ÔÓÏÓ„‡ÂÚ ËÏ ñ ̇ ÌÂÍÓÚÓÓ ‚ÂÏˇ ñ
to reach a mutual understanding.
ÔËÈÚË Í ‚Á‡ËÏÓÔÓÌËχÌ˲.
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
“–¿——¿ Ã8
HIGHWAY Ã8
62
2007, –ÓÒÒˡ, 20 ÏËÌ., ˆ‚., ÏÓÌÓ, 35 ÏÏ
2007, Russia, 20 min., col., mono, 35 mm
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ
Scriptwriter and Director
Õ‡‰Âʉ‡ «‡ˆ͇ˇ
Nadezhda Zaretskaya
ÇÒÚÂ »„Ó¸ ÇÒÎÂÌÌËÍÓ‚
Supervisor Igor Maslennikov
ŒÔÂ‡ÚÓ˚ ¿Ì‰ÂÈ √ÎÛıÓ‚,
Directors of Photography
ÕËÍÓÎ‡È ŒÎÓ‚
Andrei Glukhov, Nikolai Orlov
ÃÛÁ˚͇ ¿ÌÚÓÌËÓ ¬Ë‚‡Î¸‰Ë
Music by Antonio Vivaldi
«‚ÛÍ »Ë̇ ü‡Á‡˜ÂÌÍÓ‚‡
Sound Irina Kazachenkova
¬ ÓΡı: ¬ËÍÚÓˡ –ÓχÌÂÌÍÓ,
Cast: Viktoria Romanenko,
—Â„ÂÈ œÎÓÚÌËÍÓ‚, »Ì̇ À˛·‡‚Ë̇
Sergei Plotnikov, Inna Liubavina
œÓËÁ‚Ó‰ÒÚ‚Ó ¬√»ü
Production VGIK
œÒËıÓÎӄ˘ÂÒ͇ˇ ‰‡Ï‡.
Psychological drama.
ü‡Úˇ ñ ÚËı‡ˇ, Á‡·ËÚ‡ˇ ‰Â‚ۯ͇ ñ
The quiet and timid Katya lives with
ÊË‚ÂÚ Ò ÓÚˆÓÏ, ÊÂÒÚÍËÏ
her father, a harsh and authoritative
‡‚ÚÓËÚ‡Ì˚Ï ˜ÂÎÓ‚ÂÍÓÏ,
man who imposes his vision and
̇‚ˇÁ˚‚‡˛˘ËÏ ÂÈ Ò‚Ó ‚ˉÂÌË Ë
understanding of the world on her:
ÔÓÌËχÌË ÏË‡ ñ ´ÛÁÍÓÂ, ÔÎÓÒÍÓ Ë
ìnarrow, flat and nearî. A tragedy,
̉‡ÎÂÍÓª. “‡„‰ˡ, ÍÓÚÓ‡ˇ ÚÓθÍÓ
which is averted only thanks to a
·Î‡„Ó‰‡ˇ ˜Û‰Û Ì ÒÎۘ˷Ҹ,
miracle, forces Katya to look in a new
Á‡ÒÚ‡‚ΡÂÚ ü‡Ú˛ ÔÓÒÏÓÚÂÚ¸ ÔÓ-ÌÓ‚ÓÏÛ
way at the world: at her father, at
ñ ̇ ÓÚˆ‡, ̇ Ò·ˇ Ë Ò‚Ó˛ ÊËÁ̸.
herself and at life.
Õ‡‰Âʉ‡ «‡ˆ͇ˇ
–Ӊ˷Ҹ ‚ ÀÂÌËÌ„‡‰Â 6 Ë˛Ìˇ 1975
„Ó‰‡. ”˜Ë·Ҹ ‚ ÃÛıËÌÒÍÓÏ Û˜ËÎˢÂ
ñ —œ·√’œ¿ (Ù‡ÍÛθÚÂÚ ÔÓ„‡ÏÏÌÓ„Ó
‰ËÁ‡È̇), ‚ —œ·√”üË“ (ÂÊËÒÒÛ‡
‰ÓÍÛÏÂÌڇθÌÓ„Ó ÍËÌÓ). ŒÍÓ̘Ë·
ÂÊËÒÒÂÒÍËÈ Ù‡ÍÛθÚÂÚ ¬√»ü‡
(2007, χÒÚÂÒ͇ˇ ».‘.ÇÒÎÂÌÌËÍÓ‚‡).
«‡ „Ó‰˚ ۘ·˚ ÒÌˇÎ‡ ÚË
ÍÓÓÚÍÓÏÂÚ‡ÊÍË: ´Pearlª (2002),
´÷‡‡ÔË̇ª (2005), ´“‡ÒÒ‡ Ã8ª
(‰ËÔÎÓÏ̇ˇ ‡·ÓÚ‡).
Nadezhda Zaretskaya
Born in Leningrad on 6 June 1975.
Studied at the St Petersburg State
Academy for Art, faculty of programme
design, and at the St Petersburg State
University for Culture and Television
(documentary cinema). Graduated from
the directorís faculty of the Film
Institute VGIK (2007, workshop of I.
Maslennikov). During her course she
made three shorts: ìPearlî (2002), ìThe
Scratchî (2005), and ìHighway Ã8î
(diploma).
THE MORNING, WITH DIFFERENT EYES
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
”“–Œ ƒ–”√»Ã» √À¿«¿Ã»
63
‘ËÎËÔÔ fi¸Â‚
2008, –ÓÒÒˡ, 8 ÏËÌ., ˆ‚., ÒÚÂÂÓ
2008, Russia, 8 min., col., stereo
(ÚÂÎÂ͇̇Π´üÛθÚÛ‡ª), ÔÓ‚ÂˇÎ
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ
Scriptwriter and Director
·ËÎÂÚ˚ ‚ ÍËÌÓÚ‡Ú ÃÃ, ‡·ÓڇΠ‚
‘ËÎËÔÔ fi¸Â‚
Filipp Yuriev
‚ˉÂÓÔÓ͇ÚÌÓÈ ÍÓÏÔ‡ÌËË ´¡”Ã!ª. ¬
ŒÔÂ‡ÚÓ ¿ÚÂÏËÈ ‘ÛχÌ
Director of Photography
2006 „Ó‰Û ÓÔÛ·ÎËÍÓ‚‡Î ‰‚‡ ‡ÒÒ͇Á‡:
üÓÏÔÓÁËÚÓ üÓÌÒÚ‡ÌÚËÌ üÌÂËÍ
Artemi Furman
´ŒÚ “‡Ú‡Î¸ÌÓÈ ‰Ó ¡Óθ¯ÓÈ
«‚ÛÍ »Î¸ˇ œÛÁËÍÓ‚, ¿ÎÂÍÒÂÈ œÛÁËÍÓ‚
Composer Konstantin Knerik
«ÂÎÂÌËÌÓȪ Ë ´—Ë̉ÓÏ ÔÛÒÚ˚Ì˪, Ë
ÃÓÌÚ‡Ê ŒÎ¸„‡ ÿ‚˜ÂÌÍÓ,
Sound Ilya Puzikov, Alexei Puzikov
ÔÓÒÚÛÔËÎ ‚Ó ¬√»ü ñ ‚ χÒÚÂÒÍÛ˛
‘ËÎËÔÔ fi¸Â‚
Editing Olga Shevchenko, Filipp Yuriev
¿.≈. ”˜ËÚÂΡ.
¬ ÓΡı: ¬ˇ˜ÂÒ·‚ üËÍÛÌÓ‚,
Cast: Viacheslav Krikunov,
¬‡ÎÂÌÚËÌ ›ÈÙÂ
Valentin Eifer
ƒËÂÍÚÓ ͇ÚËÌ˚ À˛·Ó‚¸ √˯Ë̇
Managing Director Liubov Grishina
›Ú‡ ËÒÚÓˡ Ó˜Â̸ ÔÓÒÚ‡.
This story is very simple.
ÕÂÚ, Ô‡‚‰‡, Ó̇ ÔÓÒÚ‡ Ë ·Û‰ÂÚ
No, really, it is simple and clear.
ÔÓÌˇÚ̇, ÂÒÎË ‰‡Ê ӷχÌÂÚ ‚Ò ‚‡¯Ë
But at some point it will betray all your
ÓÊˉ‡Ìˡ.
expectations.
–‡·ÓڇΠ̇ ÒÚÛ‰ËË ´Alma materª
Filipp Yuriev
Worked at the studio ìAlma Materî
(television channel Kultura); usher at
the MDM cinema; worked for the videodistribution company BOOM!. In 2006
published two stories: ìFrom Theatre
Square to Great Zelenina Streetî and
ìSyndrome of the Desertî, and enrolled
at the Film Institute VGIK (workshop
of A. Uchitel).
ÎÂÚÌˇˇ ˝ÈÙÓˡ
summer euphoria
64
ÀÂÚÌˇˇ
˝ÈÙÓˡ
Summer
Euphoria
—Ú‡ÎÓ ÛÊ Ú‡‰ËˆËÂÈ, ˜ÚÓ ‚ ‡Ï͇ı ˝ÚÓÈ
It has already become a tradition that, in
ÔÓ„‡ÏÏ˚ Ï˚ Ô‰ÒÚ‡‚ΡÂÏ ‚ —Ó˜Ë
the framework of this programme in Sochi,
ÌÓ‚ÓÂ ÓÒÒËÈÒÍÓÂ ÍËÌÓ, ÍÓÚÓÓÂ ÏÓÊÌÓ
we showcase new Russian cinema which
̇Á‚‡Ú¸ ÌÂÙÓχÚÌ˚Ï. ›ÚÓ ÓÁ̇˜‡ÂÚ, ˜ÚÓ
can be termed non-standard. This means
ÓÌÓ ÓÚıÓ‰ËÚ ÓÚ Ô‡‚ËÎ ÏÂÈÌÒÚËχ Ë ÌÂ
that it departs from the rules of
‚Ò„‰‡ ÛÍ·‰˚‚‡ÂÚÒˇ ‚ ͇ÌÓÌ ‡Úı‡ÛÒ‡.
mainstream cinema and does not easily fit
›ÚÓ ÓÁ̇˜‡ÂÚ, ˜ÚÓ ÓÌÓ Ò‰Â·ÌÓ
into the canon of art house; it means that
ÌÂÁ‡‚ËÒËÏ˚ÏË ÔÓ‰˛ÒÂ‡ÏË Ë ‚ÓÁÌËÍÎÓ
it is made by independent producers and
‚Ì ‡ÏÓÍ Ú‡‰ËˆËÓÌÌ˚ı ÍËÌÓÒÚÛÍÚÛ.
has emerged outside the framework of
›ÚÓ ÓÁ̇˜‡ÂÚ ·Óθ¯Û˛ Ò‚Ó·Ó‰Û
traditional cinematic structures; and it
Ò‡ÏÓ‚˚‡ÊÂÌˡ Ë, Í‡Í Ô‡‚ËÎÓ,
means a great freedom of self-expression
ÌÂÓ·˚˜ÌÓÒÚ¸ ʇÌÓ‚Ó„Ó ¯ÂÌˡ.
and, as a rule, an unusual genre decision.
—Â‰Ë Í‡ÚËÌ ˝ÚÓ„Ó „Ó‰‡ ÌÂÒÍÓθÍÓ
Among this yearís films are several
ÌÂË„Ó‚˚ı, ÌÓ Ì‡Á‚‡Ú¸ Ëı
non-fiction films, but they cannot be called
‰ÓÍÛÏÂÌڇθÌ˚ÏË Ì ÔÓ‚Ó‡˜Ë‚‡ÂÚÒˇ
documentaries either: rather, they are
ˇÁ˚Í: ˝ÚÓ ÒÍÓ ӷ‡ÁÌ˚Â
figurative artistic productions on a subject-
ıÛ‰ÓÊÂÒÚ‚ÂÌÌ˚ ‚˚Ò͇Á˚‚‡Ìˡ ̇
matter from the arts, and with the
χÚÂˇÎ ËÒÍÛÒÒÚ‚‡ Ë Ò Û˜‡ÒÚËÂÏ Â„Ó
participation of cult figures. Many films
ÍÛθÚÓ‚˚ı ÙË„Û. ¬Ó ÏÌÓ„Ëı ÙËθχı
contain paradoxical situations and
ÔËÒÛÚÒÚ‚Û˛Ú Ô‡‡‰ÓÍ҇θÌ˚ ÒËÚÛ‡ˆËË
narrative approaches. All this, together
Ë Ò˛ÊÂÚÌ˚ ıÓ‰˚. ¬Ò ˝ÚÓ ‚ÏÂÒÚ Ò
with a playful atmosphere and visual
Ë„Ó‚ÓÈ ‡ÚÏÓÒÙÂÓÈ Ë ‚ËÁۇθÌ˚Ï
richness, should provide a refined viewing
·Ó„‡ÚÒÚ‚ÓÏ ‰ÓÎÊÌÓ ‰ÓÒÚ‡‚ËÚ¸ ÁËÚÂΡÏ
pleasure. And that is the purpose of the
ÛÚÓ̘ÂÌÌÓ ۉӂÓθÒÚ‚ËÂ. »ÏÂÌÌÓ Ì‡ ˝ÚÓ
programme organizers, which is not
̇Ô‡‚ÎÂÌ˚ ÛÒËÎˡ Ó„‡ÌËÁ‡ÚÓÓ‚
accidentally called ìEuphoriaî.
ÔÓ„‡ÏÏ˚, ÍÓÚÓ‡ˇ Ì ÒÎÛ˜‡ÈÌÓ
̇Á˚‚‡ÂÚÒˇ ´›ÈÙÓˡª.
Andrei Plakhov,
Programme Curator,
¿Ì‰ÂÈ œÎ‡ıÓ‚,
üÛ‡ÚÓ ÔÓ„‡ÏÏ˚
ÎÂÚÌˇˇ ˝ÈÙÓˡ
summer euphoria
ÎÂÚÌˇˇ ˝ÈÙÓˡ
summer euphoria
‚ÒÂ ÛÏÛÚ
‡ ˇ ÓÒÚ‡ÌÛÒ¸
EVERYBODY DIES
BUT ME
Á‡Í˚Ú˚ ÔÓÒÚ‡ÌÒÚ‚‡
CLOSED SPACES
Ó΄ ÍÛÎËÍ - ‚˚ÁÓ‚ Ë ÔÓ‚Ó͇ˆËˇ
OLEG KULIK - CHALLENGE AND PROVOCATION
Ô‰ÒÚ‡‚ÎÂÌËÂ
THE REVUE
ÒÂÁÓÌ ÚÛχÌÓ‚
SEASON OF MISTS
ÒÔËÒÓÍ ÍÓ‡·ÎÂÈ
THE LIST OF SHIPS
65
ÎÂÚÌˇˇ ˝ÈÙÓˡ
summer euphoria
¬—≈ ”Ö”“
¿ fl Œ—“¿Õ”—‹
EVERYBODY DIES
BUT ME
66
2008, –ÓÒÒˡ, 84 ÏËÌ., ˆ‚., 1: 1.85, Dolby Digital
2008, Russia, 84 min., col., 1:1.85, Dolby Digital
¿‚ÚÓ˚ ÒˆÂ̇ˡ ¿ÎÂÍ҇̉ –Ó‰ËÓÌÓ‚, fiËÈ ü·‚‰Ë‚
Scriptwriters Alexander Rodionov, Yuri Klavdiev
–ÂÊËÒÒÂ ¬‡ÎÂˡ √‡È √ÂχÌË͇
Director Valeria Gai Germanika
ŒÔÂ‡ÚÓ ¿Î˯Â ’‡ÏˉıӉʇ‚
Director of Photography Alisher Khamidkhodzhaev
’Û‰ÓÊÌËÍ ƒÂÌËÒ ÿË·‡ÌÓ‚
Production Design Denis Shibanov
üÓÒÚ˛Ï˚ ¿ÎÂÍ҇̉ œÂÚβ‡
Costume Design Alexander Petlyura
ÃÛÁ˚͇ –Óχ «‚Â¸, Stefanos Korkolis
Music Roma Zver, Stefanos Korkolis
«‚ÛÍ —Â„ÂÈ Œ‚˜‡ÂÌÍÓ
Sound Sergei Ovcharenko
–ÂÊËÒÒÂ˚ ÏÓÌڇʇ fiÎˡ ¡‡Ú‡ÎÓ‚‡, »‚‡Ì À·‰‚
Editing Julia Batalova, Ivan Lebedev
¬ ÓΡı: œÓÎË̇ ‘ËÎÓÌÂÌÍÓ, ¿„Ìˡ üÛÁ̈ӂ‡,
Cast: Polina Filonenko, Agniya Kuznetsova, Olga Shuvalova,
ŒÎ¸„‡ ÿÛ‚‡ÎÓ‚‡, fiÎˡ ¿ÎÂÍ҇̉Ó‚‡, ƒÓÌ‡Ú‡Ò √ۉӂ˘,
Julia Alexandrova, Donatas Grudovich, Anastasia Zabadaeva,
¿Ì‡ÒÚ‡Òˡ «‡·‡‰‡Â‚‡, ŒÎ¸„‡ À‡Ô¯Ë̇, ¿ÎÂÍÒÂÈ ¡‡„‰‡Ò‡Ó‚,
Olga Lapshina, Alexei Bagdasarov, Inga Strelkova-Oboldina,
»Ì„‡ —ÚÂÎÍÓ‚‡-Œ·ÓΉË̇, √‡Óθ‰ —ÚÂÎÍÓ‚,
Garold Strelkov, Irina Znamenshchikova, Alexandra
»Ë̇ «Ì‡ÏÂÌ˘ËÍÓ‚‡, ¿ÎÂÍ҇̉‡ ü‡Ï˚¯Ó‚‡,
Kamyshova, Evgenia Presnikova, Maxim Kostromykin
≈‚„ÂÌˡ œÂÒÌËÍÓ‚‡, ÇÍÒËÏ üÓÒÚÓÏ˚ÍËÌ
General Producer Igor Tolstunov
√ÂÌÂ‡Î¸Ì˚È ÔÓ‰˛ÒÂ »„Ó¸ “ÓÎÒÚÛÌÓ‚
Co-Producer Anna Kagarlitskaya
—ÓÔÓ‰˛ÒÂ ¿Ì̇ ü‡„‡Îˈ͇ˇ
Production Film Company ProFIT
œÓËÁ‚Ó‰ÒÚ‚Ó üËÌÓÍÓÏÔ‡Ìˡ ´œÓ‘»“ª
www.profitkino.ru
www.profitkino.ru
ÎÂÚÌˇˇ ˝ÈÙÓˡ
summer euphoria
¬‡ÎÂˡ √‡È √ÂχÌË͇
ñ ÂÊËÒÒÂ, ÓÔÂ‡ÚÓ, ÏÓÌÚ‡ÊÂ. –Ӊ˷Ҹ
‚ 1984 „Ó‰Û ‚ ÃÓÒÍ‚Â. ¬ 2005-Ï ÓÍÓ̘Ë·
ÿÍÓÎÛ ÍËÌÓ Ë ÚÂ΂ˉÂÌˡ ´»ÌÚÂ̸˛Òª
(ÍÛÒ Ã‡ËÌ˚ –‡Á·ÂÊÍËÌÓÈ). —‚ÓÈ ÔÂ‚˚È
ÙËÎ¸Ï ÒÌˇÎ‡ ‚ 19 ÎÂÚ. ‘ËÎ¸Ï ´ƒÂ‚Ó˜Í˪
ÒڇΠÎÛ˜¯ËÏ ÍÓÓÚÍÓÏÂÚ‡ÊÌ˚Ï ÙËθÏÓÏ
´üËÌÓÚ‡‚‡-2006ª, ÔËÁÂÓÏ Ë Û˜‡ÒÚÌËÍÓÏ
ÏÌÓ„Ëı ÙÂÒÚË‚‡ÎÂÈ.
67
»Á·‡Ì̇ˇ ÙËθÏÓ„‡Ùˡ:
2005 ....—ÂÒÚ˚ (‰ÓÍ.)
2005 ....ƒÂ‚Ó˜ÍË (‰ÓÍ.)
2006 ....Çθ˜ËÍË (‰ÓÍ.)
2006 ....”Âı‡Î (‰ÓÍ., Ò ¡ÓËÒÓÏ
’ηÌËÍÓ‚˚Ï)
2007 ....ƒÂ̸ ÓʉÂÌˡ »ÌÙ‡ÌÚ˚
2008 ....¬Ò ÛÏÛÚ, ‡ ˇ ÓÒÚ‡ÌÛÒ¸
Valeria Gai Germanika
Director, cinematographer, editor. Born in
1984 in Moscow. In 2005 graduated from the
School of Cinema and TV ìInternewsî (course
of Marina Razbezhkina). She made her first
film at the age of 19. The film ìGirlsî was
the best short film of ìKinotavrî in 2006;
prize-winner and participant of many
festivals.
Select Directorís Filmography:
2005 .... Sisters (doc.)
œÒËıÓÎӄ˘ÂÒ͇ˇ ‰‡Ï‡.
2005 .... Girls (doc.)
“Ë ‰Â‚ˇÚËÍ·ÒÒÌˈ˚ ñ ü‡Úˇ, ¬Ë͇ Ë Δ‡Ì̇, Ò‡Ï˚ ӷ˚ÍÌÓ‚ÂÌÌ˚Â
2006 .... Boys (doc.)
‰Â‚˜ÓÌÍË ËÁ ÒԇθÌÓ„Ó ‡ÈÓ̇ ÃÓÒÍ‚˚, ñ ‚ ÔÓ̉ÂθÌËÍ ÛÁ̇˛Ú, ˜ÚÓ ‚
2006 .... Heís Gone
ÒÛ··ÓÚÛ Û ÌËı ‚ ¯ÍÓΠ·Û‰ÂÚ ‰ËÒÍÓÚÂ͇, ÔÂ‚‡ˇ ‚ ÌÓ‚ÓÏ Û˜Â·ÌÓÏ „Ó‰Û. ¬Ò˛
(doc., with Boris Khlebnikov)
̉Âβ ÓÌË ÔÓÊË‚‡˛Ú, „ÓÚÓ‚ˇÒ¸ Í ˝ÚÓÏÛ „·‚ÌÓÏÛ ‚ Ëı ÊËÁÌË ÒÓ·˚Ú˲.
2007 .... Infanteís Birthday
ÕÓ ü‡Úˇ ̇„Û·Ë· Û˜ËÚÂθÌˈ ñ Ë ‰ËÒÍÓÚÂÍÛ ÏÓ„ÛÚ ÓÚÏÂÌËÚ¸... ƒÂ‚Ó˜ÍË
2008 .... Everyone Dies but Me
Ô˚Ú‡˛ÚÒˇ ̇ÈÚË Ó·˘ËÈ ˇÁ˚Í ÒÓ Ò‚ÓËÏË Ó‰ËÚÂΡÏË, Û˜ËÚÂΡÏË,
Ó‰ÌÓÍ·ÒÒÌË͇ÏË Ë ‚ ÍÓ̘ÌÓÏ ËÚÓ„Â ‰Û„ Ò ‰Û„ÓÏ. œÓÒΠ‰ËÒÍÓÚÂÍË ÓÌË
ÛÊ Ì ÚÓθÍÓ Ì ÔÓ‰Û„Ë, ÌÓ Ë Ì ÚÂ, ˜ÚÓ ÔÂʉÂ...
ÃËÓ‚‡ˇ ÔÂϸÂ‡: 21.05.2008 ñ Ãü‘ ‚ ü‡Ì̇ı: ÔÓ„‡Ïχ
´ÃÂʉÛ̇Ӊ̇ˇ ̉ÂΡ ÍËÚËÍ˪.
Psychological drama.
Three sixth-formers ñ Katya, Vika and Janna ñ the most ordinary girls from a
Moscow suburb, a so-called bedroom community, find out on Monday that there
will be a disco at the school on Saturday: the first in the new school year. All
week long they prepare for this main event in their lives. But Katya has
insulted a teacher and the disco may be cancelled... All week long the girls try
to find a common language with parents, teachers, schoolmates, and finally
with each other. After the disco they are no longer friends, and they are no
longer what they were before...
World Premiere: 21 May 2008, competition of the International Criticsí Weeks
(Semaine de la Critique) IFF in Cannes.
ÎÂÚÌˇˇ ˝ÈÙÓˡ
summer euphoria
«¿ü–¤“¤≈ œ–Œ—“–¿Õ—“¬¿
CLOSED SPACES
68
2008, –ÓÒÒˡ, 95 ÏËÌ., ˆ‚., 1:2.35, Dolby Digital 5.1
2008, Russia, 95 min., col., 1:2.35, Dolby Digital 5.1
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ »„Ó¸ ¬ÓÒÍ·
Scriptwriter and Director Igor Vorskla
ŒÔÂ‡ÚÓ –ÛÒÎ‡Ì √Â‡ÒËÏÂÌÍÓ‚
Director of Photography Ruslan Gerasimenkov
’Û‰ÓÊÌËÍ ¬ËÍÚÓ ÕËÍÓÌÂÌÍÓ
Production Design Viktor Nikonenko
ÃÛÁ˚͇ ÀÂÓÌˉ ‘‰ÓÓ‚, ¬Î‡‰ËÏË ¬ÓÎÍÓ‚
Music Leonid Fedorov, Vladimir Volkov
–ÂÊËÒÒÂ ÏÓÌڇʇ ŒÎ„ ÇÎ˚„ËÌ
Editing Oleg Malygin
¬ ÓΡı: Çˡ ǯÍÓ‚‡, ÀÂÓÌˉ ¡Ë˜Â‚ËÌ, ŒÎ„ Ç͇Ó‚,
Cast: Maria Mashkova, Leonid Bichevin, Oleg Makarov,
¿ÎÂÍ҇̉ ‘. —ÍΡ, ¿Ì‡ÚÓÎËÈ ”Á‰ÂÌÒÍËÈ, ¿ÎÂÍ҇̉
Alexander F. Skliar, Anatoli Uzdensky, Alexander Ilyin,
»Î¸ËÌ, ÕÂÎÎË ”‚‡Ó‚‡, ≈ÎÂ̇ ÿ‚˜ÂÌÍÓ, ¿ÚÂÏ —ÂχÍËÌ
Nelli Uvarova, Elena Shevchenko, Artem Semakin
œÓ‰˛ÒÂ »„Ó¸ À·‰‚
Producer Igor Lebedev
œÓËÁ‚Ó‰ÒÚ‚Ó üËÌÓÍÓÏÔ‡Ìˡ ´ƒüª
Production Film Company DK
www.drugoe-kino.ru
www.drugoe-kino.ru
ÎÂÚÌˇˇ ˝ÈÙÓˡ
summer euphoria
»„Ó¸ ¬ÓÒÍ·
(»„Ó¸ À·‰‚)
–Ó‰ËÎÒˇ 4 χˇ 1970 „Ó‰‡. ŒÍÓ̘ËÎ
ÂÊËÒÒÂÒÍËÈ Ù‡ÍÛθÚÂÚ √»“»—‡/ –¿“»
(1995, χÒÚÂÒ͇ˇ ¿.¿. √Ó̘‡Ó‚‡). — 1996
„Ó‰‡ ñ PR-‰ËÂÍÚÓ ÍËÌÓÍÓÏÔ‡ÌËË
´ü‡ÏÂ̪. ¬ 2000 ÓÒÌÓ‚‡Î ÚÓ„Ó‚Û˛ χÍÛ
´ƒÛ„Ó ÍËÌÓª ñ ÍÓÏÔÎÂÍÒÌ˚È ·Ẩ ‰Îˇ
‰ËÒÚË·ÛˆËË ‡Ú-ÍËÌÓ, Ò 2002 ñ Û˜‰ËÚÂθ
69
Ë ÛÍÓ‚Ó‰ËÚÂθ ÍÓÏÔ‡ÌËË ´ü‡ÏÂÌ ¬Ë‰ÂÓª
(‚ˉÂÓÔÓÍ‡Ú Í·ÒÒËÍË ÏËÓ‚Ó„Ó ÍËÌÓ), ‚
2007 Û˜‰ËÎ ÍËÌÓÍÓÏÔ‡Ì˲ ´ƒüª ‰Îˇ
ÔÓËÁ‚Ó‰ÒÚ‚‡ ´‰Û„Ó„Ó ÍËÌÓ ‰Îˇ ¯ËÓÍÓÈ
‡Û‰ËÚÓË˪.
´«‡Í˚Ú˚ ÔÓÒÚ‡ÌÒÚ‚‡ª ñ ÂÊËÒÒÂÒÍËÈ
‰Â·˛Ú.
Igor Vorskla
(Igor Lebedev)
Born on 4 May 1970. Graduated from the
directorís faculty of the Theatre Institute
GITIS/RATI (1995, class of A. Goncharov).
Since 1996 PR director of the film company
ìCarmenî. In 2000 founded the label
ìAnother Cinemaî (Drugoe Kino), an
umbrella brand name for the distribution of
art-house cinema; since 2002 founder and
head of the company ìCarmen Videoî (video
distribution of world cinema classics); in
2007 founded the film company DK for the
“‡„ËÍÓωˡ.
production of ìanother cinema for a wide
ƒÂ‚ۯ͇ ¬Ë͇ ÔË‚ÓÁËÚ ÔÓ Á‡Í‡ÁÛ ÔˈˆÛ ‚ Í‚‡ÚËÛ Ì‡ χÌÒ‡‰ÌÓÏ ˝Ú‡ÊÂ.
audiencesî. ìClosed Spacesî is the directorís
ÃÓÎÓ‰ÓÈ ˜ÂÎÓ‚ÂÍ ¬ÂÌˇ ‡ÒÔ·˜Ë‚‡ÂÚÒˇ Á‡ Á‡Í‡Á, ÔÓÒΠ˜Â„Ó ¬Ë͇
debut.
ӷ̇ÛÊË‚‡ÂÚ, ˜ÚÓ ‰‚Â¸ Á‡ÔÂÚ‡. ¬ÂÌˇ Ó·˙ˇ‚ΡÂÚ ÔÎÂÌÌËˆÂ Ó Ò‚ÓÂÏ Ô·ÌÂ
ÒÂÍÒۇθÌÓ„Ó Ì‡ÒËÎˡ Ë Ò‡ÁÛ Ê Ô˚Ú‡ÂÚÒˇ Â„Ó ‡ÎËÁÓ‚‡Ú¸. œÓÒΠ˜Â‰˚
Â„Ó ‡„ÂÒÒË‚Ì˚ı ‚˚ıÓ‰ÓÍ ÒÎÂ‰Û˛Ú ÓÁ˚„˚¯Ë, ÒÚ‡ÌÌ˚ ‚ËÍÚÓËÌ˚ Ë
ÔӘˠڇÍË Ê ÒÚ‡ÌÌ˚ ÏÂÓÔˡÚˡ, ‚ ÂÁÛθڇÚ ÍÓÚÓ˚ı ¬Ë͇
ÒÚ‡ÌÓ‚ËÚÒˇ ıÓÁˇÈÍÓÈ ÔÓÎÓÊÂÌˡÖ
Tragicomedy.
The girl Vika delivers a pizza to an attic apartment. The young man Venya
pays for his order, but then Vika finds the door locked. Venya announces his
plan of sexual violence to his captive, and immediately tries to implement it.
After a series of aggressive tricks follow draws, quizzes and other, equally
strange actions, as a result of which Vika gains control of the situationÖ
ÎÂÚÌˇˇ ˝ÈÙÓˡ
summer euphoria
ŒÀ≈√ ü”À»ü ñ ¬¤«Œ¬ » œ–Œ¬Œü¿÷»fl
OLEG KULIK ñ CHALLENGE AND PROVOCATION
70
2008, –ÓÒÒˡ, 74 ÏËÌ., ˆ‚., 1:1.1.66, Dolby Stereo
2008, Russia, 74 min., col., 1:1.1.66, Dolby Stereo
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ ≈‚„ÂÌËÈ ÃËÚÚ‡
Scriptwriter and Director Evgeni Mitta
ŒÔÂ‡ÚÓ ¿ÎÂÍ҇̉ üÛÁ̈ӂ
Director of Photography Alexander Kuznetsov
üÓÏÔÓÁËÚÓ ƒÂϸˇÌ üÛ˜ÂÌÍÓ
Composer Demian Kurchenko
œÓ‰˛ÒÂ˚ ¿ÎÂÍ҇̉ ÿÂÈÌ, ≈‚„ÂÌËÈ ÃËÚÚ‡,
Producers Alexander Shein, Evgeni Mitta,
√ÂÓ„ËÈ ÀÓ‰ÍËÔ‡ÌˉÁÂ
Georgiy Lordkipanidze
œÓËÁ‚Ó‰ÒÚ‚Ó üËÌÓÍÓÏÔ‡Ìˡ ´¿ÚƒËÁ‡È̪
Production Film Company ArtDesign
ÎÂÚÌˇˇ ˝ÈÙÓˡ
summer euphoria
≈‚„ÂÌËÈ ÃËÚÚ‡
’Û‰ÓÊÌËÍ, ÒˆÂÌÓ„‡Ù. –Ó‰ËÎÒˇ ‚ ÃÓÒÍ‚Â ‚
1963 „Ó‰Û. — 1976 „Ó‰‡ ÒÌËχÎÒˇ ‚ ÍËÌÓ.
ŒÍÓ̘ËÎ ÃÓÒÍÓ‚ÒÍËÈ ıÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È
ËÌÒÚËÚÛÚ ËÏÂÌË ¬.—ÛËÍÓ‚‡ (1988).
—ÓÛ˜‰ËÚÂθ ´œÂ‚ÓÈ „‡ÎÂË˪ (1988-92),
71
Û˜‡ÒÚÌËÍ „ÛÔÔÓ‚˚ı Ë ÔÂÒÓ̇θÌ˚ı
‚˚ÒÚ‡‚ÓÍ, ÍÛ‡ÚÓ ˇ‰‡ ‡Ú-ÔÓÂÍÚÓ‚ (´ÕÓ˜¸
ËÒÍÛÒÒÚ‚ª ‚ ÍÎÛ·Â ´œËÎÓÚª, ´’Û‰ÓÊÌËÍË
ÔÓÚË‚ ÒÂÍÒ‡ª - ÍÎÛ· ´Ã‡Ìı˝ÚÚÂÌ›ÍÒÔÂÒÒªÖ), ÒˆÂÌÓ„‡Ù ÒÔÂÍÚ‡ÍÎÂÈ Ú‡Ú‡
´—Ó‚ÂÏÂÌÌËÍ-2ª (´“Â̸ª, ´œÒËıª) Ë Ã’“
ËÏÂÌË ◊ÂıÓ‚‡ (´«ÎÓ‰ÂÈ͇, ËÎË üËÍ
œ‡‚ÎË̇ª), ıÛ‰ÓÊÌËÍ-ÔÓÒÚ‡ÌÓ‚˘ËÍ
ÙËθÏÓ‚ ´8 Ò ÔÓÎÓ‚ËÌÓÈ ‰ÓηÓ‚ª
√Ë„Óˡ üÓÌÒÚ‡ÌÚËÌÓÔÓθÒÍÓ„Ó Ë
´œÓ„ÛÎ͇ª ¿ÎÂÍÒ¡ ”˜ËÚÂΡ. ¿‚ÚÓÂÊËÒÒÂ ‰ÓÍÛÏÂÌڇθÌÓ„Ó ˆËÍ·
´’Û‰ÓÊÌËÍ˪, ̇˜‡ÚÓ„Ó ÍËÌÓ˝ÒÒ ӷ ŒÎ„Â
üÛÎËÍÂ.
Evgeni Mitta
Artist, set designer. Born in Moscow in 1963.
Since 1976 in cinema. Graduated from the
Surikov Moscow Art Institute (1988). CoFounder of the ìFirst Galleryî (1988-92),
participant of group and personal exhibitions,
curator of several art projects (ìNight of
ƒÓÍÛÏÂÌڇθÌ˚È ÙËÎ¸Ï Ó Ú‚Ó˜ÂÒÚ‚Â ŒÎ„‡ üÛÎË͇, Ó‰ÌÓ„Ó ËÁ Ò‡Ï˚ı
Artî in the club ìPilotî, ìArtists Against
ËÁ‚ÂÒÚÌ˚ı ÛÒÒÍËı ıÛ‰ÓÊÌËÍÓ‚ ̇ ÏËÓ‚ÓÈ ‡Ú-ÒˆÂÌÂ, Û˜‡ÒÚÌË͇
Aexî in the club ìManhattan Expressî), set
ÏÂʉÛ̇Ó‰Ì˚ı ÔÓÂÍÚÓ‚: ¬Â̈ˇÌÒÍÓÈ ¡ËÂÌ̇Π1997, 2001, 2003 „Ó‰Ó‚,
designer of theatre productions of the theatre
¡ËÂÌ̇Π‚ ¬‡ÎÂÌÒËË Ë —‡Ì-œ‡ÛÎÓ Ë ‚˚ÒÚ‡‚ÓÍ ‚ √ÂÌÚÒÍÓÏ ÏÛÁÂÂ
ìSovremennik 2î (ìThe Shadowî, ìThe
ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡, „‡ÎÂ Tate Modern, ÃÛÁ Lehmbruk ‚ ƒÛÈÒ·Û„Â,
Psycheî) and the Chekhov Moscow Art
ÃÛÁ ‘Âȉ‡ ‚ ÀÓ̉ÓÌÂ, ÃÛÁ ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡ ‚ –ËÏ Ë
Theatre (ìThe Evildoer, or the Peacockís
¿ÌÚ‚ÂÔÂÌÂ, ÃÛÁ √Û„„ÂÌı‡Èχ ‚ Õ¸˛-…ÓÍÂ Ë ¡Ëθ·‡Ó. œÓËÁ‚‰ÂÌˡ
Screamî), production designer of films such
üÛÎË͇ ̇ıÓ‰ˇÚÒˇ ‚ ÍÛÔÌÂȯËı ˜‡ÒÚÌ˚ı Ë „ÓÒÛ‰‡ÒÚ‚ÂÌÌ˚ı ÒÓ·‡Ìˡı ÔÓ
as Grigori Konstantinopolskyís ì$8.5î and
‚ÒÂÏÛ ÏËÛ. ‘ËÎ¸Ï ‡ÒÍ˚‚‡ÂÚ ÔÂ‰ ̇ÏË „ÎÛ·ÓÍËÈ Ë ËÌÚÂÂÒÌ˚È ÏË
Alexei Uchitelís ìThe Strollî. Author of the
ıÛ‰ÓÊÌË͇, ‚ÌÛÚÂÌÌË ÏÓÚË‚˚ Â„Ó Ú‚Ó˜ÂÒÚ‚‡, ÙËÎÓÒÓÙ˲ Ë ‰‡Ï‡ÚÛ„˲
documentary cycle ìArtistsî which starts
‡Á‚ËÚˡ Â„Ó Í‡¸Â˚.
with this film-essay about Oleg Kulik.
Documentary film about the oeuvre of Oleg Kulik, one of the best-known
Russian artists on the world art scene, participant of international projects
such as the Venice Biennale 1997, 2001, 2003; the Biennale in Valencia and
Sao Paolo; exhibitions in Ghentís Museum of Modern Art, Tate Modern,
Lehmbruck Museum in Duisburg, the Freud Museum in London, the Museums
of Modern Art in Rome and Antwerp, the Guggenheim Museums in New York
and Bilbao. Kulikís works are located in the largest private and state
collections worldwide. The film unfolds for us the deep and interesting world
of this artist, the motives for his creativity, his philosophy and the
dramaturgy of his career development.
ÎÂÚÌˇˇ ˝ÈÙÓˡ
summer euphoria
œ–≈ƒ—“¿¬À≈Õ»≈
THE REVUE
72
2008, –ÓÒÒˡ/√ÂχÌˡ/”Í‡Ë̇, 83 ÏËÌ., ˜/·, 1:1.66,
2008, Russia/Germany/Ukraine, 83 min., b/w,
Dolby Digital 5.1, 35 ÏÏ
Dolby Digital 5.1, 35 mm
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ —Â„ÂÈ ÀÓÁÌˈ‡
Scriptwriter and Director Sergei Loznitsa
«‚ÛÍ ¬Î‡‰ËÏË √ÓÎÓ‚ÌˈÍËÈ
Sound Vladimir Golovnitsky
ÃÓÌÚ‡Ê —Â„ÂÈ ÀÓÁÌˈ‡
Editing Sergei Loznitsa
œÓ‰˛ÒÂ˚ ’ÂÈÌÓ ƒÂÍÍÂÚ, —‚ÂÚ·̇ «ËÌÓ‚¸Â‚‡,
Producers Heino Deckertt, Svetlana Zinovieva,
¬ˇ˜ÂÒ·‚ “ÂθÌÓ‚
Viacheslav Telnov
œÓËÁ‚Ó‰ÒÚ‚Ó Ma.Ja.De filmproduktion (√ÂχÌˡ),
Production Ma.Ja.De. (Germany), SDF (SPb),
—ƒ‘ (—œ·), Inspiration Films (”Í‡Ë̇)
Inspiration Films (Ukraine)
œÓÍ‡Ú Deckert Distribution
Distribution Deckert Distribution
www.cinedoc.ru
www.cinedoc.ru
www.loznitsa.com
www.loznitsa.com
ÎÂÚÌˇˇ ˝ÈÙÓˡ
summer euphoria
—Â„ÂÈ ÀÓÁÌˈ‡
üËÌÓÂÊËÒÒÂ. À‡ÛÂ‡Ú ÔÂÏËË ´À‡‚ª,
ÔÂÏËË ÍËÌӇ͇‰ÂÏËË ´ÕË͇ª, ÏÌÓÊÂÒÚ‚‡
‰Û„Ëı ÔÓÙÂÒÒËÓ̇θÌ˚ı ÔÂÏËÈ, ÔËÁÂ
ÏÂʉÛ̇Ó‰Ì˚ı ÍËÌÓÙÂÒÚË‚‡ÎÂÈ. –Ó‰ËÎÒˇ 5
ÒÂÌÚˇ·ˇ 1964 „Ó‰‡ ‚ „ÓӉ ¡‡‡Ìӂ˘Ë
(¡ÂÎÓÛÒÒˡ). ¬ 1987 ÓÍÓ̘ËÎ üË‚ÒÍËÈ
ÔÓÎËÚÂıÌ˘ÂÒÍËÈ ËÌÒÚËÚÛÚ. ¬ 1987ñ91
‡·ÓڇΠ̇ۘÌ˚Ï ÒÓÚÛ‰ÌËÍÓÏ ‚ »ÌÒÚËÚÛÚÂ
ÍË·ÂÌÂÚËÍË, Á‡ÌËχÎÒˇ ‡Á‡·ÓÚÍÓÈ
˝ÍÒÔÂÚÌ˚ı ÒËÒÚÂÏ, ÒËÒÚÂÏ ÔËÌˇÚˡ
¯ÂÌËÈ Ë ÔÓ·ÎÂχÏË ËÒÍÛÒÒÚ‚ÂÌÌÓ„Ó
ËÌÚÂÎÎÂÍÚ‡. œ‡‡ÎÎÂθÌÓ ‡·ÓÚ‡Î
ÔÂ‚Ӊ˜ËÍÓÏ Ò ˇÔÓÌÒÍÓ„Ó ˇÁ˚͇. «‡ÚÂÏ
ÓÍÓ̘ËÎ ÓÚ‰ÂÎÂÌË ÂÊËÒÒÛ˚ Ë„Ó‚Ó„Ó
ÍËÌÓ ¬√»ü‡ (1997, χÒÚÂÒ͇ˇ Õ‡Ì˚
ƒÊÓ‰Ê‡‰ÁÂ), ·˚Î ÒÚËÔẨˇÚÓÏ ÕËÔÍÓ‚
ÔÓ„‡ÏÏ ‚ ¡ÂÎËÌÂ. — 2000 ñ ÂÊËÒÒÂ
—‡ÌÍÚ-œÂÚÂ·Û„ÒÍÓÈ ÒÚÛ‰ËË
‰ÓÍÛÏÂÌڇθÌ˚ı ÙËθÏÓ‚ (—œ—ƒ‘). ¬ 2001
˝ÏË„ËÓ‚‡Î ‚ÏÂÒÚÂ Ò ÒÂϸÂÈ ‚ √ÂχÌ˲,
˜ÚÓ Ì Ï¯‡ÂÚ ÂÏÛ ‡·ÓÚ‡Ú¸ ‚ –ÓÒÒËË.
73
‘ËθÏÓ„‡Ùˡ (ÌÂË„Ó‚Ó ÍËÌÓ):
1996 .... —Â„Ó‰Ìˇ Ï˚ ÔÓÒÚÓËÏ ‰ÓÏ
1997 .... ΔËÁ̸, ÓÒÂ̸
2000 .... œÓÎÛÒÚ‡ÌÓÍ
2001 .... œÓÒÂÎÂÌËÂ
2002 .... œÓÚÂÚ
2003 .... œÂÈÁ‡Ê
2004 .... ‘‡·Ë͇
2005 .... ¡ÎÓ͇‰‡
2006 .... ¿ÚÂθ
2008 .... œ‰ÒÚ‡‚ÎÂÌËÂ
Sergei Loznitsa
Film director. Winner of the ìLaurelsî
Award, the prize of the Film Academy NIKA,
and a set of other professional awards; prizewinner of international film festivals. Born
on 5 September 1964 in Baranovichi
(Belarus). In 1987 graduated from the Kiev
Polytechnic Institute. From 1987-91 worked
as scientist in the Institute of Cybernetics,
engaged in the development of systems of
expertise, decision-making and artificial
intellect. Simultaneously worked as translator
from Japanese. Then graduated from the
section of fiction film of the Film Institute
VGIK (1997, workshop of Nana
Dzhordzhadze), received a grant by the
Nipkow Programme in Berlin. Since 2000
director at the St. Petersburg Studio of
Documentary Films (SPSDF). In 2001
emigrated with his family to Germany, which
does not prevent him from working in
Russia.
›ÍÒÔÂËÏÂÌڇθÌ˚È ÏÓÌÚ‡ÊÌ˚È ÙËθÏ, ÒÌˇÚ˚È Ì‡ ÓÒÌÓ‚Â ÒÓ‚ÂÚÒÍËı
ÔÓÔ‡„‡Ì‰ËÒÚÒÍËı ÍËÌÓÓÎËÍÓ‚. ¬ ͇˜ÂÒÚ‚Â ËÒıÓ‰ÌÓ„Ó Ï‡ÚÂˇ· ‡‚ÚÓ ·ÂÂÚ
‚˚ÔÛÒÍË ÍËÌÓÊÛ̇ÎÓ‚ ´Õ‡¯ Í‡Èª Ë ´¬ÂÏˇ, ‚ÔÂ‰ª, ÒÌˇÚ˚ ̇
ÀÂÌËÌ„‡‰ÒÍÓÈ ÒÚÛ‰ËË ‰ÓÍÛÏÂÌڇθÌ˚ı ÙËθÏÓ‚ ‚ 1950ñ60-ı, Ë ÏÓÌÚËÛÂÚ
̇˷ÓΠ‚˚‡ÁËÚÂθÌ˚ Ù‡„ÏÂÌÚ˚. ŒÔÂ‡ˆËˇ ÔÓ‚Ó‰ËÚÒˇ Ó˜Â̸ ÚÓÌÍÓ, ÌÂ
ÓÒÚ‡ÂÚÒˇ ıËÛ„˘ÂÒÍËı ¯‚Ó‚, ÌÂÚ Ì‡ÒËÎˡ ̇‰ χÚÂˇÎÓÏ, ÌË͇ÍÓ„Ó
ÍÓÏÏÂÌÚ‡ˡ. ›ÚÓ ËÏÂÂÚ Ï‡ÎÓ Ó·˘Â„Ó Ò ÒÓˆ-‡ÚÓÏ Ë ÔÓÒÚÏÓ‰ÂÌËÁÏÓÏ. ÕÓ
ÚÂÏ ÓÚ˜ÂÚÎ˂ ÔÓÒÚÛÔ‡ÂÚ ÒÂ„Ó‰Ìˇ¯ÌËÈ ÍÓÌÚÂÍÒÚ. Ã˚ ÒÏÓÚËÏ ÒÚ‡Û˛
ÔÓÔ‡„‡Ì‰ËÒÚÒÍÛ˛ ıÓÌËÍÛ ÒÓ‚ÒÂÏ ‰Û„ËÏË „·Á‡ÏË, ˜ÂÏ ÒÏÓÚÂÎË Â Ë
ÒÚÓÓÌÌËÍË, Ë ÔÓÚË‚ÌËÍË ÒÓ‚ÂÚÒÍÓ„Ó ÂÊËχ.
ÃËÓ‚‡ˇ ÔÂϸÂ‡: 28.01.2008 ñ Ãü‘ ‚ –ÓÚÚÂ‰‡ÏÂ.
Experimental montage film, made on the basis of Soviet propaganda reels. As
starting point the author takes releases of the newsreel ìOur Regionî of the
1950s and 1960s that were made at the Leningrad studio of documentary
films; he isolates and singles out the most expressive fragments. This process
is carried out with great sensitivity, without leaving any traces of surgical
intrusion, without doing any violence to the material, and without offering any
Filmography (non-fiction films):
1996 .... Today we Build a House
1997 .... Life, Autumn
2000 .... The Halt
2001 .... The Settlement
2002 .... Portrait
2003 .... Landscape
2004 .... Factory
2005 .... The Blockade
2006 .... The Artel
2008 .... The Revue
comment. This has little in common with sots-art and postmodernism. But the
contemporary context is distinct and apparent. We are looking at an old
propaganda chronicle with completely different eyes than the supporters and
opponents of the Soviet regime.
World premiere: 28 January 2008 ñ IFF Rotterdam.
ÎÂÚÌˇˇ ˝ÈÙÓˡ
summer euphoria
—≈«ŒÕ “”ÿՌ¬
THE SEASON OF MISTS
74
2008, –ÓÒÒˡ/¬ÂÎËÍÓ·ËÚ‡Ìˡ, 98 ÏËÌ., ˆ‚., 1:1.85,
2008, Russia/UK, 98 min, col., 1:1.85, Dolby Digital 5.1
Dolby Digital 5.1
¿‚ÚÓ˚ ÒˆÂ̇ˡ ¿Ì̇ ◊Â̇ÍÓ‚‡, ≈‚„ÂÌˡ “Ë‰‡ÚÓ‚‡
Scriptwriters Anna Tchernakova, Evgenia Tirdatova
–ÂÊËÒÒÂ ¿Ì̇ ◊Â̇ÍÓ‚‡
Director Anna Tchernakova
ŒÔÂ‡ÚÓ ƒÏËÚËÈ ≈χÍÓ‚
Director of Photography Dmitri Ermakov
üÓÏÔÓÁËÚÓ √˝‚ËÌ ¡‡È‡Ò
Composer Gavin Bryars
«‚ÛÍ —Â„ÂÈ Œ‚˜‡ÂÌÍÓ, –˝È ’ËÎÎ
Sound Sergei Ovcharenko, Ray Hill
ÃÓÌÚ‡Ê Ã‡‡Ú Ç„‡Ï·ÂÚÓ‚
Editing Marat Magambetov
¬ ÓΡı: ÇË̇ ¡Î˝ÈÍ, —Â„ÂÈ ◊ÓÌ˯‚ËÎË,
Cast: Marina Blake, Sergei Chonishvili, Ifan Huw Dafydd,
»Ù‡Ì ’¸˛ ƒ‡Ùˉ‰, ƒ‡‰ÎË —‡ÚÚÓÌ, À‡ËÒ‡ œ‡Ì˜ÂÌÍÓ
Dudley Sutton, Larissa Panchenko
√ÂÌÂ‡Î¸Ì˚È ÔÓ‰˛ÒÂ ≈‚„ÂÌˡ “Ë‰‡ÚÓ‚‡
General Producer Evgenia Tirdatova
œÓËÁ‚Ó‰ÒÚ‚Ó ´üËÌӄ·Áª ÔË Û˜‡ÒÚËË McCartney Media,
Production Kinoglaz (Russia) with the participation of
Zaleski Enterprises (¬ÂÎËÍÓ·ËÚ‡Ìˡ)
McCartney Media and Zaleski Enterprises Ltd. (UK)
‘Ë̇ÒÓ‚‡ˇ ÔÓ‰‰ÂÊ͇ ‘‰Â‡Î¸ÌÓ ‡„ÂÌÚÒÚ‚Ó ÔÓ ÍÛθÚÛÂ
Ë ÍËÌÂχÚÓ„‡ÙËË
www.theseasonofmists.com
www.theseasonofmists.com
ÎÂÚÌˇˇ ˝ÈÙÓˡ
summer euphoria
¿Ì̇ ◊Â̇ÍÓ‚‡
–ÂÊËÒÒÂ Ë„Ó‚Ó„Ó Ë ‰ÓÍÛÏÂÌڇθÌÓ„Ó ÍËÌÓ.
–Ӊ˷Ҹ ‚ ÀÂÌËÌ„‡‰Â. ŒÍÓ̘Ë·
ÂÊËÒÒÂÒÍÓ ÓÚ‰ÂÎÂÌË ¬√»ü‡ (1993,
χÒÚÂÒ͇ˇ Ã.Ã. ’ۈ˂‡). ◊ÎÂÌ √Ëθ‰ËË
ÂÊËÒÒÂÓ‚ –ÓÒÒËË Ë √Ëθ‰ËË ÂÊËÒÒÂÓ‚
¬ÂÎËÍÓ·ËÚ‡ÌËË. — 1994 „Ó‰‡ ‡·Óڇ· ͇Í
ÒˆÂ̇ËÒÚ, ÂÊËÒÒÂ Ë ÔÓ‰˛ÒÂ ‚
¬ÂÎËÍÓ·ËÚ‡ÌËË Ë ü‡Ì‡‰Â. –ÂÊËÒÒÂÒÍËÈ
75
‰Â·˛Ú ‚ Ë„Ó‚ÓÏ ÍËÌÓ ñ ´¬Ë¯Ì‚˚È Ò‡‰ª
(„‡Ì-ÔË ÙÂÒÚË‚‡Îˇ ´ÀËÒÚÓÔ‡‰ª ‚ ÃËÌÒÍÂ).
≈ ÙËθÏ˚ Û˜‡ÒÚ‚Ó‚‡ÎË ‚Ó ÏÌÓ„Ëı
ÏÂʉÛ̇Ó‰Ì˚ı ÍËÌÓÙÂÒÚË‚‡Îˇı, ‚Íβ˜‡ˇ
“ÓÍËÓ Ë ÃÓÌ‡θ. ¬ ̇ÒÚÓˇ˘Â ‚ÂÏˇ
‡·ÓÚ‡ÂÚ Ì‡‰ ÔÓÎÌÓÏÂÚ‡ÊÌÓÈ Ë„Ó‚ÓÈ
͇ÚËÌÓÈ ´“ÂÎÂÏÂÚˡª (–ÓÒÒˡ/ ü‡Ì‡‰‡).
»Á·‡Ì̇ˇ ÙËθÏÓ„‡Ùˡ:
1992 ....œÓÒÎÂÒÎÓ‚ËÂ Í ´¡ÂÒÍÓ̘ÌÓÒÚ˪
(‰ÓÍ., “¬)
1993 ....¬Ë¯Ì‚˚È Ò‡‰
2000 ....œÓÒΉÌ ÎÂÚÓ (ü‡Ì‡‰‡, “¬)
2001 ....√ËÏÌ Ú˚Òˇ˜ÂÎÂÚ˲
(¬ÂÎËÍÓ·ËÚ‡Ìˡ, ‰ÓÍ., “¬)
2002 ....ÃÓÂ Ë Á‚ÂÁ‰˚ (ü‡Ì‡‰‡, ‡ÌËχˆËˇ)
2003 ....Õ‡‰ÔËÒË Ì‡ ‚Ó‰Â
(¬ÂÎËÍÓ·ËÚ‡Ìˡ/ »Ú‡Îˡ, ‰ÓÍ., “¬)
2006 ....ƒÛ˝Ú
(¬ÂÎËÍÓ·ËÚ‡Ìˡ/ ü‡Ì‡‰‡, ‰ÓÍ., “¬)
2007 ....´Ã»–ª Ë ‰Û„Ë ÍÓÒÏ˘ÂÒÍË ËÒÚÓËË
(¬ÂÎËÍÓ·ËÚ‡Ìˡ, ‰ÓÍ.)
2008 ....—ÂÁÓÌ ÚÛχÌÓ‚
Anna Tchernakova
ÃÂÎÓ‰‡Ï‡.
Director of fiction and documentary films.
ÕÂÒÍÓθÍÓ ÎÂÚ Ì‡Á‡‰ ÇË̇ ÛÂı‡Î‡ Ò ÔˇÚËÎÂÚÌÂÈ ‰Ó˜Â¸˛ ËÁ ÃÓÒÍ‚˚ ‚
Born in Leningrad. Graduated from the
¿Ì„Î˲, „‰Â ‚˚¯Î‡ Á‡ÏÛÊ Á‡ √„ÓË, ‚·‰Âθˆ‡ „‡‡Ê‡, Ë ÔÓÒÂÎË·Ҹ Ò
faculty of directing of the Film Institute
ÌËÏ ‚ χÎÂ̸ÍÓÈ ‰Â‚ÌÂ. ≈ ÔËÒ‡ÚÂθÒ͇ˇ ͇¸Â‡ Ó·Ó‚‡Î‡Ò¸, Ì ÛÒÔ‚
VGIK (1993, workshop of M. Khutsiev).
̇˜‡Ú¸Òˇ, Ë ÚÂÔÂ¸ Ó̇ ‡·ÓÚ‡ÂÚ ‚ ÏÂÒÚÌÓÈ Ô‡ËÍχıÂÒÍÓÈ. œË ‚ÒÂÏ Ò‚ÓÂÏ
Member of Russian Guild of Directors and of
ÒÚ‡‡ÌËË √„ÓË Ì ÏÓÊÂÚ Ò‰Â·ڸ Ò˜‡ÒÚÎË‚ÓÈ ÊÂÌ˘ËÌÛ, ÍÓÚÓÛ˛ β·ËÚ. ”
the Guild of Directors of Great Britain. Since
¿ÎÂÍ҇̉‡ ñ ‚ÚÓÓÈ ÒÍËÔÍË ‚ Í‚‡ÚÂÚÂ Ë ´‚ÚÓÓÈ ÒÍËÔÍ˪ ÔÓ ÊËÁÌË ñ
1994 worked as a scriptwriter, director and
ÚÓÊ ‚Ò ÒÎÓÊËÎÓÒ¸ Ì ڇÍ, Í‡Í ÍÓ„‰‡-ÚÓ Ï˜ڇÎÓÒ¸. Œ‰Ì‡Ê‰˚ ÓÔÓÁ‰‡‚ ̇
producer in Great Britain and Canada. Her
ÔÓÂÁ‰, ÇË̇ Á̇ÍÓÏËÚÒˇ Ò ¿ÎÂÍ҇̉ÓÏ. ÃÂÊ‰Û ÌËÏË ‚ÒÔ˚ıË‚‡ÂÚ Î˛·Ó‚¸.
directorial debut in fiction film was ìThe
¿ ‰‡Î¸¯Â ‚Ò ÌÂÒÂÚÒˇ ‚ ÒÛχү‰¯ÂÏ ‚Ëı ñ ‚ ÒÚ‡ÒÚÌÓÏ Ê·ÌËË Ì‡ÈÚË
Cherry Orchardî(Grand Prix of the festival
ËÒÚËÌÌÛ˛, Ò‚Ó˛ ÊËÁ̸ Ë Ó·ÂÒÚË Ò·ˇ.
Listopad in Minsk). Her films have
participated in many international film
Melodrama.
festivals, including Tokyo and Montreal.
Marina lives in a small village in England. A few years ago she left Moscow
Currently she is working on a full-length
with her five-year-old daughter and married Gregory, a garage owner in the
fiction film ìTelemetryî (Russia/Canada).
village. A writer in her previous life, she now works at the local hairdressers.
Gregory loves her, but Marina doesnít feel happy and satisfied with her life ñ
Select Directorís Filmography:
1992 ....Postscriptum to ìInfinitasî (doc., TV)
1993 ....The Cherry Orchard
2000 ....Last Summer (Canada, TV)
2001 ....Millennium Hymn (UK, doc., TV)
2002 ....Sea and Stars (Canada, animation)
2003 ....Writings on Water (UK/Italy, doc., TV
2006 ....Duo (UK/Canada, doc., TV)
2007 ....ìMIRî and other Space Stories
(UK, doc., TV)
2008 ....Season of Mists
and canít really explain why. A chance encounter with a touring baroque
quartet from Moscow throws her out of her daily routines, and unexpected love
opens up all the questions, which Marina has been hiding deep insideÖ
ÎÂÚÌˇˇ ˝ÈÙÓˡ
summer euphoria
—œ»—Œü üŒ–¿¡À≈…
THE LIST OF SHIPS
76
2008, –ÓÒÒˡ, 52 ÏËÌ., ˆ‚.,
2008, Russia, 52 min, col.
¿‚ÚÓ ÚÂÍÒÚ‡ ¿͇‰ËÈ »ÔÔÓÎËÚÓ‚
Text Arkadi Ippolitov
¿‚ÚÓ ˉÂË À˛·Ó‚¸ ¿ÍÛÒ
Author of Idea Liubov Arkus
–ÂÊËÒÒÂ ¿ÎÂÍÒÂÈ √ÛÒ‚
Director Alexei Gusev
ŒÔÂ‡ÚÓ œ‡‚ÂÎ üÓÒÚÓχÓ‚
Director of Photography Pavel Kostomarov
üÓÏÔÓÁËÚÓ ÀÂÓÌˉ ƒÂÒˇÚÌËÍÓ‚
Composer Leonid Desiatnikov
«‚ÛÍ ¬Î‡‰ËÏË œÂÒÓ‚
Sound Vladimir Persov
œÓ‰˛ÒÂ À˛·Ó‚¸ ¿ÍÛÒ
Producer Liubov Arkus
œÓËÁ‚Ó‰ÒÚ‚Ó Ã‡ÒÚÂÒ͇ˇ ї‡ÌÒì
Production Workshop Studio ìSeanceî
www.seance.ru
www.seance.ru
ÎÂÚÌˇˇ ˝ÈÙÓˡ
summer euphoria
¿ÎÂÍÒÂÈ √ÛÒ‚
–Ó‰ËÎÒˇ ‚ ÀÂÌËÌ„‡‰Â ‚ 1977 „Ó‰Û. ”˜ËÎÒˇ
̇ ÏÂı‡ÌËÍÓ-χÚÂχÚ˘ÂÒÍÓÏ Ù‡ÍÛθÚÂÚÂ
—œ·√” (1993ñ96), ÓÍÓ̘ËÎ ÒˆÂ̇ÌÓÍËÌӂ‰˜ÂÒÍËÈ Ù‡ÍÛθÚÂÚ ¬√»ü‡ (2006,
χÒÚÂÒ͇ˇ ¿. «ÓÎÓÚÛıËÌÓÈ Ë ¬. ”ÚËÎÓ‚‡;
ÔÂÏˡ ÊÛ̇· ´üËÌӂ‰˜ÂÒÍË Á‡ÔËÒÍ˪
Á‡ ÎÛ˜¯Û˛ ‰ËÔÎÓÏÌÛ˛ ‡·ÓÚÛ). — 1997 ó
ÂÊËÒÒÂ Ú‡Ú‡ ´—‡ÚÛÕª (—œ·), Û˜‡ÒÚÌËÍ
77
ÏÂʉÛ̇Ó‰Ì˚ı Ú‡Ú‡Î¸Ì˚ı ÙÂÒÚË‚‡ÎÂÈ.
œÛ·ÎËÍÛÂÚÒˇ Ò 1997 „Ó‰‡ (‡Î¸Ï‡Ì‡ıË
´¿ÔÓÎӄˡ ڇ̈‡ª, ´—iÌÂχÚÓ„‡Ù˙ª,
´¬Â˘¸.docª, „‡ÁÂÚ˚ ´’ÓÌË͇ª Ë ‰.).
–ÛÍÓ‚Ó‰ËÚÂθ ‡Á‰Â· ´ÃËÓ‚Ó ÍËÌÓª
ËÁ‰‡Ìˡ ´ÕÓ‚Âȯ‡ˇ ËÒÚÓˡ ÓÚ˜ÂÒÚ‚ÂÌÌÓ„Ó
ÍËÌÓ. 1986ñ2000ª. ◊ÎÂÌ ‰ÍÓÎ΄ËË
ËÁ‰‡ÚÂθÒÚ‚‡ ´—‡ÌÒª. À‡ÛÂ‡Ú œÂÏËË ËÏ.
Ã. À‚ËÚË̇, √Ëθ‰Ëˇ ÍËÌӂ‰ӂ Ë
ÍËÌÓÍËÚËÍÓ‚ –ÓÒÒËË, 2006.
Alexei Gusev
Born in Leningrad in 1977. Studied at the
Mechanical Mathematics Faculty of St.
Petersburg State University (1993-96);
graduated from the script and research
faculty of the Film Institute VGIK (2006,
workshop of A. Zolotukhina and V. Utilova;
prize of the journal ìKinovedcheskie zapiskiî
for the best diploma work). Since 1997
director at the theatre ìSaturNî (St
Petersburg), participant of international
Õ‡ Û·ÂÊ XV Ë XVI ‚ÂÍÓ‚ ‚ ËÒÚÓËË ˜ÂÎӂ˜ÂÒÚ‚‡ ÔÓËÒıÓ‰ËÚ ÔÂ‚ÓÓÚ:
theatre festivals. Publishes since 1997
‚ 1492 „Ó‰Û üÓÎÛÏ· ̇ Ò‚ÓËı ͇‡‚Âηı ‰ÓÔÎ˚‚‡ÂÚ ‰Ó ¿ÏÂËÍË.
(almanacs ìApologia of Danceî,
Õ‡˜Ë̇ÂÚÒˇ ˝ÔÓı‡, ÍÓÚÓÛ˛ ÔÓÁÊ ̇ÁÓ‚ÛÚ ÕÓ‚˚Ï ‚ÂÏÂÌÂÏ. ÃË ·˚Î
ìCinematographî, ìVeshch.docî, and the
ÛÒÚÓȘ˂, ÓÌ ÒÚӡΠÌ ÚÓ Ì‡ ÒÎÓ̇ı, Ì ÚÓ Ì‡ ˜ÂÂÔ‡ı‡ı, Ë ÚÓθÍÓ Ò‡Ï˚Â
newspaper ìChronicleî, etc.). Head of the
ÓÚ˜‡ˇÌÌ˚ ËÌÚÂÎÎÂÍÚÛ‡Î˚ ÔÓ‰‚Â„‡ÎË ˝ÚÓ ÒÓÏÌÂÌ˲. ŒÌ ·˚Î ·ÓÎÂÂ-ÏÂÌÂÂ
section ìWorld Cinemaî of the ìNew History
ËÁ‚ÂÒÚÂÌ, ËÁÛ˜ÂÌÖ » ‚‰Û„ Ó͇Á‡ÎÓÒ¸, ˜ÚÓ ‚ ÌÂÏ ÂÒÚ¸ ÌÓ‚‡ˇ ˜‡ÒÚ¸ Ò‚ÂÚ‡. ◊ÚÓ
of Russian Cinema: 1986-2000î. Associate
ÒÛ˘ÂÒÚ‚Û˛Ú Ó„ÓÏÌ˚ ÁÂÏÎË, ̇ÒÂÎÂÌÌ˚ ÒÓ‚Â¯ÂÌÌÓ ÌÂËÁ‚ÂÒÚÌ˚ÏË
editor of the publishing house Seance.
̇Ó‰‡ÏË, ÌÂÍËÏË ‡ÌÚËÔÓ‰‡ÏË, ÍÓÚÓ˚ ıÓ‰ˇÚ ÔÓ‰ ̇ÏË ‚ÌËÁ „ÓÎÓ‚‡ÏË.
Winner of the Levitin Award, Guild of Film
ŒÚÔ‡‚ÌÓÈ ÚÓ˜ÍÓÈ ‰Îˇ ÒÓÁ‰‡Ìˡ ÙËθχ ÔÓÒÎÛÊË· ÎÂÍˆËˇ ¿͇‰Ëˇ
Scholars and Film Critics of Russia, 2006.
»ÔÔÓÎËÚÓ‚‡, ÔÓ˜ËÚ‡Ì̇ˇ ÒÚÛ‰ÂÌÚ‡Ï ”ÌË‚ÂÒËÚÂÚ‡ ÍËÌÓ Ë ÚÂ΂ˉÂÌˡ
(ÓÔÛ·ÎËÍÓ‚‡Ì‡ ̇ Ò‡ÈÚ ËÁ‰‡ÚÂθÒÚ‚‡ ´—‡ÌÒª ñ www.seance.ru).
On the threshold of the 15th and 16th centuries a revolution occurred in the
history of mankind: in 1492 Columbus reached America on his caravels. The
epoch that will later be called New Age has begun. The world had been steady
ñ standing if not on elephants, then on turtles ñ and only the most desperate
intellectuals called this into question. The world was more or less known,
studiedÖ And suddenly it transpired that there were new parts in the world,
huge territories occupied by unknown peoples, some antipodes that walk ëdown
underí, upside down.
A lecture by Arkadi Ippolitov to students of the University of Cinema and
Television (published on the web site of the publishing house Seance at the
URL www.seance.ru) served as a starting point for the creation of this film.
78
www.kinotavr.ru
ÒÔˆˇθÌ˚È ÔÓ͇Á
special screening
ÒÔˆˇθÌ˚È ÔÓ͇Á
special screening
ËÓËÚ‡
RIORITA
˜ÛÊËÂ
STRANGERS
79
ÒÔˆˇθÌ˚È ÔÓ͇Á
special screening
–»Œ–»“¿
RIORITA
80
2008, –ÓÒÒˡ, 98 ÏËÌ., ˆ‚., 1:1.85, Dolby Digital 5.1
2008, Russia, 98 min., col., 1:1.85, Dolby Digital 5.1
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ œÂÚ “Ó‰ÓÓ‚ÒÍËÈ
Scriptwriter and Director Petr Todorovsky
ŒÔÂ‡ÚÓ fiËÈ ÿ‡È„‡‰‡ÌÓ‚
Director of Photography Yuri Shaigardanov
’Û‰ÓÊÌËÍ ¿ÎÂÍ҇̉ ◊ÂÚӂ˘
Production Design Alexander Chertovich
üÓÒÚ˛Ï˚ À˛‰ÏË· ÃËθ˜‡ÌË̇
Costume Design Liudmila Milchanina
üÓÏÔÓÁËÚÓ œÂÚ “Ó‰ÓÓ‚ÒÍËÈ
Composer Petr Todorovsky
«‚ÛÍ ≈‚„ÂÌËÈ œÓÁ‰ÌˇÍÓ‚
Sound Evgeni Pozdniakov
–ÂÊËÒÒÂ ÏÓÌڇʇ Õ‡Ú‡Îˡ ÿÏˉÚ
Editing Natalia Schmidt
¬ ÓΡı: ƒÏËÚËÈ ”θˇÌÓ‚, üÓÌÒÚ‡ÌÚËÌ ¬ÓÓ·¸Â‚,
Cast: Dmitri Ulianov, Konstantin Vorobiev, Alexei Gorbunov,
¿ÎÂÍÒÂÈ √Ó·ÛÌÓ‚, »‚‡Ì üË‚ÓÛ˜ÍÓ, flÍÓ‚ ÿ‡Ï¯ËÌ,
Ivan Krivoruchko, Yakov Shamshin, Anatoli Gushchin
¿Ì‡ÚÓÎËÈ √Û˘ËÌ
Producer Mira Todorovskaya
œÓ‰˛ÒÂ ÃË‡ “Ó‰ÓÓ‚Ò͇ˇ
Production Studio Mirabelle
œÓËÁ‚Ó‰ÒÚ‚Ó ÒÚÛ‰Ëˇ ´ÃË‡·Âθª
ÒÔˆˇθÌ˚È ÔÓ͇Á
special screening
œÂÚ “Ó‰ÓÓ‚ÒÍËÈ
ñ ÂÊËÒÒÂ, ÒˆÂ̇ËÒÚ, ÍÓÏÔÓÁËÚÓ,
ÓÔÂ‡ÚÓ, Ô‰‡„Ó„ ¬ü—–.. Õ‡Ó‰Ì˚È ‡ÚËÒÚ
–ÓÒÒËË, ·ÛÂ‡Ú ÔÓÙÂÒÒËÓ̇θÌ˚ı ÔÂÏËÈ
Ë Ô‡‚ËÚÂθÒÚ‚ÂÌÌ˚ı ̇„‡‰, ÔËÁÂ
ÏÂʉÛ̇Ó‰Ì˚ı Ë ÓÚ˜ÂÒÚ‚ÂÌÌ˚ı
ÍËÌÓÙÂÒÚË‚‡ÎÂÈ. «‡ ÙËθÏ˚ ´¬ÓÂÌÌÓÔÓ΂ÓÈ Óχ̪, ´¿ÌÍÓ, ¢ ‡ÌÍÓ!ª Ë
´ü‡Í‡ˇ ˜Û‰Ì‡ˇ Ë„‡ª Û‰ÓÒÚÓÂÌ
√ÓÒÛ‰‡ÒÚ‚ÂÌÌÓÈ ÔÂÏËË –‘ (1996), Á‡
‚˚‰‡˛˘ËÈÒˇ ‚Í·‰ ‚ ‡Á‚ËÚË ÓÒÒËÈÒÍÓ„Ó
ÍËÌÓ ÔÓÎÛ˜ËÎ —ÔˆˇθÌ˚È ÔËÁ
ÔÂÁˉÂÌÚ‡ –ÓÒÒËË (2000).
81
‘ËθÏÓ„‡Ùˡ ÂÊËÒÒÂ‡:
1962 ....ÕËÍÓ„‰‡ (Ò ¬Î‡‰ËÏËÓÏ ƒ¸ˇ˜ÂÌÍÓ)
1965 ....¬ÂÌÓÒÚ¸
1967 ....‘ÓÍÛÒÌËÍ
1970 ....√ÓÓ‰ÒÍÓÈ ÓχÌÒ
1973 ....—‚Óˇ ÁÂÏΡ (Ú‚)
1975 ....œÓÒÎÂ‰Ìˇˇ ÊÂÚ‚‡
1978 ....¬ ‰Â̸ Ô‡Á‰ÌË͇
1981 ....À˛·Ëχˇ ÊÂÌ˘Ë̇ ÏÂı‡ÌË͇
√‡‚ËÎÓ‚‡
1983 ....¬ÓÂÌÌÓ-ÔÓ΂ÓÈ ÓχÌ
1986 ....œÓ „·‚ÌÓÈ ÛÎËˆÂ Ò ÓÍÂÒÚÓÏ
1989 ....»ÌÚÂ‰Â‚Ә͇
1992 ....¿ÌÍÓ, ¢ ‡ÌÍÓ!
1995 ....ü‡Í‡ˇ ˜Û‰Ì‡ˇ Ë„‡
1998 ....–ÂÚÓ ‚ÚÓÂÏ
2002 ....ΔËÁ̸ Á‡·‡‚‡ÏË ÔÓÎ̇
2003 ....¬ —ÓÁ‚ÂÁ‰ËË ¡˚͇
Petr Todorovsky
Director, scriptwriter, composer, cameraman,
teacher at the Higher Courses for Directors and
Scriptwriters. National Artist of Russia,
winner of professional prizes and government
awards, prize-winner of international and
national film festivals. For the films A Military
Field Romance, Encore, Another Encore! and
What a Wonderful Game he was awarded the
Russian State Prize (1996), and for his
outstanding contribution to the development of
Russian cinema he received the Special Prize of
the President of Russia (2000).
Directorís Filmography
1962 .... Nevermore (with Vladimir
Diachenko)
1965 .... Fidelity
1967 .... The Magician
1970 .... Urban Romance
1973 .... My Own Land (TV)
1975 .... The Last Victim
1978 .... On a Holiday
1981 .... The Mechanic Gavrilovís Beloved
Woman
1983 .... A Military Field Romance
1986 .... Through the Main Street with an
Orchestra
1989 .... Intergirl
1992 .... Encore, Another Encore!
1995 .... What a Wonderful Game
1998 .... Retro a trois
2002 .... Life is Full of Fun
2003 .... In the Sign of Taurus
ƒ‡Ï‡ ‚ÓÂÌÌ˚ı ÎÂÚ, ÔˇÚ˚È ÙËÎ¸Ï œÂÚ‡ “Ó‰ÓÓ‚ÒÍÓ„Ó Ó ˜ÂÎÓ‚ÂÍ ‚
Ó·ÒÚÓˇÚÂθÒÚ‚‡ı ‚ÓÈÌ˚.
üÓ̈ 1944 „Ó‰‡, ¬ÂÎË͇ˇ ŒÚ˜ÂÒÚ‚ÂÌ̇ˇ ‚ÓÈ̇. üÂÒÚ¸ˇÌË̇ œË˜Û„Ó‚‡ Ë
Â„Ó ÚÓËı Ò˚ÌÓ‚ÂÈ ËÁ χÎÂ̸ÍÓ„Ó ·ÂÎÓÛÒÒÍÓ„Ó Ò·, ÓÒ‚Ó·ÓʉÂÌÌÓ„Ó ÓÚ
ÌÂψÍÓÈ ÓÍÍÛÔ‡ˆËË, ÔËÁ˚‚‡˛Ú Í ‚ÓËÌÒÍÓÈ ÒÎÛÊ·Â. ÃÛʘËÌ˚ ‚ÎË‚‡˛ÚÒˇ
‚ ‡ÏÂÈÒÍÓ ÔÓ‰‡Á‰ÂÎÂÌËÂ, ÛÒÔ¯ÌÓ Ì‡ÒÚÛÔ‡˛˘Â ̇ «‡Ô‡‰. ¬ Ó‰ÌÓÏ ‚Á‚Ó‰Â
Ò ÒÂϸÂÈ Ó͇Á˚‚‡ÂÚÒˇ ˇ‰Ó‚ÓÈ ÂÙÂÈÚÓ ¡‡ı‡ÚÓ‚, ·˚‚¯ËÈ Ì‡‰ÁË‡ÚÂθ
·„Âˇ ÔÓÎËÚÁ‡Íβ˜ÂÌÌ˚ı. œÓθÁÛˇÒ¸ ̇˂ÌÓÒÚ¸˛ Ë ÌÂÓ·‡ÁÓ‚‡ÌÌÓÒÚ¸˛
˜ÂÚ˚Âı ÍÂÒÚ¸ˇÌ, ÂÙÂÈÚÓ Á‡Ú‚‡ÂÚ ‰¸ˇ‚ÓθÒÍÛ˛ Ë„ÛÖ
War Drama. Todorovskyís fifth film about man in the circumstance of war.
The end of 1944, the Great Patriotic War. The peasant Pichugov and his three
sons from a small Belarus village that has been liberated from German
occupation are called up for military service. The men are immersed in an
army division that successfully attacks the West. Corporal Barkhatov, a former
supervisor of a camp of political prisoners, fights in the same platoon as the
family. Exploiting the naivety and ignorance of the four peasants, the corporal
conceives an evil gameÖ
ÒÔˆˇθÌ˚È ÔÓ͇Á
special screening
◊”Δ»≈
STRANGERS
82
2008, –ÓÒÒˡ/ —ÿ¿/ ≈„ËÔÂÚ, 106 ÏËÌ., ˆ‚., 1:2.35,
2008, Russia / US/ Egypt, 106 min, col., 1:2.35,
Dolby Digital 5.1
Dolby Digital 5.1
¿‚ÚÓ˚ ÒˆÂ̇ˡ ¿ÎÂÍ҇̉ –ÂÏÌ‚, ¬Î‡‰ËÏË Ã‡Îˇ„ËÌ,
Scriptwriters Alexander Remnev, Vladimir Malyagin,
fiËÈ √˚ÏÓ‚
Yuri Grymov
–ÂÊËÒÒÂ fiËÈ √˚ÏÓ‚
Director Yuri Grymov
ŒÔÂ‡ÚÓ ¿Ì‰ÂÈ ü‡ÚÓÊÂÌÍÓ
Director of Photography Andrei Katorzhenko
’Û‰ÓÊÌËÍË fiËÈ √˚ÏÓ‚, Abbas Saber (≈„ËÔÂÚ)
Production Design Yuri Grymov, Abbas Saber (Egypt)
üÓÒÚ˛Ï˚ Çˡ ƒ‡ÌËÎÓ‚‡
Costume Design Maria Danilova
ÃÛÁ˚͇θÌ˚È ÔÓ‰˛ÒÂ Ë ÍÓÏÔÓÁËÚÓ ¿Ì‰ÂÈ ‘ÂÓÙ‡ÌÓ‚
Musical Producer and Composer Andrei Feofanov
«‚ÛÍ ¬‡‚‡‡ ¡ÂÎÓÛÒ
Sound Varvara Belous
–ÂÊËÒÒÂ ÏÓÌڇʇ »Ë̇ ¡˚˜ÍÓ‚‡
Editing Irina Bychkova
’Û‰ÓÊÌËÍ ÔÓ „ËÏÛ ≈‚„ÂÌˡ ÿ‚Â΂‡
Make-Up Evgenia Sheveleva
¬ ÓΡı: —͇ÎÂÚÚ Ã‡Í¿ÎËÒÚÂ, ÇÍ ›‰‡Ï, ü˝ÚÎËÌ √‡ÚË,
Cast: Scarlett McAlister, Mark Adam, Kathleen Gati,
ÕËÎ —Ú˛‡Ú, ƒÊ˝ÙÙ √˝ÈÒ, ¬ËÍÚÓ ¡˚˜ÍÓ‚,
Neil Stewart, Jeff Grays, Viktor Bychkov, Alexei Poluyan,
¿ÎÂÍÒÂÈ œÓÎÛˇÌ, ƒÂÌËÒ Õ‡„ÂÚ‰ËÌÓ‚, ¿ÎË ¿ıω ¿ÎË
Denis Nagretdinov, Ali Ahmed Ali
√ÂÌÂ‡Î¸Ì˚È ÔÓ‰˛ÒÂ fiËÈ √˚ÏÓ‚
General Producer Yuri Grymov
œÓ‰˛ÒÂ œ‡‚ÂÎ œÓΡÍÓ‚
Producer Pavel Poliakov
œÓËÁ‚Ó‰ÒÚ‚Ó ´“‚Ó˜ÂÒÍÓ ӷ˙‰ËÌÂÌË fi√ª
Production Creative Association YuG
www.grimov.ru
www.grimov.ru
www.chuzhiemovie.ru
www.chuzhiemovie.ru
ÒÔˆˇθÌ˚È ÔÓ͇Á
special screening
fiËÈ √˚ÏÓ‚
ñ ÂÊËÒÒÂ, ÔÓ‰˛ÒÂ, ıÛ‰ÓÊÌËÍÔÓÒÚ‡ÌÓ‚˘ËÍ, ıÛ‰ÓÊÌËÍ-ÙÓÚÓ„‡Ù.
¿Í‡‰ÂÏËÍ ÍËÌÂχÚÓ„‡Ù˘ÂÒÍËı ËÒÍÛÒÒÚ‚,
‡Í‡‰ÂÏËÍ ÂÍ·Ï˚ –¿–¿ (¿ü¿–), ·Û‡Ú
œÂÏËË ÔÂÁˉÂÌÚ‡ –‘, ÔÂÏËË
ÍËÌӇ͇‰ÂÏËË ´ÕË͇ª Ë ‰Û„Ëı
ÔÓÙÂÒÒËÓ̇θÌ˚ı ÔÂÏËÈ ‚ ӷ·ÒÚË ÍËÌÓ Ë
ÂÍ·Ï˚, ÔËÁÂ ÙÂÒÚË‚‡ÎÂÈ. –ÛÍÓ‚Ó‰ËÚÂθ
83
Ú‚Ó˜ÂÒÍÓ„Ó Ó·˙‰ËÌÂÌˡ ´fi√ª.
‘ËθÏÓ„‡Ùˡ:
1996 ....◊ÛÊË ÓÚÍÓ‚ÂÌˡ (Í/Ï)
1998 ....ÃÛ-ÃÛ
2001 ....üÓÎÎÂ͈ËÓÌÂ
2005 ....ü‡ÁÛÒ üÛÍÓˆÍÓ„Ó
2008 ....◊ÛÊËÂ
Yuri Grymov
Director, producer, production designer,
photographer. Member of the Academy of
Film Arts, of the Academy of Advertising
(RARA), winner of the prize of the President
of the Russian Federation, of the prize of the
Film Academy NIKA and other professional
awards in the field of cinema and advertising,
as well as prize-winner of festivals.
Head of the creative association YuG (South).
Directorís Filmography:
1996 .... Somebody Elseís Revelations (short)
1998 .... Ãu-Mu
2001 .... The Collector
2005 .... Kukotskyís Case
2008 .... Strangers
ƒ‡Ï‡.
ƒÂÈÒÚ‚Ë ÔÓËÒıÓ‰ËÚ ‚ ̇¯Ë ‰ÌË ‚ ÁÓÌ ‚ÌÛÚË̇ˆËÓ̇θÌÓ„Ó ÍÓÌÙÎËÍÚ‡.
œˇÚ¸ ‚‡˜ÂÈ, Ô‰ÒÚ‡‚Ρ˛˘Ëı ·Î‡„ÓÚ‚ÓËÚÂθÌÛ˛ Ó„‡ÌËÁ‡ˆË˛ —ÿ¿,
̇Ô‡‚ÎÂÌ˚ Ò ·Î‡„ÓÓ‰ÌÓÈ ÏËÒÒËÂÈ ñ ÔÓ‚ÂÒÚË Ó·ÒΉӂ‡ÌËÂ Ë ‚‡ÍˆË̇ˆË˛
‰ÂÚÂÈ. ÀˉÂ „ÛÔÔ˚ Ë Â„Ó ÍÓÎÎÂ„Ë Ô‰ÒÚ‡˛Ú ÔÂ‰ ÁËÚÂÎÂÏ ÒÔÎÓ˜ÂÌÌÓÈ
ÍÓχ̉ÓÈ ‚ ÎÛ˜¯Ëı ‡ÏÂË͇ÌÒÍËı Ú‡‰ËˆËˇı. Œ‰Ì‡ÍÓ ÒÛ‰¸·‡ Û„ÓÚÓ‚Ë· ‰Îˇ
‚‡˜ÂÈ Ú‡ÍË ËÒÔ˚Ú‡Ìˡ, ‚ ÂÁÛθڇÚ ÍÓÚÓ˚ı ËÏ ÔˉÂÚÒˇ ËÒÍÓ‚‡Ú¸ ÌÂ
ÚÓθÍÓ Ò‚ÓÂÈ Í‡¸ÂÓÈÖ
œÂϸÂ‡ ÙËθχ ÒÓÒÚÓËÚÒˇ ÓÒÂ̸˛ 2008 „Ó‰‡.
«Ó̇ ÔÓ͇ڇ: –ÓÒÒˡ, ÒÚ‡Ì˚ —Õ√, —ÿ¿, ü‡Ì‡‰‡, ¿ÙË͇.
Drama.
The action takes place in a region of internal, national conflict in our days.
Five doctors who represent a US-based charity are dispatched on a noble
mission: to check out and vaccinate children. The group leader and his
colleagues form a rallied team in the best American tradition. However,
destiny holds such tests in store for the doctors that in the end they have to
risk not only their careersÖ
Premiere to be held in the autumn of 2008.
Distribution: Russia, CIS, USA, Canada, Africa.
84
www.kinotavr.ru
12
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
12 (TWELVE)
‡ÌÚËÒÂÍÒ
ANTISEX
‡ÒÒ‡
ASSA
·ÓÈ Ò ÚÂ̸˛ 2: ‚‡Ì¯
SHADOW BOXING 2: REVENGE
„ÓÒÔÓ‰‡ ÓÙˈÂ˚. ÒÔ‡ÒÚË ËÏÔÂ‡ÚÓ‡
GENTLEMEN OFFICERS. SAVE THE EMPEROR
‰Â̸ ‡‰ËÓ
DAY OF RADIO
ÁÂÎÂÌ˚È Ú‡Ú ‚ ÁÂÏÙËÂ
GREEN THEATRE IN ZEMFIRA
Ë„‡
THE GAME
Ëθˇ ÏÛÓψ Ë ÒÓÎÓ‚ÂÈ ‡Á·ÓÈÌËÍ
ILYA MUROMETS AND NIGHTINGALE-ROBBER
Ë̉˄Ó
INDIGO
ËÒ˜ÂÁÌÛ‚¯‡ˇ ËÏÔÂˡ
THE VANISHED EMPIRE
ÏÓÌ„ÓÎ
MONGOL
ÏÛı‡
MUKHA (THE FLY)
Ï˚ ËÁ ·Û‰Û˘Â„Ó
WE ARE FROM THE FUTURE
ÓÁ˚„˚¯
THE JOKE
҇ȉ-ÒÚÂÔ
SIDE STEP
ıÓÎÓ‰ÌÓ ÒÓÎ̈Â
THE COLD SUN
85
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
12
12 (Twelve)
86
2007, –ÓÒÒˡ, 153 ÏËÌ., ˆ‚., 1:1.85, Dolby Digital
2007, Russia, 153 min., col., 1:1.85, Dolby Digital
¿‚ÚÓ˚ ÒˆÂ̇ˡ ¿ÎÂÍ҇̉ ÕÓ‚ÓÚÓˆÍËÈ-¬Î‡ÒÓ‚,
Scriptwriters Alexander Novototsky-Vlasov,
¬Î‡‰ËÏË ÃÓËÒÂÂÌÍÓ, ÕËÍËÚ‡ ÃËı‡ÎÍÓ‚
Vladimir Moiseenko, Nikita Mikhalkov
–ÂÊËÒÒÂ ÕËÍËÚ‡ ÃËı‡ÎÍÓ‚
Director Nikita Mikhalkov
ŒÔÂ‡ÚÓ ¬Î‡‰ËÒ·‚ ŒÔÂθˇÌˆ
Director of Photography Vladislav Opelyants
’Û‰ÓÊÌËÍ ¬ËÍÚÓ œÂÚÓ‚
Production Design Viktor Petrov
üÓÏÔÓÁËÚÓ ›‰Û‡‰ ¿ÚÂϸ‚
Composer Eduard Artemiev
«‚ÛÍ ¿Ì‰ –Ë„Ó
Sound Andr? Rigaut
¬ ÓΡı: ÕËÍËÚ‡ ÃËı‡ÎÍÓ‚, —Â„ÂÈ Ã‡ÍӂˆÍËÈ,
Cast: Nikita Mikhalkov, Sergei Makovetsky, Sergei Garmash,
—Â„ÂÈ √‡χ¯, ¿ÎÂÍÒÂÈ œÂÚÂÌÍÓ, ¬‡ÎÂÌÚËÌ √‡ÙÚ,
Alexei Petrenko, Valentin Gaft, Yuri Stoyanov,
fiËÈ —ÚÓˇÌÓ‚, ÃËı‡ËÎ ≈ÙÂÏÓ‚, —Â„ÂÈ √‡Á‡Ó‚,
Mikhail Efremov, Sergei Gazarov, Alexander Adabashian,
¿ÎÂÍ҇̉ ¿‰‡·‡¯¸ˇÌ, ¬ËÍÚÓ ¬ÂʷˈÍËÈ,
Viktor Verzhbitsky, Alexei Gorbunov, Roman Madianov,
¿ÎÂÍÒÂÈ √Ó·ÛÌÓ‚, –ÓÏ‡Ì Ã‡‰ˇÌÓ‚, ¿·ÚË Ã‡„‡Ï‡Â‚,
Abti Magamaev, Sergei Artsybashev, Viktoria Tolstoganova,
—Â„ÂÈ ¿ˆ˚·‡¯Â‚, ¬ËÍÚÓˡ “ÓÎÒÚÓ„‡ÌÓ‚‡, »„Ó¸ ¬ÂÌËÍ
Igor Vernik
œÓ‰˛ÒÂ˚ ÕËÍËÚ‡ ÃËı‡ÎÍÓ‚, ÀÂÓÌˉ ¬Â¢‡„ËÌ
Producers Nikita Mikhalkov, Leonid Vereshchagin
œÓËÁ‚Ó‰ÒÚ‚Ó ´“Ë“˝ª, ÔË Û˜‡ÒÚËË ‘‰Â‡Î¸ÌÓ„Ó
Production TriTe, with participation of the Federal Agency of
‡„ÂÌÚÒÚ‚‡ ÔÓ ÍÛθÚÛÂ Ë ÍËÌÂχÚÓ„‡ÙËË
Culture and Cinematography
œÓÍ‡Ú ´ü‡ÓœÓ͇ڪ
Distribution Karo
www.trite.ru
www.trite.ru
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
ÕËÍËÚ‡ ÃËı‡ÎÍÓ‚
ñ ÂÊËÒÒÂ, ‡ÍÚÂ, ÔÓ‰˛ÒÂ, ÒˆÂ̇ËÒÚ ñ
Õ‡Ó‰Ì˚È ‡ÚËÒÚ –ÓÒÒËË, ü‡‚‡ÎÂ Œ‰Â̇
ÎËÚÂ‡ÚÛ˚ Ë ËÒÍÛÒÒÚ‚ ‘‡ÌˆËË, üÓχ̉Ó
œÓ˜ÂÚÌÓ„Ó Î„ËÓ̇ ´«‡ ‚Í·‰ ‚ ÏËÓ‚Û˛
ÍÛθÚÛÛª (‘‡ÌˆËˇ), ·Û‡Ú
√ÓÒÛ‰‡ÒÚ‚ÂÌÌ˚ı ÔÂÏËÈ –‘, ·Û‡Ú
œÂÏËË ËÏÂÌË ¬ËÚÚÓËÓ ƒÂ —Ë͇ (»Ú‡Îˡ),
ÔÂÏËË “›‘» Ë ‰Û„Ëı „ÓÒÛ‰‡ÒÚ‚ÂÌÌ˚ı
̇„‡‰ Ë ÔÓÙÂÒÒËÓ̇θÌ˚ı ÔÂÏËÈ, ÔËÁÂ
ÏÂʉÛ̇Ó‰Ì˚ı Ë ÓÚ˜ÂÒÚ‚ÂÌÌ˚ı
ÍËÌÓÙÂÒÚË‚‡ÎÂÈ.
87
‘ËθÏÓ„‡Ùˡ ÂÊËÒÒÂ‡ (Ë„Ó‚Ó ÍËÌÓ):
1970 ....—ÔÓÍÓÈÌ˚È ‰Â̸ ‚ ÍÓ̈ ‚ÓÈÌ˚
(‰ËÔÎÓÏ)
1974 ....—‚ÓÈ ÒÂ‰Ë ˜ÛÊËı, ˜ÛÊÓÈ ÒÂ‰Ë Ò‚ÓËı
1975 ....–‡·‡ β·‚Ë
1976 ....ÕÂÓÍÓ̘ÂÌ̇ˇ Ô¸ÂÒ‡ ‰Îˇ
ÏÂı‡Ì˘ÂÒÍÓ„Ó ÔˇÌËÌÓ
1978 ....œˇÚ¸ ‚˜ÂÓ‚
1979 ....ÕÂÒÍÓθÍÓ ‰ÌÂÈ ËÁ ÊËÁÌË
».». Œ·ÎÓÏÓ‚‡
1981 ....–Ó‰Ìˇ
1983 ....¡ÂÁ ҂ˉÂÚÂÎÂÈ
1987 ....Œ˜Ë ˜ÂÌ˚Â
1990 ....–ÛÒÒ͇ˇ ˝Î„ˡ (Í/Ï)
1990 ....¿‚ÚÓÒÚÓÔ (Ò/Ï)
1991 ....”„‡
1994 ....”ÚÓÏÎÂÌÌ˚ ÒÓÎ̈ÂÏ
1998 ....—Ë·ËÒÍËÈ ˆË˛Î¸ÌËÍ
2007 ....12
Nikita Mikhalkov
is a director, actor, producer, scriptwriter;
Peopleís Artist of Russia, Cavalier of the
Order of Literature and the Arts, France;
Commander of the Legion of Honour ìFor the
contribution to world cultureî (France),
winner of State Prizes of the Russian
Federation, winner of the Vittorio de Sica
Prize (Italy), the TEFI award and other state
awards and professional prizes, prize-winner
of international and national film festivals.
Select Directorís Filmography:
1970 .... A Quiet Day at the End of War
(diploma)
1974 .... At Home among Strangers, a
Stranger at Home
1975 .... A Slave of Love
1976 .... Unfinished Piece for a Mechanical
Piano
1978 .... Five Evenings
1979 .... Some Days from the Life of I.
I.Oblomov
1981 .... Kinfolk
1983 .... Without Witnesses
1987 .... Dark Eyes
1990 .... Russian elegy (short)
1990 .... Hitchhike (medium length)
1991 .... Urga
1994 .... Burnt by the Sun
1998 .... The Barber of Siberia
2007 .... 12
œÒËıÓÎӄ˘ÂÒÍËÈ ÚËÎÎÂ, Òۉ·̇ˇ ‰‡Ï‡ ÔÓ ÏÓÚË‚‡Ï Ô¸ÂÒ˚ –‰ÊË̇艇
–ÓÛÁ‡ ´ƒ‚Â̇‰ˆ‡Ú¸ ‡Á„Ì‚‡ÌÌ˚ı ÏÛʘË̪. ƒÂÈÒÚ‚Ë ÔÓ‚ÂÒÚ‚Ó‚‡Ìˡ
ÔÂÂÌÂÒÂÌÓ ‚ ÒÓ‚ÂÏÂÌÌÛ˛ –ÓÒÒ˲. ¬ ¯ÍÓθÌÓÏ ÙËÁÍÛθÚÛÌÓÏ Á‡ÎÂ
‰‚Â̇‰ˆ‡Ú¸ ÔËÒˇÊÌ˚ı Á‡Ò‰‡ÚÂÎÂÈ ¯‡˛Ú ÒÛ‰¸·Û ˜Â˜ÂÌÒÍÓ„Ó Ï‡Î¸˜Ë͇,
Ó·‚ËÌÂÌÌÓ„Ó ‚ Û·ËÈÒÚ‚Â Ò‚ÓÂ„Ó ÓÚ˜Ëχ, ÓÙˈÂ‡ –ÓÒÒËÈÒÍÓÈ ‡ÏËË...
ñ —ÔˆˇθÌ˚È ÔËÁ ´«ÓÎÓÚÓÈ À‚ª (ÕËÍËÚ‡ ÃËı‡ÎÍÓ‚) ñ ´«‡
‰ÂÏÓÌÒÚ‡ˆË˛ „ÛχÌËÁχ Ë ÛÌË͇θÌÛ˛ ÒÔÓÒÓ·ÌÓÒÚ¸ ÂÊËÒÒÂ‡
ËÒÒΉӂ‡Ú¸ ÊËÁ̸ ‚Ó ‚ÒÂÈ Â ÒÎÓÊÌÓÒÚ˪ ñ Ãü‘ ‚ ¬Â̈ËË, 2007;
ñ Õ‡ˆËÓ̇θÌ˚ ÍËÌÓÔÂÏËË ´«ÓÎÓÚÓÈ ŒÂΪ (2007) ‚ ÌÓÏË̇ˆËˇı:
ÎÛ˜¯ËÈ Ë„Ó‚ÓÈ ÙËθÏ, ÎÛ˜¯‡ˇ ÂÊËÒÒÂÒ͇ˇ ‡·ÓÚ‡; ÎÛ˜¯‡ˇ ÏÛÊÒ͇ˇ
Óθ (12 ËÒÔÓÎÌËÚÂÎÂÈ), ÎÛ˜¯‡ˇ ÏÛÁ˚͇ Í ÙËθÏÛ;
ñ œÂÏËË üËÌӇ͇‰ÂÏËË ´ÕË͇ª (2007) ‚ ÌÓÏË̇ˆËˇı: ÎÛ˜¯‡ˇ ÏÛÁ˚͇ Í
ÙËθÏÛ, ÎÛ˜¯‡ˇ ÏÛÊÒ͇ˇ Óθ (—Â„ÂÈ √‡χ¯);
ñ ÕÓÏË̇ˆËˇ ̇ ÔÂÏ˲ ´ŒÒ͇ª ñ ÎÛ˜¯ËÈ Á‡Û·ÂÊÌ˚È ÙËθÏ.
Psychological thriller, judicial drama based on the motives of Reginald Roseís
play ìTwelve Angry Menî.
The action has been transferred to modern Russia. In a school gym, twelve
jurymen decide over the fate of a Chechen boy accused of murdering his
stepfather, an officer of the Russian army...
ñ Special Prize ìGolden Lionî (Nikita Mikhalkov) ìfor the demonstration of
humanism and the directorís unique ability to investigate life in all its
complexityî ñ IFF Venice, 2007;
ñ National Film Prize ìGolden Eagleî (2007) in the nominations: Best Fiction
Film, Best Director; Best Actors (12 jurors), Best Film Music;
ñ Prize of the Film Academy NIKA (2007) in the nominations: Best Film
Music, Best Actor (Sergei Garmash);
ñ Nomination for the OSCAR Academy Award (Best Foreign Film), 2007.
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
¿Õ“»—≈ü—
ANTISEX
88
2008, –ÓÒÒˡ, 74 ÏËÌ., ˆ‚., 1:1.85, Dolby Digital 5.1
2008, Russia, 74 min., col., 1:1.85, Dolby Digital 5.1
¿‚ÚÓ˚ ÒˆÂ̇ˡ –ÓÏ‡Ì ¡ÂÍÍÛÎÓ‚, À‡ËÒ‡ »Ò‡Â‚‡
Scriptwriters Roman Bekkulov, Larissa Isaeva
¿‚ÚÓ ˉÂË ¬Î‡‰ËÏË œ‡ÍÓ‚
Idea by Vladimir Parkov
–ÂÊËÒÒÂ À‡ËÒ‡ »Ò‡Â‚‡
Director Larissa Isaeva
ŒÔÂ‡ÚÓ ≈‚„ÂÌËÈ œË‚ËÌ
Director of Photography Evgeni Privin
’Û‰ÓÊÌËÍ —Â„ÂÈ ƒ‡ÌËÎÓ‚
Production Design Sergei Danilov
üÓÒÚ˛Ï˚ ≈‚„ÂÌˡ ◊Â‚ÓÌÒ͇ˇ, ≈ÎÂ̇ ◊ÂÔÂ΂‡
Costume Design Evgeniya Chervonskaya, Elena Chepeleva
üÓÏÔÓÁËÚÓ –ÓÏ‡Ì ÃÛı‡˜Â‚
Composer Roman Mukhachev
¿‚ÚÓ˚ ÔÂÒÂÌ –ÓÏ‡Ì ¡ÂÍÍÛÎÓ‚, „ÛÔÔ‡ ´œÓ‚Ó‰‡ª
Songs by Roman Bekkulov, Group ëProvodaí (ëWireí)
’ÓÂÓ„‡Ù ¿Ì‰ÂÈ —Â„Ë‚ÒÍËÈ
Choreographer Andrei Sergievsky
¬ ÓΡı: ƒË‡Ì‡ ÇÍÒËÏÓ‚‡, »„Ì‡Ú ¿Í‡˜ÍÓ‚,
Cast: Diana Maksimova, Ignat Akrachkov, Lola Kochetkova,
ÀÓ· üÓ˜ÂÚÍÓ‚‡, ¿Ï‡Îˡ & ¿Ï‡Îˡ, ÃËı‡ËÎ ≈ÙÂÏÓ‚,
Amalia and Amalia, Mikhail Efremov, Igor Zolotovitsky,
»„Ó¸ «ÓÎÓÚӂˈÍËÈ, üÓÌÒÚ‡ÌÚËÌ ü‡‡ÒËÍ,
Konstantin Karasik, Pavel Sborshchikov, Tatiana Liutaeva,
œ‡‚ÂÎ —·Ó˘ËÍÓ‚, “‡Ú¸ˇÌ‡ À˛Ú‡Â‚‡, À‡ËÒ‡ »Ò‡Â‚‡
Larissa Isaeva
œÓ‰˛ÒÂ À‡ËÒ‡ »Ò‡Â‚‡
Producer Larissa Isaeva
œÓËÁ‚Ó‰ÒÚ‚Ó üËÌÓÍÓÏÔ‡Ìˡ ´Ã¿ü—ª
Production Film Company ÿX
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
À‡ËÒ‡ »Ò‡Â‚‡
ñ ÔÓ‰˛ÒÂ, „ÂÌÂ‡Î¸Ì˚È ‰ËÂÍÚÓ
ÍËÌÓÍÓÏÔ‡ÌËË ´Ã¿ü—ª, ‰ËÂÍÚÓ
‡ÍÚÂÒÍÓ„Ó ‡„ÂÌÚÒÚ‚‡ ´Ã¿ü—ª.
´¿ÌÚËÒÂÍÒª ñ ÂÊËÒÒÂÒÍËÈ ‰Â·˛Ú
89
Larissa Isaeva
ñ Producer, general director of the film
company ÿX, director of the actorsí agency
MAX.
ìAntisexî is her directorial debut.
ÃÛÁ˚͇θ̇ˇ ÍÓωˡ, ‚ÂÒ·ˇ Ò͇Á͇ Ó ÚÓÏ, Í‡Í ´‚ÒÚ˜‡˛ÚÒˇ ‰‚Â
ÔÓÎÓ‚ËÌÍ˪ Ë Ò‡ÏË ÒÚÓˇÚ Ò· Ô„‡‰˚ ‚ ÓÚÌÓ¯ÂÌˡı. ŒÌ‡ „Ó‰Ó ̇Á˚‚‡ÂÚ
Ò·ˇ ´‡ÒÂÍÒÛ‡ÎÍÓȪ Ë ÔÂÁË‡ÂÚ ‚Òˇ˜ÂÒÍË ÔÎÓÚÒÍË ÛÚÂıË, ‡ ÓÌ ñ ´Ô‡Â̸
ıÓÚ¸ ÍÛ‰‡ª. ›ÚÓ ÙËÎ¸Ï Ó ÒÓ‚ÂÏÂÌÌ˚ı β‰ˇı, ÍÓÚÓ˚ ̇ ‚˜ÌÓÏ ÔÛÚË
ÔÓËÒ͇ „‡ÏÓÌËË ñ ˜ÂÂÁ Á‡·‡‚Ì˚Â Ë „ÛÒÚÌ˚ ÔËÍβ˜ÂÌˡ ñ Á‡ÌÓ‚Ó
ÓÚÍ˚‚‡˛Ú ‚ Ò· β·Ó‚¸, ‚ÂÌÓÒÚ¸ Ë ÒÚ‡ÒÚ¸.
Musical comedy, cheerful fairy tale about the meeting of ìtwo halvesî, who
themselves create barriers in their relationship. She proudly calls herself ìasexualî, he despises carnal joys ñ but he is a guy for all jobs. This is a film
about modern people who are in the eternal search for harmony. Through
amusing and sad adventures they rediscover in themselves love, fidelity and
passion.
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
¿——¿
ASSA
90
1987, ———–, 153 ÏËÌ., ˆ‚., 1:1.85, Dolby A
1987, USSR, 153 min., col., 1:1.85, Dolby A
¿‚ÚÓ˚ ÒˆÂ̇ˡ —Â„ÂÈ ÀË‚Ì‚, —Â„ÂÈ —ÓÎÓ‚¸Â‚
Scriptwriters Sergei Livnev, Sergei Soloviev
–ÂÊËÒÒÂ —Â„ÂÈ —ÓÎÓ‚¸Â‚
Director Sergei Soloviev
ŒÔÂ‡ÚÓ œ‡‚ÂÎ À·¯‚
Director of Photography Pavel Lebeshev
’Û‰ÓÊÌËÍ Ã‡ÍÒ˝Ì √‡ÛıχÌ-—‚Â‰ÎÓ‚
Production Design Marksen Gaukhman-Sverdlov
üÓÒÚ˛Ï˚ »Ë̇ √ÛÌÌÓ
Costume Design Irina Gunno
üÓÏÔÓÁËÚÓ ¡ÓËÒ √·ÂÌ˘ËÍÓ‚
Composer Boris Grebenshchikov
»ÒÔÓθÁÛÂχˇ ÏÛÁ˚͇ ¡ÓËÒ √·ÂÌ˘ËÍÓ‚, ¬ËÍÚÓ ÷ÓÈ,
Music by Boris Grebenshchikov, Victor Tsoi, Evgeni Khavtan,
≈‚„ÂÌËÈ ’‡‚Ú‡Ì, ¿ÎÂÍ҇̉ —ËÌˈ˚Ì
Alexander Sinitsyn
¬Ó͇Π¬ËÍÚÓ ÷ÓÈ, Δ‡Ì̇ ¿„ÛÁ‡Ó‚‡
Vocals Victor Tsoi, Zhanna Aguzarova
«‚ÛÍ ≈͇ÚÂË̇ œÓÔÓ‚‡
Sound Ekaterina Popova
¬ ÓΡı: —Â„ÂÈ ¡Û„‡Â‚, “‡Ú¸ˇÌ‡ ƒ۷˘,
Cast: Sergei Bugaev, Tatiana Drubich, Stanislav Govorukhin,
—Ú‡ÌËÒ·‚ √Ó‚ÓÛıËÌ, ƒÏËÚËÈ ÿÛÏËÎÓ‚, ¬ËÍÚÓ ¡Â¯Îˇ„‡,
Dmitri Shumilov, Viktor Beshliaga, Anita Zhukovskaya,
¿ÌËÚ‡ ΔÛÍÓ‚Ò͇ˇ, ¿Ì‰ÂÈ ’‡Îˇ‚ËÌ, »ÂÌ üÛÍÒÂ̇ÈÚÂ,
Andrei Khaliavin, Irena Kuksenaite, Alexander Bashirov,
¿ÎÂÍ҇̉ ¡‡¯ËÓ‚, »Î¸ˇ »‚‡ÌÓ‚, ¬ËÍÚÓ ÷ÓÈ,
Ilya Ivanov, Viktor Tsoi, Anatoli Slivnikov, Kirill Kozakov,
¿Ì‡ÚÓÎËÈ —ÎË‚ÌËÍÓ‚, üËËÎÎ üÓÁ‡ÍÓ‚,
Alexander Domogarov
¿ÎÂÍ҇̉ ƒÓÏÓ„‡Ó‚
Narrator Natan Eidelman
“ÂÍÒÚ ˜ËÚ‡ÂÚ Õ‡Ú‡Ì ›È‰ÂθχÌ
Production KRUG, Mosfilm
œÓËÁ‚Ó‰ÒÚ‚Ó ´üÛ„ª, ´ÃÓÒÙËθϪ
Distribution Cinema-Line
œÓÍ‡Ú Cinema-Line
www.cinema-line.ru
www.cinema-line.ru
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
—Â„ÂÈ —ÓÎÓ‚¸Â‚
ñ ÂÊËÒÒÂ, ÒˆÂ̇ËÒÚ, ÔÓ‰˛ÒÂ, Ô‰‡„Ó„,
ÔÂÁˉÂÌÚ ÃÂʉÛ̇Ó‰ÌÓ„Ó ÙÂÒÚË‚‡Îˇ
ÍËÌÂχÚÓ„‡Ù˘ÂÒÍËı ‰Â·˛ÚÓ‚ ´ƒÛı Ó„Ìˇª ‚
’‡ÌÚ˚-ÇÌÒËÈÒÍ ñ ÔËÁÂ ÏÂʉÛ̇Ó‰Ì˚ı
Ë ÓÚ˜ÂÒÚ‚ÂÌÌ˚ı ÍËÌÓÙÂÒÚË‚‡ÎÂÈ, ·Û‡Ú
√ÓÒÛ‰‡ÒÚ‚ÂÌÌÓÈ ÔÂÏËË ———–, Õ‡Ó‰Ì˚È
‡ÚËÒÚ –ÓÒÒËË, œÓ˜ÂÚÌ˚È ‡Í‡‰ÂÏËÍ
–ÓÒÒËÈÒÍÓÈ ‡Í‡‰ÂÏËË ıÛ‰ÓÊÂÒÚ‚.
91
‘ËθÏÓ„‡Ùˡ ÂÊËÒÒÂ‡:
1969 ....ŒÚ ÌÂ˜Â„Ó ‰Â·ڸ; œ‰ÎÓÊÂÌËÂ
(‡Î¸Ï‡Ì‡ı ´—ÂÏÂÈÌÓ Ҙ‡Òڸª)
1971 ....≈„Ó ¡ÛÎ˚˜Ó‚ Ë ‰Û„ËÂ
1972 ....—ڇ̈ËÓÌÌ˚È ÒÏÓÚËÚÂθ (Ú‚)
1975 ....—ÚÓ ‰ÌÂÈ ÔÓÒΠ‰ÂÚÒÚ‚‡
1976 ....ÃÂÎÓ‰ËË ·ÂÎÓÈ ÌÓ˜Ë
1980 ....—Ô‡Ò‡ÚÂθ
1982 ....Õ‡ÒΉÌˈ‡ ÔÓ ÔˇÏÓÈ
1983 ....»Á·‡ÌÌ˚Â
1986 ....◊Ûʇˇ ¡Â·ˇ Ë –ˇ·ÓÈ
1987 ....¿ÒÒ‡
1989 ....◊Â̇ˇ ÓÁ‡ ñ ˝Ï·ÎÂχ Ô˜‡ÎË,
Í‡Ò̇ˇ ÓÁ‡ ñ ˝Ï·ÎÂχ β·‚Ë
1991 ....ƒÓÏ ÔÓ‰ Á‚ÂÁ‰Ì˚Ï Ì·ÓÏ
1994 ....“Ë ÒÂÒÚ˚
2000 ....ÕÂÊÌ˚È ‚ÓÁ‡ÒÚ
2003 ....Œ β·‚Ë
2008 ....2-¿ÒÒ‡-2; ¿Ì̇ ü‡ÂÌË̇
Sergei Soloviev
is director, scriptwriter, producer, teacher,
president of the International Festival of Film
Debuts ìSpirit of Fireî in Khanty-Mansiisk;
prize-winner of international and national film
festivals, winner of the USSR State Prize,
Peopleís Artist of Russia, Honorary Member
of the Russian Academy of Arts.
Directorís Filmography:
1969 .... ëOut of Nothing to Doí; ëThe
Proposalí (almanac ìFamily
Happinessî)
1971 .... Egor Bulychov and Others
1972 .... The Stationmaster (TV)
1975 .... One Hundred Days after Childhood
1976 .... Melodies of a White Night
1980 .... The Lifeguard
1982 .... Direct Heiress
1983 .... The Chosen Ones
1986 .... Someone Elseís White and Speckled
1987 .... ASSA
1989 .... Black Rose ñ Emblem of Sorrow,
Red Rose ñ Emblem of Love
1991 .... The House under the Starry Skies
1994 .... Three Sisters
2000 .... Tender Age
2003 .... About Love
2008 .... 2-ASSA-2; Anna Karenina
œÓÏ˚¯ÎÂÌÌ˚È Ï‡ÙËÓÁË ü˚ÏÓ‚ ÔÓÒ¢‡ÂÚ Ò Î˛·ËÏÓÈ ÊÂÌ˘ËÌÓÈ ÁËÏÌ˛˛
flÎÚÛ. «‰ÂÒ¸ ÓÌ Ì‡ÏÂÂÌ ÒÌˇÚ¸ ̇ÔˇÊÂÌËÂ, ÔÂÂ͇ÌÚÓ‚‡Ú¸Òˇ Ë Á‡Ó‰ÌÓ ÔÓ‚ÂÌÛÚ¸
ÍÓÂ-͇ÍË ‰ÂÎ˯ÍË. ≈„Ó ‚ÓÁβ·ÎÂÌ̇ˇ Ó˜Â̸ Í‡ÒË‚‡ Ë Ó˜Â̸ ÏÓÎÓ‰‡, Ë,
ÌÂÒÏÓÚˇ ̇ ÒÛÓ‚˚È Ì‡‚ „ÓÒÔÓ‰Ë̇, Ô‰ÓÒÚ‡‚ÎÂ̇ ҇χ Ò·Â. ≈ ‚ÌËχÌËÂ
ÔË‚ÎÂ͇ÂÚ ˛ÌÓ¯‡ Ò ÌÂÎÂÔ˚Ï ËÏÂÌÂÏ ¡‡Ì‡Ì‡Ì. ŒÌË ÏÌÓ„Ó ‚ÂÏÂÌË ÔÓ‚Ó‰ˇÚ
‚ÏÂÒÚÂ, Ë Ì‡ÒÚÛÔ‡ÂÚ ÏÓÏÂÌÚ, ÍÓ„‰‡ Ëı ÛÊ Ì˘ÚÓ Ì ÏÓÊÂÚ ‡ÁÎÛ˜ËÚ¸...
‘ËÎ¸Ï Ô‰ÒÚ‡‚ΡÂÚ ÒÓ·ÓÈ ÍÓÎÎ‡Ê Ê‡ÌÓ‚: ‰ÂÚÂÍÚË‚ ‚ÌÛÚË ÓχÌÚ˘ÂÒÍÓ„Ó
ÚÂÛ„ÓθÌË͇, β·Ó‚̇ˇ ÓχÌÚ˘ÂÒ͇ˇ ‰‡Ï‡, ÒӈˇθÌÓ-ÔÒËıÓÎӄ˘ÂÒ͇ˇ
‰‡Ï‡, ÍËÏË̇θ̇ˇ ÏÂÎÓ‰‡Ï‡ Ë ‰‡ÊÂ Ï˛ÁËÍÎ, ÔÓÒÍÓθÍÛ ÔÂÒÓ̇ÊË Â„Ó
ÎË·Ó Ò‡ÏË ÔÓ˛Ú, ÎË·Ó ˇ‚Ρ˛ÚÒˇ ÏÓÚË‚‡ÏË Á‚Û˜‡˘Ëı ‚ ÙËθÏ ÔÂÒÂÌ
ÔÓÔÛΡÌ˚ı ÓÍ-„ÛÔÔ: ´üËÌÓª, ´¿Í‚‡ËÛϪ, ´¡‡‚Óª, ´—Ó˛Á ÍÓÏÔÓÁËÚÓÓ‚ª
Ë ‰Û„Ëı. ¬ 2008 „Ó‰Û ñ ˜ÂÂÁ ‰‚‡‰ˆ‡Ú¸ ÎÂÚ ÔÓÒΠ‚˚ÔÛÒ͇ ÔÂ‚ÓÈ ´¿ÒÒ˚ª ñ
‚ ÍËÌÓÔÓÍ‡Ú ‚˚ıÓ‰ËÚ ‚ÚÓÓÈ ÙËÎ¸Ï ‰ËÎÓ„ËË ñ ´2-¿——¿-2ª.
œÓÍ‡Ú (1988) ñ 17.8 ÏÎÌ. ÁËÚÂÎÂÈ.
ñ œÂÏˡ üËÌӇ͇‰ÂÏËË ´ÕË͇ª Á‡ 1988 „Ó‰ ‚ ÌÓÏË̇ˆËË ´ÎÛ˜¯ËÈ
ıÛ‰ÓÊÌËÍ „Ó‰‡ª (Ã. √‡ÛıχÌ-—‚Â‰ÎÓ‚);
ñ √·‚Ì˚È ÔËÁ Ãü‘ ‚ —‡ÎÂÌÓ, »Ú‡Îˡ, 1988;
ñ —ÔˆˇθÌ˚È ÔËÁ Ê˛Ë ñ Ãü‘ ‚ ’ËıÓÌÂ, »ÒÔ‡Ìˡ, 1989.
The industrial Mafiosi Krymov visits Yalta with his mistress in the winter. Here
he intends to relax and to do some business. His mistress is very beautiful and
very young, and, despite the manís rigidity, she is left to her own devices. A
young man with the ridiculous name Bananan captures her attention. They spend
a lot of time together, until nothing can separate them any more...
The film represents a collage of genres: a detective story inside a romantic
triangle, a romantic drama, a socio-psychological drama, a criminal melodrama
and even a musical ñ the characters sing or are motives of songs by popular
rock groups: ìKinoî, ìAquariumî, ìBravoî, ìUnion of Composersî and others.
In 2008, twenty years after the release of the first ìASSAî the second film is
released: ì2-ASSA-2î.
Distribution (1988): 17.8 million spectators
ñ Prize of the Film Academy NIKA for 1988 in the nomination Best
Production Design (M. Gaukhman-Sverdlov);
ñ Main Prize at the IFF in Salerno, Italy, 1988;
ñ Special Jury Prize IFF in Gijon, Spain, 1989.
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
¡Œ… — “≈Õ‹fi 2: –≈¬¿Õÿ
SHADOW BOXING 2: REVENGE
92
2007, –ÓÒÒˡ, 135 ÏËÌ., ˆ‚., 1:2.35, Dolby SR
2007, Russia, 135 min., col., 1:2.35, Dolby SR
¿‚ÚÓ˚ ÒˆÂ̇ˡ ¿ÎÂÍÒÂÈ —ˉÓÓ‚, ¿ÎÂÍ҇̉ ƒÓ·ËÌˇÌ
Scriptwriters Alexei Sidorov, Alexander Dorbinian
–ÂÊËÒÒÂ ¿ÌÚÓÌ Ã„Â‰Ë˜Â‚
Director Anton Megerdichev
’Û‰. ÛÍ. ¿ÎÂÍÒÂÈ —ˉÓÓ‚
Artistic Director Alexei Sidorov
ŒÔÂ‡ÚÓ ¿ÌÚÓÌ ¿ÌÚÓÌÓ‚
Director of Photography Anton Antonov
’Û‰ÓÊÌËÍ ¬Î‡‰ËÒ·‚ “‡‚ËÌÒÍËÈ
Production Design Vladislav Travinsky
üÓÒÚ˛Ï˚ ÇË̇ ¿Ì‡Ì¸Â‚‡
Costume Design Marina Ananieva
üÓÏÔÓÁËÚÓ ¿ÎÂÍÒÂÈ ÿÂÎ˚„ËÌ
Composer Alexei Shelygin
«‚ÛÍ ¿ÎÂÍ҇̉ ¿·‡ÏÓ‚
Sound Alexander Abramov
ÃÓÌÚ‡Ê ŒÎ¸„‡ œÓ¯ÍË̇, ¿ÌÚÓÌ Ã„Â‰Ë˜Â‚
Editing Olga Proshkina, Anton Megerdichev
¬ ÓΡı: ƒÂÌËÒ ÕËÍËÙÓÓ‚, ¿Ì‰ÂÈ œ‡ÌËÌ, ≈ÎÂ̇ œ‡ÌÓ‚‡,
Cast: Denis Nikiforov, Andrei Panin, Elena Panova,
»‚‡Ì Ç͇‚˘, ƒÏËÚËÈ ÿ‚˜ÂÌÍÓ, œ‡‚ÂÎ ƒÂ‚ˇÌÍÓ,
Ivan Makarevich, Dmitri Shevchenko, Pavel Derevianko,
ÃËı‡ËÎ √Ó‚ÓÈ, ≈͇ÚÂË̇ ÇÎËÍÓ‚‡, ƒÊÂÂÏË ¡‡ÚËÒÚÂ,
Mikhail Gorevoy, Ekaterina Malikova, Jeremy Batiste,
ƒÊÓ‚‡ÌÌË ¡Âˇ‡ÌÓ, ¬ËÍÚÓ ›ÌËÎËÓ ÀÓÔÂÒ, ›ÌÚÓÌË –˝È œ‡ÍÂ
Giovanni Bejarano, Victor Lopez, Anthony Ray Parker
œÓ‰˛ÒÂ˚ –Û·ÂÌ ƒË¯‰Ë¯ˇÌ, ¿ÎÂÍÒÂÈ —ˉÓÓ‚
Producers Ruben Dishdishian, Alexei Sidorov
ÃÛÁ˚͇θÌ˚È ÔÓ‰˛ÒÂ »Î¸ˇ √ÛÁ‰Â‚
Musical Producer Ilya Gruzdev
œÓËÁ‚Ó‰ÒÚ‚Ó ´ÿ‡Ï‡Ì-œË͘ÂÒª ÔÓ Á‡Í‡ÁÛ
Production Shaman Pictures, commissioned by Central
´÷ÂÌÚ‡Î œ‡ÚÌÂ¯ËÔª
Partnership
œÓÍ‡Ú ´÷ÂÌÚ‡Î œ‡ÚÌÂ¯ËÔª
Distribution Central Partnership
www.shadowboxing2.ru
www.shadowboxing2.ru
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
¿ÌÚÓÌ Ã„Â‰Ë˜Â‚
ñ ÂÊËÒÒÂ:
2003 .... –ÓÒÒËÈÒ͇ˇ ËÏÔÂˡ. ÕËÍÓÎ‡È II
(‰ÓÍ.)
2003 .... ”·ËÚ¸ üÂÌÌÂ‰Ë (‰ÓÍ.)
2004 .... œÓ ÒΉ‡Ï ‚Ò‡‰ÌË͇ ÔÓ ËÏÂÌË ÒÏÂÚ¸
(‰ÓÍ.)
93
2007 .... ¡ÓÈ Ò ÚÂ̸˛ 2. –‚‡Ì¯ (‰Â·˛Ú ‚
Ë„Ó‚ÓÏ ÍËÌÓ)
Anton Megerdichev
ñ director:
2003 .... Russian Empire. Nicholas II (doc.)
2003 .... To Kill Kennedy (doc.)
2004 .... On the Traces of
ìA Rider Named Deathî (doc).
2007 .... Shadowboxing 2. The Revenge
(debut in cinema)
¡Ó‚ËÍ, ÔÓ‰ÓÎÊÂÌË ÙËθχ ´¡ÓÈ Ò ÚÂ̸˛ª (2005).
¿ÚÂÏ üÓΘËÌ ÒÌÓ‚‡ ̇ ËÌ„Â. ‘Ë̇θÌ˚È ·ÓÈ Á‡ ˜ÂÏÔËÓÌÒÍËÈ ÚËÚÛÎ ÓÌ
Ôӂ‰ÂÚ ‚ ¿ÏÂËÍÂ. ÕÓ ÔÂ‰ ÙË̇ÎÓÏ ÂÏÛ Ô‰ÒÚÓËÚ ·ÓÈ Ò ÏÂÍÒË͇ÌÒÍËÏ
·ÓÍÒÂÓÏ, ÍÓÚÓ˚È Ú‡ÍÊ ‚ÂÚÒˇ Í ‚Â¯ËÌÂ. œÓÒΠڡÊÂÎÓ„Ó ÔÓ‰ËÌ͇
ÏÂÍÒË͇̈ ÛÏË‡ÂÚ ‚ „ÓÒÔËÚ‡ÎÂ. ÕÓ ÌÂÔˡÚÌÓÒÚË ÚÓθÍÓ Ì‡˜Ë̇˛ÚÒˇ.
¿ÚÂÏÛ ÒÓÓ·˘‡˛Ú, ˜ÚÓ ÓÌ Á‡·ËΠ̇ ËÌ„Â ÔËÂÏÌÓ„Ó Ò˚̇ ÏÂÍÒË͇ÌÒÍÓ„Ó
̇ÍÓ·‡Ó̇, ÍÓÚÓ˚È ‚˚ÌÂÒ ÒÛÓ‚˚È ÔË„Ó‚Ó: ´ÍÓ‚¸ ¬ËÍË Á‡ ÍÓ‚¸
ÔÓ„Ë·¯Â„Ó Ò˚̇ª. Õ‡ Ò‚ÂÚ ÂÒÚ¸ ÚÓθÍÓ Ó‰ËÌ ˜ÂÎÓ‚ÂÍ, ÍÓÚÓ˚È ÏÓÊÂÚ
ÔÓÏÓ˜¸ üÓΘËÌÛ ‚˚ÔÛÚ‡Ú¸Òˇ ËÁ ÓÔ‡ÒÌÓÈ ÔÂ‰ÂÎÍË, Ë ÓÌ ñ Á‡ÍΡÚ˚È ‚‡„
¿ÚÂχÖ
Action film, sequel to ìShadowboxingî (2005).
Artem Kolchin is once again in the ring. The final fight for the champion title
will take place in America. But before the final, he has to fight a Mexican
boxer who is also competing for the title. After a heavy fight, the Mexican
dies in hospital. But here the trouble only starts. Artem discovers that he has
knocked out the adopted son of a Mexican drug baron, who has pronounced a
severe verdict: Vikaís blood for the blood of his lost son. There is only one
person in the world who can help Kolchin get out of the dangerous alteration,
and that is Artemís sworn enemyÖ
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
√Œ—œŒƒ¿ Œ‘»÷≈–¤. —œ¿—“» »Ãœ≈–¿“Œ–¿
GENTLEMEN OFFICERS. SAVE THE EMPEROR
94
2008, –ÓÒÒˡ, 105 ÏËÌ.., ˆ‚., 1:1.85, Dolby Digital 5.1
2008, Russia, 105 min., col., 1:1.85, Dolby Digital 5.1
¿‚ÚÓ ÒˆÂ̇ˡ —Â„ÂÈ üÛÁ¸ÏËÌ˚ı
Scriptwriter Sergei Kuzminykh
–ÂÊËÒÒÂ ŒÎ„ ‘ÓÏËÌ
Director Oleg Fomin
ŒÔÂ‡ÚÓ ¬‡Òˇ —Ë͇˜ËÌÒÍËÈ
Director of Photography Vasia Sikachinsky
’Û‰ÓÊÌËÍ fiËÈ üÓÌÒÚ‡ÌÚËÌÓ‚
Production Design Yuri Konstantinov
üÓÒÚ˛Ï˚ ¿ÎËÒ‡ ‘ÓÏË̇
Costume Design Alisa Fomina
üÓÏÔÓÁËÚÓ ¿ÎÂÍÒÂÈ ÿÂÎ˚„ËÌ
Composer Alexei Shelygin
«‚ÛÍ ¿Ì‰ÂÈ ΔËΡ‚
Sound Andrei Zhiliaev
ÃÓÌÚ‡Ê ≈ÎÂ̇ ‘‡·ÎÓ‚‡
Editing Elena Fablova
¬ ÓΡı: ŒÎ„ ‘ÓÏËÌ, ¿Ì̇ ¿Á‡Ó‚‡, —Â„ÂÈ ¡‡Ú‡ÎÓ‚,
Cast: Oleg Fomin, Anna Azarova, Sergei Batalov,
Ç‡Ú ¡‡¯‡Ó‚, ¿Ì‡ÚÓÎËÈ ¡ÂÎ˚È, ¿ÎÂÍ҇̉ ¡Ûı‡Ó‚,
Marat Basharov, Anatoli Bely, Alexander Bukharov,
¬Î‡‰ËÏË ¬ËÌÓ„‡‰Ó‚, ÃËı‡ËÎ √Ó‚ÓÈ, —Ú‡ÌËÒ·‚
Vladimir Vinogradov, Mikhail Gorevoy, Stanislav Duzhnikov,
ƒÛÊÌËÍÓ‚, —Â„ÂÈ ü‡ÒÌÓ‚, ¿ÎÂÍ҇̉ –‡ÔÓÔÓÚ, ≈‚„ÂÌËÈ
Sergei Krasnov, Alexander Rapoport, Evgeni Stychkin,
—Ú˚˜ÍËÌ, √Âȉ‡ —‡‰˚ıÓ‚, œ‡‚ÂÎ ¿·‰‡ÎÓ‚
Geidar Sadykhov, Pavel Abdalov
√ÂÌÂ‡Î¸Ì˚ ÔÓ‰˛ÒÂ˚ ÀÂÓÌˉ Œ„ÓÓ‰ÌËÍÓ‚, ŒÎ„ ¿Ì‰‚
General Producers Leonid Ogorodnikov, Oleg Andreev
œÓ‰˛ÒÂ˚ ¿ÎÂÍÒÂÈ –ˇÁ‡ÌˆÂ‚, fiËÈ Œ·ÛıÓ‚
Producers Alexei Riazantsev, Yuri Obukhov
œÓËÁ‚Ó‰ÒÚ‚Ó ´ü‡ÓœÓ͇ڪ, ´—Ú‡Ú-“ª, ÔË Û˜‡ÒÚËË
Production KaroProkat, ìStart-Tî, with participation of the
‘‰Â‡Î¸ÌÓ„Ó ‡„ÂÌÚÒÚ‚‡ ÔÓ ÍÛθÚÛÂ Ë ÍËÌÂχÚÓ„‡ÙËË
Federal Agency of Culture and Cinematography
œÓÍ‡Ú ´ü‡ÓœÓ͇ڪ
Distribution KaroProkat
www.karofilm..ru
www.karofilm.ru
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
ŒÎ„ ‘ÓÏËÌ
ñ ÂÊËÒÒÂ, ‡ÍÚÂ.
»Á·‡Ì̇ˇ ÙËθÏÓ„‡Ùˡ ÂÊËÒÒÂ‡:
1991 ....ÃËÎ˚È ›Ô
1992 ....¬ÂÏˇ ‚‡¯ÂÈ ÊËÁÌË
1997 ....Ã˚Ú‡¸
2001 ....‘‡Ú‡ÎËÒÚ˚ (ÒÂˇÎ)
2001ñ03 ..Next 1/2/3 (ÒÂˇÎ)
95
2001 ....üÓÌÙÂÂÌˆËˇ χ̸ˇÍÓ‚ (ÒÂˇÎ)
2002 ....ŒíüÂÈ (Ú‚)
2005 ....ü√¡ ‚ ÒÏÓÍËÌ„Â (ÒÂˇÎ)
2006 ....ÃÓÎÓ‰ÓÈ ¬ÓÎÍÓ‰‡‚ (ÒÂˇÎ)
2007 ....ƒÂ̸ ‚˚·ÓÓ‚
2008 ....√ÓÒÔÓ‰‡ ÓÙˈÂ˚.
—Ô‡ÒÚË ËÏÔÂ‡ÚÓ‡
2008 ....¿Ù„‡ÌÒÍËÈ ÔËÁ‡Í (ÒÂˇÎ)
Oleg Fomin
Director, actor.
Selected Directorís Filmography:
1991 ....Lovely Ep
1992 ....Time of Your Life
1997 ....The Debt Collector
2001 ....The Fatalists (serial)
2001-03 Next 1/2/3 (serial)
2001 ....Conference of the Maniacs (serial)
2002 ....OíKey (TV)
2005 ....KGB in a Tuxedo (serial)
œËÍβ˜Â̘ÂÒÍËÈ ·Ó‚ËÍ.
2006 ....The Young Wolfhound (serial)
1918 „Ó‰ ñ √‡Ê‰‡ÌÒ͇ˇ ‚ÓÈ̇. √ÛÔÔ‡ ·ÂÎ˚ı ÓÙˈÂÓ‚ Ô˚Ú‡ÂÚÒˇ ÒÔ‡ÒÚË
2007 ....Election Day
ÒÂϸ˛ ËÏÔÂ‡ÚÓ‡ ÕËÍÓ·ˇ II Ë ‚˚‚ÂÁÚË Â ËÁ ≈͇ÚÂËÌ·Û„‡. üÚÓ-ÚÓ Ëı
2008 ....Gentlemen Officers.
Ô‰‡ÂÚ. ◊ÚÓ·˚ ÎË͂ˉËÓ‚‡Ú¸ „ÛÔÔÛ, ÔÓ ÔÓÛ˜ÂÌ˲ ¬◊ü ‚ „ÓÓ‰
Save the Emperor
2008 ....The Afghan Phantom (serial)
ÔË·˚‚‡ÂÚ Í‡ÒÌ˚È ÍÓχ̉Ë ¿È‚‡ ¡ÂÈÚËÍÒ. ŒÚˇ‰ Í‡ÒÌ˚ı ̇˜Ë̇ÂÚ
·ÓÂ‚Û˛ ÓÔÂ‡ˆË˛, ÍÓÚÓ‡ˇ ‚ ËÚÓ„Â Ò‚Ó‰ËÚÒˇ Í ‰Û˝ÎË ‰‚Ûı ÎˉÂÓ‚...
Adventure action movie.
1918, the Civil War. A group of White officers tries to rescue the family of
the emperor Nicholas II and to take them out of Yekaterinburg. Someone
betrays them. On the order of the VChK (Extraordinary Commission), the Red
commander Aivar Beitiks arrives in the town in order to liquidate the group.
The Reds begin a fight, which is ultimately resolved in a duel between the two
leaders...
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
ƒ≈Õ‹ –¿ƒ»Œ
DAY OF RADIO
96
2008, –ÓÒÒˡ, 98 ÏËÌ., ˆ‚., 1:1.66, Dolby Digital 2.1
2008, Russia, 98 min., col., 1:1.66, Dolby Digital 2.1
¿‚ÚÓ˚ ÒˆÂ̇ˡ ÀÂÓÌˉ ¡‡‡ˆ, —Â„ÂÈ œÂÚÂÈÍÓ‚,
Scriptwriters Leonid Barats, Sergey Petreikov, Rostislav Khait
–ÓÒÚËÒ·‚ ’‡ËÚ
Director Dmitri Diachenko
–ÂÊËÒÒÂ ƒÏËÚËÈ ƒ¸ˇ˜ÂÌÍÓ
Director of Photography Maxim Trapo
ŒÔÂ‡ÚÓ ÇÍÒËÏ “‡ÔÓ
Production Design Oleg Smarovsky
’Û‰ÓÊÌËÍ ŒÎ„ —χÓ‚ÒÍËÈ
Costume Design Tatiana Koltsova
üÓÒÚ˛Ï˚ “‡Ú¸ˇÌ‡ üÓθˆÓ‚‡
Soundtrack Mumii Troll (Mummy Troll), Neschastny Sluchai
—‡Û̉ÚÂÍ ´ÃÛÏËÈ “ÓÎθª, ´ÕÂÒ˜‡ÒÚÌ˚È ÒÎÛ˜‡Èª,
(Accident), ChaiF, Nochnye snaipery (Night Snipers), Nogu
´◊‡È‘ª, ´ÕÓ˜Ì˚ Ò̇ÈÔÂ˚ª, ´ÕÓ„Û Ò‚ÂÎÓ!ª,
svelo! (Twisted Leg), Vopli Vodopliasova (Vodopliasovís
´¬ÓÔÎË ¬Ó‰ÓÔΡÒÓ‚‡ª, ÕËÍÓÎ‡È ‘ÓÏÂÌÍÓ, ´¡Ó·˚ª Ë ‰.
Screams), Nikolai Fomenko, Bobry (Beavers), etc.
«‚ÛÍ »„Ó¸ √ӈχÌÓ‚
Sound Igor Gotsmanov
¬ ÓΡı: ÀÂÓÌˉ ¡‡‡ˆ, –ÓÒÚËÒ·‚ ’‡ËÚ,
Cast: Leonid Barats, Rostislav Khait, Alexander Demidov,
¿ÎÂÍ҇̉ ƒÂÏˉӂ, ÃËı‡ËÎ üÓÁ˚‚, ü‡ÏËθ À‡ËÌ,
Mikhail Kozyrev, Kamil Larin, Fedor Dobronravov, Amalia
‘‰Ó ƒÓ·ÓÌ‡‚Ó‚, ¿Ï‡Îˡ ÃÓ‰‚ËÌÓ‚‡,
Mordvinova, Mikhail Politseimako, Nona Grishaeva, Dmitri
ÃËı‡ËÎ œÓÎˈÂÈχÍÓ, ÕÓ̇ √˯‡Â‚‡, ƒÏËÚËÈ Ã‡¸ˇÌÓ‚,
Marianov, Maxim Vitorgan, Anna Kasatkina, Alexei
ÇÍÒËÏ ¬ËÚÓ„‡Ì, ¿Ì̇ ü‡Ò‡ÚÍË̇, ¿ÎÂÍÒÂÈ ’‡‰ËÍÓ‚,
Khardikov, Mikhail Beskorovainy, Konstantin Chepurin
ÃËı‡ËÎ ¡ÂÒÍÓÓ‚‡ÈÌ˚È, üÓÌÒÚ‡ÌÚËÌ ◊ÂÔÛËÌ
General Producers Leonid Barats, Sergei Petreikov, Rostislav
√ÂÌÂ‡Î¸Ì˚ ÔÓ‰˛ÒÂ˚ ÀÂÓÌˉ ¡‡‡ˆ, —Â„ÂÈ œÂÚÂÈÍÓ‚,
Khait, Alexander Tsekalo
–ÓÒÚËÒ·‚ ’‡ËÚ, ¿ÎÂÍ҇̉ ÷Â͇ÎÓ
Musical Producer Mikhail Kozyrev
ÃÛÁ˚͇θÌ˚È ÔÓ‰˛ÒÂ ÃËı‡ËÎ üÓÁ˚‚
Production DM Studio
œÓËÁ‚Ó‰ÒÚ‚Ó ´ƒÃ —ÚÛ‰Ëˇª
Distribution Central Partnership
œÓÍ‡Ú ´÷ÂÌÚ‡Î œ‡ÚÌÂ¯ËÔª
www.kvartet-i.ru
www.kvartet-i.ru
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
ƒÏËÚËÈ ƒ¸ˇ˜ÂÌÍÓ,
ÂÊËÒÒÂ-ÔÓÒÚ‡ÌÓ‚˘ËÍ:
2005 ....üÛ·„ËÌ Ë Ô‡ÚÌÂ˚
(3 ÒÂËË ÒÂˇ·)
2005 ....¿‚‡ÌÚ˛ËÒÚ͇ (ÒÂˇÎ)
2006 ....¿ÏÂË͇-2 (‰ÓÍ.)
2006 ....—Ôˆ„ÛÔÔ‡ (ÒÂˡ ÒÂˇ·)
2006 ....üÓ̈ Ò‚ÂÚ‡ (Ú‚-ÏÛ‚Ë)
97
2007 ....À˛·Ó‚¸ ̇ ÓÒÚË ÌÓʇ
(Ú‚-ÏÛ‚Ë; Ò ŒÎ„ÓÏ ÿÚÓÏÓÏ)
2008 ....ƒÂ̸ ‡‰ËÓ (‰Â·˛Ú ‚ ÍËÌÓ)
Dmitri Diachenko,
director:
2005 ....Kulagin and Partners
(3 episodes of a serial)
2005 ....The Adventurer (serial)
2006 ....America 2 (doc.)
2006 ....Special Group (episode of a serial)
2006 ....Doomsday (TV)
2007 ....Love on the Edge of a Knife (TV
with Oleg Shtrom)
2008 ....Day of Radio (cinema debut)
üÓωˡ.
Œ‰ËÌ ‰Â̸ ËÁ ÊËÁÌË ÏÓ‰ÌÓÈ ÏÓÒÍÓ‚ÒÍÓÈ ‡‰ËÓÒڇ̈ËË. Õ ҇Ï˚È ÎÛ˜¯ËÈ
‰Â̸ ñ Û¯‡ÚÒˇ ‚Ò Ô·Ì˚, ‚Ò ‚‡ÎËÚÒˇ ËÁ ÛÍÖ » ËÏÂÌÌÓ ‚ ÚÓÚ
ÏÓÏÂÌÚ, ÍÓ„‰‡ ̇ Òڇ̈ËË ‚ ÔˇÏÓÏ ˝ÙË ‚ÓÚ-‚ÓÚ ‰ÓÎÊÂÌ Ì‡˜‡Ú¸Òˇ
´ÊË‚ÓȪ χ‡ÙÓÌ, ‡ ÔÓÔÛΡÌ˚ ÓÒÒËÈÒÍË ÓÍ-„ÛÔÔ˚ ÔˉÛÚ ‚ ˝ÙË,
˜ÚÓ·˚ ÔÓ‰‰ÂÊ‡Ú¸Ö ‚ÔÓ˜ÂÏ, ˝ÚÓ ÛÊ Ì‚‡ÊÌÓ, ÔÓÚÓÏÛ ˜ÚÓ ÚÂχ χ‡ÙÓ̇
ÔÂÂı‚‡˜Â̇ ÍÓÌÍÛÂÌÚ‡ÏË Ë ‡ÍÚË‚ÌÓ Ó·ÒÛʉ‡ÂÚÒˇ ‚ ˝ÙË ´‚‡ÊÂÒÍÓȪ
‡‰ËÓÒڇ̈ËË. ÕÓ Ï‡‡ÙÓÌ ÓÚÏÂÌˇÚ¸ ÌÂθÁˇ!.. »ÓÌ˘ÂÒÍÓ ÏÛÁ˚͇θÌÓÂ
¯ÓÛ ËÁ ÊËÁÌË Ï‰ˇ-·ËÁÌÂÒ‡ Ò ˝ÎÂÏÂÌÚ‡ÏË ËÒÚÂËÍË, ·˚ÚÓ‚Ó„Ó „ÂÓËÁχ,
ˆËÌËÁχ Ë Ú‡‰ËˆËÓÌÌÓ„Ó ÓÒÒËÈÒÍÓ„Ó ·ÂÒÔÓˇ‰Í‡, ÙËÎ¸Ï ÒÌˇÚ Ì‡ ÓÒÌÓ‚Â
Ó‰ÌÓËÏÂÌÌÓ„Ó ÒÔÂÍÚ‡ÍΡ ÍÓÏ˘ÂÒÍÓ„Ó Ú‡Ú‡ ´ü‚‡ÚÂÚ‡ »ª.
Comedy.
One day in the life of a fashionable Moscow radio station. Not the best day:
everything goes wrong everything falls throughÖ at the very moment when a
marathon begins on live air and popular Russian rock groups go on air in
supportÖ however, it does not matter, because the theme of the marathon is
intercepted by the competitors and actively discussed on air of the ìenemyî
radio station. But cancelling the marathon is impossible!
An ironical musical show from the world of the media with elements of
hysterics, everyday heroism, cynicism and traditional Russian disorder, the
film is shot on the basis of the performance of the comic theatre ìI-Quartetî.
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
«≈À≈Õ¤… “≈¿“– ¬ «≈Ñ»–≈
GREEN THEATRE IN ZEMFIRA
98
2008, –ÓÒÒˡ, 76 ÏËÌ., ˆ‚., 16:9, Dolby Digital 5.1,
2008, Russia, 76 min, col., 16:9, Dolby Digital 5.1,
Digital Video
Digital Video
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ –Â̇ڇ ÀËÚ‚ËÌÓ‚‡
Scriptwriter and Director Renata Litvinova
ŒÔÂ‡ÚÓ˚ —Â„ÂÈ Ã‡˜ËθÒÍËÈ, ŒÎ„ ÀÛ͢‚
Directors of Photography Sergei Machilsky, Oleg Lukichiov
(Ò˙ÂÏÍË ËÌÚÂ‚¸˛)
(interview)
¬Ó͇Π«ÂÏÙË‡ –‡Ï‡Á‡ÌÓ‚‡
Vocals Zemfira Ramazanova
œÓ‰˛ÒÂ˚ –Â̇ڇ ÀËÚ‚ËÌÓ‚‡, «ÂÏÙË‡ –‡Ï‡Á‡ÌÓ‚‡,
Producers Renata Litvinova, Zemfira Ramazanova,
‘ÂÎËÍÒ ÃËı‡ÈÎÓ‚
Felix Mikhailov
œÓËÁ‚Ó‰ÒÚ‚Ó ´“‡ÈÏ·È̪
Production Timeline
œÓÍ‡Ú ´÷ÂÌÚ‡Î œ‡ÚÌÂ¯ËÔª
Distribution Central Partnership
www.timeline.ru
www.timeline.ru
www.zemfira.ru
www.zemfira.ru
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
–Â̇ڇ ÀËÚ‚ËÌÓ‚‡
ñ ÒˆÂ̇ËÒÚ, ‡ÍÚËÒ‡, ÂÊËÒÒÂ,
ÚÂÎÂ‚Â‰Û˘‡ˇ.
«‡ÒÎÛÊÂÌ̇ˇ ‡ÚËÒÚ͇ –ÓÒÒËË, ·Û‡Ú
99
√ÓÒÛ‰‡ÒÚ‚ÂÌÌÓÈ ÔÂÏËË –‘, ÔËÁÂ
ÍËÌÓÙÂÒÚË‚‡ÎÂÈ.
‘ËθÏÓ„‡Ùˡ ÂÊËÒÒÂ‡:
2000 ....ÕÂÚ ÒÏÂÚË ‰Îˇ ÏÂÌˇ (‰ÓÍ.)
2004 ....¡Ó„ËÌˇ: Í‡Í ˇ ÔÓβ·Ë·
2008 ....«ÂÎÂÌ˚È Ú‡Ú ‚ «ÂÏÙËÂ
Renata Litvinova
ñ scriptwriter, actress, director, television
presenter.
Merited Actress of Russia, winner of the
State Prize of the Russian Federation, award
winner at film festivals.
Directorís Filmography:
2000 .... There is no Death for Me (doc.)
2004 .... The Goddess: How I Loved
2008 .... Green Theatre in Zemfira
‘ËθÏ-ÍÓ̈ÂÚ.
œÂ‚˚È ‚ ËÒÚÓËË ÓÚ˜ÂÒÚ‚ÂÌÌÓ„Ó ÍËÌÓÔÓ͇ڇ ÔÓÎÌÓÏÂÚ‡ÊÌ˚È
ÏÛÁ˚͇θÌ˚È ÙËθÏ, ÔÓÒÚÓÂÌÌ˚È Ì‡ ‚ˉÂÓχÚÂˇÎ ӉÌÓ„Ó ÍÓ̈ÂÚ‡.
—˙ÂÏÍË ‚ÂÎËÒ¸ 12-˛ ͇ÏÂ‡ÏË Ì‡ ÍÓ̈ÂÚ «ÂÏÙË˚, ÔÓıӉ˂¯ÂÏ ÎÂÚÓÏ
2007 „Ó‰‡ ‚ «ÂÎÂÌÓÏ Ú‡Ú ‚ ÃÓÒÍ‚Â. ›ÚÓ Ì ÔÓÒÚÓ ÙËθÏ-ÍÓ̈ÂÚ, ÌÓ
ÂθÂÙÌ˚È, ÌÂ‡‚ÌÓ‰Û¯Ì˚È ÔÓÚÂÚ „·‚ÌÓÈ ÓÒÒËÈÒÍÓÈ Ô‚ˈ˚ ÔÓÒΉ̄Ó
‰ÂÒˇÚËÎÂÚˡ.
Film Concert.
The first in the history of Russian distribution full-length musical film based
on the video material of one concert. Zemfiraís concert in the summer of 2007
at the Green Theatre in Moscow was filmed by 12 cameras. This is not just a
film concert, but a relief portrait and an engaged image of the main Russian
singer of the last decade.
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
»√–¿
THE GAME
100
2008, –ÓÒÒˡ, 96 ÏËÌ., ˆ‚., 1:1.85, Dolby Digital 5.1
2008, Russia, 96 min., col., 1:1.85, Dolby Digital 5.1
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ ¿ÎÂÍ҇̉ –Ó„ÓÊÍËÌ
Scriptwriter and Director Alexander Rogozhkin
ŒÔÂ‡ÚÓ ¿ÎÂÍ҇̉ —ÏËÌÓ‚
Director of Photography Alexander Smirnov
’Û‰ÓÊÌËÍ ¿ÎÂÍ҇̉ «‡„ÓÒÍËÌ
Production Design Alexander Zagoskin
üÓÒÚ˛Ï˚ ¬‡ÎÂÌÚË̇ ü‡ÏÂÌ‚‡
Costume Design Valentina Kameneva
üÓÏÔÓÁËÚÓ ƒÏËÚËÈ œ‡‚ÎÓ‚
Composer Dmitry Pavlov
«‚ÛÍ ¿Ì‡ÚÓÎËÈ √Û‰ÍÓ‚ÒÍËÈ
Sound Anatoli Gudkovsky
ÃÓÌÚ‡Ê fiÎˡ –ÛÏˇÌˆÂ‚‡
Editing Julia Rumiantseva
¬ ÓΡı: fiËÈ —ÚÂÔ‡ÌÓ‚, À˛·Ó‚¸ À¸‚Ó‚‡, ¿ÚÂÏ ¬ÓÎÓ·Û‚,
Cast: Yuri Stepanov, Liubov Lvova, Artem Volobuyev,
¿ÚÛ ¬‡ı‡, ƒ‡ÌËËÎ —Ú‡ıÓ‚, »„Ó¸ —Ú‡ËÎÓ‚, œ‡‚ÂÎ
Arthur Vakha, Daniil Strakhov, Igor Starilov,
√ÓÓʇÌÍËÌ, ¿ÎÂÍ҇̉ À˚χ‚, üËËÎÎ œËÓ„Ó‚,
Pavel Gorozhankin, Alexander Lymarev, Kirill Pirogov,
¿ÎÂÍÒÂÈ ¡ÛΉ‡ÍÓ‚, Շڇθˇ —ÛÍÓ‚‡
Alexei Buldakov, Natalia Surkova
œÓ‰˛ÒÂ ¿ÎÂÍÒÂÈ ”˜ËÚÂθ
Producer Alexei Uchitel
—ÓÔÓ‰˛ÒÂ —Â„ÂÈ “ËÚËÌÍÓ‚
Co-Producer Sergei Titinkov
œÓËÁ‚Ó‰ÒÚ‚Ó “œŒ ´–Óͪ ÔÓ Á‡Í‡ÁÛ ´œÂ‚˚È Í‡Ì‡Îª,
Production Company ROCK commissioned by First Channel,
´–ÓÒÒËÈÒÍËÈ ÙÛÚ·ÓθÌ˚È ÒÓ˛Áª, –Œ——√Œ–—“¿’, ÔË
the Russian Football Association, ìRosgosstrakhî Insurances,
ÔÓ‰‰ÂÊÍ ‘‰Â‡Î¸ÌÓ„Ó ‡„ÂÌÚÒÚ‚‡ ÔÓ ÍÛθÚÛ Ë
with support from the Federal Agency of Culture and
ÍËÌÂχÚÓ„‡ÙËË
Cinematography
œÓÍ‡Ú ´Õ‡¯Â ÍËÌÓª, ´ü‡ÓœÓ͇ڪ
Distribution Karo, Nashe Kino
www.rockfilm.ru
www.rockfilm.ru
www.nkino.ru
www.nkino.ru
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
¿ÎÂÍ҇̉ –Ó„ÓÊÍËÌ
ñ 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Â‡Ú ÔÓÙÂÒÒËÓ̇θÌ˚ı
ÍËÌÓÔÂÏËÈ.
»Á·‡Ì̇ˇ ÙËθÏÓ„‡Ùˡ:
1985 .... –‡‰Ë ÌÂÒÍÓθÍËı ÒÚÓ˜ÂÍ
101
1988 .... ÃËÒÒ ÏËÎÎËÓÌÂ¯‡
1989 .... ü‡‡ÛÎ
1990 .... “ÂÚ¸ˇ Ô·ÌÂÚ‡
1991 .... ◊ÂÍËÒÚ
1993 .... ¿ÍÚ; ΔËÁ̸ 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
2004 .... —‚Óˇ ˜Ûʇˇ ÊËÁ̸ (Ú‚)
2006 .... œÂ„ÓÌ
2008 .... »„‡
Alexander Rogozhkin
Director, scriptwriter, artist. Peopleís Artist
of Russia, prize-winner of international and
national film festivals, winner of professional
—ÔÓÚ˂̇ˇ ÍÓωˡ.
awards.
Õ‰‡ÎÂÍÓ ·Û‰Û˘ÂÂ. “ÂÌËӂӘ̇ˇ ·‡Á‡ ÓÒÒËÈÒÍÓÈ Ò·ÓÌÓÈ ñ Í ˝ÚÓÏÛ
ÏÂÒÚÛ ÔËÍÓ‚‡Ì˚ ‚Á„Ρ‰˚ ‚ÒÂÈ ÒÚ‡Ì˚, Á‰ÂÒ¸ ‚ ÓÒÚ‡‚¯ËÂÒˇ Ò˜ËÚ‡ÌÌ˚ ‰ÌË
Selected Filmography:
‰Ó χژ‡ ÚÂÌËÛ˛ÚÒˇ ̇¯Ë Ë„ÓÍË. «‰ÂÒ¸ Ê ‡·ÓÚ‡˛Ú ‚Ò ÚÂ, ÍÚÓ ÔÓÏÓ„‡ÂÚ
1985 .... For the Sake of a Few Lines
ËÏ ‚˚Ë„˚‚‡Ú¸: ÚÂÌÂ˚, ‡‰ÏËÌËÒÚ‡ÚÓ˚, ‚‡˜Ë, ÒÚÓÓʇ Ë ‰‡ÊÂ
1988 .... Miss Millionaire
Û·Ó˘Ëˆ˚. ŒÚ ˝ÚËı β‰ÂÈ Á‡‚ËÒËÚ ÒÛ‰¸·‡ ¯‡˛˘Â„Ó Ï‡Ú˜‡. ¬Ò ÓÌË
1989 .... The Guard
·ÂÁÁ‡‚ÂÚÌÓ Ô‰‡Ì˚ ÙÛÚ·ÓÎÛ. Œ‰Ì‡ÍÓ Ì‡ ·‡Á ̇˜Ë̇˛Ú ÔÓËÒıÓ‰ËÚ¸
1990 .... The Third Planet
ÒÚ‡ÌÌ˚Â, ‡ ÔÓÓÈ Ë ÍÛ¸ÂÁÌ˚ ÒÓ·˚Úˡ. üÚÓ-ÚÓ ıÓ˜ÂÚ ËÁ‚Θ¸ Ò‚Ó˛ ‚˚„Ó‰Û
1991 .... The Chekist
ËÁ ÔÓËÒıÓ‰ˇ˘Â„Ó, ÍÚÓ-ÚÓ, ̇ӷÓÓÚ, ÔÓÏÓ˜¸. √·‚Ì˚ „ÂÓË ÒÚ‡‡˛ÚÒˇ
1993 .... The Act; Life with an Idiot
‡ÁÓ·‡Ú¸Òˇ ‚ ÔÓËÒıÓ‰ˇ˘ÂÏ. » ÚÛÚ Ì‡˜Ë̇ÂÚÒˇ ÙË̇θÌ˚È Ï‡Ú˜. ¬ÒÂ
1995 .... Peculiarities of the National Hunt
‚Á„Ρ‰˚ ÔËÍÓ‚‡Ì˚ Í ˝Í‡Ì‡Ï. —ÛÏÂ˛Ú ÎË Ì‡¯Ë Ë„ÓÍË ÔÓÒ‡ÏËÚ¸
in Autumn
ÒÓÔÂÌËÍÓ‚. œÓ·Â‰ˇÚ ÎË?
1996 .... Operation ´ Happy New Year! ª
1997 .... The Gift (short)
1998 .... Checkpoint
Sports comedy.
1998 .... Peculiarities of National Fishing
Moscow, 2018, the world championship in football. All eyes are transfixed on
1999 .... Boldino Autumn (short)
the training camp of the Russian team, where the players practice during the
2000 .... Peculiarities of the National Hunt in
remaining days before the match. All those who work here help them win: the
Winter
coaches, managers, doctors, watchmen and even the cleaners. The outcome of
2002 .... The Cuckoo
the decisive match depends on these people. They all selflessly surrender to
2004 .... My Own Strange Life (TV)
football. However, some strange, and at times funny, events begin to occur on
2006 .... Transit
the camp. Someone wants to take advantage of the match, or someone on the
2008 .... The Match
contrary wants to assist. The heroes try to understand what is going on. And
here the final begins. All eyes are glued to the screens. Can our players beat
the contenders? Will they win?
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
»À‹fl Ô–ŒÃ≈÷ » —ŒÀŒ¬≈… –¿«¡Œ…Õ»ü
ILYA MUROMETS AND NIGHTINGALE-ROBBER
102
2007, –ÓÒÒˡ, 80 ÏËÌ., ˆ‚., Dolby Digital
2007, Russia, 80 min., col., Dolby Digital
¿‚ÚÓ ÒˆÂ̇ˡ ¿ÎÂÍ҇̉ ¡ÓˇÒÍËÈ ÔË Û˜‡ÒÚËË
Scriptwriter Alexander Boyarsky, with participation of
ÇÍÒËχ —‚¯ÌËÍÓ‚‡
Maxim Sveshnikov
–ÂÊËÒÒÂ ¬Î‡‰ËÏË “ÓÓÔ˜ËÌ
Director Vladimir Toropchin
’Û‰ÓÊÌËÍ ŒÎ„ ÇÍÂÎÓ‚
Production Design Oleg Markelov
üÓÏÔÓÁËÚÓ ¬‡ÎÂÌÚËÌ ¬‡ÒÂÌÍÓ‚
Composer Valentin Vasenkov
–ÂÊËÒÒÂ ÏÓÌڇʇ —Â„ÂÈ √ÎÂÁËÌ
Editing Sergei Glezin
–ÓÎË ÓÁ‚Û˜ËÎË: ¬‡ÎÂËÈ —ÓÎÓ‚¸Â‚, —Â„ÂÈ Ã‡ÍӂˆÍËÈ,
Voices: Valeri Soloviev, Sergei Makovetsky, Andrei Tolubeev,
¿Ì‰ÂÈ “ÓÎ۷‚, ≈͇ÚÂË̇ √ÓÓıÓ‚Ò͇ˇ, ŒÎ„ “‡·‡ÍÓ‚
Ekaterina Gorokhovskaya, Oleg Tabakov
œÓ‰˛ÒÂ˚ —Â„ÂÈ —ÂθˇÌÓ‚, ¿ÎÂÍ҇̉ ¡ÓˇÒÍËÈ
Producers Sergei Selianov, Alexander Boyarsky
œÓËÁ‚Ó‰ÒÚ‚Ó ´—“¬ª, ´ÃÂθÌˈ‡ª, ÔË Û˜‡ÒÚËË
Production —“¬, Melnitsa (The Mill), with participation of the
‘‰Â‡Î¸ÌÓ„Ó ‡„ÂÌÚÒÚ‚‡ ÔÓ ÍÛθÚÛÂ Ë ÍËÌÂχÚÓ„‡ÙËË
Federal Agency of Culture and Cinematography
œÓÍ‡Ú ´Õ‡¯Â ÍËÌÓª
Distribution Nashe Kino
www.3bogatirya.ru
www.3bogatirya.ru
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
¬Î‡‰ËÏË “ÓÓÔ˜ËÌ
ñ ıÛ‰ÓÊÌËÍ-‡ÌËχÚÓ ÏÛθÙËθÏÓ‚,
ÂÍ·ÏÌ˚ı ÓÎËÍÓ‚, ÍÎËÔÓ‚ Ë
ÍÓÏÔ¸˛ÚÂÌ˚ı Ë„. ´»Î¸ˇ ÃÛÓψ Ë
—ÓÎÓ‚ÂÈ –‡Á·ÓÈÌËͪ ñ ÂÊËÒÒÂÒÍËÈ ‰Â·˛Ú.
Vladimir Toropchin,
animator of films, adverts, clips and
computer games.
103
ìIlya Muromets and Nightingale-Robberî is
the directorís debut.
¿ÌËχˆËÓÌ̇ˇ ÍÓωˡ, Á‡‚Â¯‡˛˘ËÈ ÙËÎ¸Ï ÚËÎÓ„ËË Ó ·˚ÎËÌÌ˚ı
ÛÒÒÍËı ·Ó„‡Ú˚ˇı.
”‚ÂÎ ·‡Ì‰ËÚ Ó͇ˇÌÌ˚È —ÓÎÓ‚ÂÈ –‡Á·ÓÈÌËÍ Í‡ÁÌÛ „ÓÒÛ‰‡ÒÚ‚ÂÌÌÛ˛ ÔˇÏÓ ËÁÔÓ‰ ÌÓÒ‡. » ÓÚÔ‡‚ËÎËÒ¸ üÌˇÁ¸ Ò »Î¸ÂÈ Ì‡ ÔÓËÒÍË ÔÓıˢÂÌÌÓ„Ó, ‡ Á‡ ÌËÏË
‚ÒΉ Û‚ˇÁ‡Î‡Ò¸ ÍÓÂÒÔÓ̉ÂÌÚ͇ ÎÂÚÓÔËÒË ´ÕÓ‚‡ˇ ·ÂÂÒÚ‡ª. ¿ ‰ÓÓ„‡
‚˚‰‡Î‡Ò¸ ÌÂÔÓÒÚ‡ˇ, ‰Ó Ò‡ÏÓ„Ó ÷‡¸„‡‰‡ ‰Ó‚·, „‰Â Ë ‚ÒÚÂÚËÎ Ëı Ò‡Ï
»ÏÔÂ‡ÚÓ ¬ËÁ‡ÈÌÚËÈÒÍËÈÖ
An animation comedy, the final film in the trilogy about the epic Russian
knights (bogatyrs).
The gangster, the damned Nightingale-Robber, took the Stateís treasure right
from under everybodyís nose. The Prince and Ilya went to search for the stolen
treasure, followed by a correspondent of the annals ìNew Birch-Barkî. The
journey was not easy, leading them right to Tsargrad, where the Byzantine
Emperor was waiting already for themÖ
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
»Õƒ»√Œ
INDIGO
104
2007, –ÓÒÒˡ, 95 ÏËÌ., ˆ‚., Dolby Digital 5.1
2007, Russia, 95 min., col., Dolby Digital 5.1
¿‚ÚÓ˚ ÒˆÂ̇ˡ ¿ÎÂÍÒÂÈ “ËÏÏ, ¬‡ÎÂÌÚËÌ —ÔËˉÓÌÓ‚
Scriptwriters Alexei Timm, Valentin Spiridonov
–ÂÊËÒÒÂ –ÓÏ‡Ì œ˚„ÛÌÓ‚
Director Roman Prygunov
ŒÔÂ‡ÚÓ ƒÊÂÈÏÒ √Û˜˜Ë‡‰Ó
Director of Photography James Gucciardo
’Û‰ÓÊÌËÍ ›‰Û‡‰ √‡ÎÍËÌ
Production Design Eduard Galkin
üÓÒÚ˛Ï˚ ¿ÎÂÍ҇̉‡ ¿Ì‰‚‡, ¿Ì‰ÂÈ ƒÂÈÌ˘ÂÌÍÓ
Costume Design Alexander Andreeva, Andrei Deinichenko
üÓÏÔÓÁËÚÓ ¿͇‰ËÈ ”ÍÛÔÌËÍ
Composer Arkadi Ukupnik
«‚ÛÍ ¿ÎÂÍ҇̉ üÓÔÂÈÍËÌ
Sound Alexander Kopeikin
¬ ÓΡı: »‚‡Ì flÌÍÓ‚ÒÍËÈ, ÃËı‡ËÎ ≈ÙÂÏÓ‚,
Cast: Ivan Yankovsky, Mikhail Efremov, Maria Shukshina,
Çˡ ÿÛͯË̇, ¿ÚÂÏ “͇˜ÂÌÍÓ, ≈ÎÂ̇ ƒÓ·˚¯Â‚‡,
Artem Tkachenko, Elena Drobysheva, Gosha Kutsenko,
√Ó¯‡ üÛˆÂÌÍÓ, ¿Ì‡ÒÚ‡Òˡ –˘Ë, –ÓÏ‡Ì ÿχÍÓ‚,
Anastasia Ricci, Roman Shmakov, Pavel Sliva, Marius
œ‡‚ÂÎ —ÎË‚‡, ÇËÛÒ ÿڇ̉Âθ, œ‡‚ÂÎ flÒÂÌÓÍ,
Standel, Pavel Yasenok, Petr Skvortsov, Ivan Mudrov
œÂÚ —Í‚ÓˆÓ‚, »‚‡Ì ÃÛ‰Ó‚
Producers Renat Davletiarov, Alexander Kotelevsky,
œÓ‰˛ÒÂ˚ –ÂÌ‡Ú ƒ‡‚ÎÂÚ¸ˇÓ‚, ¿ÎÂÍ҇̉ üÓÚÂ΂ÒÍËÈ,
Mikhail Mikots
ÃËı‡ËÎ ÃËÍÓˆ
Production Interfest, Vox Film, Real-Dakota, with
œÓËÁ‚Ó‰ÒÚ‚Ó ´»ÌÚÂÙÂÒÚª, Vox Film, ´–‡Î-ƒ‡ÍÓÚ‡ª,
participation of the Federal Agency of Culture and
ÔË Û˜‡ÒÚËË ‘‰Â‡Î¸ÌÓ„Ó ‡„ÂÌÚÒÚ‚‡ ÔÓ ÍÛθÚÛ Ë
Cinematography
ÍËÌÂχÚÓ„‡ÙËË
Distribution KaroProkat
œÓÍ‡Ú ´ü‡ÓœÓ͇ڪ
www.indigo-film.ru
www.indigo-film.ru
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
–ÓÏ‡Ì œ˚„ÛÌÓ‚,
ÂÊËÒÒÂ-ÔÓÒÚ‡ÌÓ‚˘ËÍ:
2002 ....Œ‰ËÌÓ˜ÂÒÚ‚Ó ÍÓ‚Ë
2007 ....»Ì‰Ë„Ó
Roman Prygunov,
director:
2002 ....The Solitude of Blood
2007 ....Indigo
105
œËÍβ˜Â̘ÂÒÍËÈ ÚËÎÎÂ.
“ËıÓÌ ÔÓÏÌËÚ ‚ÒÂ Ó Ò‚ÓÂÈ ÔÓ¯ÎÓÈ ÊËÁÌË, “‡Ìˇ ÔÓÌËχÂÚ ˇÁ˚Í ÊË‚ÓÚÌ˚ı,
ΔÂ͇ Ò Î„ÍÓÒÚ¸˛ ‚Á·Ï˚‚‡ÂÚ Î˛·Û˛ ÍÓÏÔ¸˛ÚÂÌÛ˛ ÔÓ„‡ÏÏÛ, ÀÂı‡ ‚ˉËÚ
ÒÍ‚ÓÁ¸ Ô‰ÏÂÚ˚, ¿Ì‰ÂÈ ‚Ò„‰‡ Ô‰˜Û‚ÒÚ‚ÛÂÚ ÓÔ‡ÒÌÓÒÚ¸. ŒÌË ñ »Ì‰Ë„Ó,
ÓÌË ÊË‚ÛÚ ‚ ‡ÁÌ˚ı ‡ÈÓ̇ı ÒÓ‚ÂÏÂÌÌÓÈ ÃÓÒÍ‚˚. » ÚÓθÍÓ Ì‡ıÓ‰ˇÒ¸
‚ÏÂÒÚÂ, Ó‰‡ÂÌÌ˚ ·ˇÚ‡ ˜Û‚ÒÚ‚Û˛Ú Ò·ˇ Ò‚Ó·Ó‰Ì˚ÏË Ë ÌÂÛˇÁ‚ËÏ˚ÏË. ÕÓ
ÍÚÓ-ÚÓ ÏÂÚӉ˘ÌÓ Ëı ‚˚ÒÎÂÊË‚‡ÂÚ ñ »Ì‰Ë„Ó Ì‡˜Ë̇˛Ú ÔÓÔ‡‰‡Ú¸ Ó‰ËÌ Á‡
‰Û„ËÏ. ¿ ˝ÚÓÚ ÍÚÓ-ÚÓ Û‚ÂÂÌ Î˯¸ ‚ Ó‰ÌÓÏ: ÏË ‚ÁÓÒÎ˚ı ÔË‚˚˜ÌÓ
ÓÚÒÚ‡ÌËÚÒˇ ÓÚ ÒÚ‡ÌÌ˚ı ÔÓ‰ÓÒÚÍÓ‚˚ı ÔÓ·ÎÂÏ Ë ÌËÍÓ„‰‡ Ì ÔÓ‚ÂËÚ ‚
ÒÂ¸ÂÁÌÓÒÚ¸ ËÒÚÓËË Ó Ï‡Ì¸ˇÍÂ, ÔÂÒÎÂ‰Û˛˘ÂÏ Î˯¸ »Ì‰Ë„Ó...
Adventure thriller.
Tikhon remembers everything about his former life, Tanya understands the
language of animals, Zhaka easily cracks any computer programme, Lekha can
see through objects, Andrei has a presentiment for danger. They are Indigo,
living in different parts of modern Moscow. These gifted people feel free and
impregnable only when they are together. But someone tracks them down
methodically and the Indigos vanish one after the other. This someone is
confident only in one thing: that the adult world normally disregards strange
teenage problems and would never believe in the seriousness of a story about a
maniac pursuing only Indigo...
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
»—◊≈«Õ”¬ÿ¿fl »Ãœ≈–»fl
THE VANISHED EMPIRE
106
2008, –ÓÒÒˡ, 105 ÏËÌ., ˆ‚., 1:1.66, Dolby SRD
2008, Russia, 105 min., col., 1:1.66, Dolby SRD
¿‚ÚÓ ÒˆÂ̇ˡ —Â„ÂÈ –ÓÍÓÚÓ‚ ÔË Û˜‡ÒÚËË
Scriptwriter Sergei Rokotov, with participation of Evgeniya
≈‚„ÂÌˡ ÕËÍ˯ӂ‡
Nikishova
–ÂÊËÒÒÂ ü‡ÂÌ ÿ‡ı̇Á‡Ó‚
Director Karen Shakhnazarov
ŒÔÂ‡ÚÓ ÿ‡Ì‰Ó ¡ÂͯË
Director of Photography Shandor Berkeshi
’Û‰ÓÊÌËÍ À˛‰ÏË· üÛÒ‡ÍÓ‚‡
Production Design Liudmila Kusakova
üÓÒÚ˛Ï˚ ¿Î· ŒÎÂÌ‚‡, —‚ÂÚ·̇ “ËÚÓ‚‡
Costume Design Alla Oleneva, Svetlana Titova
üÓÏÔÓÁËÚÓ üÓÌÒÚ‡ÌÚËÌ ÿ‚Â΂
Composer Konstantin Shevelev
«‚ÛÍ √Ûθ҇‡ ÃÛ͇ڇ‚‡
Sound Gulsara Mukataeva
¬ ÓΡı: ¿ÎÂÍ҇̉ ÀˇÔËÌ, Àˉˡ ÃËβÁË̇,
Cast: Alexander Liapin, Lydia Miliuzina, Egor Baranovsky,
≈„Ó ¡‡‡ÌÓ‚ÒÍËÈ, »‚‡Ì üÛÔÂÂÌÍÓ, √Ë„ÓËÈ ƒÓ·˚„ËÌ,
Ivan Kupreenko, Grigori Dobrygin, Yanina Kalganova, Olga
flÌË̇ ü‡Î„‡ÌÓ‚‡, ŒÎ¸„‡ “ÛχÈÍË̇, ¿ÏÂÌ ƒÊË„‡ı‡ÌˇÌ,
Tumaikina, Armen Dzhigarkhanian, Vladimir Ilyin, Andrei
¬Î‡‰ËÏË »Î¸ËÌ, ¿Ì‰ÂÈ ¡Î‡„ÓÒÎÓ‚ÂÌÒÍËÈ,
Blagoslovensky, Vasili Shakhnazarov, Vladimir Konkin, Alexei
¬‡ÒËÎËÈ ÿ‡ı̇Á‡Ó‚, ¬Î‡‰ËÏË üÓÌÍËÌ, ¿ÎÂÍÒÂÈ Δ‡ÍÓ‚
Zharkov
√ÂÌÂ‡Î¸Ì˚È ÔÓ‰˛ÒÂ ü‡ÂÌ ÿ‡ı̇Á‡Ó‚
General Producer Karen Shakhnazarov
œÓËÁ‚Ó‰ÒÚ‚Ó üËÌÓÍÓ̈ÂÌ ´ÃÓÒÙËθϪ, ÔË Û˜‡ÒÚËË
Production Mosfilm, with participation of the Federal Agency
‘‰Â‡Î¸ÌÓ„Ó ‡„ÂÌÚÒÚ‚‡ ÔÓ ÍÛθÚÛÂ Ë ÍËÌÂχÚÓ„‡ÙËË
of Culture and Cinematography
œÓÍ‡Ú ´ü‡ÓœÓ͇ڪ
Distribution KaroProkat
www.mosfilm.ru
www.mosfilm.ru
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
ü‡ÂÌ ÿ‡ı̇Á‡Ó‚
üËÌÓÂÊËÒÒÂ, ÒˆÂ̇ËÒÚ, ÔÓ‰˛ÒÂ, ˜ÎÂÌ
≈‚ÓÔÂÈÒÍÓÈ ÍËÌӇ͇‰ÂÏËË.
√ÂÌÂ‡Î¸Ì˚È ‰ËÂÍÚÓ, Ô‰Ò‰‡ÚÂθ
Ô‡‚ÎÂÌˡ ÍËÌÓÍÓ̈Â̇ ´ÃÓÒÙËθϪ.
Õ‡Ó‰Ì˚È ‡ÚËÒÚ –ÓÒÒËË, ·Û‡Ú
√ÓÒÛ‰‡ÒÚ‚ÂÌÌÓÈ ÔÂÏËË –‘,
√ÓÒÛ‰‡ÒÚ‚ÂÌÌÓÈ ÔÂÏËË –—‘—– ËÏÂÌË
¡‡Ú¸Â‚ ¬‡ÒËθ‚˚ı Ë ‰Û„Ëı
107
ÔÓÙÂÒÒËÓ̇θÌ˚ı ÔÂÏËÈ, ÔËÁÂ
ÏÂʉÛ̇Ó‰Ì˚ı Ë ÓÚ˜ÂÒÚ‚ÂÌÌ˚ı
ÍËÌÓÙÂÒÚË‚‡ÎÂÈ.
‘ËθÏÓ„‡Ùˡ ÂÊËÒÒÂ‡:
1979 ....ƒÓ·ˇÍË
1983 ....Ã˚ ËÁ ‰Ê‡Á‡
1985 ....«ËÏÌËÈ ‚˜Â ‚ √‡„‡ı
1986 ....üÛ¸Â
1988 ....√ÓÓ‰ «ÂÓ
1991 ....÷‡ÂÛ·ËȈ‡
1993 ....—Ì˚ (Ò ¿ÎÂÍ҇̉ÓÏ ¡ÓÓ‰ˇÌÒÍËÏ)
1995 ....¿ÏÂË͇ÌÒ͇ˇ ‰Ó˜¸
1998 ....ƒÂ̸ ÔÓÎÌÓÎÛÌˡ
2001 ....fl‰˚, ËÎË ¬ÒÂÏË̇ˇ ËÒÚÓˡ
ÓÚ‡‚ÎÂÌËÈ
2004 ....¬Ò‡‰ÌËÍ ÔÓ ËÏÂÌË —ÏÂÚ¸
2008 ....»Ò˜ÂÁÌÛ‚¯‡ˇ ËÏÔÂˡ
Karen Shakhnazarov
Film director, scriptwriter, producer, Member
–ÓχÌÚ˘ÂÒ͇ˇ Ú‡„ËÍÓωˡ ÔÓ ÏÓÚË‚‡Ï Óχ̇ —Â„¡ –ÓÍÓÚÓ‚‡.
of the European Film Academy.
ƒÂÈÒÚ‚Ë ÙËθχ ‡Á‚Ó‡˜Ë‚‡ÂÚÒˇ ‚ 70- „Ó‰˚ ÔÓ¯ÎÓ„Ó ‚Â͇ ‚ ÃÓÒÍ‚Â. ¬
Director-General, Chairman of Board of the
ˆÂÌÚÂ Ò˛ÊÂÚ‡ Í·ÒÒ˘ÂÒÍËÈ Î˛·Ó‚Ì˚È ÚÂÛ„ÓθÌËÍ ñ ‰‚‡ Ô‡Ìˇ Ë
Film Company Mosfilm.
‰Â‚ۯ͇. ŒÌË Û˜‡ÚÒˇ ‚ Ó‰ÌÓÏ ËÌÒÚËÚÛÚÂ, ÒÒÓˇÚÒˇ, ÏËˇÚÒˇ, ËÒÔ˚Ú˚‚‡˛Ú
National Artist of Russia, winner of the State
ÔÂ‚˚ ‡ÁÓ˜‡Ó‚‡Ìˡ, Ó‰ÂÊË‚‡˛Ú ÔÂ‚˚ Ôӷ‰˚, ‰‡Ê Ì ‰Ó„‡‰˚‚‡ˇÒ¸ Ó
Prize of the Russian Federation, ìBrothers
ÚÓÏ, ˜ÚÓ ÛÊ ӘÂ̸ ÒÍÓÓ ÒÚ‡Ì‡, ‚ ÍÓÚÓÓÈ ÓÌË Ó‰ËÎËÒ¸ Ë ÊË‚ÛÚ, ËÒ˜ÂÁÌÂÚ
Vasilievî State Prize of the RSFSR and other
Ò Í‡Ú˚ ÏË‡. ¬ÂÏˇ ‰ÂÈÒڂˡ ͇ÚËÌ˚ ñ ˝ÚÓ ‡Òˆ‚ÂÚ ËÏÔÂËË ———–, ÔËÍ
professional awards, prize-winner of
 ÏÓ„Û˘ÂÒÚ‚‡ Ë ‚ÏÂÒÚÂ Ò ÚÂÏ ˝ÚÓ ÓÚÔ‡‚̇ˇ ÚӘ͇  ÍÓ̈‡. Œ· ˝ÚÓÈ, Ú‡ÍÓÈ
international and national film festivals.
·ÎËÁÍÓÈ, ͇Á‡ÎÓÒ¸ ·˚, ÌÓ ·ÂÁ‚ÓÁ‚‡ÚÌÓ Û¯Â‰¯ÂÈ ˝ÔÓıÂ Ë ‡ÒÒ͇ÊÂÚ ÌÓ‚˚È
ÙËÎ¸Ï ü‡Â̇ ÿ‡ı̇Á‡Ó‚‡.
Directorís Filmography:
1979 .... Kind Men
Romantic tragicomedy based on motives of Sergei Rokotovís novel.
1983 .... Jazzmen
The filmís action unfolds in the 1970s in Moscow. In the centre of the plot
1985 .... Winter Evening in Gagry
stands a classical love triangle: two guys and a girl. They study at the same
1986 .... The Messenger
institute, they quarrel and reconcile, they experience their first disappointments
1988 .... City Zero
and score the first victories, without guessing that already very soon the
1991 .... The Tsarís Assassin
country where they were born and where they live would disappear from the
1993 .... Dreams (with Alexander
map. The time is the blossoming of the Soviet empire, the peak of its power
Borodiansky)
1995 .... The American Daughter
1998 .... Day of the Full Moon
2001 .... Poisons, or the World History of
Poisoning
2004 .... A Rider named Death
2008 .... The Vanished Empire
and, at the same time, the beginning of its demise. About this seemingly recent
but irrevocably past epoch is Karen Shakhnazarovís new film.
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
ÃŒÕ√ŒÀ
MONGOL
108
2007, –ÓÒÒˡ/ √ÂχÌˡ/ ü‡Á‡ıÒÚ‡Ì/ üËÚ‡È, 120 ÏËÌ., ˆ‚.,
2007, Russia/Germany/Kazakhstan/China, 120 min., col.,
Dolby SRD
Dolby SRD
¿‚ÚÓ˚ ÒˆÂ̇ˡ ¿ËÙ ¿ÎË‚, —Â„ÂÈ ¡Ó‰Ó‚-ÒÚ‡¯ËÈ
Scriptwriters Arif Aliev, Sergei Bodrov Sr.
–ÂÊËÒÒÂ —Â„ÂÈ ¡Ó‰Ó‚-ÒÚ‡¯ËÈ
Director Sergei Bodrov Sr.
ŒÔÂ‡ÚÓ˚ –Ó‰ÊÂ —ÚÓÙÙÂÒ, —Â„ÂÈ “ÓÙËÏÓ‚
Directors of Photography Rogier Stoffers, Sergei Trofimov
’Û‰ÓÊÌËÍË ƒ‡¯Ë Շω‡ÍÓ‚, ≈ÎÂ̇ ΔÛÍÓ‚‡
Production Design Dashi Namdakov, Elena Zhukova
üÓÒÚ˛Ï˚ ÀÓ ü‡ËÌ
Costume Design Karin Lohr
üÓÏÔÓÁËÚÓ –Ë˜Ë —‡Í‡ÏÓÚÓ
Composer Ricci Sakamoto
«‚ÛÍ ÿÚÂÙ‡Ì üÓÌÍÂÌ
Sound Stephan Konken
ÃÓÌÚ‡Ê «‡Í —ÚÂÌ·Â„
Editing Zach Staenberg
¬ ÓΡı: “‡‰‡ÌÓ·Û ¿Ò‡ÌÓ, —ÛÌ ’ÓÌ„ ÀÂÈ, ’ÛÎ‡Ì ◊ÛÎÛÛÌ,
Cast: Tadanobu Asano, Honglei Sun, Khulan Chuluun,
¡‡Ò‡Ì, ¿Îˡ, ¿Ï‡‰Û Çχ‰‡ÍÓ‚, Œ‰Ì‡Ï Œ‰ÒÛ˝Ì
Ba San, Aliya, Amadu Mamadakov, Odnyam Odsuren
œÓ‰˛ÒÂ˚ —Â„ÂÈ —ÂθˇÌÓ‚, ¿ÌÚÓÌ ÃÂθÌËÍ,
Producers Sergei Selianov, Anton Melnik, Sergei Bodrov Sr.
—Â„ÂÈ ¡Ó‰Ó‚-ÒÚ.
Co-Producers Manuela Stehr, Stefan Arndt, Alec Schulmann
—ÓÔÓ‰˛ÒÂ˚ ÇÌÛ˝Î‡ —ÚÂ, —ÚÂÙ‡Ì ¿̉Ú, ¿ÎÂÍ ÿÛθχÌÌ
Production —“¬, Andreevsky Flag, Kinofabrika GmbH
œÓËÁ‚Ó‰ÒÚ‚Ó ´—“¬ª, ´¿Ì‰‚ÒÍËÈ Ù·„ª, Kinofabrika
(Germany), X-Filme Creative Pool (Germany), Neftex,
GmbH (‘–√), X-Filme Creative Pool (‘–√), Neftex,
Eurasiafilm
´≈‚‡ÁˡÙËθϪ
Distribution Nashe Kino, Karo
œÓÍ‡Ú ´Õ‡¯Â ÍËÌÓª, ´ü‡ÓœÓ͇ڪ
www.mongolfilm.ru
www.mongolfilm.ru
www.ctb.ru
www.ctb.ru
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
—Â„ÂÈ ¡Ó‰Ó‚-ÒÚ‡¯ËÈ
ñ ÂÊËÒÒÂ, ÒˆÂ̇ËÒÚ, ÔÓ‰˛ÒÂ.
‘ËθÏÓ„p‡Ùˡ ÂÊËÒÒÂ‡:
1984 ....—·‰ÍËÈ ÒÓÍ ‚ÌÛÚË Ú‡‚˚
(Ò ¿. ¿Î¸ÔË‚˚Ï)
1985 ....ÕÂÔÓÙÂÒÒËÓ̇Î˚ (‚˚Ô. 1988)
1986 ....fl Ú·ˇ ÌÂ̇‚ËÊÛ (“¬)
1989 ....ü‡Ú‡Î‡
109
1989 ....—.›.– (—‚Ó·Ó‰‡ ñ ˝ÚÓ ‡È)
1992 ....¡ÂÎ˚È ÍÓÓθ, Í‡Ò̇ˇ ÍÓÓ΂‡
1992 ....fl ıÓÚ· ۂˉÂÚ¸ ‡Ì„ÂÎÓ‚
›Ô˘ÂÒ͇ˇ ËÒÚÓ˘ÂÒ͇ˇ Ò‡„‡ Ó ˛Ì˚ı „Ó‰‡ı ‚ÂÎËÍÓ„Ó ‚ÓË̇ ◊ËÌ„ËÒı‡Ì‡,
1996 ....ü‡‚͇ÁÒÍËÈ ÔÎÂÌÌËÍ
Ó͇Á‡‚¯Â„Ó Ó„ÓÏÌÓ ‚ÎˡÌË ̇ ÏË Ë Ì‡ –ÓÒÒ˲, Ó ‚ÂÏÂÌË, ÍÓ„‰‡ ‚ÒÂ
1999 ....Running Free/ ¡Â„Û˘ËÈ Ò‚Ó·Ó‰Ì˚Ï
ÚÓθÍÓ Ì‡˜Ë̇ÎÓÒ¸ Ë ÍÓ„‰‡ ¢ ÌËÍÚÓ Ì Á̇Î, ˜ÚÓ “ÂÏÛ‰ÊËÌ ÒÚ‡ÌÂÚ
2001 ....The Quickie/ ƒ‡‚‡È ҉·ÂÏ ˝ÚÓ ÔÓ-
‚ÂÎËÍËÏ ı‡ÌÓÏ ‚ÒÂı ÏÓÌ„ÓÎÓ‚. ≈˘Â ·ÂÌÍÓÏ ÓÌ Ò‰Â·Πˇ‰ ÔÓÒÚÛÔÍÓ‚,
·˚ÒÚÓÏÛ
ÍÓÚÓ˚ ËÁÏÂÌËÎË Ë ÓÔ‰ÂÎË Â„Ó ÊËÁ̸. ŒÚˆ ÔÓ‚ÂÁ χθ˜Ë͇ ‚˚·Ë‡Ú¸
2002 ....Bearís Kiss/ É‚ÂÊËÈ ÔÓˆÂÎÛÈ
Ì‚ÂÒÚÛ ‚ ÔÎÂÏˇ ÏÂÍËÚÓ‚, ËÁ ÍÓÚÓÓ„Ó ÍÓ„‰‡-ÚÓ ÔÓıËÚËΠχڸ ◊ËÌ„ËÒı‡Ì‡,
2005 ....Drunken Sailor/The Tiger Lillies/
ÌÓ Ò˚Ì ‚˚·‡Î ‰Â‚Û¯ÍÛ ËÁ ‰Û„Ó„Ó Í·̇. —Ó˛Á Ò ÏÂÍËÚ‡ÏË Ì ÒÓÒÚÓˇÎÒˇ,
œ¸ˇÌ˚È Ï‡ÚÓÒ
2005 ....Nomad/ üӘ‚ÌËÍ
(Ò »‚‡ÌÓÏ œ‡ÒÒÂÓÏ)
2007 ....ÃÓÌ„ÓÎ
ÓÚˆ‡ ÓÚ‡‚ËÎË, ‡ “ÂÏÛ‰ÊËÌ ÔÓԇΠ‚ ‡·ÒÚ‚Ó. ÕÓ, ‚ÂÌÛ‚¯ËÒ¸ ˜ÂÂÁ ÏÌÓ„Ó
ÎÂÚ Ò‚Ó·Ó‰Ì˚Ï ‚ÓËÌÓÏ, ÓÌ ‚ÒÂ-Ú‡ÍË ÊÂÌËÎÒˇ ̇ Ò‚ÓÂÈ ‚ÓÁβ·ÎÂÌÌÓÈ ¡ÓÚÂ,
ÒÚ‡‚¯ÂÈ, ÌÂÒÏÓÚˇ ̇ ˜ÂÚ˚Âı ÊÂÌ Ë ·Óθ¯Ó ˜ËÒÎÓ Ì‡ÎÓÊÌˈ, Â„Ó „·‚Ì˚Ï
ÔÓÏÓ˘ÌËÍÓÏ Ë ÒÓ‚ÂÚ˜ËÍÓÏ ‰Ó ÍÓ̈‡ ÊËÁÌË. √·‚ÌÓÈ ˆÂθ˛ ÔÓıÓ‰Ó‚
◊ËÌ„ËÒı‡Ì‡ ÒÚ‡ÎÓ Ê·ÌË ӷÂÒÔ˜ËÚ¸ Ò‚ÓËÏ ÏÌÓ„Ó˜ËÒÎÂÌÌ˚Ï ‰ÂÚˇÏ ÏË Ë
Sergei Bodrov Sr.
ÔÓÍÓÈ.
ñ director, scriptwriter, producer.
Directorís Filmography:
1984 .... Sweet Juice inside the Grass
(with A. Alpiev)
1985 .... Nonprofessionals (rel..1988)
1986 .... I Hate You (TV)
1989 .... Katala ñ The Gambler
ñ Õ‡ˆËÓ̇θÌ˚ ÍËÌÓÔÂÏËË ´«ÓÎÓÚÓÈ ŒÂΪ (2007) ‚ ÌÓÏË̇ˆËˇı:
ÎÛ˜¯ËÈ ıÛ‰ÓÊÌËÍ ÔÓ ÍÓÒÚ˛Ï‡Ï, ÎÛ˜¯‡ˇ ‡·ÓÚ‡ Á‚ÛÍÓÂÊËÒÒÂ‡;
ñ œÂÏˡ ÍËÌÓÍËÚËÍË Ë ÍËÌÓÔÂÒÒ˚ ´¡ÂÎ˚È ÒÎÓ̪ (2007) ñ ÎÛ˜¯‡ˇ
‡·ÓÚ‡ ıÛ‰ÓÊÌË͇-ÔÓÒÚ‡ÌÓ‚˘Ë͇;
ñ œÂÏËË üËÌӇ͇‰ÂÏËË ´ÕË͇ª (2007) ‚ ÌÓÏË̇ˆËˇı: ÎÛ˜¯ËÈ Ë„Ó‚ÓÈ
ÙËθÏ, ÎÛ˜¯‡ˇ ÂÊËÒÒÂÒ͇ˇ ‡·ÓÚ‡, ÎÛ˜¯‡ˇ ‡·ÓÚ‡ Á‚ÛÍÓÂÊËÒÒÂ‡;
ÎÛ˜¯‡ˇ ÓÔÂ‡ÚÓÒ͇ˇ ‡·ÓÚ‡, ÎÛ˜¯‡ˇ ‡·ÓÚ‡ ıÛ‰ÓÊÌË͇ÔÓÒÚ‡ÌÓ‚˘Ë͇, ÎÛ˜¯‡ˇ ‡·ÓÚ‡ ıÛ‰ÓÊÌË͇ ÔÓ ÍÓÒÚ˛Ï‡Ï;
ñ ÕÓÏË̇ˆËˇ ̇ ÔÂÏ˲ ´ŒÒ͇ª, 2008.
1989 .... SER (Freedom is Paradise)
1992 .... White King, Red Queen
1992 .... I Wanted to See Angels
An epic, historical saga about the youth of the great warrior Chingis Khan,
1996 .... The Prisoner of the Mountains
who exercised great influence on the world and on Russia; about the time when
1999 .... Running Free
this only began and nobody knew that Temurjin would become the great khan
2001 .... The Quickie
of all the Mongols. When he was still a child, he accomplished a number of
2002 .... The Bearís Kiss
feats that changed and determined his life. His father took the boy to choose a
2005 .... Drunken Sailor (The Tiger Lillies)
bride in the tribe of the Merkits, from whence he had once stolen Chingis
2005 .... The Nomad (with Ivan Passer)
Khanís mother, but the son takes a girl from another clan. The union with the
2007 .... The Mongol
Merkits has not succeeded, the father is poisoned and Temurjin taken into
slavery. But when he returns after many years as a free warrior, he all the
same marries his beloved Borte, who would becoming ñ despite four wives and
a great number concubines ñ his main assistant and adviser, right until the
end of his life. The main aim of Chingis Khanís campaigns was the wish to
provide peace and rest to his numerous children.
ñ National Film Award ìGolden Eagleî (2007) in the nominations: Best
Costume Design, Best Sound;
ñ Prize of Film Critics and the Film Press ìWhite Elephantî (2007): Best
Production Design;
ñ Prize of the Film Academy NIKA (2007) in the nominations: Best Fiction
Film, Best Director, Best Sound; Best Camera, Best Production Design, Best
Costume Design;
ñ Nomination for the OSCAR Academy Award, 2008.
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
Ô’¿
MUKHA (The Fly)
2008, –ÓÒÒˡ, 107 ÏËÌ., ˆ‚., 1:1.66, Dolby SRD
110
2008, –ÓÒÒˡ, 107 ÏËÌ., ˆ‚., 1:1.66, Dolby SRD
2008, Russia, 107 min, col., 1:1.66, Dolby SRD
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ ¬Î‡‰ËÏË üÓÚÚ
Scriptwriter and Director Vladimir Kott
ŒÔÂ‡ÚÓ ≈‚„ÂÌËÈ œË‚ËÌ
Director of Photography Evgeni Privin
’Û‰ÓÊÌËÍ ŒÎ„ ”ıÓ‚
Production Designer Oleg Ukhov
üÓÒÚ˛Ï˚ »Ë̇ √‡Ê‰‡ÌÍË̇
Costume Design Irina Grazhdankina
ÃÛÁ˚͇/ ƒËÁ‡ÈÌ Á‚Û͇ ¿ÌÚÓÌ —Ë·‚
Composer/ Sound Designer Anton Silaev
–ÂÊËÒÒÂ˚ ÏÓÌڇʇ ŒÎ¸„‡ √Ë̯ÔÛÌ, ¬‡ÎÂËÈ Ã˚ÁÌËÍÓ‚
Editing Olga Grinshpun, Valeri Myznikov
¬ „·‚Ì˚ı ÓΡı: ¿ÎÂÍÒÂÈ ü‡‚˜ÂÌÍÓ, ¿ÎÂÍ҇̉‡ “˛ÙÚÂÈ,
Cast: Alexei Kravchenko, Alexandra Tiuftey, Sergei Selin,
—Â„ÂÈ —ÂÎËÌ, ≈‚„ÂÌˡ ƒÓ·Ó‚ÓθÒ͇ˇ, ¿ÎÂÍ҇̉ √ÓÎÛ·ÍÓ‚,
Evgenia Dobrovolskaya, Alexander Golubkov,
üÓÌÒÚ‡ÌÚËÌ œÓˇÍËÌ
Konstantin Poyarkin
œÓ‰˛ÒÂ ≈‚„ÂÌËÈ √Ë̉ËÎËÒ
Producer Evgeni Gindilis
œÓËÁ‚Ó‰ÒÚ‚Ó üËÌÓÍÓÏÔ‡Ìˡ ´“‚Ë̉˪, Õ“¬
Production Film Company Tvindie, NTV
www.tvindie.ru
www.tvindie.ru
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
¬Î‡‰ËÏË üÓÚÚ,
ÂÊËÒÒÂ, ÔËÁÂ ÍËÌÓÙÂÒÚË‚‡ÎÂÈ.
‘ËθÏÓ„‡Ùˡ:
2004 ....ƒ‚Â¸ (‰ËÔÎÓÏ̇ˇ ‡·ÓÚ‡, Í/Ï)
2005 ....–Ó‰ÒÚ‚ÂÌÌ˚È Ó·ÏÂÌ (ÒÂˇÎ)
2006 ....ŒıÓÚÌËÍ (ÒÂˇÎ)
2006 ....—Â·ˇÌ˚È Ò‡ÏÛ‡È.
Œ‡ÌËÂÌ·‡ÛÏ (TÂÎÂÒÂˇÎ)
2008 ....ÃÛı‡
111
Vladimir Kott,
film director, prize-winner
of the film festivals.
Director's Filmography:
2004 ....The Door (graduation film, short)
2005 ....Family exchange (TV-serial)
2006 ....The Hunter (TV-serial)
2006 ....The Silver Samurai.
Oranienbaum (TV)
2008 ....Mukha (The Fly)
»ÒÚÓˡ Ó ‚˚·ÓÂ, ÍÓÚÓ˚È Ó‰Ì‡Ê‰˚ ‰Â·ÂÚ Í‡Ê‰˚È: ÏÂÊ‰Û Ò‚ÓÂÈ Ò‚Ó·Ó‰ÓÈ
Ë ÓÚ‚ÂÚÒÚ‚ÂÌÌÓÒÚ¸˛ Á‡ ‰Û„Ó„Ó. ƒ‡Î¸ÌÓ·ÓÈ˘ËÍ ‘‰Ó ‚ÌÂÁ‡ÔÌÓ ÛÁ̇ÂÚ, ˜ÚÓ Û
ÌÂ„Ó ÂÒÚ¸ ‰Ó˜¸. ≈ÏÛ Ô‰ÒÚÓËÚ ‰Ó͇Á‡Ú¸, ˜ÚÓ ÓÌ ÂÈ ÌÛÊÂÌ; ̇ÈÚË Íβ˜ Í
ÊÂÒÚÍÓÏÛ ÏËÛ ÔÓ‰ÓÒÚÍÓ‚, ÍÓÚÓ˚È Ì ÔËÌËχÂÚ ˜ÛÊËı Ë Ì ʇÎÂÂÚ
Ò‚ÓËıÖ
This is a story about the choice each of us has to make at one point in life: the
choice between freedom and responsibility for another human being. One day
the trucker Fyodor finds out that he has a daughter. He has to prove to her
that she needs him; he has to find the key to the cruel world of teenagers,
which does not accept outsiders and does not spare insidersÖ
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
ä »« ¡”ƒ”Ÿ≈√Œ
WE ARE FROM THE FUTURE
112
2008, –ÓÒÒˡ, 110 ÏËÌ., ˆ‚., Dolby Digital
2008, Russia, 110 min., col., Dolby Digital
¿‚ÚÓ˚ ÒˆÂ̇ˡ ¿ÎÂÍ҇̉ ÿ‚ˆÓ‚, ›‰Û‡‰ ¬ÓÎÓ‰‡ÒÍËÈ
Scriptwriters Alexander Shevtsov, Eduard Volodarsky, with
ÔË Û˜‡ÒÚËË üËËη ¡Â΂˘‡
participation of Kirill Belevich
–ÂÊËÒÒÂ ¿Ì‰ÂÈ Ã‡Î˛ÍÓ‚
Director Andrei Maliukov
ŒÔÂ‡ÚÓ˚ ¬Î‡‰ËÏË —ÔÓ˚¯ÍÓ‚, ŒÎ¸„‡ ÀË‚ËÌÒ͇ˇ
Directors of Photography Vladimir Sporyshkov,
’Û‰ÓÊÌËÍ ¬Î‡‰ËÏË ƒÛ¯ËÌ
Olga Livinskaya
üÓÒÚ˛Ï˚ ÇÍÒËÏ œ‡ÁËÎÓ‚
Production Design Vladimir Dushin
ÃÛÁ˚͇θÌÓ ÓÙÓÏÎÂÌË »‚‡Ì ¡ÛΡ‚
Costume Design Maxim Pazilov
«‚ÛÍ ÃËı‡ËÎ ÕËÍÓ·‚
Composer Ivan Burliaev
ÃÓÌÚ‡Ê Ã‡ˡ —Â„ÂÂÌÍÓ‚‡
Sound Mikhail Nikolaev
¬ ÓΡı: ƒ‡ÌË· üÓÁÎÓ‚ÒÍËÈ, ¬Î‡‰ËÏË fl„Î˚˜,
Editing Maria Sergeenkova
¿Ì‰ÂÈ “ÂÂÌڸ‚, ƒÏËÚËÈ ¬ÓÎÍÓÒÚÂÎÓ‚, ƒ‡ÌËËÎ —Ú‡ıÓ‚,
Cast: Danila Kozlovsky, Vladimir Yaglych, Andrei Terentiev,
≈͇ÚÂË̇ üÎËÏÓ‚‡, ¡ÓËÒ √‡ÎÍËÌ, —Â„ÂÈ fi¯Í‚˘,
Dmitri Volkostrelov, Daniil Strakhov, Ekaterina Klimova,
—Â„ÂÈ Ã‡ıÓ‚ËÍÓ‚
Boris Galkin, Sergei Yushkevich, Sergei Makhovikov
√ÂÌÂ‡Î¸Ì˚È ÔÓ‰˛ÒÂ —Â„ÂÈ ÿÛχÍÓ‚
General Producer Sergei Shumakov
œÓ‰˛ÒÂ˚ À˛‰ÏË· üÛÍÓ·‡, ¿Ì„ÂÎË̇ œ‡‚΢ÂÌÍÓ,
Producers Liudmila Kukoba, Angelina Pavlichenko,
¿Òˇ √Â„Ó‚‡
Asya Gergova
¿Ì„ÂÎË̇ œ‡‚΢ÂÌÍÓ, ¿Òˇ √Â„Ó‚‡
Production A-1 Kino Video, commissioned by the television
œÓËÁ‚Ó‰ÒÚ‚Ó ´¿-1 üËÌÓ ¬Ë‰ÂÓª ÔÓ Á‡Í‡ÁÛ “ÂÎÂ͇̇Î
channel ìRussiaî, with support from the Federal Agency of
´–ÓÒÒˡª, ÔË ÔÓ‰‰ÂÊÍ ‘‰Â‡Î¸ÌÓ„Ó ‡„ÂÌÚÒÚ‚‡ ÔÓ
Culture and Cinematography
ÍÛθÚÛÂ Ë ÍËÌÂχÚÓ„‡ÙËË
Distribution KaroProkat, Nashe Kino
œÓÍ‡Ú ´ü‡ÓœÓ͇ڪ, ´Õ‡¯Â ÍËÌÓª
www.m-i-b.ru
www.m-i-b.ru
www.nkino.ru
www.nkino.ru
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
¿Ì‰ÂÈ Ã‡Î˛ÍÓ‚,
ÂÊËÒÒÂ-ÔÓÒÚ‡ÌÓ‚˘ËÍ:
1977 ....¬ ÁÓÌ ÓÒÓ·Ó„Ó ‚ÌËχÌˡ
1979 ....¡ÂÁÓÚ‚ÂÚ̇ˇ β·Ó‚¸
1981 ....34-È ÒÍÓ˚È
1988 ....¬ÂÌ˚ÏË ÓÒÚ‡ÌÂÏÒˇ
1990 ....ƒÂÎ‡È ñ ‡Á!
1991 ....À˛·Ó‚¸ ̇ ÓÒÚÓ‚Â CÏÂÚË
113
1991 ....¡‡·Ó˜ÍË
1993 ....ÇÎÂ̸ÍË ˜ÂÎӂ˜ÍË
¡Óθ¯Â‚ËÒÚÒÍÓ„Ó ÔÂÂÛÎ͇,
ËÎË ’Ó˜Û ÔË‚‡
1995 ....fl ñ ÛÒÒÍËÈ ÒÓΉ‡Ú
2000-01 »ÏÔÂˡ ÔÓ‰ Û‰‡ÓÏ (ÒÂˇÎ)
2002 ....—Ôˆ̇Á (ÙËθÏ˚ ÒÂˇ·)
2002 ....ƒÛ̇ˇ ÔË‚˚˜Í‡
2003 ....—Ôˆ̇Á-2 (ÙËθÏ˚ ÒÂˇ·)
2004 ....ƒË‚ÂÒ‡ÌÚ (4 ÒÂËË)
2005 ....√ÓÁÓ‚˚ ‚ÓÓÚ‡ (4 ÒÂËË)
2008 ....Ã˚ ËÁ ·Û‰Û˘Â„Ó
Andrei Maliukov,
director:
1977 .... In the Zone of Special Attention
1979 .... Unanswered Love
1981 .... Fire on east Train 34
1988 .... Faithfulness we Pledge
1990 .... Do it, One!
1991 .... Love at the Death Island
»ÒÚÓËÍÓ-ÔËÍβ˜Â̘ÂÒÍËÈ ·Ó‚ËÍ Ò ˝ÎÂÏÂÌÚ‡ÏË Ù‡ÌÚ‡ÒÚËÍË.
1991 .... Butterflies (Babochki)
◊ÂÚ‚ÂÓ ÒÓ‚ÂÏÂÌÌ˚ı ÏÓÎÓ‰˚ı ·ˇÚ ñ ◊ÂÂÔ, —ÔËÚ, ¡ÓÏ‡Ì Ë ◊Ûı‡ ñ
1993 .... Little People from Bolshvik Lane,
‚‰ÛÚ ‡ÒÍÓÔÍË Ì‡ ÏÂÒÚ‡ı ·Ó‚ ¬ÂÎËÍÓÈ ŒÚ˜ÂÒÚ‚ÂÌÌÓÈ ‚ÓÈÌ˚. ¬ ̇ȉÂÌÌ˚ı
or I Want Beer
ÒÓΉ‡ÚÒÍËı Á‡ÔËÒÌ˚ı ÍÌËÊ͇ı ÒΉÓÔ˚Ú˚ ӷ̇ÛÊË‚‡˛Ú ÒÓ·ÒÚ‚ÂÌÌ˚Â
1995 .... I Am a Russian soldier
ÙÓÚÓ„‡ÙËË, ËÁ ˜Â„Ó ÒΉÛÂÚ, ˜ÚÓ ÓÌË ÔÓÔ‡ÎË ‚ 1942 „Ó‰. üÓ„‰‡ ÓÌË
2000-01.. The Empire under Attack (serial)
‚ÂÌÛÚÒˇ Ò ‚ÓÈÌ˚, ÓÌË ·Û‰ÛÚ ÒÓ‚ÒÂÏ ‰Û„ËÏË...
2002 .... Special Troops (episodes of a serial)
2002 .... Bad Habit
2003 .... Special Troops 2
(several episodes of the serial)
Historical adventure action with fantastic elements.
Four young guys ñ Skull, Spirit, Borman and Chukha ñ conduct excavations
2004 .... The Saboteur (4 series)
on the battlefields of the Great Patriotic War. They find a soldierís notebook,
2005 .... The Storm Gate (4 series)
in which they find their own photos; from this follows that they have lapsed
2008 .... We are from the Future
back into 1942. When they return from the war, they will be completely
different...
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
–Œ«¤√–¤ÿ
THE JOKE
114
2008, –ÓÒÒˡ, 84 ÏËÌ., ˆ‚., 1:1.85, Dolby Digital 5.1
2008, Russia, 84 min, col., 1:1.85, Dolby Digital 5.1
¿‚ÚÓ˚ ÒˆÂ̇ˡ ¿Ì‰ÂÈ ΔËÚÍÓ‚, ¿ÎÂÍ҇̉ ü‡˜‡Ì
Scriptwriters Andrei Zhitkov, Alexander Kachan
–ÂÊËÒÒÂ ¿Ì‰ÂÈ üÛ‰ËÌÂÌÍÓ
Director Andrei Kudinenko
’Û‰. ÛÍ. œ‡‚ÂÎ ÀÛÌ„ËÌ
Artistic Director Pavel Lungin
ŒÔÂ‡ÚÓ œ‡‚ÂÎ üÛ·ÍÓ‚
Director of Photography Pavel Kulakov
’Û‰ÓÊÌËÍ Õ‡Ú‡Î¸ˇ Õ‡‚ÓÂÌÍÓ
Production Design Natalia Navoenko
üÓÒÚ˛Ï˚ ≈͇ÚÂË̇ ƒ˚ÏËÌÒ͇ˇ
Costume Design Ekaterina Dyminskaya
üÓÏÔÓÁËÚÓ Noize MC
Composer Noize MC
«‚ÛÍ —Â„ÂÈ √ÛÒËÌÒÍËÈ
Sound Sergei Gusinsky
¬ ÓΡı: Noize MC (»‚‡Ì ¿ÎÂÍÒ‚), ≈‚„ÂÌËÈ ƒÏËÚË‚,
Cast: Noize MC (Ivan Alekseev), Evgeni Dmitriev,
Çˡ √Ó·‡Ì¸, ü·‚‰Ëˇ üÓ¯ÛÌÓ‚‡, ¿Ì‰ÂÈ Õ‡ÁËÏÓ‚,
Maria Gorban, Klavdiya Korshunova, Andrei Nazimov, Donatas
ƒÓÌ‡Ú‡Ò √ۉӂ˘, ¿Ì‰ÂÈ ΔÂϘÛÊÌ˚È, »Ë̇ üÛÔ˜ÂÌÍÓ,
Grudovich, Andrei Zhemchuzhny, Irina Kupchenko, Yuri
fiËÈ üÛÁ̈ӂ, fl̇ ≈ÒËÔӂ˘, ƒÏËÚËÈ ƒ˛Ê‚,
Kuznetsov, Yana Esipovich, Dmitri Diuzhev,
≈‚‰ÓÍˡ √ÂχÌÓ‚‡, ƒÏËÚËÈ ’‡‡Ú¸ˇÌ
Evdokiya Germanova, Dmitri Kharatian
œÓ‰˛ÒÂ˚ ŒÎ¸„‡ ¬‡ÒË肇, œ‡‚ÂÎ ÀÛÌ„ËÌ
Producers Olga Vasilieva, Pavel Lungin
œÓËÁ‚Ó‰ÒÚ‚Ó ´—ÚÛ‰Ëˇ œ‡‚· ÀÛÌ„Ë̇ª
Production Studio Pavel Lungin
œÓÍ‡Ú ´ü‡ÓœÓ͇ڪ
Distribution KaroProkat
www.lunginstudio.ru
www.lunginstudio.ru
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
¿Ì‰ÂÈ üÛ‰ËÌÂÌÍÓ
ñ ÂÊËÒÒÂ-ÔÓÒÚ‡ÌÓ‚˘ËÍ:
1998 ....—Ì˚ ¬.¬. (´—Ì˚ ¬‡ÎÂÌÚË̇
¬ËÌÓ„‡‰Ó‚‡ª, ÏÓÌÚ‡ÊÌ˚È)
1999 ....¡‡‡Ì (‰ËÔÎÓÏ, Í/Ï)
2000 ....œÎ‡ÌÂÚ‡ XX (ÏÓÌÚ‡ÊÌ˚È)
115
2001 ....œ‡ÚËÁ‡ÌÒ͇ˇ ÏËÒÚÂˡ (Í/Ï)
2002 ....¡ËÚ‚‡ ÔˇÚË ‚ÓËÌÒÚ‚ (DV)
2003 ....ŒÍÍÛÔ‡ˆËˇ. ÃËÒÚÂËË
2005 ....ŒÔÂ‡. ’ÓÌËÍË Û·ÓÈÌÓ„Ó Óډ·
(ÙËÎ¸Ï ÒÂˇ·)
2008 ....–ÓÁ˚„˚¯
Andrei Kudinenko
ñ director:
1998 .... V.V.ís Dreams (ìValentin
Vinogradovís Dreamsî, montage)
1999 .... The Ram (diploma, short)
2000 .... Planet XX (montage)
2001 .... A Guerrilla Mystery (short)
2002 .... Fight of Five Troops (DV)
2003 .... Occupation. Mysteries
2005 .... Operative. Chronicles of a Lethal
Department (episode in a serial)
2008 .... The Joke
œÒËıÓÎӄ˘ÂÒ͇ˇ ‰‡Ï‡, ÂÏÂÈÍ Ó‰ÌÓËÏÂÌÌÓ„Ó ÙËθχ ¬Î‡‰ËÏË‡
ÃÂ̸¯Ó‚‡ (1976).
11 ´·ª ñ Ò‡Ï˚È Ó·˚˜Ì˚È Í·ÒÒ Ó·˚˜ÌÓÈ ÏÓÒÍÓ‚ÒÍÓÈ ¯ÍÓÎ˚. ÀˉÂ Í·ÒÒ‡ ñ
ŒÎ„ üÓχÓ‚ ñ ÓÚ΢ÌËÍ, Í‡Ò‡‚˜ËÍ, ‚ÂÁÛ̘ËÍ. ≈„Ó ÓÚˆ ÒÔÓÌÒËÛÂÚ ¯ÍÓÎÛ.
¬ ŒÎ„‡ ·ÂÁ̇‰ÂÊÌÓ ‚β·ÎÂ̇ “‡ˇ œÂÚÓ‚‡, ÎÛ˜¯‡ˇ ÔÓ Ï‡ÚÂχÚËÍ Ë
β·ËÏˈ‡ Á‡‚Û˜‡. ¬ Í·ÒÒ ÔÓˇ‚ΡÂÚÒˇ ÌÓ‚˚È Û˜ÂÌËÍ »„Ó¸ √ÎÛ¯ÍÓ. ≈ÏÛ
Ì‡‚ËÚÒˇ “‡ˇ œÂÚÓ‚‡, ÓÌ ÒÓÏÌ‚‡ÂÚÒˇ ‚ ÎˉÂÒÚ‚Â ŒÎ„‡ üÓχÓ‚‡ Ë ‚ ˆÂÎÓÏ
Ì ÔËÌËχÂÚ ÚÓÌ Ë Ô‡‚Ë· ÒÎÓÊË‚¯Â„ÓÒˇ ÍÓÎÎÂÍÚË‚‡. ¿ üÓχÓ‚Û ÌÂ
Ì‡‚ËÚÒˇ Ú·ӂ‡ÚÂθ̇ˇ ‡Ì„΢‡Ì͇, ÓÌ ÛÒÚ‡Ë‚‡ÂÚ ÊÂÒÚÓÍËÈ ÓÁ˚„˚¯, ËÁ-Á‡
ÍÓÚÓÓ„Ó Ú‡ ‚˚ÌÛʉÂ̇ ÛÈÚË ËÁ ¯ÍÓÎ˚. «‡ÔÓÎۘ˂ Ó˜Â̸ ÒÂ¸ÂÁÌÓ„Ó ‚‡„‡ ‚
Îˈ Á‡‚Û˜‡, üÓχÓ‚ ӷχÌÓÏ ÒÍÎÓÌˇÂÚ “‡˛ ÒÓ‚Â¯ËÚ¸ ÔÓ ÓÚÌÓ¯ÂÌ˲ Í ÌÂÈ
ÔÓ‰ÎÓÒÚ¸ Ë Á‡ÚÂÏ ÔÛ·Î˘ÌÓ ÛÌËʇÂÚ ÂÂ, ÔÓ‰ÔËÒ˚‚‡ˇ ÚÂÏ Ò‡Ï˚Ï Ò· ÔË„Ó‚ÓÖ
Psychological drama, remake of the film of the same title by Vladimir Menshov
(1976).
The 11-B is the most usual class of a usual Moscow school. The class elder, Oleg
Komarov, is an excellent pupil, handsome and lucky. His father sponsors the
school. Taya Petrova, who is strong in math and the favourite pupil of the
Director of Studies, is hopelessly in love with Oleg. Igor Glushko, a new pupil,
joins the class. He likes Taya Petrova, doubts Oleg Komarovís leadership, and in
general does not like the tone and the rules of the established collective. Komarov
does not like the exacting English teacher, and he sets up a rough joke, for which
she has to leave the school. Having made the Director of Studies his serious
enemy, Komarov deceives Taya and makes her accomplish a low act towards her
before publicly humiliating her, thus signing his own verdictÖ
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
—¿…ƒ-—“≈œ
SIDE STEP
116
2007, –ÓÒÒˡ, 107 ÏËÌ., ˆ‚., 1:1.85, Dolby SR
2007, Russia, 107 minutes, col., 1:1.85, Dolby SR
¿‚ÚÓ˚ ÒˆÂ̇ˡ ÇË̇ Ç‚‡ ÔË Û˜‡ÒÚËË
Scriptwriter Marina Mareeva, with participation
ÇËÌ˚ ÃË„ÛÌÓ‚ÓÈ
of Marina Migunova
–ÂÊËÒÒÂ ÇË̇ ÃË„ÛÌÓ‚‡
Director Marina Migunova
ŒÔÂ‡ÚÓ —Â„ÂÈ ÕÂÍ‡ÒÓ‚
Director of Photography Sergei Nekrasov
’Û‰ÓÊÌËÍ Õ‡Ú‡Îˡ üÓ˜Â„Ë̇
Production Design Natalia Kochergina
üÓÏÔÓÁËÚÓ ƒ‡ÌË· ñ χÒÚÂ ¬ÓÓ¯ËÎÓ‚
Composer Danila - Master Voroshilov
«‚ÛÍ —Â„ÂÈ ¬‡ˆ‡Ì
Sound Sergei Vartsan
¬ ÓΡı: ŒÎ„ ¿ÎχÁÓ‚, ¬Î‡‰ËÏË ¡Ó„‰‡ÌÓ‚,
Cast: Oleg Almazov, Vladimir Bogdanov, Vera Glagoleva,
¬Â‡ √·„Ó΂‡, ¬Î‡‰ËÏË ÕÓÂÌÍÓ, ¿ÎÂÍ҇̉ –ÓÁÂÌ·‡ÛÏ
Vladimir Norenko, Alexander Rosenbaum
√ÂÌÂ‡Î¸Ì˚È ÔÓ‰˛ÒÂ —Â„ÂÈ —Ẩ˚Í
General Producer Sergei Sendyk
œÓËÁ‚Ó‰ÒÚ‚Ó ´Ã‡ÍÒËÏÛÒª
Production Maximus
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
ÇË̇ ÃË„ÛÌÓ‚‡,
ÂÊËÒÒÂ-ÔÓÒÚ‡ÌÓ‚˘ËÍ:
2000 ....◊ËÒÚ˚È ÔÓ̉ÂθÌËÍ (‰ËÔÎÓÏ, Í/Ï)
1999 ....ƒËÂÍÚÓˡ ÒÏÂÚË
(ÙËθÏ˚ ÒÂˇ·)
2001 ....ÀÂ‰Ë ¡ÓÏÊ (ÒÂˇÎ)
2002 ....ÕÓÊ ‚ ӷ·͇ı (ÒÂˇÎ)
2004 ....œÓ˘‡ÈÚÂ, ‰ÓÍÚÓ ‘Âȉ
2006 ....√‡Ù ÃÓÌÚÂÌ„Ó
117
2006 ....À˛·Ó‚ÌËÍË (Ú‚)
2007 ....» Ô‡‰‡ÂÚ ÒÌÂ„Ö (ÒÂˇÎ)
2008 ....—‡È‰-ÒÚÂÔ
Marina Migunova,
director:
2000 .... Pure Monday (diploma, short)
1999 .... Directory of Death
(episodes of a serial)
2001 .... The Lady Vagabond (serial)
2002 .... A Knife in the Clouds (serial)
2004 .... Farewell, Doctor Freud
2006 .... Count Montenegro
2006 .... Lovers (TV)
2007 .... And the Snow FallsÖ (serial)
2008 .... Side Step
ÃÂÎÓ‰‡Ï‡.
üÓ„‰‡-ÚÓ √ÂÓ„ËÈ ·˚Î Á̇ÏÂÌËÚ˚Ï ·ÓÍÒÂÓÏ. ≈ÏÛ Ì ·˚ÎÓ ‡‚Ì˚ı ÌË ‚
–ÓÒÒËË, ÌË ‚ ≈‚ÓÔÂ, ÌÓ ËÁ-Á‡ ËÌÚË„ ÍÓÌÍÛÂÌÚÓ‚ ÂÏÛ Ô˯ÎÓÒ¸ ÔÂ‚‡Ú¸
Ò‚Ó˛ ÒÔÓÚË‚ÌÛ˛ ͇¸ÂÛ Ë ˝ÏË„ËÓ‚‡Ú¸ ‚ —ÿ¿. ŒÌ ÔÓÍΡÎÒˇ ÌËÍÓ„‰‡ ÌÂ
‚ÓÁ‚‡˘‡Ú¸Òˇ ̇ –Ó‰ËÌÛ. ÕÓ Á‡ÓÍ ·˚Π̇Û¯ÂÌ. œ˘ËÌÓÈ ÔÓÒÎÛÊË·
ÚˇÊ·ˇ ·ÓÎÂÁ̸ ÚÂÌÂ‡, ÌÂÍÓ„‰‡ ·˚‚¯Â„Ó ‰Îˇ ÌÂ„Ó Ò‡Ï˚Ï ·ÎËÁÍËÏ
˜ÂÎÓ‚ÂÍÓÏ. ƒÂÒˇÚ¸ ÎÂÚ Ì‡Á‡‰ Ëı ‡Á‚· ÍÛÔ̇ˇ ÒÒÓ‡. ¬ÂÌÛ‚¯ËÒ¸ ‚
—‡ÌÍÚ-œÂÚÂ·Û„, √ÂÓ„ËÈ ‚ÒÚ˜‡ÂÚ Ò‚ÓÂ„Ó ‰‡‚ÌÂ„Ó ‚‡„‡, ÍÓÚÓ˚È Ò‚ˇÁ‡Ì Ò
ÍËÏË̇θÌ˚Ï ·ËÁÌÂÒÓÏ. “ÂÔÂ¸ ÂÏÛ Ô‰ÒÚÓËÚ ‡ÒÔÛÚ‡Ú¸ ÒÎÓÊÌ˚È
´ÍËÏË̇θÌ˚È ÍÎÛ·Óͪ, ÔËÌˇÚ¸ Û˜‡ÒÚË ‚ ÒÛ‰¸·Â ÏÓÎÓ‰Ó„Ó ·ÓÍÒÂ‡ Ë
‚ÌÓ‚¸ ‚ÒÚÂÚËÚ¸ Ò‚Ó˛ β·Ó‚¸Ö
Melodrama.
Once George was a well-known boxer. He had no equals in Russia or Europe.
But due to the intrigues of his competitors he had to interrupt his sporting
career and emigrate to the US. He swore never to return home. But his pledge
is broken when he learns of the serious illness of his coach, who was once the
closest person to him. Ten years ago they were separated in a huge quarrel.
Having returned to Saint Petersburg, George meets his old enemy who is
connected with the criminal business. Now he has to untangle the complex
ìcriminal tangleî, take part in the fate of a young boxer, and meet his love
againÖ
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
’ŒÀŒƒÕŒ≈ —ŒÀÕ÷≈
THE COLD SUN
118
2008, –ÓÒÒˡ, 110 ÏËÌ., ˆ‚., Dolby
2008, Russia, 110 min., col., Dolby
¿‚ÚÓ˚ ÒˆÂ̇ˡ ¿ÎÂÍ҇̉ ÃËÚÚ‡, fiÎˡ »Á‡ÌÓ‚‡
Scriptwriters Alexander Mitta, Julia Izranova
–ÂÊËÒÒÂ —Â„ÂÈ œÓÔÓ‚
Director Sergei Popov
ŒÔÂ‡ÚÓ ¿ÎÂÍ҇̉ ÕÓÒÓ‚ÒÍËÈ
Director of Photography Alexander Nosovsky
’Û‰ÓÊÌËÍ ¿Á‡Ï‡Ú ’ËÒ‡ÏÂÚ‰ËÌÓ‚
Production Design Azamat Khisametdinov
üÓÏÔÓÁËÚÓ –ÓÏ‡Ì ƒÓÏˉӯËÌ
Composer Roman Dormidoshin
¬ ÓΡı: “‡Ú¸ˇÌ‡ flÍÓ‚ÂÌÍÓ, “‡‡Ò ¡Ë·Ë˜, —Â„ÂÈ √‡χ¯,
Cast: Tatiana Yakovenko, Taras Bibich, Sergei Garmash,
—Â„ÂÈ üÓÁËÍ, ƒ‡¸ˇ –ÛÏˇÌˆÂ‚‡, üËÒÚË̇ üÛÁ¸ÏË̇
Sergei Kozik, Daria Rumiantseva, Kristina Kuzmina
œÓ‰˛ÒÂ ¿ÎÂÍ҇̉ ÀËÚ‚ËÌÓ‚
Producer Alexander Litvinov
œÓËÁ‚Ó‰ÒÚ‚Ó ´üËÌÓÏËª
Production Kinomir
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
—Â„ÂÈ œÓÔÓ‚
ñ ÂÊËÒÒÂ-ÔÓÒÚ‡ÌÓ‚˘ËÍ:
2002 ....ŒÚÍÓ‚ÂÌË (‰ËÔÎÓÏ, Í/Ï)
2004 ....ŒıÓÚÌËÍË Á‡ ËÍÓ̇ÏË (ÒÂˇÎ)
119
2005 ....—‚ÓÈ-˜ÛÊÓÈ (ÒÂˇÎ)
2007 ....¡Ó„ËÌˇ Ô‡ÈÏ Ú‡Èχ (ÒÂˇÎ)
2008 ....’ÓÎÓ‰ÌÓ ÒÓÎ̈Â
Sergei Popov
Directorís Filmography:
2002 .... Revelation (short, diploma)
2004 .... Icon Hunters (serial)
2005 .... Ours-Theirs (serial)
2007 .... The Goddess of Prime Time (serial)
2008 .... The Cold Sun
ÃÂÎÓ‰‡Ï‡.
≈ÎÂ̇ üÂθ˜Â‚Ò͇ˇ, ‰ÂÚÒÍËÈ ‚‡˜, ÓÚÔ‡‚ΡÂÚÒˇ ÒÓ Ò‚ÓËÏ ÏÛÊÂÏ ‚ ¿‚ÒÚ˲.
¬Ó ‚ÂÏˇ ÔÓÂÁ‰ÍË ‚ ‡˝ÓÔÓÚ ÒÛÔÛ„Ë ÒÚ‡ÌÓ‚ˇÚÒˇ ҂ˉÂÚÂΡÏË ÒÚ‡¯ÌÓÈ
‡‚‡ËË. ƒÓ ÔËÂÁ‰‡ ÒÍÓÓÈ ÔÓÏÓ˘Ë ≈ÎÂ̇ Ë ÌÂÁ̇ÍÓÏ˚È ÂÈ ÏÓÎÓ‰ÓÈ
˜ÂÎÓ‚ÂÍ ñ üÎËÏ ñ ‰ËÌÒÚ‚ÂÌÌ˚ β‰Ë, ÒÔÓÒÓ·Ì˚ ÔÓÏÓ˜¸ ÚˇÊÂÎÓ‡ÌÂÌÓÏÛ
Ô‡ÒÒ‡ÊËÛ. ¬ ‡˝ÓÔÓÚÛ ÔÓ ÚÂÎÂÙÓÌÛ Ó̇ ÛÁ̇ÂÚ, ˜ÚÓ Â χÚÂË Ó˜Â̸ ÔÎÓıÓ.
–‡Á˚‚‡Âχˇ ‰Ó΄ÓÏ Ë Ê·ÌËÂÏ, ≈ÎÂ̇ ‚˚·Ë‡ÂÚ ‰Ó΄ Ë ÓÚÔ‡‚ΡÂÚ ÏÛʇ
Ó‰ÌÓ„Ó. œÓıÓÓÌË‚ χڸ, ≈ÎÂ̇ ÓÒÚ‡ÂÚÒˇ ‚ ÃÓÒÍ‚Â, Ó̇ ÔÓ-ÔÂÊÌÂÏÛ
Á‡ÏÛÊÂÏ, ËÁ‰͇ ˜ËÚ‡ÂÚ ‡‚ÒÚËÈÒÍË ÔËҸχ ÏÛʇ, Ì Óڂ˜‡ˇ ̇ ÌËı.
œÓˇ‚ÎÂÌË üÎËχ ‚ÓÁÓʉ‡ÂÚ ‚ ÌÂÈ ÒËθÌÂȯ ˜Û‚ÒÚ‚Ó ·ÂÁÛÏÌÓÈ Ë
ÒÚ‡ÒÚÌÓÈ Î˛·‚Ë. » ÚÓ, ˜ÚÓ Ó̇ ̇ÏÌÓ„Ó Â„Ó ÒÚ‡¯Â, Ë ÚÓ, ˜ÚÓ ÓÌ ñ
ÔÓÙÂÒÒËÓ̇θÌ˚È ‚Ó, Ë ÚÓ, ˜ÚÓ „·‚̇ˇ Â„Ó Ò··ÓÒÚ¸ ñ ÊÂÌ˘ËÌ˚, ÌÂ
ÓÒڇ̇‚ÎË‚‡˛Ú ÂÂ. ŒÌ‡ „ÓÚÓ‚‡ ÚÂÔÂÚ¸ ‚ÒÂ, ˜ÚÓ·˚ ·˚Ú¸ Ò ÌËÏ ˇ‰ÓÏÖ
Melodrama.
Elena Kelchevskaya, a childrenís doctor, is about to go to Austria with her
husband. During the journey to the airport the couple witness a terrible accident.
Before the arrival of the ambulance Elena and a young man she does not know,
Klim, are the only people who can help the critically injured passenger. Once at
the airport she receives a call that her mother is dying. Torn between duty and
desire, Elena chooses duty and sends her husband to Austria on his own. Having
buried her mother, Elena remains in Moscow, still married, rarely reading her
husbandís letters from Austria and not answering them. Klimís appearance
revives in her a strong feeling of mad and passionate love. She is much older
than he, and he is a professional thief and womanizer ñ yet none of those things
stop her. She is ready to suffer just to be with himÖ
1958-2000. ÎÛ˜¯Ë ÙËθÏ˚ Ë ÂÊËÒÒÂ˚
1958-2000: the best films and directors
120
¬ „ÓÎÓÒÓ‚‡ÌËË
Û˜‡ÒÚ‚Ó‚‡ÎË:
Participants
in the Vote:
«‡‡ ¿·‰Û炇
≈ÎÂ̇ ¿‰‡·‡ˆÍ‡ˇ
Õ‡Ú‡Îˡ ¡‡ÒË̇
¡ÓËÒ ¡ÂχÌ
Շڇθˇ ¡Ó·Ó‚‡
¬‡ÎÂËÈ ¡ÓÒÂÌÍÓ
œÂÚ ¬‡Èθ
Õ‡Ú‡Îˡ ¬ÂÌÊÂ
“‡Ú¸ˇÌ‡ ¬ÂÚÓ‚‡
fiËÈ √·‰Ëθ˘ËÍÓ‚
¿ÎÂÍÒÂÈ √ÛÒ‚
¬Î‡‰ËÏË ƒÏËÚË‚
¿ÌÚÓÌ ƒÓÎËÌ
“‡Ï‡‡ ƒÛ·ˉÁÂ
“‡Ú¸ˇÌ‡ ≈„ÓÓ‚‡
»Î¸‰‡ Δ‡Ì‰‡‚
—Â„ÂÈ «ÂÏΡÌÛıËÌ
ÕËÍÓÎ‡È »Á‚ÓÎÓ‚
»Ë̇ »Á‚ÓÎÓ‚‡
ƒÏËÚËÈ ü‡‡‚‡Â‚
Շڇθˇ üËËÎÎÓ‚‡
¿ÎÂÍ҇̉ üÓηӂÒÍËÈ
fiËÈ üÓ˜‡„Ó‚
Õ˝ÌÒË üÓ̉Ë
—Â„ÂÈ À‡‚ÂÌڸ‚
¬ËÍÚÓˡ À‚ËÚÓ‚‡
≈‚„ÂÌˡ ÀÂÓÌÓ‚‡
»Ë̇ À˛·‡Ò͇ˇ
≈‚„ÂÌËÈ Ã‡„ÓÎËÚ
¬ËÍÚÓ ÇÚËÁÂÌ
¿Ì‡ÒÚ‡Òˡ ǯÍÓ‚‡
ÇË̇ ÃÛÁË̇
“‡Ú¸ˇÌ‡ ÃÛ¯Ú‡ÍÓ‚‡
Շڇθˇ ÕÛÒËÌÓ‚‡
ÀÂÓÌˉ œ‡‚β˜ËÍ
¡ÓËÒ œËÌÒÍËÈ
¿Ì‰ÂÈ œÎ‡ıÓ‚
√ÂÌ̇‰ËÈ œÓ΢ÍÓ
≈‚„ÂÌˡ œÓΡÍÓ‚‡
¿ÎÂ̇ —ÓÎ̈‚‡
≈ÎÂ̇ —Ú˯ӂ‡
ŒÎ„ —ÛθÍËÌ
ŒÎ¸„‡ —ÛÍÓ‚‡
—Â„ÂÈ —˚˜Â‚
ƒËΡ‡ “‡Ò·Û·ÚÓ‚‡
≈‚„ÂÌˡ “Ë‰‡ÚÓ‚‡
—Ú‡Ò “˚ÍËÌ
¿ÎÂÍ҇̉ ‘‰ÓÓ‚
—Â„ÂÈ ‘ËÎËÔÔÓ‚
fiÎˡ ’ÓÏˇÍÓ‚‡
—‚ÂÚ·̇ ’ÓıˇÍÓ‚‡
ÕËÍÓÎ‡È ’ÛÒڇ΂
¿Ì̇ ’ÛÒڇ΂‡
üÓ‡ ÷ÂÂÚÂÎË
¿ÎÂÍ҇̉ ÿÔ‡„ËÌ
¬ˇ˜ÂÒ·‚ ÿÏ˚Ó‚
ŒÎ¸„‡ ÿÛÏˇˆÍ‡ˇ
Zara Abdullaeva
Elena Ardabatskaya
Natalia Basina
Boris Berman
Natalia Bobrova
Valeri Bosenko
Nancy Condee
Vladimir Dmitriev
Anton Dolin
Tamara Dularidze
Tatiana Egorova
Alexander Fedorov
Sergei Filippov
Yuri Gladilshchikov
Alexei Gusev
Nikolai Izvolov
Irina Izvolova
Dmitri Karavaev
Natalia Kirillova
Julia Khomiakova
Svetlana Khokhriakova
Nikolai Khrustalev
Anna Khrustaleva
Alexander Kolbovsky
Yuri Korchagov
Sergei Lavrentiev
Viktoria Levitova
Evgenia Leonova
Irina Liubarskaya
Evgeni Margolit
Viktor Matizen
Anastasia Mashkova
Marina Murzina
Tatiana Mushtakova
Natalia Nusinova
Leonid Pavliuchik
Boris Pinsky
Andrei Plakhov
Gennadi Polichko
Evgenia Poliakova
Alena Solntseva
Elena Stishova
Oleg Sulkin
Olga Surkova
Sergei Sychev
Diliara Tasbulatova
Evgenia Tirdatova
Stas Tyrkin
Kora Tsereteli
Alexander Shpagin
Viacheslav Shmyrov
Olga Shumiatskaya
Peter Vail
Natalia Venzher
Tatiana Vetrova
Sergei Zemlianukhin
Ildar Zhandarev
¬˚·Ó „Ëθ‰ËË ÍËÌӂ‰ӂ Ë ÍËÌÓÍËÚËÍÓ‚
1958-2000: the best films
and directors
The selection of the guild of film critics and film scholars
¿Ì‰ÂÈ ۷΂
ŒÍ‡Ë̇
ANDREI RUBLEV
OUTSKIRTS
¡‡Î·‰‡ Ó ÒÓΉ‡ÚÂ
¬ Ó„Ì ·Ó‰‡ ÌÂÚ
BALLAD OF A SOLDIER
NO PATH THROUGH FIRE
«Â͇ÎÓ
œÓÎÂÚ˚ ‚Ó ÒÌÂ Ë Ì‡ˇ‚Û
MIRROR
DREAM FLIGHTS
ÃÓÈ ‰Û„ »‚‡Ì À‡Ô¯ËÌ
√‡ÏÎÂÚ
MY FRIEND IVAN LAPSHIN
HAMLET
ü‡ÎË̇ Í‡Ò̇ˇ
ŒıÓÚ‡ ̇ ÎËÒ
THE RED GUELDER BERRY
FOX HUNT
üÓÏËÒÒ‡
ŒÒÂÌÌËÈ Ï‡‡ÙÓÌ
THE COMMISSAR
AUTUMN MARATHON
ÃÌ ‰‚‡‰ˆ‡Ú¸ ÎÂÚ
’ÛÒڇ΂, χ¯ËÌÛ!
I AM TWENTY
KHRUSTALYOV, MY CAR!
ÕÂÓÍÓ̘ÂÌ̇ˇ Ô¸ÂÒ‡ ‰Îˇ
ÏÂı‡Ì˘ÂÒÍÓ„Ó ÔˇÌËÌÓ
¡‡Ú
UNFINISHED PIECE FOR MECHANICAL PIANO
œˇÚ¸ ‚˜ÂÓ‚
ƒÓ·Ó ÔÓʇÎÓ‚‡Ú¸, ËÎË
ÔÓÒÚÓÓÌÌËÏ ‚ıÓ‰ ‚ÓÒÔ¢ÂÌ
WELCOME, OR NO TRESPASSING
»˛Î¸ÒÍËÈ ‰Óʉ¸
JULY RAIN
9 ‰ÌÂÈ Ó‰ÌÓ„Ó „Ó‰‡
NINE DAYS OF ONE YEAR
ÇÎÂ̸͇ˇ ¬Â‡
LITTLE VERA
BROTHER
FIVE EVENINGS
ÃÓÌÓÎÓ„
THE MONOLOGUE
üÓÓÚÍË ‚ÒÚ˜Ë
SHORT ENCOUNTERS
—ÚÓ ‰ÌÂÈ ÔÓÒΠ‰ÂÚÒÚ‚‡
ONE HUNDRED DAYS AFTER CHILDHOOD
¿ÒÚÂÌ˘ÂÒÍËÈ ÒË̉ÓÏ
ASTHENIC SYNDROME
»ÒÚÓˡ ¿ÒË üΡ˜ËÌÓÈ,
ÍÓÚÓ‡ˇ β·Ë·,
‰‡ Ì ‚˚¯Î‡ Á‡ÏÛÊ
œ‡‡‰ Ô·ÌÂÚ
THE STORY OF ASYA KLYACHINA
AIBOLIT 66
Õ‡˜‡ÎÓ
THE BEGINNING
PARADE OF PLANETS
¿È·ÓÎËÚ-66
ƒÌË Á‡ÚÏÂÌˡ
DAYS OF ECLIPSE
1958-2000. ÎÛ˜¯Ë ÙËθÏ˚ Ë ÂÊËÒÒÂ˚
1958-2000: the best films and directors
1958-2000. ÀÛ˜¯ËÂ
ÙËθÏ˚ Ë ÂÊËÒÒÂ˚
121
1958-2000. ÎÛ˜¯Ë ÙËθÏ˚ Ë ÂÊËÒÒÂ˚
1958-2000: the best films and directors
122
Œ“ üŒŒ–ƒ»Õ¿“Œ–¿
(¬ËÍÚÓ ÇÚËÁÂÌ, ÔÂÁˉÂÌÚ
√Ëθ‰ËË ÍËÌӂ‰ӂ Ë ÍËÌÓÍËÚËÍÓ‚):
≈ÒÎË ÙÓÏËÓ‚‡ÌË ÒÔËÒ͇ 25 ÎÛ˜¯Ëı ÔÓ ‚ÂÒËË
√Ëθ‰ËË ÓÒÒËÈÒÍËı ÍËÌÓÙËθÏÓ‚ 1908-1957 „„.
‚˚ÔÛÒ͇, ÍÓÚÓÓ Ï˚ ÔÓ‚ÂÎË ‚ ÔÓ¯ÎÓÏ „Ó‰Û, ÌÂ
‚˚Á‚‡ÎÓ ÓÒÓ·˚ı Á‡ÚÛ‰ÌÂÌËÈ, ÚÓ ÒÓÒÚ‡‚ÎÂÌË ÔÂÂ˜Ìˇ
25 ÎÛ˜¯Ëı ͇ÚËÌ 1958-2007 „„. Ò‡ÁÛ ÊÂ
̇ÚÓÎÍÌÛÎÓÒ¸ ̇ ÒÂ¸ÂÁÌ˚ ÔÂÔˇÚÒڂˡ. ¬Ó-ÔÂ‚˚ı, Û
ÌÂÍÓÚÓ˚ı ˝ÍÒÔÂÚÓ‚ Ì ı‚‡ÚËÎÓ ÏÓ‡Î¸Ì˚ı ÒËÎ
ÒÓÍ‡ÚËÚ¸ ÔÂ‚Ó̇˜‡Î¸Ì˚È ÎÓÌ„-ÎËÒÚ ËÁ ÔÓ˜ÚË 300
͇ÚËÌ (ÍÛ‰‡ ‚Ó¯ÎË ¬—≈ ÙËθÏ˚, Ô‰ÎÓÊÂÌÌ˚ ‚ ͇˜ÂÒÚ‚Â ÎÛ˜¯Ëı ıÓÚˇ ·˚
Ó‰ÌËÏ ˜ÎÂÌÓÏ √Ëθ‰ËË) ‰Ó 25, ÔÓÒÍÓθÍÛ ‰Îˇ ˝ÚÓ„Ó ÌÛÊÌÓ ·˚ÎÓ, Í‡Í ‚
ËÁ‚ÂÒÚÌÓÈ ˝Ú˘ÂÒÍÓÈ Á‡‰‡˜Â, ÊÂÚ‚Ó‚‡Ú¸ Ó‰ÌËÏË Î˛·ËÏ˚ÏË ÎÂÌÚ‡ÏË ‡‰Ë
‰Û„Ëı, Ë Ëı ‡ÌÍÂÚ˚ Ô˯ÎÓÒ¸ Ò ÒÓʇÎÂÌËÂÏ Á‡·‡ÍÓ‚‡Ú¸. ¬Ó-‚ÚÓ˚ı, Ò‡ÁÛ
ÔÓÒ˚Ô‡ÎËÒ¸ ‚ÓÔÓÒ˚, Í‡Í ·˚Ú¸ Ò Í‡ÚË̇ÏË üË˚ ÃÛ‡ÚÓ‚ÓÈ Ë "¬ÓÂÌÌÓÔÓ΂˚Ï ÓχÌÓÏ" œÂÚ‡ “Ó‰ÓÓ‚ÒÍÓ„Ó, ҉·ÌÌ˚ÏË Ì‡ Œ‰ÂÒÒÍÓÈ ÒÚÛ‰ËË, ‡
Ú‡ÍÊÂ Ò "œÓÎÂÚ‡ÏË ‚Ó ÒÌÂ Ë Ì‡ˇ‚Û" –Óχ̇ ¡‡Î‡ˇÌ‡, ̇ ÍÓÚÓ˚ı ÒÚÓËÚ Á̇Í
ÍË‚ÒÍÓÈ ÒÚÛ‰ËË ËÏÂÌË ƒÓ‚ÊÂÌÍÓ, Ë ·ÂÁ ÍÓÚÓ˚ı ‚ÓÔÓ¯‡‚¯Ë ÌÂ
Ô‰ÒÚ‡‚ΡÎË Ò· Ô‰ÒÚ‡‚ËÚÂθÌÓÈ Ô‡ÌÓ‡Ï˚ ÓÚ˜ÂÒÚ‚ÂÌÌÓ„Ó ÍËÌÓ.
ŒÚÌÓÒËÚÂθÌÓ Í‡ÚËÌ ‰Û„Ëı ÂÒÔÛ·ÎË͇ÌÒÍËı ÂÊËÒÒÂÓ‚ - ‚ ˜‡ÒÚÌÓÒÚË,
œ‡‡‰Ê‡ÌÓ‚‡, »ÓÒÂΡÌË Ë ¿·Û·‰Á (ÍÓÚÓ˚ Á‡ÌˇÎË ·˚ ‚ˉÌ˚ ÏÂÒÚ‡ ‚
ÒÔËÒÍ —Œ¬≈“—ü»’ ÙËθÏÓ‚, ÒÓÒÚ‡‚ÎÂÌÌÓÏ ÔÓ ËÚÓ„‡Ï ‡ÌÍÂÚËÓ‚‡Ìˡ ÚÂı ÊÂ
˝ÍÒÔÂÚÓ‚), ‚ÓÔÓÒÓ‚ ÔÓ˜ÚË Ì ·˚ÎÓ. üËÚÂËÈ ‡Á„‡Ì˘ÂÌˡ ·˚Î
ÌÂÙÓχÎËÁÛÂÏ˚È, ÌÓ Ó˜Â‚Ë‰Ì˚È: ÛÒÒÍËÈ ˇÁ˚Í Ë ÛÒÒÍËÈ ‰Ûı, ÍÓÚÓ˚È ‚ÂÂÚ
Ú‡Ï, „‰Â ıÓ˜ÂÚ. "œÓ͇ˇÌËÂ" Ë "ΔËÎ Ô‚˜ËÈ ‰ÓÁ‰" - ͇ÚËÌ˚ ‚ÂÎËÍËÂ, ÌÓ, Û‚˚,
„ÛÁËÌÒÍËÂ, ‡ "ƒÓ΄Ë ÔÓ‚Ó‰˚" - ÛÒÒ͇ˇ. ’ÓÚˇ ÂÒÎË ”Í‡Ë̇ ÒÓ˜ÚÂÚ Â Ë
Ò‚ÓÂÈ, Ï˚ ·Û‰ÂÏ ÚÓθÍÓ ‡‰˚: ˝ÚÓ Ê Ì ÁÂÏβ ‰ÂÎËÚ¸. ¬ ÂÁÛθڇÚ ¯ËÎË
ÔÓ-ÛÒÒÍË: Ì ÔÓ Á‡ÍÓÌÛ, ‡ ÔÓ ÒÔ‡‚‰ÎË‚ÓÒÚË. ¬ ÚÂÚ¸Ëı, ÔÓÒΠÔÓ‰Ò˜ÂÚ‡
„ÓÎÓÒÓ‚ ӷ̇ÛÊËÎÓÒ¸, ˜ÚÓ Ì‡ 25-Ï ÏÂÒÚ Ó͇Á‡ÎÓÒ¸ ÌÂÒÍÓθÍÓ Í‡ÚËÌ,
̇·‡‚¯Ëı ‡‚ÌÓ ˜ËÒÎÓ „ÓÎÓÒÓ‚, Ô˘ÂÏ ÒÓ ÒÚ‡ÚËÒÚ˘ÂÒÍË ÌÂÁ̇˜ËÏ˚Ï
ÓÚ˚‚ÓÏ Ì‡ Ó‰ËÌ „ÓÎÓÒ ÓÚ Ô‰˚‰Û˘ÂÈ Ë ÔÓÒÎÂ‰Û˛˘ÂÈ „ÛÔÔ˚ ÎÂÌÚ. » ˜ÚÓ
ÂÒÎË ·˚ Ï˚ ‰ÓÔÓÎÌËÚÂθÌ˚Ï „ÓÎÓÒÓ‚‡ÌËÂÏ ‚˚·‡ÎË Ó‚ÌÓ 25, ÚÓ ÒÂ‰Ë ÌËı ÌÂ
Ó͇Á‡ÎÓÒ¸ ·˚, ̇ÔËÏÂ, ÙËθÏÓ‚ ¿·‰‡¯ËÚÓ‚‡, —ÓÎÓ‚¸Â‚‡ Ë —ÓÍÛÓ‚‡, ·ÂÁ
ÍÓÚÓ˚ı ÏÌÓ„Ë ˝ÍÒÔÂÚ˚ ÚÓÊ Ì Ï˚ÒÎËÎË Ò· ÂÔÂÁÂÌÚ‡ÚË‚ÌÛ˛ ‚˚·ÓÍÛ
ÎÛ˜¯Ëı ÓÒÒËÈÒÍËı ͇ÚËÌ. ¬ ˝ÚÓÚ ‰‡Ï‡Ú˘ÂÒÍËÈ ÏÓÏÂÌÚ ÔÓÒÚÛÔËÎÓ
Ô‰ÎÓÊÂÌË "‚ Ó‰ÌË ÛÍË ·Óθ¯Â ÍËÎÓ„‡Ïχ Ì ‰‡‚‡Ú¸", ÚÓ ÂÒÚ¸ ‚Íβ˜ËÚ¸ ‚
ÙË̇θÌ˚È ÒÔËÒÓÍ ÔÓ Ó‰ÌÓÈ Í‡ÚËÌ ÓÚ Ó‰ÌÓ„Ó ÂÊËÒÒÂ‡, ҉·‚ ËÒÍβ˜ÂÌËÂ,
·˚Ú¸ ÏÓÊÂÚ, ‰Îˇ Ó‰ÌÓ„Ó ¿Ì‰¡ “‡ÍÓ‚ÒÍÓ„Ó Í‡Í ‰Îˇ ·ÂÒÒÔÓÌÓ„Ó Ë ÛÊÂ
ۯ‰¯Â„Ó ÓÚ Ì‡Ò „ÂÌˡ. Œ‰ÌË Û‚‡Ê‡ÂÏ˚ ˝ÍÒÔÂÚ˚ Â„Ó Ò ˝ÌÚÛÁˇÁÏÓÏ
ÔÓ‰‰ÂʇÎË, ‰Û„Ë - ͇Ú„Ó˘ÂÒÍË ÓÚ‚Â„ÎË Ì‡ ÚÓÏ ÓÒÌÓ‚‡ÌËË, ˜ÚÓ
ÒÓÒÚ‡‚ΡÂÚÒˇ ÒÔËÒÓÍ ÎÛ˜¯Ëı ÙËθÏÓ‚, ‡ Ì ÎÛ˜¯Ëı ÂÊËÒÒÂÓ‚, Ë ÂÒÎË Ò‡Ï˚È
ÌÂÂÈÚËÌ„Ó‚˚È ÙËÎ¸Ï “‡ÍÓ‚ÒÍÓ„Ó Ì‡·‡Î ·Óθ¯Â „ÓÎÓÒÓ‚, ˜ÂÏ Ò‡Ï˚È
ÂÈÚËÌ„Ó‚˚È ÙËÎ¸Ï ÂÊËÒÒÂ‡ N, ÚÓ ÔÓ Í‡ÍÓÏÛ Ô‡‚Û ˝ÚÓÚ ÙËÎ¸Ï ÂÊËÒÒÂ‡ N
Á‡ÈÏÂÚ ÏÂÒÚÓ ÙËθχ “‡ÍÓ‚ÒÍÓ„Ó? “Ó„‰‡ Ë ·˚ÎÓ Ì‡È‰ÂÌÓ ÛÒÚÓË‚¯Â ‚ÒÂı
ÍÓÏÔÓÏËÒÒÌÓ ¯ÂÌË ÔÓ‰Ò˜ËÚ‡Ú¸ ‰‚‡ ÂÈÚËÌ„‡ - ÙËθÏÓ‚ Ë ÂÊËÒÒÂÓ‚,
ÔÓÒΠ˜Â„Ó ÛÒÚ‡ÌÓ‚ËÚ¸ ·ÓΠÂÒÚÂÒÚ‚ÂÌÌ˚ ÌËÊÌË „‡Ìˈ˚ ‰Îˇ ÔÓÌˇÚˡ
"ÎÛ˜¯ËÈ ÙËθÏ" Ë "ÎÛ˜¯ËÈ ÂÊËÒÒÂ".
¬ÒÂ„Ó ·˚ÎÓ ÔÓÎÛ˜ÂÌÓ 59 ‡ÌÍÂÚ, ËÁ ÍÓÚÓ˚ı ‰‚ Ô˯ÎÓÒ¸ Á‡·‡ÍÓ‚‡Ú¸, Ú‡Í Í‡Í
Ëı ÒÓÒÚ‡‚ËÚÂÎË Ì ÒÏÓ„ÎË Ó„‡Ì˘ËÚ¸Òˇ 25 ͇ÚË̇ÏË Ë, ‚ ÒÎÛ˜‡Â Û˜ÂÚ‡ Ëı
„ÓÎÓÒÓ‚, Ó͇Á‡ÎË ·˚ ·ÓΠÒËθÌÓ ÒÛ·˙ÂÍÚË‚ÌÓ ‚ÓÁ‰ÂÈÒÚ‚Ë ̇ ÂÁÛθڇÚ, ˜ÂÏ
‰Û„ËÂ. »Ì˚ÏË ÒÎÓ‚‡ÏË, Á‡ ͇ʉ˚È ÙËÎ¸Ï ·˚ÎÓ ÔÓ‰‡ÌÓ Ì ·ÓΠ57 „ÓÎÓÒÓ‚.
¿·ÒÓβÚÌÓ ÎˉÂÒÚ‚Ó Á‡ı‚‡ÚËÎ "¿Ì‰ÂÈ –۷΂" (ÚÓ˜ÌÂÂ, "—Ú‡ÒÚË ÔÓ ¿Ì‰²")
- 48 „ÓÎÓÒÓ‚ ÒÓ Á̇˜ËÏ˚Ï ÓÚ˚‚ÓÏ (·ÓΠ10% „ÓÎÓÒÓ‚) ÓÚ ·ÎËʇȯ„Ó
ÒÓÔÂÌË͇ - "¡‡Î·‰˚ Ó ÒÓΉ‡ÚÂ". ƒ‡Î ·˚· ÛÒÚ‡ÌÓ‚ÎÂ̇ ÌÓχ ‰Îˇ
‚Íβ˜ÂÌˡ ÙËθχ ‚ ¯ÓÚ-ÎËÒÚ ÎÛ˜¯Ëı - Ì ÏÂÌ 6 „ÓÎÓÒÓ‚, ÚÓ ÂÒÚ¸ Ì ÏÂÌÂÂ
‰ÂÒˇÚÓÈ ˜‡ÒÚË ˝ÍÒÔÂÚÓ‚. –‡ÁÛÏÂÂÚÒˇ, ˝Ú‡ ÌËÊÌˇˇ „‡Ìˈ‡ ÚÓÊ ÛÒÎӂ̇, Ú‡Í
Í‡Í Ó‰ËÌ ‰ÓÔÓÎÌËÚÂθÌ˚È ˝ÍÒÔÂÚ ÏÓ„ ·˚ ÔÂ‚ÂÒÚË Ó‰ËÌ-‰‚‡ ÙËθχ ‚ ÚÂÎÓ
ÒÔËÒ͇ ËÁ ÓÚÂÁ‡ÌÌÓ„Ó "ı‚ÓÒÚ‡", ÌÓ ÚÛÚ ÛÊ ÌË˜Â„Ó Ì ÔÓÔ˯¯¸. –ÂÈÚËÌ„Ë
ÂÊËÒÒÂÓ‚ ·˚ÎË ÔÓ‰Ò˜ËÚ‡Ì˚ ÒÛÏÏËÓ‚‡ÌËÂÏ ÂÈÚËÌ„Ó‚ Ëı ÙËθÏÓ‚, ÌÓ ÌÂ
ÚÓθÍÓ ÚÂı, ˜ÚÓ ÔÓÔ‡ÎË ‚ ÒÔËÒÓÍ ÎÛ˜¯Ëı, ‡ ‚ÒÂı, ̇·‡‚¯Ëı ·ÓΠӉÌÓ„Ó
„ÓÎÓÒ‡. œË ˝ÚÓÏ ·Óθ¯ËÌÒÚ‚Ó ÎÛ˜¯Ëı ÂÊËÒÒÂÓ‚ Ó͇Á‡ÎÓÒ¸ Ô‰ÒÚ‡‚ÎÂÌÓ ‚
ÂÈÚËÌ„Â ÎÛ˜¯Ëı ÙËθÏÓ‚ ‰‚ÛÏˇ Ë ·ÓΠ͇ÚË̇ÏË. –ÂÍÓ‰ÒÏÂ̇ÏË
Ó͇Á‡ÎËÒ¸ ÃËı‡ÎÍÓ‚, ÃÛ‡ÚÓ‚‡ Ë ¿·‰‡¯ËÚÓ‚ - ÔÓ 6 ÎÂÌÚ. Œ·Ì‡ÛÊËÎÓÒ¸
‰ÂÎÂÌË ‚ÌÛÚË ÒÔËÒ͇ ÎÛ˜¯Ëı - Ò ·Óθ¯ËÏ ÓÚ˚‚ÓÏ ÓÚ ‰Û„Ëı Ë ‰Û„ ÓÚ ‰Û„‡
ÎˉËÛ˛Ú “‡ÍÓ‚ÒÍËÈ Ë √ÂχÌ, ̇ ÚÂÚ¸ÂÏ ÏÂÒÚ ÃËı‡ÎÍÓ‚ Ò Ì ӘÂ̸
Á̇˜ËÚÂθÌ˚Ï ÓÚ˚‚ÓÏ ÓÚ „ÛÔÔ˚ ÂÊËÒÒÂÓ‚, ‚ ÍÓÚÓÓÈ ÎˉËÛÂÚ ÃÛ‡ÚÓ‚‡,
ÌÓ ÂÒÎË ÒÓÒÚ‡‚ËÚ¸ ÒÔËÒÓÍ ÎÛ˜¯Ëı ÂÊËÒÒÂÓ‚ Á‡ ÒÚÓ ÎÂÚ, Ì ‰ÂΡ ‚ÂÍ Ì‡ 50ÎÂÚÌË ÔÂËÓ‰˚, ÂÈÚËÌ„ ◊Ûı‡ˇ, ’ۈ˂‡ Ë –ˇÁ‡ÌÓ‚‡, ÍÓÚÓ˚ ̇˜‡ÎË
‡·ÓÚ‡Ú¸ ‚ ÍËÌÓ ‰Ó 1958 „Ó‰‡, ÒÍÓ ‚ÒÂ„Ó ÔÓ‰ÌËÏÂÚÒˇ. ÕÓ ÒÓÒÚ‡‚ÎÂÌË ڇÍÓ„Ó
ÒÔËÒ͇ - ‰ÂÎÓ ·Û‰Û˘Â„Ó.
P.S. œÓÒχÚË‚‡ˇ ÂÈÚËÌ„Ë, ˜ËÚ‡ÚÂθ ‰ÓÎÊÂÌ ËÏÂÚ¸ ‚ ‚ˉÛ, ˜ÚÓ ÓÌË
ı‡‡ÍÚÂËÁÛ˛Ú Ì ÚÓθÍÓ ÙËθÏ˚ Ë Ì ÚÓθÍÓ ÂÊËÒÒÂÓ‚, ÌÓ Ë ÍËÚËÍÓ‚,
ÚӘ̠„Ó‚Óˇ - ÒÓ‚ÂÏÂÌÌÓ ÒÓÒÚÓˇÌË ÍËÚËÍË. ◊ÂÂÁ 50 ÎÂÚ ‚˚ÒÚÓÂÌ̇ˇ
‰Û„ËÏË ÍËÚË͇ÏË ËÂ‡ıˡ ·Û‰ÂÚ ËÌÓÈ, ÌÓ Ì‡ÒÍÓθÍÓ? Ã˚, ÍÓ̘ÌÓ, Á̇ÂÏ,
˜ÚÓ ÒÔËÒÓÍ ÎËÚÂ‡ÚÛÌ˚ı Í·ÒÒËÍÓ‚ ÒÓ ‚ÂÏÂÌÂÏ ‚Íβ˜‡Î „Ó‡Á‰Ó ·Óθ¯ÂÂ
˜ËÒÎÓ "‚ÂÎËÍËı", ˜ÂÏ ÚÂˇÎ. ÕÓ ÍËÌÓ - ÒÎ˯ÍÓÏ ÏÓÎÓ‰Ó ËÒÍÛÒÒÚ‚Ó ‰Îˇ ÚÓ„Ó,
˜ÚÓ·˚ ÏÓÊÌÓ ·˚ÎÓ ‰Â·ڸ ‰‡Î¸ÌË ÔÓ„ÌÓÁ˚.
À”◊ÿ»≈
–”——ü»≈ ‘»À‹Ã¤
(ÔÓ ˜ËÒÎÛ ÛÔÓÏË̇ÌËÈ ‰‡ÌÌÓ„Ó
ÙËθχ ‚ ‡ÌÍÂÚ‡ı ˝ÍÒÔÂÚÓ‚):
¿Ì‰ÂÈ –۷΂ . . . . . . . . . . . . . . . .
¡‡Î·‰‡ Ó ÒÓΉ‡Ú . . . . . . . . . . . . . . .
«Â͇ÎÓ . . . . . . . . . . . . . . . . . . . . . .
ÃÓÈ ‰Û„ »‚‡Ì À‡Ô¯ËÌ . . . . . . . . . .
ü‡ÎË̇ Í‡Ò̇ˇ . . . . . . . . . . . . . . . .
¡ÂÎÓ ÒÓÎ̈ ÔÛÒÚ˚ÌË . . . . . . . . . . . .
üÓÏËÒÒ‡ . . . . . . . . . . . . . . . . . . . . .
¡Â„ËÒ¸ ‡‚ÚÓÏÓ·ËΡ . . . . . . . . . . . . .
«‡ÒÚ‡‚‡ »Î¸Ë˜‡ . . . . . . . . . . . . . . . .
ÕÂÓÍÓ̘ÂÌ̇ˇ Ô¸ÂÒ‡
‰Îˇ ÏÂı‡Ì˘ÂÒÍÓ„Ó ÔˇÌËÌÓ . . . .
¬ÓÒıÓʉÂÌË . . . . . . . . . . . . . . . . . .
ƒÓ·Ó ÔÓʇÎÓ‚‡Ú¸,
ËÎË œÓÒÚÓÓÌÌËÏ ‚ıÓ‰ ‚ÓÒÔ¢ÂÌ
»˛Î¸ÒÍËÈ ‰Óʉ¸ . . . . . . . . . . . . . . .
ƒÂ‚ˇÚ¸ ‰ÌÂÈ Ó‰ÌÓ„Ó „Ó‰‡ . . . . . . . . . .
ÇÎÂ̸͇ˇ ¬Â‡ . . . . . . . . . . . . . . . .
»ÒÚÓˡ ¿ÒË üΡ˜ËÌÓÈ . . . . . . . . . . .
Õ‡˜‡ÎÓ . . . . . . . . . . . . . . . . . . . . . . .
ƒÓ΄Ë ÔÓ‚Ó‰˚ . . . . . . . . . . . . . . . .
fl ¯‡„‡˛ ÔÓ ÃÓÒÍ‚Â . . . . . . . . . . . . .
¬ Ó„Ì ·Ó‰‡ ÌÂÚ . . . . . . . . . . . . . . . .
¡ËÎΡÌÚÓ‚‡ˇ Û͇ . . . . . . . . . . . . .
œÓÎÂÚ˚ ‚Ó ÒÌÂ Ë Ì‡ˇ‚Û . . . . . . . . . . .
√‡ÏÎÂÚ . . . . . . . . . . . . . . . . . . . . . . .
ŒÒÂÌÌËÈ Ï‡‡ÙÓÌ . . . . . . . . . . . . . . .
œÓ‚Â͇ ̇ ‰ÓÓ„‡ı . . . . . . . . . . . . .
’ÛÒڇ΂, χ¯ËÌÛ! . . . . . . . . . . . . .
—Ú‡ÎÍÂ . . . . . . . . . . . . . . . . . . . . . .
œˇÚ¸ ‚˜ÂÓ‚ . . . . . . . . . . . . . . . . . .
ƒ‚‡‰ˆ‡Ú¸ ‰ÌÂÈ ·ÂÁ ‚ÓÈÌ˚ . . . . . . . . .
¬ÓÈ̇ Ë ÏË . . . . . . . . . . . . . . . . . . .
»‚‡ÌÓ‚Ó ‰ÂÚÒÚ‚Ó . . . . . . . . . . . . . . . .
üÓÓÚÍË ‚ÒÚÂ˜Ë . . . . . . . . . . . . . . .
¿ÒÒ‡ . . . . . . . . . . . . . . . . . . . . . . . .
¡ÂÎÓÛÒÒÍËÈ ‚ÓÍÁ‡Î . . . . . . . . . . . . .
¿ÒÚÂÌ˘ÂÒÍËÈ ÒË̉ÓÏ . . . . . . . . . . .
»‰Ë Ë ÒÏÓÚË . . . . . . . . . . . . . . . . . .
œ‡‡‰ Ô·ÌÂÚ . . . . . . . . . . . . . . . . . .
Õ „Ó˛È . . . . . . . . . . . . . . . . . . . . .
ÃÓÌÓÎÓ„ . . . . . . . . . . . . . . . . . . . . . .
»ÓÌˡ ÒÛ‰¸·˚ . . . . . . . . . . . . . . . . .
—Û‰¸·‡ ˜ÂÎÓ‚Â͇ . . . . . . . . . . . . . . . .
"“Ë ÚÓÔÓΡ" ̇ œÎ˛˘Ëı . . . . . . . . .
¿„ÓÌˡ . . . . . . . . . . . . . . . . . . . . . .
ƒÓÊË‚ÂÏ ‰Ó ÔÓ̉ÂθÌË͇ . . . . . . . . .
¡‡Ú . . . . . . . . . . . . . . . . . . . . . . . .
¿È·ÓÎËÚ-66 . . . . . . . . . . . . . . . . . . .
◊Û˜ÂÎÓ . . . . . . . . . . . . . . . . . . . . . . .
—ÚÓ ‰ÌÂÈ ÔÓÒΠ‰ÂÚÒÚ‚‡ . . . . . . . . . . .
ŒÍ‡Ë̇ . . . . . . . . . . . . . . . . . . . . . .
—ÓΡËÒ . . . . . . . . . . . . . . . . . . . . . .
ü‡‚͇ÁÒ͇ˇ ÔÎÂÌÌˈ‡ . . . . . . . . . . . .
Œ‰ËÌÓÍËÈ „ÓÎÓÒ ˜ÂÎÓ‚Â͇ . . . . . . . . .
ƒÌË Á‡ÚÏÂÌˡ . . . . . . . . . . . . . . . . . .
√ÓË, „ÓË, ÏÓˇ Á‚ÂÁ‰‡ . . . . . . . . . . .
ÃÓÒÍ‚‡ ÒÎÂÁ‡Ï Ì ‚ÂËÚ . . . . . . . . . .
¡Â„ . . . . . . . . . . . . . . . . . . . . . . . . .
«Â͇ÎÓ ‰Îˇ „ÂÓˇ . . . . . . . . . . . . . .
—ÎÛÊËÎË ‰‚‡ ÚÓ‚‡ˢ‡ . . . . . . . . . . .
ƒ‡Ï‡ Ò ÒÓ·‡˜ÍÓÈ . . . . . . . . . . . . . . . .
”ÚÓÏÎÂÌÌ˚ ÒÓÎ̈ÂÏ . . . . . . . . . . . .
ŒıÓÚ‡ ̇ ÎËÒ . . . . . . . . . . . . . . . . . .
œÓ ÛÓ‰Ó‚ Ë Î˛‰ÂÈ . . . . . . . . . . . . .
◊ÛÊË ÔËҸχ . . . . . . . . . . . . . . . . .
’ÓÎÓ‰ÌÓ ÎÂÚÓ 1953 „Ó‰‡ . . . . . . . . . .
ƒÓ΄‡ˇ Ò˜‡ÒÚÎË‚‡ˇ ÊËÁ̸ . . . . . . . . .
–Ó‰Ìˇ . . . . . . . . . . . . . . . . . . . . . . .
¬ÓÂÌÌÓ-ÔÓ΂ÓÈ ÓÏ‡Ì . . . . . . . . . . . .
ÃÓÎÓı . . . . . . . . . . . . . . . . . . . . . . .
œÓ¯Û ÒÎÓ‚‡ . . . . . . . . . . . . . . . . . .
¿ ÁÓË Á‰ÂÒ¸ ÚËıË . . . . . . . . . . . . . .
—Í‚ÂÌ˚È ‡ÌÂ͉ÓÚ . . . . . . . . . . . . . .
ŒÒÚ‡ÌÓ‚ËÎÒˇ ÔÓÂÁ‰ . . . . . . . . . . . . . .
Õ·˚‚‡Î¸˘Ë̇ . . . . . . . . . . . . . . . . .
ü˚θˇ . . . . . . . . . . . . . . . . . . . . . .
Œ·Î‡ÍÓ-‡È . . . . . . . . . . . . . . . . . . . .
.48
.41
.40
.37
.32
.32
.32
.31
.28
.27
.26
.25
.25
.24
.24
.23
.22
.23
.22
.20
.20
.19
.18
.18
.18
.17
.16
.16
.15
.14
.14
.14
.13
.13
.13
.12
.12
.12
.11
.11
.11
.11
.10
.10
.10
.10
.9
.9
.9
.9
.9
.8
.8
.8
.8
.8
.7
.7
.7
.7
.7
.7
.7
.7
.6
.6
.6
.6
.6
.6
.6
.6
.6
.6
.6
1958ñ2000 „„. (ÔÓ ˜ËÒÎÛ ÛÔÓÏË̇ÌËÈ
ÙËθÏÓ‚ ‰‡ÌÌÓ„Ó ÂÊËÒÒÂ‡, ‚˚ÔÛ˘ÂÌÌ˚ı ‚
Û͇Á‡ÌÌ˚È ÔÂËÓ‰ Ë Ì‡·‡‚¯Ëı ·ÓΠ2
„ÓÎÓÒÓ‚, ÔË ÛÒÎÓ‚ËË, ˜ÚÓ ıÓÚˇ ·˚ Ó‰ËÌ ËÁ
ÌËı ÔÓԇΠ‚ ÒÔËÒÓÍ ÎÛ˜¯Ëı ÙËθÏÓ‚).
¿Ì‰ÂÈ “‡ÍÓ‚ÒÍËÈ (Û˜ÚÂÌ˚ 5 ÙËθÏÓ‚) . .127
¿ÎÂÍÒÂÈ √ÂÏ‡Ì (4) . . . . . . . . . . . . . . .87
ÕËÍËÚ‡ ÃËı‡ÎÍÓ‚ (6) . . . . . . . . . . . . .63
üË‡ ÃÛ‡ÚÓ‚‡ (6) . . . . . . . . . . . . . . .59
ÇÎÂÌ ’ۈ˂ (3) . . . . . . . . . . . . . . .57
√ÂÓ„ËÈ ƒ‡ÌÂÎˡ (4) . . . . . . . . . . . . . .56
›ÎÂÏ üÎËÏÓ‚ (5) . . . . . . . . . . . . . . . . .54
√η œ‡ÌÙËÎÓ‚ (4) . . . . . . . . . . . . . . .53
√Ë„ÓËÈ ◊Ûı‡È (2) . . . . . . . . . . . . . .45
›Î¸‰‡ –ˇÁ‡ÌÓ‚ (3) . . . . . . . . . . . . . . .44
¬‡ÒËÎËÈ ÿÛͯËÌ (5) . . . . . . . . . . . . .44
À‡ËÒ‡ ÿÂÔËÚ¸ÍÓ (3) . . . . . . . . . . . . .38
¬‡‰ËÏ ¿·‰‡¯ËÚÓ‚ (6) . . . . . . . . . . . .33
¿Ì‰ÂÈ üÓ̘‡ÎÓ‚ÒÍËÈ (4) . . . . . . . . . .33
ÀÂÓÌˉ √‡È‰‡È (3) . . . . . . . . . . . . . . .32
¬Î‡‰ËÏË ÃÓÚ˚θ (1) . . . . . . . . . . . . .32
¿ÎÂÍ҇̉ ¿ÒÍÓθ‰Ó‚ (1) . . . . . . . . . . .32
¿ÎÂÍ҇̉ —ÓÍÛÓ‚ (5) . . . . . . . . . . . .28
—Â„ÂÈ —ÓÎÓ‚¸Â‚ (4) . . . . . . . . . . . . . . .26
—Â„ÂÈ ¡Ó̉‡˜ÛÍ (2) . . . . . . . . . . . . .25
ÃËı‡ËÎ –ÓÏÏ (1) . . . . . . . . . . . . . . . .24
¬‡ÒËÎËÈ œË˜ÛÎ (1) . . . . . . . . . . . . . . .24
¿ÎÂÍÒÂÈ ¡‡Î‡·‡ÌÓ‚ (4) . . . . . . . . . . . .21
√Ë„ÓËÈ üÓÁË̈‚ (2) . . . . . . . . . . . .21
»Î¸ˇ ¿‚Â·‡ı (3) . . . . . . . . . . . . . . . .20
–ÓÎ‡Ì ¡˚ÍÓ‚ (2) . . . . . . . . . . . . . . . . .19
–ÓÏ‡Ì ¡‡Î‡ˇÌ (1) . . . . . . . . . . . . . . . .19
—Ú‡ÌËÒ·‚ –ÓÒÚÓˆÍËÈ (2) . . . . . . . . . . .18
¿ÎÂÍ҇̉ ¿ÎÓ‚ Ë ¬Î‡‰ËÏË Õ‡ÛÏÓ‚ (3) . .16
¿Ì‰ÂÈ —ÏËÌÓ‚ (1) . . . . . . . . . . . . . .13
“‡Ú¸ˇÌ‡ ÀËÓÁÌÓ‚‡ (1) . . . . . . . . . . . . .11
¿ÎÂÍ҇̉ ÃËÚÚ‡ (2) . . . . . . . . . . . . . .10
œÂÚ ÀÛˆËÍ (1) . . . . . . . . . . . . . . . . . .9
¬Î‡‰ËÏË ÃÂ̸¯Ó‚ (1) . . . . . . . . . . . .8
»ÓÒËÙ ’ÂÈÙˈ (1) . . . . . . . . . . . . . . .7
¬Î‡‰ËÏË ’ÓÚËÌÂÌÍÓ (1) . . . . . . . . . . .7
¿ÎÂÍ҇̉ œÓ¯ÍËÌ (1) . . . . . . . . . . .7
≈‚„ÂÌËÈ ü‡ÂÎÓ‚ (1) . . . . . . . . . . . . . .7
ÃËı‡ËÎ ü‡Î‡ÚÓÁÓ‚ (2) . . . . . . . . . . . . .7
œÂÚ “Ó‰ÓÓ‚ÒÍËÈ (1) . . . . . . . . . . . . .6
ÕËÍÓÎ‡È ƒÓÒڇθ (1) . . . . . . . . . . . . . .6
—Â„ÂÈ Œ‚˜‡Ó‚ (1) . . . . . . . . . . . . . . .6
‘ËθÏ˚, ÒÓ·‡‚¯Ë ·ÓΠ1 „ÓÎÓÒ‡,
·‡ÎÎ˚ ÍÓÚÓ˚ı ·˚ÎË Û˜ÚÂÌ˚ ÔË
ÒÓÒÚ‡‚ÎÂÌËË ÂÈÚËÌ„‡ ÂÊËÒÒÂÓ‚:
œÂ˜ÍË-·‚Ó˜ÍË . . . . . . . . . . . . . . . . . .5
ΔË‚ÂÚ Ú‡ÍÓÈ Ô‡Â̸ . . . . . . . . . . . . . .5
œÓ˘‡ÌË . . . . . . . . . . . . . . . . . . . . .5
¬ÂÏˇ ڇ̈Ó‡ . . . . . . . . . . . . . . . . . .4
ÃËÏËÌÓ . . . . . . . . . . . . . . . . . . . . . . .4
◊ËÒÚÓ ÌÂ·Ó . . . . . . . . . . . . . . . . . . . .4
“ÂΈ . . . . . . . . . . . . . . . . . . . . . . . . .4
”„‡ . . . . . . . . . . . . . . . . . . . . . . . . .4
ƒˇ‰ˇ ¬‡Ìˇ . . . . . . . . . . . . . . . . . . . . .4
—Ë·Ëˇ‰‡ . . . . . . . . . . . . . . . . . . . . .4
¡ÂÒÍÓ̘ÌÓÒÚ¸ . . . . . . . . . . . . . . . . . .4
◊Û‚ÒÚ‚ËÚÂθÌ˚È ÏËÎˈËÓÌÂ . . . . . . .4
üÓÓθ ÀË . . . . . . . . . . . . . . . . . . . .3
“Âχ . . . . . . . . . . . . . . . . . . . . . . . . .3
œÓÁ̇‚‡ˇ ·ÂÎ˚È Ò‚ÂÚ . . . . . . . . . . . . . .3
ÕÂÒÍÓθÍÓ ‰ÌÂÈ ËÁ ÊËÁÌË ».». Œ·ÎÓÏÓ‚‡ .3
üËÌ-‰Á‡-‰Á‡ . . . . . . . . . . . . . . . . . . . .3
ŒÔÂ‡ˆËˇ "¤" . . . . . . . . . . . . . . . . . . .3
"¿χ‚Ë" . . . . . . . . . . . . . . . . . . . . .2
¡‡Ú-2 . . . . . . . . . . . . . . . . . . . . . . . .2
¡ÂÎ˚È ¡ËÏ ◊ÂÌÓ ”ıÓ . . . . . . . . . . . .2
¬‡ÒÒ‡ . . . . . . . . . . . . . . . . . . . . . . . . .2
¬‡¯ Ò˚Ì Ë ·‡Ú . . . . . . . . . . . . . . . . .2
ΔÂÒÚÓÍËÈ ÓχÌÒ . . . . . . . . . . . . . . . .2
ƒÓÏ ÔÓ‰ Á‚ÂÁ‰Ì˚Ï Ì·ÓÏ . . . . . . . . . . .2
«‚ÓÌˇÚ, ÓÚÍÓÈÚ ‰‚Â¸ . . . . . . . . . . . .2
ÃË ‚ıÓ‰ˇ˘ÂÏÛ . . . . . . . . . . . . . . . . .2
Œ·˙ˇÒÌÂÌË ‚ β·‚Ë . . . . . . . . . . . . . .2
–ÓχÌÒ Ó ‚β·ÎÂÌÌ˚ı . . . . . . . . . . . . .2
—ÔÓÚ, ÒÔÓÚ, ÒÔÓÚ . . . . . . . . . . . . . . .2
—˜‡ÒÚÎË‚˚ ‰ÌË . . . . . . . . . . . . . . . . .2
“Ë ËÒÚÓËË . . . . . . . . . . . . . . . . . . . .2
—ÎÛ„‡ . . . . . . . . . . . . . . . . . . . . . . . . .2
“ËıË ÒÚ‡Ìˈ˚ . . . . . . . . . . . . . . . . .2
◊Ûʇˇ ¡Â·ˇ Ë –ˇ·ÓÈ . . . . . . . . . . . . .2
Õ¿ œ–Œ—“Œ–¿’
–Œƒ»Õ¤ ◊”ƒ≈—ÕŒ…
ƒ‡‚ÌÓ ÊË‚Û ‚ ̇¯ÂÈ ˛ÌÓÈ, ÔÂÍ‡ÒÌÓÈ ÒÚ‡ÌÂ.
ÕÓ Ì ÛÒÚ‡˛ ÔÓ‡Ê‡Ú¸Òˇ ͇ÍÓÏÛ-ÚÓ ËÒÚÂ˘ÂÒÍÓÏÛ
ÓÚÌÓ¯ÂÌ˲ ÍÓ ‚ÒˇÍÓ„Ó Ó‰‡ ÔËÁ‡Ï, ÓÚÎË˜ËˇÏ,
ÒÔËÒÍ‡Ï ÎÛ˜¯Ëı ËÁ ÎÛ˜¯Ëı. ü‡Á‡ÎÓÒ¸ ·˚, ˜Â„Ó
ÔÓ˘Â. «‡Ï˜‡ÚÂθ̇ˇ ˉ¡ "üËÌÓÚ‡‚‡" - Í 100
ÎÂÚ˲ ÓÒÒËÈÒÍÓ„Ó ÍËÌÓ ÒÓÁ‰‡Ú¸ ÒÔËÒÓÍ 50
ÎÛ˜¯Ëı ÙËθÏÓ‚ ÔÓ ÏÌÂÌ˲ 50 ÍËÚËÍÓ‚.
ÇÒÚÂ‡ ÔÂ‡ „ÓÎÓÒÛ˛Ú, ÔÂÁˉÂÌÚ √Ëθ‰ËË
χÚÂχÚËÍ Ã‡ÚËÁÂÌ Ò˜ËÚ‡ÂÚ, Á‡ÚÂÏ ÔÓ ÂÁÛθڇڇÏ
‚ —Ó˜Ë ÔÓ‚Ó‰ËÚÒˇ ÂÚÓÒÔÂÍÚË‚Ì˚È ÔÓ͇Á. üÓ„‰‡
‚ ÔÓ¯ÎÓÏ „Ó‰Û ˜¸ ¯Î‡ Ó· ›ÈÁÂ̯ÚÂÈÌ Ë
œÓÚ‡Á‡ÌÓ‚Â, ‚ÒÂ Ú‡Í Ë ·˚ÎÓ. ÕÓ ‚ÓÚ Ì‡ÒڇΠ˜Â‰
·ÓÎÂÂ ËÎË ÏÂÌÂÂ ÒÓ‚ÂÏÂÌÌÓ„Ó ÍËÌÓ. ¬ ÒÔËÒÍÂ ËÁ
25 ͇ÚËÌ Ì Ó͇Á‡ÎÓÒ¸ ÌÂÍÓÚÓ˚ı ËÁ‚ÂÒÚÌ˚ı
ÂÊËÒÒÂÓ‚. ¿ Û “‡ÍÓ‚ÒÍÓ„Ó, √Âχ̇ Ë, Ó,
ÛʇÒ, ÃËı‡ÎÍÓ‚‡ ÔÓÎÛ˜ËÎÓÒ¸ ·Óθ¯Â, ˜ÂÏ Ó‰ËÌ
ÙËθÏ. ÕÛ, ˜ÚÓ Ê ‰Â·ڸ. ›ÚË ÔˇÚ¸‰ÂÒˇÚ ˜ÂÎÓ‚ÂÍ
Ú‡Í ÔÓ„ÓÎÓÒÓ‚‡ÎË. ƒ‡ÌÌ˚È ÒÔËÒÓÍ - Ì ڇ·Âθ Ó
‡Ì„‡ı. Õ ‚ „‡ÁÂÚ "œ‡‚‰‡" 1975 „Ó‰‡ „Ó
̇Ô˜‡Ú‡˛Ú, ‡ ‚ ͇ڇÎÓ„Â ŒÚÍ˚ÚÓ„Ó ÓÒÒËÈÒÍÓ„Ó
ÍËÌÓÙÂÒÚË‚‡Îˇ. œÓ „ÓÍÓÏ‡Ï Ë ‡ÈÍÓÏ‡Ï Â„Ó
‡ÒÒ˚·ڸ Ì ·Û‰ÛÚ Ë ÒÚÓËÚ¸ ÔÓ ÌÂÏÛ
ˉÂÓÎӄ˘ÂÒÍÛ˛ ‡·ÓÚÛ Ì ÒÚ‡ÌÛÚ. ŒÌ Ì ÏÓÊÂÚ
‚˚˜ÂÍÌÛÚ¸ ÍÓ„Ó-ÚÓ ËÁ ËÒÚÓËË Ì‡¯Â„Ó ÍËÌÓ ËÎË
‚ ˝ÚÛ Ò‡ÏÛ˛ ËÒÚÓ˲ ‚ÔËÒ‡Ú¸. » ÂÒÎË ‚ ˜¸ÂÈ-ÚÓ
„ÓÎÓ‚Â ÙËθÏ˚ Ë ÂÊËÒÒÂ˚ ‡ÒÔÓÎÓÊËÎËÒ¸ ‚
ËÌÓÈ ÔÓÒΉӂ‡ÚÂθÌÓÒÚË - Á‡Ï˜‡ÚÂθÌÓ.
œÓÊÏËÚ ÔΘ‡ÏË Ë ÒÚÛÔ‡ÈÚ Á‡„Ó‡Ú¸ ̇ ÔΡÊ.
ÕÓ ÌÂÚ! ü‡Í Ê ˝ÚÓ ÏÓÊÌÓ ‰ÓÔÛÒÚËÚ¸! ◊ÚÓ Ê ˝ÚÓ
Ú‡ÍÓÂ! ƒ‡ ÍÚÓ Ú‡Ï „ÓÎÓÒÛÂÚ! œÓ˜ÂÏÛ Í‡Í‡ˇ-ÚÓ
œÛÔÍË̇?! ƒ‡ ÍÚÓ Ó̇ ڇ͇ˇ?! ƒ‡ Ú‡Ï Ì 50
˜ÂÎÓ‚ÂÍ „ÓÎÓÒÛ˛Ú, ‡ ·Óθ¯Â!.. » ÔÓȉÛÚ
ÚÂÎÂÙÓÌÌ˚ Á‚ÓÌÍË, ÍÓÚÓ˚ ‡ÒÒÚÓˇÚ ÌÂ‚˚
·Â‰ÌÓÈ ÊÂÌ˘ËÌ˚ —ËÚÓ˚ ¿ÎË‚ÓÈ. » ÔˉÂÚÒˇ
ÂÈ ÔËÌËχڸ ‚ÓËÒÚËÌÛ ÒÓÎÓÏÓÌÓ‚Ó ¯ÂÌËÂ.
“ÂÔÂ¸ ·Û‰ÛÚ ÔÓ͇Á‡Ì˚ Úˉˆ‡Ú¸ ͇ÚËÌ, ‡ ÔÓ
ÓÒڇθÌ˚Â, ÚÂ, ˜ÚÓ ÔÓ ÚÂ΂ˉÂÌ˲ ˜‡ÒÚÓ ÍÛÚˇÚ,
‚˚¯ÂÛÔÓÏˇÌÛÚ˚È Ã‡ÚËÁÂÌ Ì‡Ô˯ÂÚ ‚ Ò‚ÓÂÈ
ÒÚ‡Ú¸Â. » ‚Ò ÒÚ‡ÌÛÚ ÎÛ˜¯ËÏË. üÓÒÚÓÏÓÎÓÚÓ‚‡
‚ÓÁ¸ÏÂÚ ‚Âı ̇‰ «‡„ÓˇÈÍËÌÓÈ, ‡ «‡„ÓˇÈÍË̇
ÒÚ‡ÌÂÚ ‰Ûχڸ, ˜ÚÓ Ì ÛÒÚÛÔË· üÓÒÚÓÏÓÎÓÚÓ‚ÓÈ.
«‡ ‚ÒÂÏ ˝ÚËÏ ıÓÓ‚Ó‰ÓÏ Í‡Í-ÚÓ Á‡·Û‰ÂÚÒˇ ̇¯Â
ÍËÌÓ, ‚ÂÎËÍË ÙËθÏ˚, Á‡Ï˜‡ÚÂθÌ˚Â
ÂÊËÒÒÂ˚. ¬Ò ҄ÓËÚ ‚ ÍÓÒÚ ‡Ï·ËˆËÈ.
» ·ÂÒÒÏ˚ÒÎÂÌÌÓ ÔÓ‚ÚÓˇÚ¸ Í·ÒÒ˘ÂÒÍÛ˛ Ù‡ÁÛ:
"À˛·ËÚ ËÒÍÛÒÒÚ‚Ó ‚ Ò·Â, ‡ Ì Ò·ˇ ‚ ËÒÍÛÒÒÚ‚Â".
100 ÎÂÚ Ì‡Á‡‰ ˝ÚË ÒÎÓ‚‡ ‚˚Á˚‚‡ÎË Ò‚ˇ˘ÂÌÌ˚È
ÚÂÔÂÚ. Õ˚̘ ÏÓÊÌÓ Î˯¸ „Ó¸ÍÓ ÛÎ˚·ÌÛÚ¸Òˇ.
ƒ‡Ê ˉ¡ ‡Á‰ÂÎÂÌˡ ̇¯ÂÈ ÔÓÙÂÒÒËÓ̇θÌÓÈ
„Ëθ‰ËË Ì‡ ÒÓÓ·˘ÂÒÚ‚‡ ÍËÌӂ‰ӂ Ë
ÍËÌÓÊÛ̇ÎËÒÚÓ‚ ÌË˜Â„Ó Ì ‰‡ÒÚ. Ã˚ Ô‰ÒÚ‡‚ËÚÂÎË "ÌÓ‚ÓÈ ËÒÚÓ˘ÂÒÍÓÈ Ó·˘ÌÓÒÚË
β‰ÂÈ", ÂÁÛÎ¸Ú‡Ú ·Óθ¯Â‚ËÒÚÒÍÓÈ ÒÂÎÂ͈ËË. Õ‡
ÔÓÒÚÓ‡ı –Ó‰ËÌ˚ ˜Û‰ÂÒÌÓÈ Ï˚ ÚÓθÍÓ Ë ÏÓÊÂÏ,
˜ÚÓ Á‡Í‡ÎˇÚ¸Òˇ ‚ ·ËÚ‚‡ı Ë ÚÛ‰Â. ÕÛ ‡Á‚Â,
ÔӉ̇ÚÛÊË‚¯ËÒ¸, ÒÎÓÊËÏ "‡‰ÓÒÚÌÛ˛ ÔÂÒÌ˛ Ó
‚ÂÎËÍÓÏ ‰Û„Â Ë ‚ÓʉÂ".
ŒÒڇθÌÓ - ÏÓΘ‡ÌËÂ.
—Â„ÂÈ À‡‚ÂÌڸ‚
ËÒÚÓËÍ ÍËÌÓ, ÍËÚËÍ
üÓÔËË ÙËθÏÓ‚ ‰Îˇ ÂÚÓÒÔÂÍÚË‚ Ô‰ÓÒÚ‡‚ÎÂÌ˚ √ÓÒÙËθÏÓÙÓ̉ÓÏ –‘.
1958-2000. ÎÛ˜¯Ë ÙËθÏ˚ Ë ÂÊËÒÒÂ˚
1958-2000: the best films and directors
À”◊ÿ»≈
–≈Δ»——≈–¤
123
1958-2000. ÎÛ˜¯Ë ÙËθÏ˚ Ë ÂÊËÒÒÂ˚
1958-2000: the best films and directors
124
FROM THE COORDINATOR
Viktor Matizen, President of the Guild
of Film Scholars and Film Critics
If the formation of the Guildís list of the 25 best Russian films from 1908-57,
which we compiled last year, did not cause any special difficulties, then drawing
up of the list of the 25 best films of 1958-2007 immediately posed serious
obstacles.
First, some experts did not have not enough courage to reduce the initial long-list
of almost 300 films (containing ALL films that were nominated at least by one
Guild member) down to 25, because that required sacrificing one favourite film
for the sake of another; thus their questionnaires unfortunately had to be
invalidated.
Second, questions at once arose about the status of films by Kira Muratova and
Petr Todorovskyís ìWartime Romanceî ñ made at the Odessa studio, as well as
Roman Balayanís ìDream Flightsî made under the seal of the Dovzhenko Studio
in Kiev. Without these films the voters could not envision a representative
panorama of our cinema. Regarding films of other republican directors, in
particular Paradjanov, Ioseliani and Abuladze (who might have featured in top
ranks of a list of SOVIET films compiled by the same experts), hardly any
questions arose. The criterion of differentiation was not formalized, but obvious:
Russian in language and Russian in spirit, features which may be found wherever
appropriate. ìRepentanceî and Lived Once a Song-Thrushî are great films, but,
alas, they are Georgian films, while ìLong Farewellsî is a Russian film. Even if
Ukraine considers it its own, we shall only be glad: we are not splitting the land
here. In the end the decision was typically Russian: not based on rules, but on
fairness.
Third, after the calculation of votes it transpired that on 25th place there were
several films with an equal number of votes (with a statistically insignificant gap
of one vote to the previous or subsequent group of films). Now, what if we had
chosen exactly 25 films by a second round of votes, and what if among them there
would have been no film by Abdrashitov, Soloviev or Sokurov, without which
many experts cannot imagine a representative list of the best Russian films? At
this dramatic moment came the offer ìnot to take more than a kilogram per
customerî: that is, to include in the final list one film per director, maybe with
the exception of Andrei Tarkovsky, the indisputable genius who is no longer with
us. Some kind experts enthusiastically supported this proposal, while others
categorically rejected it on the ground that this was to be a list of the best films
and not the best directors. If Tarkovskyís least rated film collected more votes
than the most rated film by director NN, then why should NNís film take the
place of a film by Tarkovsky? Then we found a conciliatory proposal that was
agreeable to everybody: to count up two ratings ñ films and directors ñ, and then
establish more flexible definitions for what constitutes ì best filmî and ìbest
directorî.
In total, 60 questionnaires were received; two were invalidated by votersí inability
to limit their choice to 25 films (and, if counted, they would have exerted a
stronger subjective influence on the result than others). In other words, each film
could receive a maximum of 58 votes. The absolute leader was ìAndrei Rublevî
(more precisely, ìPassions according to Andreiî) with 48 votes; it had a
significant lead of over 10 % to the nearest contender, ìBallad of a Soldierî.
Furthermore the minimum for a filmís inclusion in the short list was 6 votes, i.e.
no less the 10 per cent of expertsí votes. Of course, this lower margin is relative,
because one extra expert vote could have shifted one or two films from the tail
end into the main list, but that canít be helped. The ratings of directors have been
counted up by summation of the ratings for their films: not only those films that
were in the list of the best, but all films that had received a single vote. Thus, the
majority of the best directors emerged from the film ratings through two and
more titles. The champions here were Mikhalkov, Muratova and Abdrashitov with
six films. A divide in the list of the best appeared: Tarkovsky and German lead
ahead of the others, followed after a gap by Mikhalkov on third place, with an
insignificant gap to another group of directors with Muratova in the lead.
However, compiling a list of the best directors of hundred years without dividing
the century into 50-year periods would have boosted the rating of directors like
Chukhrai, Khutsiev and Riazanov who started their career in cinema before 1958.
But drawing up such a list is a thing for the future.
P.S. Perusing the ratings, the reader should remember that they characterize not
only films and directors, but also critics: precisely speaking, they reflect the
modern condition of criticism. In another fifty years the hierarchy that a future
generation of critics would suggest will no doubt be different ñ but to what
extent? We can say for certain that the list of literary classics gradually has come
to include many more ìgreat writersî than it has lost. But cinema is too young to
make such distant forecasts.
BEST RUSSIAN FILMS
(based on the number of mentions of a
given film in the expertsí questionnaires):
Andrei Rublev . . . . . . . . . . . . . . . . . .
Ballad of a Soldier . . . . . . . . . . . . . . .
Mirror . . . . . . . . . . . . . . . . . . . . . . .
My Friend Ivan Lapshin . . . . . . . . . . .
Red Guelder-Rose . . . . . . . . . . . . . . .
The White Sun of the Desert . . . . . . .
The Commissar . . . . . . . . . . . . . . . . .
Beware of the Car . . . . . . . . . . . . . . .
Ilyich Gates . . . . . . . . . . . . . . . . . . .
Unfinished Piece for a Mechanical Piano
The Ascent . . . . . . . . . . . . . . . . . . . .
Welcome, or no Trespassing . . . . . . . .
July Rain . . . . . . . . . . . . . . . . . . . . .
Nine Days of One Year . . . . . . . . . . . .
Little Vera . . . . . . . . . . . . . . . . . . . .
The Story of Asya Kliachina . . . . . . . .
The Beginning . . . . . . . . . . . . . . . . . .
Long Farewells . . . . . . . . . . . . . . . . .
I Walk around Moscow . . . . . . . . . . . .
No Path through Fire . . . . . . . . . . . .
Diamond Arm . . . . . . . . . . . . . . . . . .
Dream Flights . . . . . . . . . . . . . . . . . .
Hamlet . . . . . . . . . . . . . . . . . . . . . . .
Autumn Marathon . . . . . . . . . . . . . . .
Trial on the Roads . . . . . . . . . . . . . . .
Khrustalyov, the Car! . . . . . . . . . . . . .
Stalker . . . . . . . . . . . . . . . . . . . . . . .
Five Evenings . . . . . . . . . . . . . . . . . .
Twenty Days without War . . . . . . . . .
War and Peace . . . . . . . . . . . . . . . . .
Ivanís Childhood . . . . . . . . . . . . . . . .
Short Encounters . . . . . . . . . . . . . . . .
ASSA . . . . . . . . . . . . . . . . . . . . . . . .
The Belarussian Railway Station . . . . .
Asthenic Syndrome . . . . . . . . . . . . . .
Go and See . . . . . . . . . . . . . . . . . . . .
Parade of Planets . . . . . . . . . . . . . . .
Donít Grieve . . . . . . . . . . . . . . . . . . .
Monologue . . . . . . . . . . . . . . . . . . . .
Irony of Fate . . . . . . . . . . . . . . . . . . .
Fate of a Man . . . . . . . . . . . . . . . . . .
Three Poplars on Pliushchikha Street . .
Agony . . . . . . . . . . . . . . . . . . . . . . .
Letís Wait till Monday . . . . . . . . . . . .
Brother . . . . . . . . . . . . . . . . . . . . . .
Aibolit 66 . . . . . . . . . . . . . . . . . . . . .
The Scarecrow . . . . . . . . . . . . . . . . . .
One Hundred Days after Childhood . . .
Outskirts . . . . . . . . . . . . . . . . . . . . .
Solaris . . . . . . . . . . . . . . . . . . . . . . .
Kidnapping, Caucasian Style . . . . . . . .
The Lonely Voice of Man . . . . . . . . . .
Days of Eclipse . . . . . . . . . . . . . . . . .
Burn, Burn, my Star . . . . . . . . . . . . .
Moscow does not Believe in Tears . . . .
The Flight . . . . . . . . . . . . . . . . . . . .
Mirror for the Hero . . . . . . . . . . . . . .
There Served Two Comrades . . . . . . . .
Lady with the Lapdog . . . . . . . . . . . .
Burnt by the Sun . . . . . . . . . . . . . . . .
Fox Hunt . . . . . . . . . . . . . . . . . . . . .
About Freaks and Men . . . . . . . . . . . .
Anotherís Letters . . . . . . . . . . . . . . . .
The Cold Summer of 1953 . . . . . . . . .
Long and Happy Life . . . . . . . . . . . . .
Kinfolk . . . . . . . . . . . . . . . . . . . . . .
A Wartime Romance . . . . . . . . . . . . .
Molokh . . . . . . . . . . . . . . . . . . . . . . .
I Wish to Speak . . . . . . . . . . . . . . . .
And the Dawns Here are so Quiet . . . .
A Nasty Joke . . . . . . . . . . . . . . . . . .
The Train Stopped . . . . . . . . . . . . . . .
Believe It or Not (Nebyvalshchina) . . . .
Wings . . . . . . . . . . . . . . . . . . . . . . .
Cloud Paradise . . . . . . . . . . . . . . . . .
.48
.41
.40
.37
.32
.32
.32
.31
.28
.27
.26
.25
.25
.24
.24
.23
.22
.23
.22
.20
.20
.19
.18
.18
.18
.17
.16
.16
.15
.14
.14
.14
.13
.13
.13
.12
.12
.12
.11
.11
.11
.11
.10
.10
.10
.10
.9
.9
.9
.9
.9
.8
.8
.8
.8
.8
.7
.7
.7
.7
.7
.7
.7
.7
.6
.6
.6
.6
.6
.6
.6
.6
.6
.6
.6
(based on the number of mentions of films
of a given director, released during the
specified period and receiving more than
two votes, provided that one of them is
included on the list of best films).
Andrei Tarkovsky (5 films taken into account)
127 points
Alexei German (4) . . . . . . . . . . . . . . . . . . .87
Nikita Mikhalkov (6) . . . . . . . . . . . . . . . . .63
Kira Muratova (6) . . . . . . . . . . . . . . . . . . .59
Marlen Khutsiev (3) . . . . . . . . . . . . . . . . . .57
Georgi Daneliya (4) . . . . . . . . . . . . . . . . . .56
Elem Klimov (5) . . . . . . . . . . . . . . . . . . . .54
Gleb Panfilov (4) . . . . . . . . . . . . . . . . . . . .53
Grigori Chukhrai (2) . . . . . . . . . . . . . . . . .45
Eldar Riazanov (3) . . . . . . . . . . . . . . . . . . .44
Vasili Shukshin (5) . . . . . . . . . . . . . . . . . .44
Larissa Shepitko (3) . . . . . . . . . . . . . . . . . .38
Vadim Abdrashitov (6) . . . . . . . . . . . . . . . .33
Andrei Konchalovsky (4) . . . . . . . . . . . . . .33
Leonid Gaidai (3) . . . . . . . . . . . . . . . . . . . .32
Vladimir Motyl (1) . . . . . . . . . . . . . . . . . . .32
Alexander Askoldov (1) . . . . . . . . . . . . . . .32
Alexander Sokurov (5) . . . . . . . . . . . . . . . .28
Sergei Soloviev (4) . . . . . . . . . . . . . . . . . . .26
Sergei Bondarchuk (2) . . . . . . . . . . . . . . . .25
Mikhail Romm (1) . . . . . . . . . . . . . . . . . . .24
Vasili Pichul (1) . . . . . . . . . . . . . . . . . . . . .24
Alexei Balabanov (4) . . . . . . . . . . . . . . . . .21
Grigori Kozintsev (2) . . . . . . . . . . . . . . . . .21
Ilya Averbakh (3) . . . . . . . . . . . . . . . . . . .20
Rolan Bykov (2) . . . . . . . . . . . . . . . . . . . .19
Roman Balayan (1) . . . . . . . . . . . . . . . . . .19
Stanislav Rostotsky (2) . . . . . . . . . . . . . . .18
Alexander Alov and Vladimir Naumov (3) . .16
Andrei Smirnov (1) . . . . . . . . . . . . . . . . . .13
Tatiana Lioznova (1) . . . . . . . . . . . . . . . . .11
Alexander Mitta (2) . . . . . . . . . . . . . . . . . .10
Petr Lutsik (1) . . . . . . . . . . . . . . . . . . . . .9
Vladimir Menshov (1) . . . . . . . . . . . . . . . .8
Iosif Kheifits (1) . . . . . . . . . . . . . . . . . . . .7
Vladimir Khotinenko (1) . . . . . . . . . . . . . .7
Alexander Proshkin (1) . . . . . . . . . . . . . . .7
Evgeni Karelov (1) . . . . . . . . . . . . . . . . . . .7
Mikhail Kalatozov (2) . . . . . . . . . . . . . . . .7
Petr Todorovsky (1) . . . . . . . . . . . . . . . . . .6
Nikolai Dostal (1) . . . . . . . . . . . . . . . . . . . 6
Sergei Ovcharov (1) . . . . . . . . . . . . . . . . . .6
Films with more than one vote, where points
have been taken into account
for the directorsí rating:
Happy-Go-Lucky (Pechki-Lavochki) . . . . . . .5
There Lived Such a Guy . . . . . . . . . . . . . . .5
Farewell . . . . . . . . . . . . . . . . . . . . . . . . . .5
Time of the Dancer . . . . . . . . . . . . . . . . . .4
Mimino . . . . . . . . . . . . . . . . . . . . . . . . . . .4
Clear Sky . . . . . . . . . . . . . . . . . . . . . . . . .4
Taurus . . . . . . . . . . . . . . . . . . . . . . . . . . .4
Urga: Close to Eden . . . . . . . . . . . . . . . . . .4
Uncle Vanya . . . . . . . . . . . . . . . . . . . . . . .4
Siberiade . . . . . . . . . . . . . . . . . . . . . . . . . .4
Infinity . . . . . . . . . . . . . . . . . . . . . . . . . . .4
The Sentimental Policeman . . . . . . . . . . . . .4
King Lear . . . . . . . . . . . . . . . . . . . . . . . . .3
The Theme . . . . . . . . . . . . . . . . . . . . . . . .3
Getting to Know the Big Wide World . . . . .3
Some Days from the Life of I.I. Oblomov . .3
Kin-Dza-Dza . . . . . . . . . . . . . . . . . . . . . . .3
Operation Y . . . . . . . . . . . . . . . . . . . . . . .3
Armavir . . . . . . . . . . . . . . . . . . . . . . . . . .2
Brother 2 . . . . . . . . . . . . . . . . . . . . . . . . .2
White Bim and Black Ear . . . . . . . . . . . . .2
Vassa . . . . . . . . . . . . . . . . . . . . . . . . . . . .2
Your Son and Brother . . . . . . . . . . . . . . . .2
A Cruel Romance . . . . . . . . . . . . . . . . . . .2
The House under the Starry Sky . . . . . . . . .2
Doorbell! ñ Open the Door . . . . . . . . . . . . .2
Peace to Him Who Enters . . . . . . . . . . . . .2
Declaration of Love . . . . . . . . . . . . . . . . . .2
Romance for Lovers . . . . . . . . . . . . . . . . . .2
Sport, Sport, Sport . . . . . . . . . . . . . . . . . .2
Happy Days . . . . . . . . . . . . . . . . . . . . . . .2
Three Stories . . . . . . . . . . . . . . . . . . . . . . .2
The Servant . . . . . . . . . . . . . . . . . . . . . . .2
Silent Pages . . . . . . . . . . . . . . . . . . . . . . .2
Someone Elseís White and the Speckled . . .2
IN THE WIDE SPACE OF OUR
WONDERFUL HOMELAND
For a long time I have been living in our young,
fine country. But I never stop to be amazed by some
hysterical attitudes to any kind of prizes, awards,
distinctions, or ratings of the best of the best.
Nothing would appear simpler: Kinotavr had the
remarkable idea to mark the centenary of Russian
cinema with a list of the 50 best films - in the
opinion of 50 critics. The masters of the plume
voted; the Guild's president, the mathematician
Matizen counted; and then, according to the results,
Sochi would present the films as a retrospective.
When last year's choice ranged between Eisenstein
and Protazanov, everything was just fine. But now
the turn came to the modern era of cinema.
On the final list with 25 films some well-known
directors' names were missing. At the same time,
more than one film had been included for
Tarkovsky, German and - what horror! - Mikhalkov.
Well, what is to be done? Fifty people had voted
that way. And this list is, after all, no table of
ranks. It will not be printed in the newspaper
Pravda of 1975, but in the catalogue of the Open
Russian Film Festival. It will not be dispatched to
town and district committees, and will not serve as
the basis for any ideological programme. The list
cannot annihilate anybody from the history of our
cinema or, indeed, add somebody to that history.
And if in anybody's mind the films and directors
figure in a different order, then that is wonderful.
You may shrug your shoulders and sunbathe on the
beach. But no! How can that be admitted! What is
that! In any case, who is doing the voting here!
Why is that Pupkina voting?! Who is she, anyway?!
There's not 50 voters, but more!.. Also then follow
phone calls, which wreck the nerves of the poor
Sitora Alieva. She takes a genuinely Solomonian
decision: thirty films will be shown. And the above
mentioned Matizen can write about the rest - those
that are frequently shown on television - in his
article. Thus, everyone will be the best.
Kostomolotova (Mrs Bone-Grinder) takes the lead
over Zagoryaikina (Mrs Blazing), and Zagoryaikina
thinks that she has not conceded to Kostomolotova.
Yet our cinema, our great films and remarkable
directors, are somehow forgotten in all this round
dance. Everything has burnt down in the fire of
ambition. And it is pointless to repeat the classical
phrase: "love art within yourself, instead of yourself
in art". A hundred years ago these words created
tremors; now one can only smile bitterly.
Even the idea of the division of our professional
guild into the communities of film scholars and film
journalists is pointless. We are representatives of a
"new historical community of people", the result of
Bolshevik selection. In the wide spaces of our
wonderful homeland we can only be tempered
through battle and work. Unless, stretching
ourselves, we compose "a joyful song about our
great friend and leader". The rest is silence.
Sergei Lavrentiev
Film historian, critic
The prints for the retrospective have been made available
through the courtesy of Gosfilmofond.
1958-2000. ÎÛ˜¯Ë ÙËθÏ˚ Ë ÂÊËÒÒÂ˚
1958-2000: the best films and directors
BEST RUSSIAN
DIRECTORS
of 1958-2000
125
1958-2000. ÎÛ˜¯Ë ÙËθÏ˚ Ë ÂÊËÒÒÂ˚
1958-2000: the best films and directors
126
¿Õƒ–≈… –”¡À≈¬ (´—Ú‡ÒÚË ÔÓ ¿Ì‰²ª)
ANDREI RUBLEV
1966 (‚˚Ô. 24.12.1971), ———–, 185
ÏËÌ., ˆ‚.+˜/·, 1:1.85
1966 (release 24 Dec. 1971), USSR,
185 min., col.& b/w, 1:1.85
¿‚ÚÓ˚ ÒˆÂ̇ˡ ¿Ì‰ÂÈ
üÓ̘‡ÎÓ‚ÒÍËÈ, ¿Ì‰ÂÈ “‡ÍÓ‚ÒÍËÈ
–ÂÊËÒÒÂ ¿Ì‰ÂÈ “‡ÍÓ‚ÒÍËÈ
ŒÔÂ‡ÚÓ ¬‡‰ËÏ fiÒÓ‚
’Û‰ÓÊÌËÍË ≈‚„ÂÌËÈ ◊ÂÌˇÂ‚,
»ÔÔÓÎËÚ ÕÓ‚Ó‰ÂÂÊÍËÌ,
—Â„ÂÈ ¬ÓÓÌÍÓ‚
üÓÒÚ˛Ï˚ Àˉˡ ÕÓ‚Ë,
Ã‡Èˇ ¿·‡-¡‡‡ÌÓ‚Ò͇ˇ
üÓÏÔÓÁËÚÓ ¬ˇ˜ÂÒ·‚ Œ‚˜ËÌÌËÍÓ‚
«‚ÛÍ »Ì̇ «ÂÎÂ̈ӂ‡
¬ ÓΡı: ¿Ì‡ÚÓÎËÈ —ÓÎÓÌˈ˚Ì,
»‚‡Ì À‡ÔËÍÓ‚, ÕËÍÓÎ‡È √Ë̸ÍÓ,
ÕËÍÓÎ‡È —Â„‚, »χ –‡Û¯,
ÕËÍÓÎ‡È ¡ÛΡ‚, fiËÈ Õ‡Á‡Ó‚,
fiËÈ ÕËÍÛÎËÌ, –ÓÎ‡Ì ¡˚ÍÓ‚,
ÕËÍÓÎ‡È √‡··Â, ÃËı‡ËÎ üÓÌÓÌÓ‚,
—ÚÂÔ‡Ì ü˚ÎÓ‚,
»Ë̇ ÃËÓ¯Ì˘ÂÌÍÓ, ¡ÓÎÓÚ
¡ÂȯÂ̇ÎË‚, ¬ÓÎÓ‰ˇ “ËÚÓ‚, ÕËÍÓ·È
üÛÚÛÁÓ‚, ÕÂÎÎË —Ì„Ë̇, —·‚‡ ÷‡‚,
ÕËÍÓÎ‡È √·ÁÍÓ‚, —‡‚ÂÎËÈ flÏ˘ËÍÓ‚
ƒËÂÍÚÓ ͇ÚËÌ˚
“‡Ï‡‡ Œ„ÓÓ‰ÌËÍÓ‚‡
œÓËÁ‚Ó‰ÒÚ‚Ó ´ÃÓÒÙËθϪ
Scriptwriters Andrei Konchalovsky,
Andrei Tarkovsky
Director Andrei Tarkovsky
Director of Photography Vadim Yusov
Production Design Evgeni Chernyaev,
Ippolit Novoderezhkin, Sergei Voronkov
Costume Design Lydia Novi,
Maya Abar-Baranovskaya
Composer Viacheslav Ovchinnikov
Sound Inna Zelentsova
Cast: Anatoli Solonitsyn, Ivan Lapikov,
Nikolai Grinko, Nikolai Sergeev,
Irma Rausch, Nikolai Burliaev,
Yuri Nazarov, Yuri Nikulin,
Rolan Bykov, Nikolai Grabbe,
Mikhail Kononov, Stepan Krylov,
Irina Miroshnichenko,
Bolot Beishenaliev, Volodia Titov,
Nikolai Kutuzov, Nelli Snegina,
Slava Tsarev, Nikolai Glazkov,
Saveli Yamshchikov
Executive Director
Tamara Ogorodnikova
Production Mosfilm
ñ ŒÒÓ·˚È ÔËÁ ‘»œ–≈——» ñ Ãü‘ ‚
ü‡ÌÌÂ, 1969: ´ƒ‚ Ì‰ÂÎË ÂÊËÒÒÂÓ‚ª
(ÙËθÏ˚ ———– ‚ ÍÓÌÍÛÒ ÌÂ
Û˜‡ÒÚ‚Ó‚‡ÎË);
ñ œÂÏˡ Ù‡ÌˆÛÁÒÍÓÈ ÍËÚËÍË ´œËÁ
ÀÂÓ̇ ÃÛÒÒË͇̇ª ñ ÎÛ˜¯ÂÏÛ
ËÌÓÒÚ‡ÌÌÓÏÛ ÙËθÏÛ,
‰ÂÏÓÌÒÚËÓ‚‡‚¯ÂÏÛÒˇ ̇ ˝Í‡Ì‡ı
‘‡ÌˆËË ‚ 1969 „Ó‰Û;
ñ ´’ÛÒڇθ̇ˇ Á‚ÂÁ‰‡ª ñ ÔÂÏˡ
‘‡ÌˆÛÁÒÍÓÈ ÍËÌӇ͇‰ÂÏËË ñ
‡ÍÚËÒ »Ï –‡Û¯ (»ËÌÂ
“‡ÍÓ‚ÒÍÓÈ);
ñ œÓ˜ÂÚÌ˚È ‰ËÔÎÓÏ Ãü‘ ‚ ¡Â΄‡‰Â,
1973;
ñ ¡Óθ¯‡ˇ ÔÂÏˡ Ñ ÙËθÏÓ‚ Ó·
ËÒÍÛÒÒÚ‚Â Ë ·ËÓ„‡Ù˘ÂÒÍËı ÙËθÏÓ‚
Ó ıÛ‰ÓÊÌË͇ı ‚ ¿ÁÓÎÓ, 1973;
ñ œÓ ËÚÓ„‡Ï ÓÔÓÒ‡ ÍËÌӂ‰ӂ ÏË‡
(1978) ͇ÚË̇ ‚Íβ˜Â̇ ‚ ˜ËÒÎÓ
ÒÚ‡ ÎÛ˜¯Ëı ÙËθÏÓ‚;
ñ œÓ ÓÔÓÒÛ ˜ÎÂÌÓ‚ ≈‚ÓÔÂÈÒÍÓÈ
¿Í‡‰ÂÏËË ÍËÌÓ Ë ÚÂ΂ˉÂÌˡ (1995)
ÙËÎ¸Ï ‚Ó¯ÂÎ ‚ ‰ÂÒˇÚÍÛ ÎÛ˜¯Ëı
ÙËθÏÓ‚ ÏËÓ‚Ó„Ó ÍËÌÓ (8- ÏÂÒÚÓ).
ñ Special FIPRESCI Prize ñ IFF
Cannes, 1969: ìQuinzaine des
r?alisateursî (no Soviet films in
competition);
ñ French Criticsí Prize ìPrix L?on
Moussinacî ñ for the best foreign
film on French screens in 1969;
ñ ìCrystal Starî ñ Prize of the French
Film Academy for the actress Irma
Rausch (Irina Tarkovskaya);
ñ Honorary Diploma of the IFF
Belgrade, 1973;
ñ Grand Prix of the Festival of Films
about Art and Artists in Asolo, 1973;
ñ According to a survey of film scholars
around the world (1978) the film is
among the best hundred films;
ñ According to a survey of members of
the European Academy of Film and
TV (1995) the film ranks among the
top ten of world cinema (8th place).
ÃË Ë Ú‚Ó˜ÂÒ͇ˇ ÒÛ‰¸·‡ ¿Ì‰¡
–۷΂‡, ‚ÂÎËÍÓ„Ó ÛÒÒÍÓ„Ó
ÊË‚ÓÔËÒˆ‡.
´...ÙËÎ¸Ï ÌË ‚ ÍÓÂÏ ÒÎÛ˜‡Â Ì ·Û‰ÂÚ
¯ÂÌ ‚ ‰Ûı ËÒÚÓ˘ÂÒÍÓ„Ó ËÎË
·ËÓ„‡Ù˘ÂÒÍÓ„Ó Ê‡Ì‡. Õ‡Ò
ËÌÚÂÂÒÛÂÚ ‰Û„ÓÂ: ËÒÒΉӂ‡ÌËÂ
ı‡‡ÍÚÂ‡ ÔÓ˝Ú˘ÂÒÍÓ„Ó ‰‡‡ ‚ÂÎËÍÓ„Ó
ÛÒÒÍÓ„Ó ÊË‚ÓÔËÒˆ‡... Õ‡Ò Ú‡ÍÊÂ
ËÌÚÂÂÒÛÂÚ ‡Ì‡ÎËÁ ‰Û¯Â‚ÌÓ„Ó
ÒÓÒÚÓˇÌˡ Ë „‡Ê‰‡ÌÒÍËı ˜Û‚ÒÚ‚
ıÛ‰ÓÊÌË͇, ÒÓÁ‰‡˛˘Â„Ó ÏÓ‡Î¸Ì˚Â
ˆÂÌÌÓÒÚË Ó„ÓÏÌÓ„Ó Á̇˜ÂÌˡ. ›ÚÓÚ
ÙËÎ¸Ï ‰ÓÎÊÂÌ ·Û‰ÂÚ ‡ÒÒ͇Á‡Ú¸ Ó ÚÓÏ,
Í‡Í Ì‡Ӊ̇ˇ ÚÓÒ͇ ÔÓ ·‡ÚÒÚ‚Û ‚
˝ÔÓıÛ ‰ËÍËı ÏÂʉÓÛÒӷˈ Ë
Ú‡Ú‡ÒÍÓ„Ó Ë„‡ Ӊ˷ „ÂÌˇθÌÛ˛
۷΂ÒÍÛ˛ ´“Óˈ۪ª ñ ¿Ì‰ÂÈ
“‡ÍÓ‚ÒÍËÈ.
The world and creative life of the great
Russian painter Andrei Rublev.
ìThe film will not at all be made in the
historical or biographical genre. We are
interested in something else: the
characterís search for the poetic gift of
this great Russian painter... We are
interested also in the analysis of his
spiritual condition and the civil feelings
of an artist who created hugely
important moral values. This film
should explain how the national
melancholy for brotherhood during the
epoch of civil wars and the Tatar yoke
gave birth to Rublevís ingenious
Trinityî ñ Andrei Tarkovsky.
BALLAD OF A SOLDIER
ÀË˘ÂÒ͇ˇ ‰‡Ï‡.
¬ÂÎË͇ˇ ŒÚ˜ÂÒÚ‚ÂÌ̇ˇ ‚ÓÈ̇.
ÃÓÎÓ‰ÓÈ ÒÓΉ‡Ú ¿Î¯‡ —Í‚ÓˆÓ‚,
ÒÓ‚Â¯Ë‚¯ËÈ ÔÓ‰‚Ë„ ‚ ÔÂ‚ÓÏ ·Ó˛,
‰ÂÚ ‚ ‰‚Ûı‰Ì‚Ì˚È ÓÚÔÛÒÍ Í Ï‡ÚÂË.
œÓ ÔÛÚË ‚ Ó‰ÌÛ˛ ‰ÂÂ‚Ì˛ ÓÌ
ÔÓÏÓ„‡ÂÚ ‰Â‚ۯ͠ÒÔˇÚ‡Ú¸Òˇ ‚ ‚‡„ÓÌÂ
Ë ÔÓÂı‡Ú¸ ‰Ó ÌÛÊÌÓÈ ÂÈ Òڇ̈ËË.
ƒÓÏÓÈ ÓÌ ÒÏÓÊÂÚ Á‡ÒÍÓ˜ËÚ¸ Î˯¸ ´Ì‡
ÏËÌÛÚÍÛª, ‚ ÒÓÍ ‚ÂÌÂÚÒˇ ‚ Ò‚ÓÈ ÔÓÎÍ
Ë ÔËÏÂÚ ÔÓÒΉÌËÈ ·ÓÈ.
œÓÍ‡Ú (1959, 12- ÏÂÒÚÓ) ñ 30.1 ÏÎÌ.
ÁËÚÂÎÂÈ.
Lyrical drama.
The Great Patriotic War. The young
soldier Alesha Skvortsov, who
accomplished a feat in his first fight,
gets two days leave to go and see his
mother. On the way to his native village
he helps a girl hide in the train carriage
and reach her destination. He only
manages to drop in at home ìfor a
minuteî, in order to return in time to
his regiment for the final battle.
Distribution (1959, 12th place) ñ 30.1
million spectators.
1959 (‚˚Ô. 01.12.1959), ———–,
89 ÏËÌ., ˜/·, 1:1.37
1959 (release 1 Dec. 1959), USSR, 89
min., b/w, 1:1.33
¿‚ÚÓ˚ ÒˆÂ̇ˡ ¬‡ÎÂÌÚËÌ ≈ÊÓ‚,
√Ë„ÓËÈ ◊Ûı‡È
–ÂÊËÒÒÂ √Ë„ÓËÈ ◊Ûı‡È
ŒÔÂ‡ÚÓ˚ ¬Î‡‰ËÏË ÕËÍÓ·‚,
›‡ —‡‚Â肇
’Û‰ÓÊÌËÍ ¡ÓËÒ ÕÂϘÂÍ
üÓÒÚ˛Ï˚ À˛‰ÏË· –ˇ¯Â̈‚‡
üÓÏÔÓÁËÚÓ ÃËı‡ËÎ «Ë‚
«‚ÛÍ ¬ÂÌˇÏËÌ üË¯ÂÌ·‡ÛÏ
¬ ÓΡı: ¬Î‡‰ËÏË »‚‡¯Ó‚,
Δ‡Ì̇ œÓıÓÂÌÍÓ, ¿ÌÚÓÌË̇
ÇÍÒËÏÓ‚‡, ÕËÍÓÎ‡È ü˛˜ÍÓ‚,
≈‚„ÂÌËÈ ”·‡ÌÒÍËÈ, ›Î¸Á‡ ÀÂʉÂÈ,
¬‡ÎÂÌÚË̇ “Â΄Ë̇, À‚ ¡ÓËÒÓ‚,
ÇË̇ üÂÏÌ‚‡, ¿ÎÂÍ҇̉
üÛÁ̈ӂ, √ÂÌ̇‰ËÈ fiıÚËÌ, –‡‰Ì˝
ÃÛ‡ÚÓ‚, ¬Î‡‰ËÏË ü‡¯ÔÛ, √ÂÓ„ËÈ
fiχÚÓ‚, ≈‚„ÂÌËÈ “ÂÚÂËÌ, À˛·Ó‚¸
—ÓÍÓÎÓ‚‡, ÕË̇ ÃÂ̸¯ËÍÓ‚‡
ƒËÂÍÚÓ ͇ÚËÌ˚ œ‡‚ÂÎ ƒ‡ÌËθˇÌˆ
œÓËÁ‚Ó‰ÒÚ‚Ó ´ÃÓÒÙËθϪ
Scriptwriters Valentin Ezhov, Grigori
Chukhrai
Director Grigori Chukhrai
Directors of Photography Vladimir
Nikolaev, Era Savelieva
Production Design Boris Nemechek
Costume Design Liudmila Riashentseva
Composer Mikhail Ziv
Sound Veniamin Kirshenbaum
Cast: Vladimir Ivashov,
Zhanna Prokhorenko, Antonina
Maximova, Nikolai Kriuchkov, Evgeni
Urbansky, Elsa Lezhdei, Valentina
Telegina, Lev Borisov, Marina
Kremneva, Alexander Kuznetsov,
Gennadi Yukhtin, Radner Muratov,
Vladimir Kashpur, Georgi Yumatov,
Evgeni Teterin, Liubov Sokolova,
Nina Menshikova
Executive Director Pavel Daniliants
Production Mosfilm
107 ÔËÁÓ‚, ÔÂÏËÈ Ë ‰ËÔÎÓÏÓ‚
ÍËÌÓÙÂÒÚË‚‡ÎÂÈ ÏË‡:
ñ ÀÂÌËÌÒÍË ÔÂÏËË (1961, Û‰ÓÒÚÓÂÌ˚ ÂÊËÒÒÂ √Ë„ÓËÈ
◊Ûı‡È Ë ÒˆÂ̇ËÒÚ ¬Î‡‰ËÏË ≈ÊÓ‚);
ñ œÂÏˡ Á‡ ÎÛ˜¯Û˛ ÍÓÌÍÛÒÌÛ˛ ÔÓ„‡ÏÏÛ ÙËθÏÓ‚ (Ò
ÙËθÏÓÏ ´ƒ‡Ï‡ Ò ÒÓ·‡˜ÍÓȪ) Ë ÔÂÏˡ Á‡ ÎÛ˜¯ËÈ ÙËθÏ
‰Îˇ ÏÓÎÓ‰ÂÊË ñ Ãü‘ ‚ ü‡ÌÌÂ, 1960;
ñ œÂ‚‡ˇ ÔÂÏˡ Á‡ ÙËθÏ, ÔÂ‚‡ˇ ÔÂÏˡ Á‡ ÂÊËÒÒÛÛ,
ÔÂÏˡ ÍËÌÓÍËÚËÍË ñ ¬ü‘ ‚ ÃËÌÒÍÂ, 1960;
ñ ¡Óθ¯‡ˇ ÔÂÏˡ ñ üËÌÓÙÂÒÚË‚‡Î¸ ÚÛ‰ˇ˘ËıÒˇ ‚
◊ÂıÓÒÎÓ‚‡ÍËË, 1960;
ñ œËÁ ´«ÓÎÓÚ˚ ‚ÓÓÚ‡ª (ÔÂ‚‡ˇ ÔÂÏˡ) ñ Ãü‘ ‚ —‡Ì‘‡ÌˆËÒÍÓ, 1960;
ñ œÂÏˡ ÔÓθÒÍÓÈ ÍËÚËÍË ´¬‡¯‡‚Ò͇ˇ ÒËÂ̇ª, 1960;
ñ œÓ˜ÂÚÌ˚È ‰ËÔÎÓÏ Ë ÔÂÏˡ ‡ÒÒӈˇˆËË ËڇθˇÌÒÍËı
ÍËÌÓÍËÚËÍÓ‚ ´—Â·ˇÌ‡ˇ ÎÂÌÚ‡ª ñ Ãü‘ ‚ ÃË·ÌÂ, 1960;
ñ √‡Ì-ÔË Á‡ ÂÊËÒÒÛÛ ñ Ãü‘ ‚ ÀÓ̉ÓÌÂ, 1960;
ñ —Â·ˇÌ‡ˇ ω‡Î¸ Á‡ ÂÊËÒÒÛÛ ñ Ãü‘ ‚ “„Â‡ÌÂ, 1960;
ñ œËÁ ´’‡ÎËÒÍÓª (´—Â·ˇÌÓ ÒÓÏ·ÂÓª) ñ Ãü‘ ‚ ÃÂÍÒËÍÂ,
1960;
ñ œÂÏˡ ´ƒ‡‚ˉ ‰Ë ƒÓ̇ÚÂÎÎÓª (1960, Û‰ÓÒÚÓÂÌ √.◊Ûı‡È) Ë
ÔÂÏˡ ´—‡Ì ¬ËÌÒÂÌÚª ÎÛ˜¯ÂÏÛ ‡ÍÚÂÛ „Ó‰‡ (¬.»‚‡¯Ó‚)
̇ ÂÊ„ӉÌÓÏ ÂÙÂẨÛÏ ˜ÎÂÌÓ‚ ÃÂʉÛ̇Ó‰ÌÓ„Ó ÍÎÛ·‡ Ë
üÎÛ·‡ ÓÚÍ˚Ú˚ı ‰‚ÂÂÈ, »Ú‡Îˡ, 1960;
ñ œÂÏˡ ´«ÓÎÓÚÓÈ Î‡‚ª, Û˜ÂʉÂÌ̇ˇ ‡ÏÂË͇ÌÒÍËÏ
ÔÓ‰˛ÒÂÓÏ ƒ˝‚ˉÓÏ Œ.—ÂÎÁÌËÍÓÏ Á‡ ‚˚ÒÓÍÓÂ
„ÛχÌËÒÚ˘ÂÒÍÓ ÒÓ‰ÂʇÌËÂ, 1962, Ë ‰.
107 prizes, awards and diplomas at film
festivals around the world:
ñ Lenin Prize (1961, director Grigori Chukhrai and scriptwriter
Vladimir Ezhov);
ñ Prize for the Best Competition Programme (with ìLady with the
Lapdogî) and Best Youth Film ñ IFF in Cannes, 1960;
ñ First Prize for best film, for best director, and film criticsí
award ñ All-Union FF in Minsk, 1960;
ñ Grand Prix at the Film Festival of Workers in Czechoslovakia,
1960;
ñ ìGolden Gateî (main prize) ñ IFF in San Francisco, 1960;
ñ Prize of Polish Critics ìWarsaw Sirenî, 1960;
ñ Honorary Diploma and Prize of the Association of Italian Film
Critics ìSilver Tapeî ñ IFF in Milan, 1960;
ñ Grand Prix for direction ñ IFF in London, 1960;
ñ Silver Medal for direction ñ IFF in Teheran, 1960;
ñ Prize Jalisco (ìSilver Sombreroî) ñ IFF in Mexico, 1960;
ñ Prize ìDavid di Donatelloî (1960, awarded to G. Chukhrai) and
ìSan Vincentî prize to the best actor of the year (V. Ivashov)
at the annual referendum of members of the International Club
and the Club of Open Doors, Italy, 1960;
ñ Prize ìGolden Laurelî, founded by the American producer David
O. Selznick, for high humanistic contents, 1962, etc.
1958-2000. ÎÛ˜¯Ë ÙËθÏ˚ Ë ÂÊËÒÒÂ˚
1958-2000: the best films and directors
¡¿ÀÀ¿ƒ¿ Œ —ŒÀƒ¿“≈
127
1958-2000. ÎÛ˜¯Ë ÙËθÏ˚ Ë ÂÊËÒÒÂ˚
1958-2000: the best films and directors
«≈–ü¿ÀŒ
MIRROR
1974 (‚˚Ô. 07.03.1975), ———–, 108
1974 (release 7 March 1975), USSR,
‘ËθÏ-‡ÁÏ˚¯ÎÂÌË (‡·Ó˜ÂÂ
ÏËÌ., ˆ‚.+˜/·, 1:1.37
108 min., col. & b/w, 1:1.37
̇Á‚‡ÌË ñ ´¡ÂÎ˚È, ·ÂÎ˚È ‰Â̸ª).
¿‚ÚÓ˚ ÒˆÂ̇ˡ ¿ÎÂÍ҇̉
Scriptwriters Alexander Misharin,
ÌÂ Ó Ò·Â, ‡ Ó Ò‚ÓËı ˜Û‚ÒÚ‚‡ı,
Ã˯‡ËÌ, ¿Ì‰ÂÈ “‡ÍÓ‚ÒÍËÈ
Andrei Tarkovsky
Ò‚ˇÁ‡ÌÌ˚ı Ò ·ÎËÁÍËÏË Î˛‰¸ÏË, Ó
–ÂÊËÒÒÂ ¿Ì‰ÂÈ “‡ÍÓ‚ÒÍËÈ
Director Andrei Tarkovsky
ÏÓËı ‚Á‡ËÏÓÓÚÌÓ¯ÂÌˡı Ò ÌËÏË, Ó
ŒÔÂ‡ÚÓ √ÂÓ„ËÈ –Â·Â„
Director of Photography Georgi Rerberg
‚˜ÌÓÈ Ê‡ÎÓÒÚË Í ÌËÏ Ë
’Û‰ÓÊÌËÍ ÕËÍÓÎ‡È ƒ‚Ë„Û·ÒÍËÈ
Production Design Nikolai Dvigubsky
Ì‚ÓÒÔÓÎÌËÏÓÏ ˜Û‚ÒÚ‚Â ‰Ó΄‡. ƒÎˇ ̇Ò
üÓÒÚ˛Ï˚ Õ˝ÎÎË ‘ÓÏË̇
Costume Design Nelli Fomina
„ÂÓÈ Í‡ÚËÌ˚ ñ ‡‚ÚÓ, ÌÂÍÚÓ,
¿‚ÚÓ ÒÚËıÓ‚ ¿ÒÂÌËÈ “‡ÍÓ‚ÒÍËÈ
Verses by Arseni Tarkovsky
‡ÒÒ͇Á˜ËÍ, ÏÓÊÂÚ ·˚Ú¸, ÏÓÌÚ‡ÊÂ,
üÓÏÔÓÁËÚÓ ›‰Û‡‰ ¿ÚÂϸ‚
Composer Eduard Artemiev
ÏÓÊÂÚ ·˚Ú¸, ˜ÂÎÓ‚ÂÍ, ÔÓËÁÌÓÒˇ˘ËÈ
»ÒÔÓθÁÛÂχˇ ÏÛÁ˚͇ ».-—. ¡‡ı,
Music by J. S. Bach, Giovanni
‰ËÍÚÓÒÍËÈ ÚÂÍÒÚ... ›ÔËÁÓ‰˚, ÍÓÚÓ˚Â
œÂ„ÓÎÂÁË, √ÂÌË œÂÒÂÎÎ
Pergolesi, Henry Purcell
ÓÌ ‚ÒÔÓÏË̇ÂÚ ÔÂ‰ ÒÏÂÚ¸˛, ‰Ó ÒËı
«‚ÛÍ —ÂÏÂÌ ÀËÚ‚ËÌÓ‚
Sound Semen Litvinov
ÔÓ Ô˘ËÌˇ˛Ú ÂÏÛ ÒÚ‡‰‡Ìˡ,
¬ ÓΡı: Ç„‡ËÚ‡ “ÂÂıÓ‚‡,
Cast: Margarita Terekhova, Ignat
Óʉ‡˛Ú ‚ ÌÂÏ ÚÓÒÍÛ Ë
»„Ì‡Ú ƒ‡ÌËθˆÂ‚, ŒÎ„ flÌÍÓ‚ÒÍËÈ,
Daniltsev, Oleg Yankovsky, Innokenti
·ÂÒÔÓÍÓÈÒÚ‚Ó...ª ñ ¿Ì‰ÂÈ
»ÌÌÓÍÂÌÚËÈ —ÏÓÍÚÛÌÓ‚ÒÍËÈ („ÓÎÓÒ),
Smoktunovsky (voice), Arseni Tarkovsky
“‡ÍÓ‚ÒÍËÈ.
¿ÒÂÌËÈ “‡ÍÓ‚ÒÍËÈ („ÓÎÓÒ), ¿Ì‡ÚÓÎËÈ
(voice), Anatoli Solonitsyn, Nikolai
—ÓÎÓÌˈ˚Ì, ÕËÍÓÎ‡È √Ë̸ÍÓ,
Grinko, Alla Demidova, Larissa
¿Î· ƒÂÏˉӂ‡, À‡ËÒ‡ “‡ÍÓ‚Ò͇ˇ,
Tarkovskaya, Yuri Nazarov, Filipp
fiËÈ Õ‡Á‡Ó‚, ‘ËÎËÔÔ flÌÍÓ‚ÒÍËÈ,
Yankovsky, Yura Sventikov, Tamara
fi‡ —‚ÂÌÚËÍÓ‚, “‡Ï‡‡ Œ„ÓÓ‰ÌËÍÓ‚‡,
Ogorodnikova, Tamara Reshetnikova,
“‡Ï‡‡ –¯ÂÚÌËÍÓ‚‡, Õ‡Ú‡¯‡
Natasha Abramova
¿·‡ÏÓ‚‡
Executive Director Eric Vaisberg
ƒËÂÍÚÓ ͇ÚËÌ˚ ›ËÍ ¬‡ÈÒ·Â„
Production Mosfilm
´¬ ´«Â͇Ϊ ÏÌ ıÓÚÂÎÓÒ¸ ‡ÒÒ͇Á‡Ú¸
128
œÓËÁ‚Ó‰ÒÚ‚Ó ´ÃÓÒÙËθϪ
A filmic reflection (working title
ìWhite, White Dayî).
ìIn Mirror I would like to talk not
about myself, but about the feelings
connected with people close to me, about
my relationship with them, about my
eternal compassion for them and the
irreplaceable feeling of duty. The filmís
hero is an author, a somebody, a storyteller ñ maybe, an editor ñ maybe, a
narrator... The episodes which he
recollects before his death cause him
suffering; they give rise to melancholy
and anxiety...î ñ Andrei Tarkovsky.
(´Õ‡˜‡Î¸ÌËÍ ÓÔÂ„ÛÔÔ˚ª)
MY FRIEND IVAN LAPSHIN
üËÌÓÔÓ‚ÂÒÚ¸ ÔÓ ÔÓÁ fiˡ √Âχ̇.
›ÚÓ ·˚ÎÓ ‚ Úˉˆ‡Ú˚ ñ ¢ ‰Ó
‚ÓÈÌ˚. »‚‡Ì À‡Ô¯ËÌ, ̇˜‡Î¸ÌËÍ
Û„ÓÎÓ‚ÌÓ„Ó ÓÁ˚Ò͇ ÔÓ‚Ë̈ˇθÌÓ„Ó
„ÓӉ͇ ”˜‡ÌÒ͇, ‡Ì¸¯Â ÊËÎ ‚
ÀÂÌËÌ„‡‰Â, ·˚Î Û˜‡ÒÚÌËÍÓÏ ÏÌÓ„Ëı
ÊÛÚÍËı ‰‡Ï, ‡ ‚ √‡Ê‰‡ÌÒÍÛ˛
ÍÓχ̉ӂ‡Î ˝Ò͇‰ËθÂÈ. ŒÌ β·ËÎ
„Ó‚ÓËÚ¸: ´Õ˘„Ó, ‚˚˜ËÒÚËÏ ÁÂÏβ,
ÔÓÒ‡‰ËÏ Ò‡‰˚ Ë Â˘Â Ò‡ÏË ÛÒÔÂÂÏ
ÔÓ„ÛΡڸ ‚ ˝ÚÓÏ Ò‡‰Ûª. ŒÌ ‚Ò„‰‡ ‰Â·Î
ÚÓ, ˜ÚÓ ‰ÓÎÊÂÌ ·˚Î ‰Â·ڸ, Ë ‰Â·Î
ıÓÓ¯Ó. ÃÓÊÂÚ ·˚Ú¸, ËÁÎ˯ÌÂ
ÊÂÒÚÍÓ, ÌÓ ‡‚ÌÓ‰Û¯Ëˇ ÌËÍÓ„‰‡ ÌÂ
·˚ÎÓ. ” ÌÂ„Ó ·˚ÎË ‚ÂÌ˚ ‰ÛÁ¸ˇ Ë
Á‡ÍΡÚ˚ ‚‡„Ë. ¬ ˝ÚÛ ÁËÏÛ À‡Ô¯ËÌ
‰Ó χÚ‡ ÏÓÚ‡ÎÒˇ ÔÓ ‡ÈÓÌÛ ñ ÎÓ‚ËÎ
·‡Ì‰Û —ÓÎÓ‚¸Â‚‡, ÊÂÒÚÓÍÓ„Ó, ıËÚÓ„Ó Ë
·ÂÒÔÓ˘‡‰ÌÓ„Ó Û·ËȈÛ. —ÓÎÓ‚¸Â‚ ÛÊÂ
·˚Î ÓÒÛʉÂÌ, ÌÓ ËÁ Ú˛¸Ï˚ ·ÂʇΠË
‚ÂÌÛÎÒˇ ̇Á‡‰ ñ ‚ ”˜‡ÌÒÍ...
‘ËÎ¸Ï ‚˚¯ÂÎ ‚ Ó„‡Ì˘ÂÌÌÓÏ
ÔÓ͇ÚÂ.
œÂ‚˚È ‚‡ˇÌÚ ÙËθχ ñ
´Õ‡˜‡Î¸ÌËÍ ÓÔÂ„ÛÔÔ˚ª (1982).
Film-story based on the prose of Yuri
German.
In the 1930s, before the War. Ivan
Lapshin, the chief of the criminal
investigation department of the small
provincial town Uchansk used to live in
Leningrad. He participated in many
terrible dramas, and during the Civil
War he commanded a squadron. He
liked to say: ìnever mind, we shall
clean the ground, we shall plant a
garden and still have time to take a
walk in this gardenî. He always did
what had to be done, and he did it well:
perhaps too strictly, but never with
indifference. He had true friends and
sworn enemies. During the winter
Lapshin chased around the district until
March to catch Solovievís gang, a
brutal, sly and ruthless murderer.
Soloviev had already been sentenced,
but he has run from prison and
returned to UchanskÖ.
The film had a limited release.
The first version of the film was
entitled ìChief of Operationsî (1982).
1984, ———–, 100 ÏËÌ., ˜/·+ˆ‚., 1:1.66
1984, USSR, 100 min., b/w & col., 1:1.66
¿‚ÚÓ ÒˆÂ̇ˡ ›‰Û‡‰ ¬ÓÎÓ‰‡ÒÍËÈ
Scriptwriter Eduard Volodarsky
–ÂÊËÒÒÂ ¿ÎÂÍÒÂÈ √ÂχÌ
Director Alexei German
ŒÔÂ‡ÚÓ ¬‡ÎÂËÈ ‘‰ÓÒÓ‚
Director of Photography Valeri Fedosov
’Û‰ÓÊÌËÍ fiËÈ œÛ„‡˜
Production Design Yuri Pugach
üÓÒÚ˛Ï˚ √‡ÎË̇ ƒÂ‚‡
Costume Design Galina Deeva
üÓÏÔÓÁËÚÓ ¿͇‰ËÈ √‡„Û·¯‚ËÎË
Composer Arkadi Gagulashvili
«‚ÛÍ ÕËÍÓÎ‡È ¿ÒÚ‡ıÓ‚
Sound Nikolai Astakhov
¬ ÓΡı: ¿Ì‰ÂÈ ¡ÓÎÚÌ‚, ÕË̇
Cast: Andrei Boltnev, Nina Ruslanova,
–ÛÒ·ÌÓ‚‡, ¿Ì‰ÂÈ ÃËÓÌÓ‚, ¿ÎÂÍÒÂÈ
Andrei Mironov, Alexei Zharkov,
Δ‡ÍÓ‚, «Ë̇ˉ‡ ¿‰‡Ïӂ˘,
Zinaida Adamovich, Alexander
¿ÎÂÍ҇̉ ‘ËÎËÔÔÂÌÍÓ, fiËÈ
Filippenko, Yuri Kuznetsov, Valeri
üÛÁ̈ӂ, ¬‡ÎÂËÈ ‘ËÎÓÌÓ‚,
Filonov, Anatoli Slivnikov, Andrei
¿Ì‡ÚÓÎËÈ —ÎË‚ÌËÍÓ‚, ¿Ì‰ÂÈ
Dudarenko, Semen Farada, Nina
ƒÛ‰‡ÂÌÍÓ, —ÂÏÂÌ ‘‡‡‰‡, ÕË̇
Usatova
”Ò‡ÚÓ‚‡
Narrator Valeri Kuzin
“ÂÍÒÚ ˜ËÚ‡ÂÚ ¬‡ÎÂËÈ üÛÁËÌ
Executive Directors
ƒËÂÍÚÓ˚ ͇ÚËÌ˚ ¬‡ÎÂÌÚË̇
Valentina Goroshnikova, Viktor Izvekov
√ÓÓ¯ÌËÍÓ‚‡, ¬ËÍÚÓ »Á‚ÂÍÓ‚
Production Lenfilm
œÓËÁ‚Ó‰ÒÚ‚Ó ´ÀÂÌÙËθϪ
ñ œËÁ Ê˛Ë ´¡ÓÌÁÓ‚˚È ÎÂÓÔ‡‰ª,
ÔËÁ ‘»œ–≈——», ÔËÁ ›ÌÂÒÚ‡
¿Ú‡ˇ ñ Ãü‘ ¬ ÀÓ͇ÌÓ, 1986;
ñ √ÓÒÛ‰‡ÒÚ‚ÂÌ̇ˇ ÔÂÏˡ –—‘—–
ËÏÂÌË ¡‡Ú¸Â‚ ¬‡ÒËθ‚˚ı (1987,
ÒˆÂ̇ËÒÚ ›.¬ÓÎÓ‰‡ÒÍËÈ, ÂÊËÒÒÂ
¿.√ÂχÌ, ÓÔÂ‡ÚÓ ¬.‘‰ÓÒÓ‚,
‡ÍÚÂ˚ ¿.¡ÓÎÚÌ‚ Ë Õ.–ÛÒ·ÌÓ‚‡,
ıÛ‰ÓÊÌËÍ fi.œÛ„‡˜).
ñ Jury Prize ìBronze Leopardî,
FIPRESCI award, Ernest Artaria
Prize ñ IFF in Locarno, 1986;
ñ ìVasiliev Brothersî State Prize of the
RSFSR (1987, scriptwriter E.
Volodarsky, director A. German,
cinematographer V. Fedosov, actors
A. Boltnev and N. Ruslanova,
designer Yu. Pugach).
1958-2000. ÎÛ˜¯Ë ÙËθÏ˚ Ë ÂÊËÒÒÂ˚
1958-2000: the best films and directors
ÃŒ… ƒ–”√ »¬¿Õ À¿œÿ»Õ
129
1958-2000. ÎÛ˜¯Ë ÙËθÏ˚ Ë ÂÊËÒÒÂ˚
1958-2000: the best films and directors
ü¿À»Õ¿ ü–¿—Õ¿fl
THE RED GUELDER BERRY
1973 (‚˚Ô. 25.03.1974), ———–,
1973 (release 25 March 1974), USSR,
ƒ‡Ï‡/ “‡„˘ÂÒ͇ˇ ÏÂÎÓ‰‡Ï‡.
108 ÏËÌ., ˆ‚.
108 min., col.
≈„Ó œÓÍÛ‰ËÌ, ˜ÂÎÓ‚ÂÍ ÔÓÚÂˇÌÌÓÈ
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ
¬‡ÒËÎËÈ ÿÛͯËÌ
ŒÔÂ‡ÚÓ ¿Ì‡ÚÓÎËÈ «‡·ÓÎÓˆÍËÈ
’Û‰ÓÊÌËÍ »ÔÔÓÎËÚ ÕÓ‚Ó‰ÂÂÊÍËÌ
üÓÒÚ˛Ï˚ ¿Î· ƒÓÍÛ˜‡Â‚‡
üÓÏÔÓÁËÚÓ œ‡‚ÂÎ ◊Â͇ÎÓ‚
«‚ÛÍ ¬ËÍÚÓ ¡ÂΡÓ‚
¬ ÓΡı: ¬‡ÒËÎËÈ ÿÛͯËÌ,
Àˉˡ ‘‰ÓÒ‚‡-ÿÛͯË̇,
»‚‡Ì –˚ÊÓ‚, Çˡ —Í‚ÓˆÓ‚‡,
¿ÎÂÍÒÂÈ ¬‡ÌËÌ, Çˡ ¬ËÌÓ„‡‰Ó‚‡,
ŒÙËÏˡ ¡˚ÒÚÓ‚‡,
Δ‡Ì̇ œÓıÓÂÌÍÓ, À‚ ƒÛÓ‚,
ÕËÍÓÎ‡È œÓ„Ó‰ËÌ, √ÂÓ„ËÈ ¡ÛÍÓ‚,
“‡Ú¸ˇÌ‡ √‡‚ËÎÓ‚‡, ¿ÚÛ Ç͇Ó‚,
ŒÎ„ üÓ˜ËÍÓ‚, »ˇ ¿ÂÔË̇,
¿Ì‡ÚÓÎËÈ √Ó·ÂÌÍÓ, ÕËÍÓÎ‡È √‡··Â,
Շڇθˇ √‚ÓÁ‰ËÍÓ‚‡
ƒËÂÍÚÓ ͇ÚËÌ˚ √ÂÏ‡Ì ü˚ÎÓ‚
œÓËÁ‚Ó‰ÒÚ‚Ó ´ÃÓÒÙËθϪ
Scriptwriter and Director
Vasili Shukshin
Director of Photography Anatoli
Zabolotsky
Production Design Ippolit
Novoderezhkin
Costume Design Alla Dokuchaeva
Composer Pavel Chekalov
Sound Viktor Beliarov
Cast: Vasili Shukshin,
Lidia Fedoseeva-Shukshina,
Ivan Ryzhov, Maria Skvortsova,
Alexei Vanin, Maria Vinogradova,
Ofimia Bystrova, Zhanna Prokhorenko,
Lev Durov, Nikolai Pogodin,
Georgi Burkov, Tatiana Gavrilova,
Arthur Makarov, Oleg Korchikov,
Iya Arepina, Anatoli Gorbenko,
Nikolai Grabbe, Natalia Gvozdikova
Executive Director German Krylov
Production Mosfilm
ÒÛ‰¸·˚, ÏÌÓ„Ó ÎÂÚ ÔÓ·˚‚¯ËÈ ‚
130
Á‡Íβ˜ÂÌËË, ‰ÂÚ ‚ ‰ÂÂ‚Ì˛, „‰Â
ÊË‚ÂÚ ÒËÌ„·Á‡ˇ ÌÂÁ̇ÍÓÏ͇ À˛·‡
¡‡È͇ÎÓ‚‡, Ò ÍÓÚÓÓÈ ÓÌ
ÔÂÂÔËÒ˚‚‡ÎÒˇ, ñ ‚‰¸ ̇‰Ó ÌÂÏÌÓ„Ó
ÔÂÂʉ‡Ú¸ Ë ÓÒÏÓÚÂÚ¸Òˇ. ÕÓ ÊËÁ̸ ‚
‰Â‚Ì Û¯ËÚ ‚Ò Ô·Ì˚ œÓÍÛ‰Ë̇,
Ë ÓÌ ¯‡ÂÚ Ì‡‚Ò„‰‡ ÔÓ‚‡Ú¸ Ò
ÔÓ¯Î˚Ï. ŒÌ ÔÓβ·ËÎ À˛·Û ‚ÒÂÏ
ÒÂ‰ˆÂÏ, ÓÌ Á̇ÂÚ, ‡‰Ë ˜Â„Ó ÚÂÔÂ¸
·Û‰ÂÚ ÊËÚ¸, ÓÌ Ò˜‡ÒÚÎË‚, ˜ÚÓ Ì‡¯ÂÎÒˇ
̇ ˝ÚÓÈ ÁÂÏΠ˜ÂÎÓ‚ÂÍ, ÍÓÚÓ˚È ‚ÒÂ
Á̇ÂÚ Ó Â„Ó ÔÓ¯ÎÓÈ ÊËÁÌË Ë Î˛·ËÚ
„Ó...
ÀˉÂ ÔÓ͇ڇ (1974, 2- ÏÂÒÚÓ) ñ
62.5 ÏÎÌ. ÁËÚÂÎÂÈ.
Drama /Tragic melodrama.
Egor Prokudin, a man whose destiny is
sealed, has spent many years in prison
before arriving in the village where the
ñ √·‚̇ˇ ÔÂÏˡ ÙËθÏÛ,
ÔÂÒÓ̇θ̇ˇ ÔÂÏˡ ´«‡
Ò‡ÏÓ·˚ÚÌ˚È, ˇÍËÈ Ú‡Î‡ÌÚ
ÔËÒ‡ÚÂΡ, ÂÊËÒÒÂ‡ Ë ‡ÍÚÂ‡ª
(¬.ÿÛͯËÌ) ñ ¬ü‘ ‚ ¡‡ÍÛ, 1974;
ñ œËÁ ÔÓθÒÍËı ÍËÌÓÍËÚËÍÓ‚
´¬‡¯‡‚Ò͇ˇ ÒËÂ̇ª Á‡ ÎÛ˜¯ËÈ
ËÌÓÒÚ‡ÌÌ˚È ÙËÎ¸Ï 1973 „Ó‰‡,
ÔÓ͇Á‡ÌÌ˚È ‚ œÓθ¯Â;
ñ ÀÛ˜¯ËÈ ÙËÎ¸Ï 1974 „Ó‰‡, ¬‡ÒËÎËÈ
ÿÛͯËÌ ÎÛ˜¯ËÈ ‡ÍÚÂ „Ó‰‡ ñ ÔÓ
ÓÔÓÒÛ ÊÛ̇· ´—Ó‚ÂÚÒÍËÈ ˝Í‡Ìª;
ñ ŒÒÓ·˚ ÛÔÓÏË̇Ìˡ ‘»œ–≈——» Ë
˝ÍÛÏÂÌ˘ÂÒÍÓ„Ó Ê˛Ë (ÙËÎ¸Ï ·˚Î
ÔÓ͇Á‡Ì ‚Ì ÍÓÌÍÛÒ‡) ñ Ãü‘ ‚
«‡Ô‡‰ÌÓÏ ¡ÂÎËÌÂ, 1975;
ñ ‘ËÎ¸Ï ‚Ó¯ÂÎ ‚ ´ÔˇÚÂÍÛ ÎÛ˜¯Ëı
ÙËθÏÓ‚ª Ãü‘ ‘≈—“-1975,
fi„ÓÒ·‚ˡ.
ñ Main Prize for the film, personal
prize ìfor the original, brilliant talent
of the writer, director and actorî (V.
Shukshin) ñ Film Festival in Baku,
1974;
ñ Prize of Polish Film Critics ìWarsaw
Sirenî for the best foreign film of
1973 shown in Poland;
ñ Best Film of 1974, Vasili Shukshin as
best actor of the year ñ according to
a survey of the journal ìSoviet
Screenî;
ñ Special Mention of FIPRESCI and
the Ecumenical Jury (film screened
out of competition) ñ IFF West
Berlin, 1975;
ñ film included in the ìfive best filmsî
IFF FEST in 1975, Yugoslavia.
blue-eyed, woman Liuba Baykalova ñ
unknown to him ñ lives. He had
corresponded with her from prison. In
fact, he has to wait and look around a
little. But the life in the village cancels
all of Prokudinís plans: he decides to
break with his past for good. He has
grown genuinely and whole-heartedly
fond of Liuba, he sees a purpose in his
life, and he is happy to have found a
person on earth who knows all about his
past and still loves him...
Leader in distribution (1974, 2nd place)
ñ 62.5 million spectators.
THE COMMISSAR
ƒ‡Ï‡ ÔÓ ÏÓÚË‚‡Ï ‡ÒÒ͇Á‡ ¬‡ÒËÎˡ
√ÓÒÒχ̇ ´¬ „ÓӉ ¡Â‰Ë˜Â‚ª.
√‡Ê‰‡ÌÒ͇ˇ ‚ÓÈ̇. ü‡ÒÌ˚ ˜‡ÒÚË
Á‡ÌËχ˛Ú χÎÂ̸ÍËÈ ˛ÊÌ˚È „ÓÓ‰ÓÍ.
«‰ÂÒ¸, ‚ ÔÂÂ˚‚ ÏÂÊ‰Û ·ÓˇÏË,
ÍÓÏËÒÒ‡Û ü·‚‰ËË ¬‡‚ËÎÓ‚ÓÈ
Ô‰ÒÚÓËÚ Óʇڸ. ŒÌ‡ Ì ıÓÚ·
ÒÓı‡ÌˇÚ¸ ·ÂÌ͇: ÚË ÏÂÒˇˆ‡ Ò ÍÓÌˇ
Ì ÒÎÂÁ‡Î‡, Á‡ÔÛÒÚË· ·ÂÂÏÂÌÌÓÒÚ¸, Ë
‰ÓÍÚÓ ‰‡Ê ÔÓ‰ ‰ÛÎÓÏ Ï‡ÛÁÂ‡
ÓÚ͇Á‡ÎÒˇ ‰Â·ڸ ‡·ÓÚ. ü·‚‰Ëˇ
‚ÒÂΡÂÚÒˇ ‚ ı‡ÎÛÔÛ ÏÌÓ„Ó‰ÂÚÌÓÈ
‚ÂÈÒÍÓÈ ÒÂÏ¸Ë ÊÂÒÚˇÌ˘Ë͇ ≈ÙËχ
Ç„‡Á‡ÌÌË͇, ÍÓÚÓÓÏÛ Ë ·ÂÁ ÚÓ„Ó
ÊË‚ÂÚÒˇ ÌÂ΄ÍÓ (ÒÚ‡‡ˇ χڸ, ÊÂ̇ Ë
ÍÛ˜‡ ‰ÂÚÂÈ) Ë ÍÓÚÓ˚È ÓÚ ¡Ó„‡ Á̇ÂÚ,
Í‡Í ÚÛ‰ÌÓ ˜ÂÎÓ‚ÂÍÛ ÊËÚ¸, ÚÛ‰ÌÓ
β·ËÚ¸, ÚÛ‰ÌÓ Ó‰ËÚ¸, ÚÛ‰ÌÓ
‚˚‡ÒÚËÚ¸ Ë Î„ÍÓ Û·ËÚ¸...
Drama based on the motives of Vasili
Grossmanís story ìIn the town of
Berdichevî.
The Civil War. The Reds occupy a small
southern town. Here, in a break
between the fighting, Commissar
Klavdiya Vavilova should give birth.
She did not want to keep the child: for
three months she did not dismount from
her horse, after which time the doctor
refused to carry out an abortion even at
gunpoint. Klavdiya is put up in the
house of the Jewish family of the
tinsmith Efim Magazannik, who leads a
hard life ñ with a old mother, a wife
and a number of children ñ, and who
knows from God how difficult it is to
love, to love, to give birth, to raise and
how easy it is to kill...
1967 (‚˚Ô. 11.1988), ———–, 110 ÏËÌ.,
1967 (release Nov. 1988), USSR, 110
˜/·, 1:2.35
min., b/w, 1:2.35
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ
Scriptwriter and Director
¿ÎÂÍ҇̉ ¿ÒÍÓθ‰Ó‚
Alexander Askoldov
ŒÔÂ‡ÚÓ ¬‡ÎÂËÈ √ËÌÁ·Û„
Director of Photography
’Û‰ÓÊÌËÍ —Â„ÂÈ —Â·ÂÌËÍÓ‚
Valeri Ginzburg
üÓÒÚ˛Ï˚ flÍÓ‚ –Ë‚Ó¯
Production Design Sergei Serebrenikov
üÓÏÔÓÁËÚÓ ¿Î¸Ù‰ ÿÌËÚÍÂ
Costume Design Yakov Rivosh
«‚ÛÍ Àˡ ¡ÂÌ‚ÓθÒ͇ˇ,
Composer Alfred Schnitke
ÕËÍÓÎ‡È ÿ‡˚È, ≈‚„ÂÌËÈ ¡‡Á‡ÌÓ‚
Sound Liya Benevolskaya,
¬ ÓΡı: ÕÓÌ̇ ÃÓ‰˛ÍÓ‚‡,
Nikolai Shary, Evgeni Bazanov
–ÓÎ‡Ì ¡˚ÍÓ‚, –‡ËÒ‡ Õ‰‡¯ÍÓ‚Ò͇ˇ,
Cast: Nonna Mordiukova, Rolan
À˛‰ÏË· ¬ÓÎ˚ÌÒ͇ˇ, ¬‡ÒËÎËÈ
Bykovs, Raisa Nedashkovskaya,
ÿÛͯËÌ, À˛·‡ ü‡ˆ, œ‡‚ÎËÍ À‚ËÌ,
Liudmila Volynskaya, Vasili Shukshin,
ƒËχ üÎÂÈχÌ, ÇÚ‡ ¡‡ÚÍÓ‚‡,
Liuba Katz, Pavlik Levin, Dima
»„Ó¸ ‘˯χÌ, ŒÚ‡ üÓ·ÂˉÁÂ,
Kleiman, Marta Bratkova, Igor
—Â„ÂÈ ÕËÍÓÌÂÌÍÓ, ÀÂÓÌˉ –ÂÛÚÓ‚,
Fishman, Otar Koberidze, Sergei
¬ËÍÚÓ ÿ‡ıÓ‚
Nikonenko, Leonid Reutov, Victor
ƒËÂÍÚÓ˚ ͇ÚËÌ˚ ¡. ƒÓÍÛ˜‡Â‚,
Shakhov
√‡ÎË̇ ¡ÂÎËÌÒ͇ˇ
Executive Directors B. Dokuchaev,
œÓËÁ‚Ó‰ÒÚ‚Ó üËÌÓÒÚÛ‰Ëˇ ËÏÂÌË
Galina Belinskaya
Ã. √Ó¸ÍÓ„Ó, ÔË Û˜‡ÒÚËË ´ÃÓÒÙËθϪ
Production Gorky Film Studio, with
participation of Mosfilm
ñ —ÔˆˇθÌ˚È ÔËÁ Ê˛Ë
´—Â·ˇÌ˚È Ï‰‚‰¸ª, ÔËÁ
‘»œ–≈——», ÔËÁ Ê˛Ë
ÃÂʉÛ̇Ó‰ÌÓÈ Í‡ÚÓ΢ÂÒÍÓÈ
Ó„‡ÌËÁ‡ˆËË ÍËÌÂχÚÓ„‡Ù˘ÂÒÍËı
Ë ‡Û‰ËÓ‚ËÁۇθÌ˚ı Ò‰ÒÚ‚
ËÌÙÓχˆËË (Œ—»ü), œËÁ ËÏÂÌË
ŒÚÚÓ ƒË·ÂÎËÛÒ‡ ÓÚ
ÃÂʉÛ̇Ó‰ÌÓ„Ó Â‚‡Ì„Â΢ÂÒÍÓ„Ó
Ê˛Ë ñ Ãü‘ ‚ «‡Ô‡‰ÌÓÏ ¡ÂÎËÌÂ,
1988;
ñ —ÔˆˇθÌ˚È ÔËÁ Ê˛Ë ñ Ãü‘ ‚
√ÂÌÚÂ, ¡Âθ„ˡ, 1988;
ñ √‡Ì-ÔË Ãü‘ ‚ üÂÏÔÂÂ, ‘‡ÌˆËˇ,
1988;
ñ œÂÏËË üËÌӇ͇‰ÂÏËË ´ÕË͇ª Á‡
1988 „Ó‰ (ÓÔÂ‡ÚÓ ¬.√ËÌÁ·Û„,
ÍÓÏÔÓÁËÚÓ ¿.ÿÌËÚÍÂ, ‡ÍÚÂ
–.¡˚ÍÓ‚, ‡ÍÚËÒ‡ –.Õ‰‡¯ÍÓ‚Ò͇ˇ
ñ Á‡ Óθ ‚ÚÓÓ„Ó Ô·̇).
ñ Special Jury Prize ìSilver Bearî,
FIPRESCI Award, Jury Prize of the
International Catholic Organization
for Cinema and Audiovisual (OCIC),
Otto Dibelius Prize of the
International Evangelic Jury ñ IFF
West Berlin, 1988;
ñ Special Jury Prize ñ IFF in Ghent,
Belgium, 1988;
ñ Grand Prix of the IFF in Quimper,
France, 1988;
ñ Prizes of the Film Academy NIKA for
1988 (cinematographer V. Ginzburg,
composer A. Schnitke, actor R.
Bykov, supporting actress R.
Nedashkovskaya).
1958-2000. ÎÛ˜¯Ë ÙËθÏ˚ Ë ÂÊËÒÒÂ˚
1958-2000: the best films and directors
üŒÃ»——¿–
131
1958-2000. ÎÛ˜¯Ë ÙËθÏ˚ Ë ÂÊËÒÒÂ˚
1958-2000: the best films and directors
132
ÃÕ≈ ƒ¬¿ƒ÷¿“‹ À≈“ (´«‡ÒÚ‡‚‡ »Î¸Ë˜‡ª)
I AM TWENTY / ILYICH GATES
1964 (‚ÓÒÒÚ. Ë ‚˚Ô. 1988), ———–,
1964 (release 18 Jan. 1965), USSR,
üËÌÓÔÓ‚ÂÒÚ¸ Ó ˛ÌÓÒÚË
175 ÏËÌ., ˜/·, 1:1.37
175 min., b/w, 1:1.37
¯ÂÒÚˉÂÒˇÚÌËÍÓ‚ ñ ÓÌË ‡·ÓÚ‡˛Ú,
¿‚ÚÓ˚ ÒˆÂ̇ˡ ÇÎÂÌ ’ۈ˂,
√ÂÌ̇‰ËÈ ÿÔ‡ÎËÍÓ‚
–ÂÊËÒÒÂ ÇÎÂÌ ’ۈ˂
ŒÔÂ‡ÚÓ Ç„‡ËÚ‡ œËÎËıË̇
’Û‰ÓÊÌËÍ-ÔÓÒÚ‡ÌÓ‚˘ËÍ ». «‡ı‡Ó‚‡
ƒÂÍÓ‡ˆËË ÃËı‡ËÎ –Óχ‰ËÌ
üÓÒÚ˛Ï˚ ü·‚‰Ëˇ –ÛÒ‡ÌÓ‚‡
üÓÏÔÓÁËÚÓ ÕËÍÓÎ‡È —ˉÂθÌËÍÓ‚
«‚ÛÍ ¿ÎÂÍ҇̉ »Á·ÛˆÍËÈ
¬ ÓΡı: ¬‡ÎÂÌÚËÌ œÓÔÓ‚, ÕËÍÓ·È
√Û·ÂÌÍÓ, —Ú‡ÌËÒ·‚ À˛·¯ËÌ,
ÇˇÌ̇ ¬ÂÚËÌÒ͇ˇ, «Ë̇ˉ‡
«ËÌÓ‚¸Â‚‡, —‚ÂÚ·̇ —Ú‡ËÍÓ‚‡,
À‚ œ˚„ÛÌÓ‚, —‚ÂÚ·̇ —‚ÂÚ΢̇ˇ,
À˛‰ÏË· —ÂΡÌÒ͇ˇ, —‡¯‡ ¡ÎËÌÓ‚,
À‚ «ÓÎÓÚÛıËÌ, œÂÚ ŸÂ·‡ÍÓ‚,
¬‡‰ËÏ «‡ı‡˜ÂÌÍÓ, ŒÎ„ ¬Ë‰Ó‚,
√ÂÌ̇‰ËÈ ÕÂÍ‡ÒÓ‚, ¿Ì‰ÂÈ
“‡ÍÓ‚ÒÍËÈ, ¿Ì‰ÂÈ üÓ̘‡ÎÓ‚ÒÍËÈ,
√ÂÌ̇‰ËÈ ÿÔ‡ÎËÍÓ‚, ¿ÎÂÍ҇̉
ÃËÚÚ‡, Õ‡Ú‡Îˡ –ˇÁ‡ÌˆÂ‚‡,
œ‡‚ÂÎ ‘ËÌÌ
ƒËÂÍÚÓ ͇ÚËÌ˚ ÕËÍÓÎ‡È œÂÚÓ‚
œÓËÁ‚Ó‰ÒÚ‚Ó üËÌÓÒÚÛ‰Ëˇ ËÏÂÌË
Ã.√Ó¸ÍÓ„Ó
Scriptwriters Marlen Khutsiev,
Gennadi Shpalikov
Director Marlen Khutsiev
Director of Photography Margarita
Pilikhina
Production Design I. Zakharova
Sets by Mikhail Romadin
Costume Design Klavdiya Rusanova
Composer Nikolai Sidelnikov
Sound Alexander Izbutsky
Cast: Valentin Popov, Nikolai Gubenko,
Stanislav Liubshin, Marianna
Vertinskaya, Zinaida Zinovieva,
Svetlana Starikova, Lev Prygunov,
Svetlana Svetlichnaya, Liudmila
Selianskaya, Sasha Blinov,
Lev Zolotukhin, Petr Shcherbakov,
Vadim Zakharchenko, Oleg Vidov,
Gennadi Nekrasov, Andrei Tarkovsky,
Andrei Konchalovsky, Gennadi
Shpalikov, Alexander Mitta, Natalia
Riazantseva, Pavel Finn
Executive Director Nikolai Petrov
Production and Restoration (1988)
Gorky Film Studio of Children and
Youth Films
ñ —Ôˆˇθ̇ˇ ÔÂÏˡ Ê˛Ë (ÇÎÂÌ
’ۈ˂), ÔÂÏˡ ÊÛ̇· ´◊ËÌÂχ
ÌÛÓ‚Óª ËÒÔÓÎÌËÚÂβ „·‚ÌÓÈ ÓÎË
(¬‡ÎÂÌÚËÌ œÓÔÓ‚) ñ Ãü‘ ‚
¬Â̈ËË, 1965;
ñ ´«ÓÎÓÚ‡ˇ Ô·ÒÚË̇ª (ÇÎÂÌ
’ۈ˂) ñ Ãü‘ ‚ –ËÏÂ, 1965.
ñ Special Jury Prize (Marlen Khutsiev),
Prize of the journal ìCinema Nuovoî
to the leading actor (Valentin Popov)
ñ IFF in Venice, 1965;
ñ ìGolden Plateî (Marlen Khutsiev) ñ
IFF in Rome, 1965.
Û˜‡ÚÒˇ, β·ˇÚ, ‡ÁÏ˚¯Îˇ˛Ú Ó ÒÏ˚ÒÎÂ
ÊËÁÌË, Ò‚Ó·Ó‰Â Ë Î˘ÌÓÈ
ÓÚ‚ÂÚÒÚ‚ÂÌÌÓÒÚË.
‘ËÎ¸Ï ‚˚¯ÂÎ 1965 „Ó‰Û ÔÓ‰
̇Á‚‡ÌËÂÏ ´«‡ÒÚ‡‚‡ »Î¸Ë˜‡ª Ë Ò‡ÁÛ
Ê ·˚Î ÒÌˇÚ Ò ÔÓ͇ڇ.
A film-story about the youth of the 60ís
generation: they work, study, love,
reflect on the meaning of life, of
freedom and of personal responsibility.
Originally the film was released in 1965
under the title ìIlyich Gatesî, but it
was immediately removed from
distribution.
UNFINISHED PIECE FOR MECHANICAL PIANO
ƒ‡Ï‡ ÔÓ ÏÓÚË‚‡Ï ÔÓËÁ‚‰ÂÌËÈ
¿.œ.◊ÂıÓ‚‡.
ΔË· ·˚· ‰Â‚Ә͇ —ÓÌˇ. ŒÌ‡ β·Ë·
ÒÚÛ‰ÂÌÚ‡, ÒÚÛ‰ÂÌÚ Î˛·ËÎ ‰Â‚Ó˜ÍÛ. ¬ÒÂ
·˚ÎÓ ˜Û‰ÌÓ Ë ÔÂÍ‡ÒÌÓ, ÓÌË ·˚ÎË
Ò˜‡ÒÚÎË‚˚, Ë ‚ÔÂÂ‰Ë Û ÌËı ·˚·
ˆÂ·ˇ ÊËÁ̸. Œ‰Ì‡Ê‰˚ ‰Â‚Ә͇ ÛÂı‡Î‡
‚ œÂÚÂ·Û„ ‚ÒÂ„Ó Î˯¸ ̇ ‰‚‡ ‰Ìˇ Ë
Ì ‚ÂÌÛ·Ҹ. ¿ Ã˯Âθ œÎ‡ÚÓÌÓ‚
͇ʉ˚È ‰Â̸ ıÓ‰ËΠ̇ ‚ÓÍÁ‡Î, ʉ‡Î,
̇‰ÂˇÎÒˇ, ÔËÎ, ·ÓÒËÎ ÛÌË‚ÂÒËÚÂÚ,
ÔÓÚÂˇÎ ̇‰ÂʉÛ, Á‡·˚Î ‰Â‚Ó˜ÍÛ,
ÊÂÌËÎÒˇ, ·ÓÒËÎ ÔËÚ¸, Ó·Á‡‚ÂÎÒˇ
·ÂÌÍÓÏ, ÔÓÎÛ˜ËÎ ‡·ÓÚÛ Û˜ËÚÂΡ. »
‚ÓÚ ÂÏÛ ÛÊÂ 35 ÎÂÚ. “ÂÔÎ˚Ï ÎÂÚÌËÏ
‰ÌÂÏ ‚ ÔÓÏÂÒڸ ÓÚÒÚ‡‚ÌÓ„Ó
ÔÓÎÍÓ‚ÌË͇, ÓÚˆ‡ ÿÛÓ˜ÍË, ÊÂÌ˚
ÃËı‡Ë· ¬‡ÒËθ‚˘‡ œÎ‡ÚÓÌÓ‚‡,
ÒÓ·‡ÎËÒ¸ Ó‰ÒÚ‚ÂÌÌËÍË Ë „ÓÒÚË.
”Ò‡‰¸·‡ Á‡ ‰ÓÎ„Ë ‰‡‚ÌÓ ÔÂ¯· Í
√Â‡ÒËÏÛ üÛÁ¸ÏË˜Û (ÂÏÛ Ë ÒÂȘ‡Ò ÌÂ
ʇÎÍÓ ÔÓÚ‡ÚËÚ¸Òˇ ̇ „ÓÒÔÓ‰, ÍÓÚÓ˚Ï
ÓÌ ˜ÂÒÚÌÓ ÒÎÛÊËÎ Ë ÍÓÚÓ˚ı ÍÓ„‰‡-ÚÓ
·Ó„ÓÚ‚ÓËÎ). —Â‰Ë Á‡Ô‡Á‰˚‚‡˛˘Ëı
„ÓÒÚÂÈ ·˚· Ë —ÓÙ¸ˇ ≈„Óӂ̇, ÊÂ̇
ÌÂÎÂÔÓ„Ó ÛÒÓÙË· —Âʇ, ñ Ú‡ ҇χˇ
—Ó̘͇, ËÁ-Á‡ ÍÓÚÓÓÈ Ú‡Í ÌÂÛ‰‡˜ÌÓ
ÒÎÓÊË·Ҹ ÊËÁ̸ Û ÃËı‡Ë·
¬‡ÒËθ‚˘‡...
Drama based on the motives of Anton
Chekhovís works.
Once there lived a girl called Sonya. She
loved a student, the student loved the
girl. Everything was wonderful and
fine, they were happy, and they had
their whole life ahead of them. One day
the girl left for Petersburg for two days
ñ but did not return. Michel Platonov
went to the station every day, waited,
hoped, drank, abandoned university,
lost hope, forgot the girl, married,
stopped drinking, became a father, got
a job as teacher. And here he is ñ
already 35 years old. On a warm
afternoon relatives and visitors have
gathered on the estate of the retired
colonel, the father of Shurochka, wife
of Mikhail Vasilievich Platonov. The
manor now belongs to Gerasim Kuzmich
ñ because of debts (and he has no
regrets about spending money on the
former master, whom he served well
and whom he idolized). Among the
visitors is also Sofia Egorovna, the wife
of the ridiculous Russophile Serge: that
very same Sonechka who is the reason
why Mikhail Vasilievichís life took such
an unhappily turn...
1976 (‚˚Ô. 05.09.1977), ———–,
1976 (release 5 Sept. 1977), USSR, 103
103 ÏËÌ., ˆ‚., 1:1.37/ 1:2.35
min., col., 1:1.37/1:2.35
¿‚ÚÓ˚ ÒˆÂ̇ˡ ¿ÎÂÍ҇̉
¿‰‡·‡¯¸ˇÌ, ÕËÍËÚ‡ ÃËı‡ÎÍÓ‚
–ÂÊËÒÒÂ ÕËÍËÚ‡ ÃËı‡ÎÍÓ‚
ŒÔÂ‡ÚÓ œ‡‚ÂÎ À·¯‚
’Û‰ÓÊÌËÍË ¿ÎÂÍ҇̉ ¿‰‡·‡¯¸ˇÌ,
¿ÎÂÍ҇̉ —‡ÏÛÎÂÍËÌ
üÓÒÚ˛Ï˚ Ã‡Èˇ ¿·‡-¡‡‡ÌÓ‚Ò͇ˇ
üÓÏÔÓÁËÚÓ ›‰Û‡‰ ¿ÚÂϸ‚
»ÒÔÓθÁÛÂχˇ ÏÛÁ˚͇ √‡˝Ú‡ÌÓ
ƒÓÌˈÂÚÚË, ‘ÂÂ̈ ÀËÒÚ, —Â„ÂÈ
–‡ıχÌËÌÓ‚
«‚ÛÍ ¬‡ÎÂÌÚËÌ ¡Ó·Ó‚ÒÍËÈ
¬ ÓΡı: ¿ÎÂÍ҇̉ ü‡Îˇ„ËÌ,
≈ÎÂ̇ —ÓÎÓ‚ÂÈ, ≈‚„ÂÌˡ √ÎÛ¯ÂÌÍÓ,
¿ÌÚÓÌË̇ ÿÛ‡ÌÓ‚‡,
fiËÈ ¡Ó„‡Ú˚‚, ŒÎ„ “‡·‡ÍÓ‚,
ÕËÍÓÎ‡È œ‡ÒÚÛıÓ‚,
œ‡‚ÂÎ ü‡‰Ó˜ÌËÍÓ‚, ÕËÍËÚ‡ ÃËı‡ÎÍÓ‚,
¿Ì‡ÚÓÎËÈ –Óχ¯ËÌ,
Շڇθˇ Õ‡Á‡Ó‚‡, üÒÂÌˡ ÃËÌË̇,
—Â„ÂÈ ÕËÍÓÌÂÌÍÓ, —ÂÂʇ √Û¸Â‚
ƒËÂÍÚÓ ͇ÚËÌ˚ “‡Ú¸ˇÌ‡ ΔË„‡Â‚‡
œÓËÁ‚Ó‰ÒÚ‚Ó ´ÃÓÒÙËθϪ
Scriptwriters Alexander Adabashian,
Nikita Mikhalkov
Director Nikita Mikhalkov
Director of Photography Pavel Lebeshev
Production Design Alexander
Adabashian, Alexander Samulekin
Costume Design
Maya Abar-Baranovksay
Composer Edward Artemyev
Music by Gaetano Donizetti,
Ferenc Liszt, Sergei Rakhmaninov
Sound Valentin Bobrovsky
Cast: Alexander Kaliagin, Elena
Solovei, Evgeniya Glushenko,
Antonina Shuranova, Yuri Bogatyrev,
Oleg Tabakov, Nikolai Pastukhov,
Pavel Kadochnikov, Nikita Mikhalkov,
Anatoli Romashin, Natalia Nazarova,
Ksenia Minina, Sergei Nikonenko,
Serezha Guriev
Executive Director Tatiana Zhigaeva
Production Mosfilm
ñ ´¡Óθ¯‡ˇ «ÓÎÓÚ‡ˇ ‡ÍÓ‚Ë̇ª ñ
Ãü‘ ‚ —‡Ì-—·‡ÒÚ¸ˇÌÂ, 1977;
ñ ´«ÓÎÓÚ‡ˇ Ô·ÒÚË̇ª ñ Ãü‘ ‚
◊Ë͇„Ó, 1978;
ñ √‡Ì-ÔË —Ó˛Á‡ ıÛ‰ÓÊÌËÍÓ‚ ÍËÌÓ Ë
ÚÂ΂ˉÂÌˡ fi„ÓÒ·‚ËË ñ Ñ‘
´‘≈—“ª ‚ ¡Â΄‡‰Â, 1978;
ñ œÂÏˡ ´ƒ‡‚ˉ ‰Ë ƒÓ̇ÚÂÎÎÓª Á‡
ÎÛ˜¯ËÈ ËÌÓÒÚ‡ÌÌ˚È ÙËÎ¸Ï ‚
ËڇθˇÌÒÍÓÏ ÔÓ͇Ú 1978 „Ó‰‡;
ñ —ÔˆˇθÌ˚È ÔËÁ Ê˛Ë Á‡ ‚˚ÒÓÍÓÂ
ËÒÔÓÎÌËÚÂθÒÍÓ χÒÚÂÒÚ‚Ó
(‡ÍÚÂ ¿ÎÂÍ҇̉ ü‡Îˇ„ËÌ) ñ
Ãü‘ ‚ ü‡Ú‡ıÂÌÂ, 1977;
ñ œÓ ÓÔÓÒÛ ÊÛ̇· ´—Ó‚ÂÚÒÍËÈ
˝Í‡Ìª ¿ÎÂÍ҇̉ ü‡Îˇ„ËÌ ÔËÁ̇Ì
ÎÛ˜¯ËÏ ‡ÍÚÂÓÏ 1977 „Ó‰‡.
ñ ìGolden Shellî ñ IFF in San
Sebastian, 1977;
ñ ìGolden Plateî ñ IFF in Chicago,
1978;
ñ Grand Prix of the Union of Artists of
Cinema and TV of Yugoslavia ñ IFF
FEST in Belgrade, 1978;
ñ ìDavid di Donatelloî Prize for the
best foreign film in Italian
distribution 1978;
ñ Special Jury Prize for high mastery
(actor Alexander Kalyagin) ñ IFF in
Cartagena, 1977;
ñ According to a survey of the journal
ìSoviet Screenî Alexander Kalyagin
is recognized as the best actor of
1977.
1958-2000. ÎÛ˜¯Ë ÙËθÏ˚ Ë ÂÊËÒÒÂ˚
1958-2000: the best films and directors
Õ≈ŒüŒÕ◊≈ÕÕ¿fl œ‹≈—¿ ƒÀfl
Ã≈’¿Õ»◊≈—üŒ√Œ œ»¿Õ»ÕŒ
133
1958-2000. ÎÛ˜¯Ë ÙËθÏ˚ Ë ÂÊËÒÒÂ˚
1958-2000: the best films and directors
134
ƒŒ¡–Œ œŒΔ¿ÀŒ¬¿“‹,
»À» œŒ—“Œ–ŒÕջà ¬’Œƒ ¬Œ—œ–≈Ÿ≈Õ
WELCOME, OR NO TRESPASSING
1964 (‚˚Ô. 05.1964), ———–,
1964 (release May 1964), USSR,
üÓωˡ.
74 ÏËÌ., ˜/·
74 min., b/w
¬ ÔËÓÌÂÒÍÓÏ Î‡„Â ‚Ò ̇ÔÛ„‡Ì˚
¿‚ÚÓ˚ ÒˆÂ̇ˡ —ÂÏÂÌ ÀÛÌ„ËÌ,
Scriptwriters
Ò‚ËÂÔÓÈ ‰ÓÍÚÓ¯Â Ò‡Ï ‰ËÂÍÚÓ
»Î¸ˇ ÕÛÒËÌÓ‚
Semen Lungin, Ilya Nusinov
ƒ˚ÌËÌ, ‚·ÒÚ‚Ûˇ ̇‰ ‚ÒÂÏ Ë ‚ÒÂÏË,
–ÂÊËÒÒÂ ›ÎÂÏ üÎËÏÓ‚
Director Elem Klimov (diploma work)
ÔÓÚÓÏÛ ˜ÚÓ ÔÓˇ‰ÓÍ ñ ˝ÚÓ
(‰ËÔÎÓÏ̇ˇ ‡·ÓÚ‡)
Director of Photography
‰ËÌÒÚ‚ÂÌÌÓ ÓÛÊË ͇ʉӄÓ.
ŒÔÂ‡ÚÓ ¿Ì‡ÚÓÎËÈ üÛÁ̈ӂ
Anatoli Kuznetsov
ÕÂÒ˜‡Òڸ ÔËÓÌÂ‡ üÓÒÚË »ÌÓ˜ÍË̇
’Û‰ÓÊÌËÍË ¬Î‡‰ËÏË ü‡ÏÒÍËÈ,
Production Design Vladimir Kamsky,
ËÏÂÌÌÓ ‚ ÚÓÏ, ˜ÚÓ ÂÏÛ ÌËÍ‡Í ÌÂ
¡ÓËÒ ¡Î‡ÌÍ
Boris Blank
Û‰‡ÂÚÒˇ ‚ÔËÒ‡Ú¸Òˇ ‚ ·„ÂÌ˚Â
üÓÒÚ˛Ï˚ À˛‰ÏË· –ˇ¯Â̈‚‡
Costume Design Liudmila Riashentseva
ËÌÒÚÛ͈ËË, ñ Ë ÓÌ ÓÚ˜ËÒΡÂÚÒˇ ËÁ
üÓÏÔÓÁËÚÓ˚ ÃË͇˝Î “‡Ë‚Â‰Ë‚,
Composers Mikael Tariverdiev,
·„Âˇ. ÕÓ ˜ÚÓ·˚ Ì ӄÓ˜‡Ú¸
»„Ó¸ flÍÛ¯ÂÌÍÓ
Igor Yakushenko
β·ËÏÛ˛ ·‡·Û¯ÍÛ, »ÌÓ˜ÍËÌ Ú‡ÈÌÓ
«‚ÛÍ ¬ËÍÚÓ «ÓËÌ
Sound Viktor Zorin
‚ÓÁ‚‡˘‡ÂÚÒˇ Ë ÔÂÂıÓ‰ËÚ Ì‡
¬ ÓΡı: ≈‚„ÂÌËÈ ≈‚ÒÚË„Ì‚,
Cast: Evgeni Evstigneev,
ÌÂ΄‡Î¸ÌÓ ÔÓÎÓÊÂÌËÂ...
¿Ë̇ ¿ÎÂÈÌËÍÓ‚‡, »Î¸ˇ –ÛÚ·Â„,
Arina Aleinikova, Ilya Rutberg,
œÓÒΠÔÂ‚˚ı ÔÓÒÏÓÚÓ‚ ÙËθÏ, ͇Í
Àˉˡ —ÏËÌÓ‚‡, ¿ÎÂÍÒÂÈ —ÏËÌÓ‚,
Lydia Smirnova, Alexei Smirnov,
‡ÌÚËÒÓ‚ÂÚÒÍËÈ, ·˚Î ÒÌˇÚ Ò ÔÓ͇ڇ.
ÕË̇ ÿ‡ˆÍ‡ˇ, ¬ËÍÚÓ üÓÒ˚ı,
Nina Shatskaya, Viktor Kosykh,
fi‡ ¡Ó̉‡ÂÌÍÓ, Àˉ‡ ¬ÓÎÍÓ‚‡,
Yura Bondarenko, Lida Volkova,
≈͇ÚÂË̇ ÇÁÛÓ‚‡, ¬ËÍÚÓ
Ekaterina Mazurova, Viktor Uralsky,
”‡Î¸ÒÍËÈ, “‡Ú¸ˇÌ‡ ¡‡˚¯Â‚‡
Tatiana Barysheva
ƒËÂÍÚÓ ͇ÚËÌ˚ √Ë„ÓËÈ ÀÛÍËÌ
Executive Director Grigori Lukin
œÓËÁ‚Ó‰ÒÚ‚Ó ´ÃÓÒÙËθϪ
Production Mosfilm
Û„ÓÁÓÈ ˝ÔˉÂÏËË. œÓÍÓ‚ËÚÂθÒÚ‚ÛÂÚ
Comedy.
In a pioneer camp everybody is scared
of the outbreak of an epidemic. Director
Dynin patronizes the furious doctor,
dominating everyone and everything
because order is his only weapon. The
misfortune of the pioneer Kostya
Inockin lies in the fact that he does not
manage to fit in with the camp
instructions, so he is dismissed from the
ñ œÂÏˡ Ê˛Ë ÙÂÒÚË‚‡Îˇ, ÔÂÏˡ
Ê˛Ë Ó‰ËÚÂÎÂÈ ñ ÃÂʉÛ̇Ӊ̇ˇ
‚ÒÚ˜‡ ÙËθÏÓ‚ ‰Îˇ ÏÓÎÓ‰ÂÊË ‚
ü‡ÌÌÂ, 1967.
ñ Jury Prize, Parentsí Jury Prize of the
International Meeting of Youth Films
in Caen, 1967.
camp. But in order to avoid
disappointing his beloved grandmother,
Inochkin secretly returns and crosses
over into an illegal position...
After the first screenings the film was
removed from distribution as antiSoviet.
JULY RAIN
ÀË˘ÂÒ͇ˇ ÍËÌÓÔÓ‚ÂÒÚ¸.
´¡˚‚‡ÂÚ Ú‡Í, ˜ÚÓ ‰ÓÒÚË„ÌÛ‚
ÓÔ‰ÂÎÂÌÌÓ„Ó ‚ÓÁ‡ÒÚ‡, ˜ÂÎÓ‚ÂÍ
ÏÂÌˇÂÚ ‚Á„Ρ‰˚, ÍÓÚÓ˚ ‰Ó ÚÓ„Ó Â„Ó
ÛÒÚ‡Ë‚‡ÎË, ÍÓÚÓ˚ ÓÌ Ò˜ËÚ‡Î
‚ÂÌ˚ÏË. ›ÚÓ ÏÓÊÌÓ Ì‡Á‚‡Ú¸ ‚ÚÓÓÈ
ÁÂÎÓÒÚ¸˛. √ÂÓˇÏ ÙËθχ ñ ÔËÏÂÌÓ
Úˉˆ‡Ú¸. Œ˜Â̸ ˜‡ÒÚÓ ËÏÂÌÌÓ ‚ ˝ÚÓ
‚ÂÏˇ Û Î˛‰ÂÈ Ì‡ÒÚÛÔ‡ÂÚ ÔÂËÓ‰
ÔÂÂÒÏÓÚ‡ ÛÊ ‚˚‡·ÓÚ‡ÌÌ˚ı ‡ÌÂÂ
ÔÓÁˈËÈ. ü Ú‡ÍÓÏÛ ÔÂÂÒÏÓÚÛ Ë
ÔËıÓ‰ËÚ ÀÂ̇, „ÂÓËÌˇ ´»˛Î¸ÒÍÓ„Ó
‰Óʉˇª. ≈È ÏÌÓ„Ó ̇‰Ó Ó·‰ÛÏ˚‚‡Ú¸
Á‡ÌÓ‚Ó. ŒÌ‡ ̇˜Ë̇ÂÚ ÔÓÌËχڸ, ˜ÚÓ
ÔÂÊÌË ӈÂÌÍË ÔÓ‚ÂıÌÓÒÚÌ˚, ‚ÒÂ
Ô‰ÒÚ‡ÂÚ ÔÂ‰ ÌÂÈ ‚ ËÌÓÏ, ·ÓÎÂÂ
ˇÒÌÓÏ Ë ÂÁÍÓÏ Ò‚ÂÚÂ. ›ÚÓ ÔÓÓÈ
Ò‚ˇÁ‡ÌÓ Ò ÔÓÚÂˇÏË. ÀÂ̇ ÚÂˇÂÚ
Ò‡ÏÓ„Ó ·ÎËÁÍÓ„Ó ˜ÂÎÓ‚Â͇, ÍÓÚÓ˚È
ÒÚ‡ÌÓ‚ËÚÒˇ ˜ÛÊËÏ Ë ‰‡ÎÂÍËϪ ñ
ÇÎÂÌ ’ۈ˂.
Lyrical film story.
ìIt happens that, having reached a
certain age, man changes his views
which until then suited him well and
which he held true. This can be called
the second maturity. The filmís heroes
are about thirty. At this particular age
people often revise their existing views.
Such a revision also takes place for
Lena, the heroine of ìJuly Rainî. She
has a lot to reconsider. She begins to
understand that her old values were
superficial: everything appears in
another, clearer and more glaring light.
This is at times connected with losses.
Lena loses the closest person who
becomes a distant strangerî (Marlen
Khutsiev).
1966 (‚˚Ô. 30.09.1967), ———–, 109
1966 (release 30 Sept. 1967), USSR,
ÏËÌ., ˜/·, 1:2.35
109 min., b/w, 1:2.35
¿‚ÚÓ˚ ÒˆÂ̇ˡ ÇÎÂÌ ’ۈ˂,
Scriptwriters Marlen Khutsiev,
¿Ì‡ÚÓÎËÈ √·Ì‚
Anatoli Grebnev
–ÂÊËÒÒÂ ÇÎÂÌ ’ۈ˂
Director Marlen Khutsiev
ŒÔÂ‡ÚÓ √ÂÏ‡Ì À‡‚Ó‚
Director of Photography
’Û‰ÓÊÌËÍ √ÂÓ„ËÈ üÓ΄‡ÌÓ‚
German Lavrov
üÓÒÚ˛Ï˚ Շڇθˇ ≈Ù‡ÌÓ‚‡
Production Design Georgi Kolganov
¿‚ÚÓ˚ ÔÂÒÂÌ ¡ÛÎ‡Ú ŒÍۉʇ‚‡,
Costume Design Natalia Efanova
fiËÈ ¬ËÁ·Ó, ≈‚„ÂÌËÈ üΡ˜ÍËÌ
Songs by Bulat Okudzhava,
¬Ó͇ΠfiËÈ ¬ËÁ·Ó
Yuri Vizbor, Evgeni Kliachkin
«‚ÛÍ ¡ÓËÒ ¬ÂÌ„ÂÓ‚ÒÍËÈ
Vocals Yuri Vizbor
¬ ÓΡı: ≈‚„ÂÌˡ ”‡ÎÓ‚‡, ¿ÎÂÍ҇̉
Sound Boris Vengerovsky
¡ÂΡ‚ÒÍËÈ, fiËÈ ¬ËÁ·Ó, ≈‚„ÂÌˡ
Cast: Evgeniya Uralova, Alexander
üÓÁ˚‚‡, ¿ÎÂÍ҇̉ ÃËÚÚ‡,
Beliavsky, Yuri Vizbor,
».¡˚ÎËÌÍËÌ, ¿Î· œÓÍÓ‚Ò͇ˇ, fiËÈ
Evgeniya Kozyreva, Alexander Mitta,
»Î¸˜ÛÍ, ¡.¡ÂÎÓÛÒÓ‚, ¬ËÍÚÓˡ
I. Bylinkin, Alla Pokrovskaya,
¡ÂÒÍÓ‚‡, ¬‡ÎÂÌÚË̇ ÿ‡˚ÍË̇,
Yuri Ilchuk, B. Belousov,
¬ËÚ‡ÎËÈ ¡ÂΡÍÓ‚, »„Ó¸ ü‡¯Ë̈‚,
Viktoria Beskova, Valentina Sharykina,
«ËÌÓ‚ËÈ √Â‰Ú
Vitali Beliakov, Igor Kashintsev,
ƒËÂÍÚÓ ͇ÚËÌ˚
Zinovi Gerdt
¿ÎÂÍ҇̉ fl·ÎÓ˜ÍËÌ
Executive Director Alexander
œÓËÁ‚Ó‰ÒÚ‚Ó ´ÃÓÒÙËθϪ
Yablochkin
Production Mosfilm
1958-2000. ÎÛ˜¯Ë ÙËθÏ˚ Ë ÂÊËÒÒÂ˚
1958-2000: the best films and directors
»fiÀ‹—ü»… ƒŒΔƒ‹
135
1958-2000. ÎÛ˜¯Ë ÙËθÏ˚ Ë ÂÊËÒÒÂ˚
1958-2000: the best films and directors
9 ƒÕ≈… ŒƒÕŒ√Œ √Œƒ¿
NINE DAYS OF ONE YEAR
1961 (‚˚Ô. 05.03.1962), ———–, 111
1961 (release 5 March1962), USSR, 111
»ÌÚÂÎÎÂÍÚۇθ̇ˇ ‰‡Ï‡.
ÏËÌ., ˜/·, 1:1.37/ 1:1.85
min., b/w, 1:1.33/1:1.85
‘ËÁËÍË-ˇ‰Â˘ËÍË ñ Ó‰ÂÊËÏ˚È
¿‚ÚÓ˚ ÒˆÂ̇ˡ ÃËı‡ËÎ –ÓÏÏ,
Scriptwriters Mikhail Romm,
ÚÂÓÂÚËÍ üÛÎËÍÓ‚ ñ ‰‡‚ÌË ‰ÛÁ¸ˇ,
ƒ‡ÌËËÎ ’‡·ӂˈÍËÈ
Daniil Khrabrovitsky
‚β·ÎÂÌÌ˚ ‚ Ó‰ÌÛ ÊÂÌ˘ËÌÛ. ¬
–ÂÊËÒÒÂ ÃËı‡ËÎ –ÓÏÏ
Director Mikhail Romm
ÂÁÛθڇÚ ˝ÍÒÔÂËÏÂÌÚÓ‚ √ÛÒ‚
ŒÔÂ‡ÚÓ √ÂÏ‡Ì À‡‚Ó‚
Director of Photography
ÔÓÎÛ˜‡ÂÚ ÓÔ‡ÒÌÛ˛ ‰Îˇ ÊËÁÌË ‰ÓÁÛ
’Û‰ÓÊÌËÍ √ÂÓ„ËÈ üÓ΄‡ÌÓ‚
German Lavrov
‡‰Ë‡ˆËË. œ‰ÛÔÂʉÂÌˡ ‚‡˜ÂÈ ÌÂ
üÓÒÚ˛Ï˚ ¬‡ÎÂÌÚË̇ üËÒÂ΂‡
Production Design Georgi Kolganov
ÓÒڇ̇‚ÎË‚‡˛Ú ÏÓÎÓ‰Ó„Ó Û˜ÂÌÓ„Ó ‚
üÓÏÔÓÁËÚÓ ƒÊÓÌ “Â-“‡Ú‚ÓÒˇÌ
Costume Design Valentina Kiseleva
ÔÓËÒ͇ı ËÒÚËÌ˚...
«‚ÛÍ ¡ÓËÒ ¬ÓθÒÍËÈ
Composer Dzhon Ter-Tatevosian
˝ÍÒÔÂËÏÂÌÚ‡ÚÓ √ÛÒ‚ Ë ÒÍÂÔÚ˘Ì˚È
136
¬ ÓΡı: ¿ÎÂÍÒÂÈ ¡‡Ú‡ÎÓ‚,
Sound Boris Volsky
»ÌÌÓÍÂÌÚËÈ —ÏÓÍÚÛÌÓ‚ÒÍËÈ,
Cast: Alexei Batalov, Innokenti
“‡Ú¸ˇÌ‡ À‡‚Ó‚‡, ÕËÍÓÎ‡È œÎÓÚÌËÍÓ‚,
Smoktunovsky, Tatiana Lavrova,
≈‚„ÂÌËÈ ≈‚ÒÚË„Ì‚, ÃËı‡ËÎ üÓÁ‡ÍÓ‚,
Nikolai Plotnikov, Evgeni Evstigneev,
¬‡ÎÂÌÚËÌ ÕËÍÛÎËÌ, À˛Ò¸Â̇
Mikhail Kozakov, Valentin Nikulin,
Œ‚˜ËÌÌËÍÓ‚‡, —Â„ÂÈ ¡ÎËÌÌËÍÓ‚,
Liusena Ovchinnikova, Sergei Blinnikov,
¿‰‡ ¬ÓȈËÍ, ÕËÍÓÎ‡È —Â„‚, ¿Ì‰ÂÈ
Ada Voitsek, Nikolai Sergeev, Andrei
—ÏËÌÓ‚, ¡ÓËÒ fl¯ËÌ, »„Ó¸
Smirnov, Boris Yashin, Igor Yasulovich,
flÒÛÎӂ˘, ÕËÍÓÎ‡È √‡·Â
Nikolai Grabbe
“ÂÍÒÚ ˜ËÚ‡ÂÚ «ËÌÓ‚ËÈ √Â‰Ú
Narrator Zinovi Gerdt
ƒËÂÍÚÓ ͇ÚËÌ˚ »„Ó¸ ¬‡Í‡
Executive Director Igor Vakar
œÓËÁ‚Ó‰ÒÚ‚Ó ´ÃÓÒÙËθϪ
Production Mosfilm
ñ ´’ÛÒڇθÌ˚È „ÎÓ·ÛÒª ñ „·‚Ì˚È
ÔËÁ Ãü‘ ‚ ü‡ÎÓ‚˚ı ¬‡‡ı, 1962;
ñ √·‚̇ˇ ÔÂÏˡ Ãü‘ ÚÛ‰ˇ˘ËıÒˇ,
◊ÂıÓÒÎÓ‚‡Íˡ, 1962;
ñ œÓ˜ÂÚÌ˚È ‰ËÔÎÓÏ Ãü‘ ‚ —‡Ì‘‡ÌˆËÒÍÓ, 1962;
ñ œËÁ ÍÎÛ·‡ ÔÓθÒÍËı ÍËÌÓÍËÚËÍÓ‚
´¬‡¯‡‚Ò͇ˇ ÒËÂ̇ª Á‡ ÎÛ˜¯ËÈ
Á‡Û·ÂÊÌ˚È ÙËÎ¸Ï Ì‡ ˝Í‡Ì‡ı
œÓθ¯Ë, 1962;
ñ ÀÛ˜¯ËÈ ÙËÎ¸Ï 1962 „Ó‰‡ ÔÓ ÓÔÓÒÛ
ÊÛ̇· ´—Ó‚ÂÚÒÍËÈ ˝Í‡Ìª;
ñ œÓ˜ÂÚÌ˚È ‰ËÔÎÓÏ Ãü‘ ‚
ÃÂθ·ÛÌÂ, 1965;
ñ √ÓÒÛ‰‡ÒÚ‚ÂÌ̇ˇ ÔÂÏˡ –—‘—–
ËÏÂÌË ¡‡Ú¸Â‚ ¬‡ÒËθ‚˚ı, 1966.
ñ ìCrystal Globeî ñ main prize of the
IFF in Karlovy Vary, 1962;
ñ Main Prize of the IFF of Workers,
Czechoslovakia, 1962;
ñ Honorary Diploma of the IFF in San
Francisco, 1962;
ñ Prize of the club of Polish Film
Critics ìWarsaw Sirenî for the best
foreign film on Polish screens, 1962;
ñ Best Film of 1962 according to a
survey of the journal ìSoviet
Screenî;
ñ Honorary Diploma of the IFF in
Melbourne, 1965;
ñ ìVasiliev Brothersî State Prize of the
RSFSR, 1966.
Intellectual drama.
Two nuclear physicists ñ the obsessed
experimenter Gusev and the skeptical
theorist Kulikov ñ are old friends who
are in love with the same woman. As a
result of his experiments Gusev is
exposed to a dangerous doze of
radiation. The warnings of the doctors
do not stop the young scientist from his
search for the truth...
LITTLE VERA
—ӈˇθ̇ˇ ‰‡Ï‡/ Love story.
1988 (‚˚Ô. 26.09.1988), ———–,
1988 (release 26 Sept. 1988), USSR,
ÀÂÚÓ, ˛ÊÌ˚È ÔÓÏ˚¯ÎÂÌÌÓ-ÔÓÚÓ‚˚È
135 ÏËÌ., ˆ‚., 1:1.66, ÏÓÌÓ
135 min., col., 1:1.66, mono
¿‚ÚÓ ÒˆÂ̇ˡ Çˡ ’ÏÂÎËÍ
–ÂÊËÒÒÂ ¬‡ÒËÎËÈ œË˜ÛÎ
ŒÔÂ‡ÚÓ ≈ÙËÏ –ÂÁÌËÍÓ‚
’Û‰ÓÊÌËÍ ¬Î‡‰ËÏË œÓÒÚÂ̇Í
üÓÒÚ˛Ï˚ Շڇθˇ œÓΡı
üÓÏÔÓÁËÚÓ ¬Î‡‰ËÏË ÇÚˆÍËÈ
“ÂÍÒÚ ÔÂÒÂÌ »„Ó¸ ÿ‡ÙÂ‡Ì
«‚ÛÍ œ‡‚ÂÎ ƒÓÁ‰Ó‚
¬ ÓΡı: Շڇθˇ Õ„Ӊ‡,
¿Ì‰ÂÈ —ÓÍÓÎÓ‚, fiËÈ Õ‡Á‡Ó‚,
À˛‰ÏË· «‡ÈˆÂ‚‡,
¿ÎÂÍ҇̉ ¿ÎÂÍÒ‚-Õ„·‡,
¿ÎÂÍ҇̉‡ “‡·‡ÍÓ‚‡, ¿Ì‰ÂÈ ‘ÓÏËÌ,
¿ÎÂÍ҇̉ ÃËÓÌÓ‚,
¿ÎÂÍ҇̉ ÀÂ̸ÍÓ‚
ƒËÂÍÚÓ ͇ÚËÌ˚ ƒ‡‚ˉ œÓ·Â
œÓËÁ‚Ó‰ÒÚ‚Ó üËÌÓÒÚÛ‰Ëˇ ËÏÂÌË
Ã.√Ó¸ÍÓ„Ó
Scriptwriter Maria Khmelik
Director Vasili Pichul
Director of Photography
Efim Reznikov
Production Design Vladimir Pasternak
Costume Design Natalia Polyakh
Composer Vladimir Matetsky
Lyrics by Igor Shaferan
Sound Pavel Drozdov
Cast: Natalia Negoda, Andrei Sokolov,
Yuri Nazarov, Liudmila Zaitseva,
Alexander Alexeev-Negreba, Alexandra
Tabakova, Andrei Fomin, Alexander
Mironov, Alexander Lenkov
Executive Director David Prober
Production Maxim Gorky Film Studio
ñ ¡Óθ¯ÓÈ ÒÔˆˇθÌ˚È ÔËÁ Ê˛Ë ñ
Ãü‘ ‚ ÃÓÌ‡ÎÂ, 1988;
ñ œÂÏˡ ‘»œ–≈——» ñ Ãü‘ ‚
¬Â̈ËË, 1988;
ñ √‡Ì-ÔË ´«ÓÎÓÚÓÈ ’¸˛„Óª Á‡
ÎÛ˜¯Û˛ ÊÂÌÒÍÛ˛ Óθ (Õ.Õ„Ӊ‡) ñ
Ãü‘ ‚ ◊Ë͇„Ó, 1988;
ñ œËÁ ´√ÓÎÛ·ÓÈ ·Â„ª Á‡ ÎÛ˜¯ËÈ
‰Â·˛Ú ñ Ãü‘ ‚ “ÓÂ, 1989;
ñ œÂp‚˚È ÔpËÁ Á‡ ÎÛ˜¯Û˛ ÊÂÌÒÍÛ˛
Óθ (Õ.Õ„Ӊ‡) ñ Ãü‘
´«‡‚Úp‡¯ÌË Á‚ÂÁ‰˚ª, ΔÂÌ‚‡,
1989;
ñ œÂÏˡ ≈‚ÓÔÂÈÒÍÓÈ ÍËÌӇ͇‰ÂÏËË
´‘ÂÎËÍÒª Á‡ ÎÛ˜¯ËÈ ÒˆÂ̇ËÈ
(Ã.’ÏÂÎËÍ), 1989;
ñ √‡Ì-ÔË Á‡ ÎÛ˜¯ËÈ
ÔÓÎÌÓÏÂÚ‡ÊÌ˚È ÙËÎ¸Ï ñ Ãü‘ ‚
¿ÌÊÂ, 1989;
ñ œÂÏˡ üËÌӇ͇‰ÂÏËË ´ÕË͇ª Á‡
1988 „Ó‰ ‚ ÌÓÏË̇ˆËË ´ÎÛ˜¯‡ˇ
ÊÂÌÒ͇ˇ Óθª (Õ.Õ„Ӊ‡);
ñ œËÁ˚ ü‘ ´—ÓÁ‚ÂÁ‰ËÂ-1989ª Á‡ ÓÎË
‚ÚÓÓ„Ó Ô·̇ (fi.Õ‡Á‡Ó‚ Ë
À.«‡ÈˆÂ‚‡);
ñ —Â·ˇÌ‡ˇ ω‡Î¸ ¬ƒÕ’ (1989,
¬.œÓÒÚÂÌ‡Í ñ Á‡ ˝ÒÍËÁ˚ Í
ÙËθÏÛ);
ñ œÓ ÓÔÓÒÛ ÊÛ̇· ´—Ó‚ÂÚÒÍËÈ
˝Í‡Ìª Շڇθˇ Õ„Ӊ‡ ÔËÁ̇̇
ÎÛ˜¯ÂÈ ‡ÍÚËÒÓÈ 1988 „Ó‰‡.
ñ Grand Special Jury Prize ñ IFF in
Montreal, 1988;
ñ FIPRESCI Prize ñ IFF in Venice,
1988;
ñ Grand Prix ìGolden Hugoî for the
best actress (N. Negoda) ñ IFF in
Chicago, 1988;
ñ Prize ìBlue Coastî for the best debut
ñ IFF in Troy, 1989;
ñ First Prize for the best actress (N.
Negoda) ñ IFF ìTomorrowís Starsî,
Geneva, 1989;
ñ Prize of the European Film Academy
FELIX for best script (M. Khmelik),
1989;
ñ Grand Prix for best feature film ñ
IFF in Angers, 1989;
ñ Prize of the Film Academy NIKA for
1988 in the nomination ìbest actressî
(N. Negoda);
ñ Prize of the film festival ìSozvezdieî
1989 for supporting roles (Yu.
Nazarov and L. Zaitseva);
ñ Silver Medal of the All-Union
Exhibition (1989, V. Pasternak for
sketches to the film);
ñ According to the survey of the
journal ìSoviet Screenî Natalia
Negoda is recognized as best actress
of 1988.
1958-2000. ÎÛ˜¯Ë ÙËθÏ˚ Ë ÂÊËÒÒÂ˚
1958-2000: the best films and directors
ÿÀ≈Õ‹ü¿fl ¬≈–¿
„ÓÓ‰. —Â˚ ·Û‰ÌË ˛ÌÓÈ ¬Â˚
‚Á˚‚‡˛ÚÒˇ ÌÂÓÊˉ‡ÌÌÓÈ Î˛·Ó‚ÌÓÈ
ËÒÚÓËÂÈ, ÒÎۘ˂¯ÂÈÒˇ Ò Ì² Ò‡ÏÓÈ.
œÓȉˇ ˜ÂÂÁ ‡‰ ÌÂÒÛ‡ÁÌÓ
ÛÒÚÓÂÌÌÓ„Ó ·˚Ú‡, ¬Â‡ ̇ıÓ‰ˇÚ
„·‚ÌÛ˛ ÓÔÓÛ Ò‚ÓÂÈ ÊËÁÌË ‚ β·‚Ë Ë
ÔÓ˘ÂÌËË.
ÀˉÂ ÔÓ͇ڇ (1988, 1- ÏÂÒÚÓ) ñ 56.0
ÏÎÌ. ÁËÚÂÎÂÈ ñ ÔÓÒΉÌËÈ ÒÓ‚ÂÚÒÍËÈ
ÙËθÏ, ÒÓ·‡‚¯ËÈ ·ÓΠ50 ÏÎÌ.
ÁËÚÂÎÂÈ Á‡ ÔÂ‚˚È „Ó‰ ÔÓ͇ڇ.
Social drama / Love story.
Summer, a southern industrial port.
The grey, everyday life of the young
Vera is broken up by the unexpected
love story that happens to her. Going
through the hell of silly, planned life,
Vera finds support in life through love
and forgiveness.
Leader of distribution (1988, 1st place)
ñ 56.0 million spectators; the last
Soviet film to collect over 50 million
spectators during the first year in
distribution
137
1958-2000. ÎÛ˜¯Ë ÙËθÏ˚ Ë ÂÊËÒÒÂ˚
1958-2000: the best films and directors
138
»—“Œ–»fl ¿—» üÀfl◊»ÕŒ…, üŒ“Œ–¿fl
Àfi¡»À¿, ƒ¿ Õ≈ ¬¤ÿÀ¿ «¿Ã”Δ
(´¿ÒËÌÓ Ò˜‡Òڸª)
THE STORY OF ASYA KLYACHINA
1967 (‚˚Ô. 23.09.1988), ———–,
1967 (release 23 Sept. 1988), USSR,
ÃÂÎÓ‰‡Ï‡.
99 ÏËÌ., ˜/·
99 min., b/w
´»ÒÚÓˡ ¿ÒË üΡ˜ËÌÓÈ, ÍÓÚÓ‡ˇ
¿‚ÚÓ ÒˆÂ̇ˡ fiËÈ üÎÂÔËÍÓ‚
Scriptwriter Yuri Klepikov
˜ÚÓ „Ó‰‡ˇ ·˚·ª (ÔÂ‚Ó ̇Á‚‡ÌËÂ
–ÂÊËÒÒÂ ¿Ì‰ÂÈ üÓ̘‡ÎÓ‚ÒÍËÈ
Director Andrei Konchalovsky
͇ÚËÌ˚) ñ Ë ÂÒÚ¸ Ò˛ÊÂÚ ÙËθχ,
ŒÔÂ‡ÚÓ √ÂÓ„ËÈ –Â·Â„
Director of Photography
ÓÚ‡ÁË‚¯Â„Ó ‡θÌÛ˛ ÊËÁ̸
’Û‰ÓÊÌËÍ ÃËı‡ËÎ –Óχ‰ËÌ
Georgi Rerberg
ÒÓ‚ÂÚÒÍÓÈ ÔÓ‚Ë̈ËË: ˜ËÒÚÛ˛,
«‚ÛÍ –‡ËÒ‡ Ç„‡˜Â‚‡
Production Design Mikhail Romadin
Ò‚ÂÚÎÛ˛, ÌË˘Û˛. ‘ËθÏ, ҉·ÌÌ˚È Ò
¬ ÓΡı: »ˇ —‡‚‚Ë̇,
Sound Raisa Margacheva
·Óθ˛ Ë „Ó‰ÓÒÚ¸˛ Á‡ ÒÓ‚ÂÚÒÍËÈ Ì‡Ó‰,
¿ÎÂÍ҇̉ —ÛËÌ, À˛·Ó‚¸ —ÓÍÓÎÓ‚‡,
Cast: Iya Savvina, Alexander Surin,
‚˚¯ÂΠ̇ ˝Í‡Ì˚ ÚÓθÍÓ ‚ 1988 „Ó‰Û.
√ÂÌ̇‰ËÈ ≈„Ó˚˜Â‚, »‚‡Ì œÂÚÓ‚,
Liubov Sokolova, Gennadi Egorychev,
À. «‡ÈˆÂ‚‡, Õ. Õ‡Á‡Ó‚, ¡ÓËÒ
Ivan Petrov, Liudmila Zaitseva,
œ‡ÙÂÌÓ‚, —Â„ÂÈ œ‡ÙÂÌÓ‚,
N. Nazarov, Boris Parfenov,
Õ. —ÂÓ‚‡, ≈. ¿ÒÂÒÒÓÓ‚‡,
Sergei Parfenov, N. Serova,
üÓΡ œÓ„Ó‰ËÌ
E. Asessorova, Kolya Pogodin
ƒËÂÍÚÓ ͇ÚËÌ˚ ¬.üÓ‚‡Î‚ÒÍËÈ
Executive Director V. Kovalevsky
œÓËÁ‚Ó‰ÒÚ‚Ó ´ÃÓÒÙËθϪ
Production Mosfilm
β·Ë·, ‰‡ Ì ‚˚¯Î‡ Á‡ÏÛÊ, ÔÓÚÓÏÛ
Melodrama.
ìThe Story of Asya Kliachina who
ñ √·‚Ì˚È ÔËÁ ¬ü‘ ‚ ¡‡ÍÛ, 1988;
ñ œÂÏˡ üËÌӇ͇‰ÂÏËË ´ÕË͇ª Á‡
ÎÛ˜¯Û˛ ÂÊËÒÒÂÒÍÛ˛ ‡·ÓÚÛ,
1988;
ñ —ÔˆˇθÌ˚È ÔËÁ ËڇθˇÌÒÍÓ„Ó
ÔÓ͇ڇ ñ Ãü‘ ‚ œÂÁ‡Ó, 1988;
ñ œÂÏˡ ‘»œ–≈——» ‰Îˇ
‚ÌÂÍÓÌÍÛÒÌ˚ı ÙËθÏÓ‚ ñ Ãü‘ ‚
«‡Ô‡‰ÌÓÏ ¡ÂÎËÌÂ, 1988.
ñ Main Prize of the All-Union Film
Festival in Baku, 1988;
ñ Prize of the Film Academy NIKA for
the best director, 1988;
ñ Special Prize of Italian distribution ñ
IFF Pesaro, 1988;
ñ FIPRESCI Prize for non-competition
films ñ IFF in West Berlin, 1988.
Loved but did not Marry because of her
Prideî (the original title of the film) ñ
this is the plot of the film which
reflected real life of the Soviet
provinces: pure, light, and poor. The
film, made with pain and pride for the
Soviet people, was released only in
1988.
THE BEGINNING
ÃÂÎÓ‰‡Ï‡.
1970 (‚˚Ô. 12.10.1970), ———–,
1970 (release 12 Oct. 1970), USSR, 91
œÓÒÚ‡ˇ ËÒÚÓˡ Ò ‚Ë‰Û ÌÂÍ‡ÒË‚ÓÈ,
91 ÏËÌ., ˜/·, 1:2.35
min., b/w, 1:2.35
Û‚ÂÂÌÌÓ Ë„‡ÂÚ Ò‚Ó˛ ÔÂ‚Û˛ Ë, ÏÓÊÂÚ
¿‚ÚÓ˚ ÒˆÂ̇ˡ
Scriptwriters
·˚Ú¸, ÔÓÒÎÂ‰Ì˛˛, ÌÓ ÓÚÌ˛‰¸ ÌÂ
≈‚„ÂÌËÈ √‡·ËÎӂ˘, √η œ‡ÌÙËÎÓ‚
Evgeni Gabrilovich, Gleb Panfilov
ÒÎÛ˜‡ÈÌÛ˛ Óθ ‚ ÍËÌÓ ñ Δ‡ÌÌÛ
–ÂÊËÒÒÂ √η œ‡ÌÙËÎÓ‚
Director Gleb Panfilov
ƒí¿Í ñ Ë Ô‰‡ÌÌÓ Î˛·ËÚ ÊÂ̇ÚÓ„Ó.
ŒÔÂ‡ÚÓ ƒÏËÚËÈ ƒÓÎËÌËÌ
Director of Photography
’Û‰ÓÊÌËÍ Ã‡ÍÒ˝Ì √‡ÛıχÌ-—‚Â‰ÎÓ‚
Dmitri Dolinin
üÓÒÚ˛Ï˚ Շڇθˇ ¬‡ÒË肇,
Production Design
√‡ÎË̇ ¿ÌÚËÔË̇
Marksen Gaukhman-Sverdlov
üÓÏÔÓÁËÚÓ ¬‡‰ËÏ ¡Ë·Â„‡Ì
Costume Design Natalia Vasilieva,
«‚ÛÍ √‡ÎË̇ √‡‚ËÎÓ‚‡
Galina Antipina
¬ ÓΡı: »Ì̇ ◊ÛËÍÓ‚‡,
Composer Vadim Bibergan
ÀÂÓÌˉ üÛ‡‚΂, ¬‡ÎÂÌÚË̇ “Â΢ÍË̇,
Sound Galina Gavrilova
“‡Ú¸ˇÌ‡ —ÚÂÔ‡ÌÓ‚‡, ÃËı‡ËÎ üÓÌÓÌÓ‚,
Cast: Inna Churikova, Leonid Kuravlev,
ÕË̇ —ÍÓÏÓÓıÓ‚‡, “‡Ú¸ˇÌ‡ ¡Â‰Ó‚‡,
Valentina Telichkina,
fiËÈ üÎÂÔËÍÓ‚, √ÂÌ̇‰ËÈ ¡Â„ÎÓ‚,
Tatiana Stepanova, Mikhail Kononov,
fiËÈ ¬ËÁ·Ó, ≈‚„ÂÌËÈ À·‰‚,
Nina Skomorokhova, Tatiana Bedova,
¬ˇ˜ÂÒ·‚ ¬‡ÒËθ‚, √Â‡ ΔÛÍÓ‚ÒÍËÈ,
Yuri Klepikov, Gennadi Beglov,
¬Ò‚ÓÎÓ‰ —Ó·Ó΂, ≈͇ÚÂË̇ ¬‡ÒË肇
Yuri Vizbor, Evgeni Lebedev,
ƒËÂÍÚÓ ͇ÚËÌ˚ ¿.“‡‡ÒÓ‚
Viacheslav Vasiliev, Gera Zhukovsky,
œÓËÁ‚Ó‰ÒÚ‚Ó ´ÀÂÌÙËθϪ
Vsevolod Sobolev, Ekaterina Vasilieva
1958-2000. ÎÛ˜¯Ë ÙËθÏ˚ Ë ÂÊËÒÒÂ˚
1958-2000: the best films and directors
Õ¿◊¿ÀŒ
ÌÓ Ú‡Î‡ÌÚÎË‚ÓÈ ‰Â‚Û¯ÍË, ÍÓÚÓ‡ˇ
Melodrama.
The simple history of a girl who is not
pretty, but talented and who confidently
Executive Director A. Tarasov
plays her first, and maybe last, but not
Production Lenfilm
accidental role in cinema: Jeanne díArc;
and who faithfully loves a married man.
ñ œÂÏˡ ÀÂÌËÌ„‡‰ÒÍÓ„Ó ÍÓÏÒÓÏÓ·
(1970, ÂÊËÒÒÂ √η œ‡ÌÙËÎÓ‚ Á‡
ÒÓÁ‰‡ÌË ÙËθÏÓ‚ ´¬ Ó„Ì ·Ó‰‡
ÌÂÚª Ë ´Õ‡˜‡ÎÓª);
ñ œËÁ ´—Â·ˇÌ˚È Î‚ Ò‚. Ç͇ª
(‡ÍÚËÒ‡ »Ì̇ ◊ÛËÍÓ‚‡) ñ Ãü‘
‚ ¬Â̈ËË, 1971;
ñ œËÁ ´fiÊÌ˚È ÍÂÒÚª (‡ÍÚËÒ‡
»Ì̇ ◊ÛËÍÓ‚‡) ñ Ãü‘ ‚
¿‰Â·ˉÂ, ¿‚ÒÚ‡Îˡ, 1972;
ñ œÓ ÓÔÓÒÛ ÊÛ̇· ´—Ó‚ÂÚÒÍËÈ
˝Í‡Ìª »Ì̇ ◊ÛËÍÓ‚‡ ÔËÁ̇̇
ÎÛ˜¯ÂÈ ‡ÍÚËÒÓÈ 1971 „Ó‰‡;
ñ œÓ ÓÔÓÒÛ ÍËÌÓÁËÚÂÎÂÈ ¡Ó΄‡ËË
»Ì̇ ◊ÛËÍÓ‚‡ ÔËÁ̇̇ ÎÛ˜¯ÂÈ
Á‡Û·ÂÊÌÓÈ ‡ÍÚËÒÓÈ 1970 Ë 1971
„Ó‰Ó‚ (´¬ Ó„Ì ·Ó‰‡ ÌÂÚª,
´Õ‡˜‡ÎÓª).
ñ Prize of the Leningrad Komsomol
(1970, director Gleb Panfilov for the
creation of the films ìNo Path
through Fireî and ìThe Beginningî);
ñ Prize ìSilver Lionî (actress Inna
Churikova) ñ IFF in Venice, 1971;
ñ Prize ìSouthern Crossî (actress Inna
Churikova) ñ IFF in Adelaide,
Australia, 1972;
ñ According to a survey of the journal
ìSoviet Screenî Inna Churikova is
recognized as the best actress of 1971;
ñ According to a survey of spectators in
Bulgaria Inna Churikova is
recognized as the best foreign actress
for 1970 and 1971 (ìNo Path through
Fireî and ìThe Beginningî).
139
1958-2000. ÎÛ˜¯Ë ÙËθÏ˚ Ë ÂÊËÒÒÂ˚
1958-2000: the best films and directors
140
Œü–¿»Õ¿
OUTSKIRTS
1998 (‚˚Ô. 30.10.1998), –ÓÒÒˡ,
1998 (release 30 Oct. 1998), Russia,
100 ÏËÌ., ˜/·, 1:1.66
100 min., b/w, 1:1.66
¿‚ÚÓ˚ ÒˆÂ̇ˡ œÂÚ ÀÛˆËÍ,
¿ÎÂÍÒÂÈ —‡ÏÓˇ‰Ó‚
–ÂÊËÒÒÂ œÂÚ ÀÛˆËÍ
ŒÔÂ‡ÚÓ ÕËÍÓÎ‡È »‚‡ÒË‚
’Û‰ÓÊÌËÍ ¿Ì‰ÂÈ ¡ÂÒÒÓÎˈ˚Ì
üÓÒÚ˛Ï˚ ÇÍÒËÏ œ‡ÁËÎÓ‚
»ÒÔÓθÁÛÂχˇ ÏÛÁ˚͇ √‡‚ËËÎ œÓÔÓ‚,
√ÂÓ„ËÈ —‚Ëˉӂ
¿‡ÌÊËӂ͇ »„Ó¸ ü‡ÌÚ˛ÍÓ‚
«‚ÛÍ ¬ˇ˜ÂÒ·‚ üβ˜ÌËÍÓ‚
¬ ÓΡı: fiËÈ ƒÛ·Ó‚ËÌ, ÕËÍÓ·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 √Œ—ü»ÕŒ
œÓÍ‡Ú ´»ÌÚÂÒËÌÂχ-¿Úª
Scriptwriters Petr Lutsik, Alexei
Samoriadov
Director Petr Lutsik
Director of Photography Nikolai Ivasiv
Production Design Andrei Bessolitsyn
Costume Design Maxim Pazilov
Music by Gavriil Popov, Georgi Sviridov
Arrangement Igor Kantiukov
Sound Viacheslav Kliuchnikov
Cast: Yuri Dubrovin, Nikolai Olialin,
Alexei Pushkin, Alexei Vanin, Rimma
Markova, Viktor Stepanov, Anatoli
Koshcheev, Viktor Venes, Alexander
Vdovin, Galina Zolotareva, Oleg
Mokshantsev, Viacheslav Kulakov
Producer Petr Lutsik
Production ìMorning of the 21st
Centuryî, with participation of Goskino
Distribution: Intercinema-Art
ñ œËÁ ËÏÂÌË ›ÈÁÂ̯ÚÂÈ̇ Á‡
ÍËÌÓÒˆÂ̇ËÈ ´ƒËÍÓ ÔÓΪ;
ñ —ÔˆˇθÌ˚È ÔËÁ Ê˛Ë ÍÓÌÍÛÒ‡
´ƒÂ·˛Úª, œÓ˜ÂÚÌ˚È ‰ËÔÎÓÏ
√Ëθ‰ËË ÍËÌӂ‰ӂ Ë ÍËÌÓÍËÚËÍÓ‚
–ÓÒÒËË ñ Œ–ü‘ ´üËÌÓÚ‡‚ª, —Ó˜Ë,
1998;
ñ œÂÏˡ ‘»œ–≈——» ñ Ãü‘ ‚
◊Ë͇„Ó, 1998;
ñ œËÁ ËÏÂÌË ÕËÍÓ·ˇ Œ‚ÒˇÌÌËÍÓ‚‡
Á‡ ÂÊËÒÒÂÒÍËÈ ‰Â·˛Ú (œ.ÀÛˆËÍ)
ñ ‘‘ ‚ —‡ÌÍÚ-œÂÚÂ·Û„Â, 1998;
ñ ƒËÔÎÓÏ Ê˛Ë ñ Ãü‘ ´ÃÓÎÓ‰ÓÒÚ¸ª,
üË‚, 1998;
ñ Õ‡ˆËÓ̇θ̇ˇ ÔÂÏˡ √Ëθ‰ËË
ÍËÌӂ‰ӂ Ë ÍËÌÓÍËÚËÍÓ‚
´«ÓÎÓÚÓÈ Œ‚Â̪ (1998) ñ Á‡ ÎÛ˜¯ËÈ
ÙËθÏ-‰Â·˛Ú;
ñ œËÁ ´ƒÓÌ üËıÓÚª ÃÂʉÛ̇Ó‰ÌÓ„Ó
Ê˛Ë ÍËÌÓÍÎÛ·Ó‚ ñ Ãü‘ ‚
¡ÂÎËÌÂ: ‘ÓÛÏ, 1999;
ñ ´Philipp Morris Freedomª ñ Ãü‘ ‚
ü‡ÎÓ‚˚ı ¬‡‡ı, 1999 Ë ‰.
ñ Eisenstein Prize for the film script
ìWild Fieldî;
ñ Special Jury Prize of the debut
competition, Honorary Diploma of the
Guild of Film Scholars and Film
Critics of Russia ñ Open Russian
Film Festival Kinotavr, Sochi, 1998;
ñ FIPRESCI Prize ñ IFF in Chicago,
1998;
ñ Nikolai Ovsiannikov Prize for
directorís debut (P. Lutsik) ñ Film
Festival in Saint Petersburg, 1998;
ñ Jury Diploma ñ IFF Molodist in
Kiev, 1998;
ñ National Prize of the Guild of Film
Scholars and Film Critics ìGolden
Ariesî (1998) for best debut film;
ñ Prize ìDon Quixoteî of the
International Jury of Film Clubs ñ
IFF in Berlin: Forum, 1999;
ñ ìPhilipp Morris Freedomî ñ IFF in
Karlovy Vary, 1999, etc.
»ÓÌ˘ÂÒ͇ˇ ̇Ó‰ÌÓÔËÍβ˜Â̘ÂÒ͇ˇ ˝Ô˘ÂÒ͇ˇ ‰‡Ï‡ ÔÓ
ÒˆÂ̇˲ œ.ÀÛˆË͇ Ë ¿.—‡ÏÓˇ‰Ó‚‡
´ƒËÍÓ ÔÓΪ.
”‡Î ̇˜‡Î‡ 90-ı „Ó‰Ó‚. œËÂı‡ÎË Í
Ô‰Ò‰‡ÚÂβ ÍÓÎıÓÁ‡ ÍÓÓÔÂ‡ÚÓ˚ Ò
Ó·ÍÓÏÓ‚ÒÍËÏ ‡·ÓÚÌËÍÓÏ Ë Á‡ÒÚ‡‚ËÎË
¬‡ÒËÎˡ »‚‡Ìӂ˘‡ ÔÓ‰ÔËÒ‡Ú¸ ·Ûχ„Û
̇ ÔÓ‰‡ÊÛ ÍÓÎıÓÁÌÓÈ Ô‡ıÓÚÌÓÈ
ÁÂÏÎË. “Â, ÍÓÏÛ ˝Ú‡ ÁÂÏΡ
ÔÓ̇‰Ó·Ë·Ҹ, ·Û‰ÚÓ Á̇ÎË, ˜ÚÓ ÓÒ··
˜ÂÎÓ‚ÂÍ ÓÚ ÚÛ‰ÌÓÈ ÊËÁÌË Ë ÔÓ„Ë·‡Ú¸
Á‡ ˝ÚÛ ÁÂÏβ ÂÏÛ ÚÂÔÂ¸ Ì ‚ ‡‰ÓÒÚ¸.
ÕÓ ·˚‚¯Ë ÍÓÎıÓÁÌËÍË ÒÓ·‡ÎËÒ¸ Ò
ÔÓÒΉÌËÏË ÒË·ÏË Ë ÔÓ¯ÎË ÔÓ
–ÓÒÒËË ñ ÓÚ ”‡Î‡ ‰Ó Ò‡ÏÓÈ ÃÓÒÍ‚˚ ñ
ËÒ͇ڸ ÓÚ‚ÂÚ˜Ë͇ Á‡ ‚Ò Ô˘ËÌÂÌÌ˚Â
ÌÂÒ˜‡ÒÚ¸ˇ, ÔÛÒÚ¸ ‡ÒÒ͇ÊÂÚ ËÏ,
ÛÒÒÍËÏ ÏÛÊË͇Ï, ˜ÚÓ ˝ÚÓ ÓÌ Ò ÁÂÏÎÂÈ
Û˜ËÌËÎ Ë ÔÓ˜ÂÏÛ ÓÚÌˇÎ Û ÌËı
ÔÓÒΉÌÂÂ...
ƒÂÈÒÚ‚Ë ÙËθχ ‡Á‚Ë‚‡ÂÚÒˇ ̇ ÙÓÌÂ
Ò˛ÊÂÚÓ‚ Ë ÔÓ˝ÚËÍË ÓÚ˜ÂÒÚ‚ÂÌÌÓÈ
ÍËÌÓÍ·ÒÒËÍË.
An ironic popular adventure epic drama
based on the script by P. Lutsik and A.
Samoriadov ìWild Fieldî
The Urals in the early 1990s.
Representatives of a co-operative visit
the chairman of a collective farm
together with a worker from the
district; they force Vasili Ivanovich to
sign a paper agreeing to the sale of the
collective-farmís plough-lands. Those
who need this land appear to know that
the chairman is weakened from a hard
life and will not readily die for that
land now. But the former collective
farmers gather their last forces and
travel across Russia, from the Urals to
Moscow, to find the person responsible
for their misfortunes: may he tell the
Russian men what he has done with
that land and why he has taken the last
thing away from them...
The action of the film unfolds against
the backdrop of themes and the poetics
of Russian film classics.
NO PATH THROUGH FIRE
üËÌÓÔÓ‚ÂÒÚ¸ ÔÓ ÏÓÚË‚‡Ï ‡ÒÒ͇Á‡
1967 (‚˚Ô. 01.06.1968), ———–, 95
1967 (release 1 June 1968), USSR, 95
≈‚„ÂÌˡ √‡·ËÎӂ˘‡.
ÏËÌ., ˜/·, 1:1.37 / 1:2.35
min., b/w, 1:1.37 / 1:2.35
‡ÌÂÌ˚ı Ò ÙÓÌÚÓ‚ √‡Ê‰‡ÌÒÍÓÈ
¿‚ÚÓ˚ ÒˆÂ̇ˡ
Scriptwriters Evgeni Gabrilovich,
‚ÓÈÌ˚, ‡·ÓÚ‡ÂÚ Ò‡ÌËÚ‡ÍÓÈ
≈‚„ÂÌËÈ √‡·ËÎӂ˘, √η œ‡ÌÙËÎÓ‚
Gleb Panfilov
ÍÓÏÒÓÏÓÎ͇ “‡Ìˇ “ÂÚÍË̇.
–ÂÊËÒÒÂ √η œ‡ÌÙËÎÓ‚
Director Gleb Panfilov
«‡ÒÚÂ̘˂‡ˇ ‰Â‚ۯ͇ ËÒÍÂÌÌ Ë
ŒÔÂ‡ÚÓ ƒÏËÚËÈ ƒÓÎËÌËÌ
Director of Photography Dmitri Dolinin
Ò‡ÏÓÓÚ‚ÂÊÂÌÌÓ Ô‰‡Ì‡ Ò‚ÓÂÏÛ ‰ÂÎÛ,
’Û‰ÓÊÌËÍ Ã‡ÍÒ˝Ì √‡ÛıχÌ-—‚Â‰ÎÓ‚
Production Design
˜ÚÓ Ì Ï¯‡ÂÚ ÂÈ ÔÓβ·ËÚ¸
–ËÒÛÌÍË Õ‡Ú‡Î¸ˇ ¬‡ÒË肇
Marksen Gaukhman-Sverdlov
Í‡ÒÌÓ‡ÏÂȈ‡ ¿Î¯Û. ŒÌ‡ Ì ‚ÒÂ
üÓÒÚ˛Ï˚ ≈.—ÓÎÓ‚ˆÓ‚‡
Drawings by Natalia Vasilieva
ÔÓÌËχÂÚ ËÁ ÔÓËÒıÓ‰ˇ˘Â„Ó ‚ÓÍÛ„,
üÓÏÔÓÁËÚÓ ¬‡‰ËÏ ¡Ë·Â„‡Ì
Costume Design E. Solovtsova
ÏÌÓ„Ó Î˯¸ ÒÏÛÚÌÓ Ó˘Û˘‡ÂÚ, ˜ÚÓ Ë
«‚ÛÍ √ÂÓ„ËÈ —‡Î¸Â
Composer Vadim Bibergan
Ô˚Ú‡ÂÚÒˇ ‚˚‡ÁËÚ¸ Ò‚ÓËÏË ËÒÛÌ͇ÏË
¬ ÓΡı: »Ì̇ ◊ÛËÍÓ‚‡, ¿Ì‡ÚÓÎËÈ
Sound George Salie
Ë ÓÚÌÓ¯ÂÌËÂÏ Í ·ÎËÁÍËÏ Î˛‰ˇÏ,
—ÓÎÓÌˈ˚Ì, ÃËı‡ËÎ √ÎÛÁÒÍËÈ,
Cast: Inna Churikova, Anatoli
ÍÓÚÓ˚ı Ó̇ ̇ıÓ‰ËÚ Ë ÚÂˇÂÚ ‚
ÃËı‡ËÎ üÓÌÓÌÓ‚, Ã‡Èˇ ¡Û΄‡ÍÓ‚‡,
Solonitsyn, Mikhail Gluzsky,
Ì‚˚ÌÓÒËÏÓ ÚÛ‰Ì˚ ‰ÌË ‚ÓÈÌ˚.
≈‚„ÂÌËÈ À·‰‚, ¿Ì‡ÚÓÎËÈ Ã‡ÂÌ˘,
Mikhail Kononov, Maya Bulgakova,
¬Î‡‰ËÏË ü‡¯ÔÛ, ¬‡‰ËÏ ¡ÂÓ‚,
Evgeni Lebedev, Anatoli Marenich,
ÃËı‡ËÎ üÓͯÂÌÓ‚,
Vladimir Kashpur, Vadim Beroev,
À˛·Ó‚¸ ÇÎËÌÓ‚Ò͇ˇ
Mikhail Kokshenov,
ƒËÂÍÚÓ ͇ÚËÌ˚ ÕËÍÓÎ‡È ÕÂÂÎÓ‚
Liubov Malinovskaya
œÓËÁ‚Ó‰ÒÚ‚Ó ´ÀÂÌÙËθϪ
Executive Director Nikolai Neelov
1958-2000. ÎÛ˜¯Ë ÙËθÏ˚ Ë ÂÊËÒÒÂ˚
1958-2000: the best films and directors
¬ Œ√Õ≈ ¡–Œƒ¿ Õ≈“ (Œ “‡Ì “ÂÚÍËÌÓÈ Ë Â ËÒÛÌ͇ı)
¬ Ò‡ÌËÚ‡ÌÓÏ ÔÓÂÁ‰Â, ‚˚‚ÓÁˇ˘ÂÏ
A film-story based on the motives of
Evgeni Gabrilovichís story.
Production Lenfilm
The komsomol member Tania Tetkina
works as nurse on a hospital train
which takes the wounded men from the
front lines of the Civil War. The timid
girl sincerely and self-denyingly caries
out her job, which does not stop her
from growing fond of the Red Army
soldier Alesha. She does not understand
everything that goes on around her:
many things she merely senses, which is
what she tries to express in her
drawings and through her relationships
to people close to her ñ and whom she
finds and loses in these intolerable and
difficult times of war.
ñ œËÁ ´«ÓÎÓÚÓÈ ÎÂÓÔ‡‰ª Á‡ ÎÛ˜¯Û˛
‡·ÓÚÛ ÏÓÎÓ‰Ó„Ó ÂÊËÒÒÂ‡ (√η
œ‡ÌÙËÎÓ‚), ÔÂÏˡ Ê˛Ë Á‡ ÎÛ˜¯ÂÂ
ËÒÔÓÎÌÂÌË ÊÂÌÒÍÓÈ ÓÎË (»Ì̇
◊ÛËÍÓ‚‡) ñ Ãü‘ ‚ ÀÓ͇ÌÓ, 1969;
ñ œÂÏˡ ÀÂÌËÌ„‡‰ÒÍÓ„Ó ÍÓÏÒÓÏÓ·
(1970, ÂÊËÒÒÂ √η œ‡ÌÙËÎÓ‚ Á‡
ÒÓÁ‰‡ÌË ÙËθÏÓ‚ ´¬ Ó„Ì ·Ó‰‡
ÌÂÚª Ë ´Õ‡˜‡ÎÓª).
ñ ìGolden Leopardî for the best work of
a young director (Gleb Panfilov),
Jury Prize for the best female
performance (Inna Churikova) ñ IFF
in Locarno, 1969;
ñ Prize of the Leningrad Komsomol
(1970, director Gleb Panfilov for the
films ìNo Path through Fireî and
ìBeginningî).
141
1958-2000. ÎÛ˜¯Ë ÙËθÏ˚ Ë ÂÊËÒÒÂ˚
1958-2000: the best films and directors
œŒÀ≈“¤ ¬Œ —Õ≈ » Õ¿fl¬”
DREAM FLIGHTS
1982 (‚˚Ô. 17.01.1983), ———–,
1982 (release 17 Jan. 1983), USSR, 92
ƒ‡Ï‡.
92 ÏËÌ., ˆ‚.
min., col.
»ÌÊÂÌÂÛ ÍÓÌÒÚÛÍÚÓÒÍÓ„Ó ·˛Ó
¿‚ÚÓ ÒˆÂ̇ˡ ¬ËÍÚÓ ÃÂÂÊÍÓ
Scriptwriter Viktor Merezhko
ËÒÔÓÎÌˇÂÚÒˇ ÒÓÓÍ ÎÂÚ. ” ÌÂ„Ó ÂÒÚ¸
–ÂÊËÒÒÂ –ÓÏ‡Ì ¡‡Î‡ˇÌ
Director Roman Balayan
ÊÂ̇, ÍÓÚÓÛ˛ ÓÌ Ì β·ËÚ, ÂÒÚ¸
ŒÔÂ‡ÚÓ ¬ËÎÂÌ ü‡Î˛Ú‡
Director of Photography Vilen Kaliuta
‰Ó˜¸, Ó ÍÓÚÓÓÈ ÓÌ ‰ÍÓ ‚ÒÔÓÏË̇ÂÚ,
’Û‰ÓÊÌËÍ ¬ËÚ‡ÎËÈ ¬ÓÎ˚ÌÒÍËÈ
Production Design Vitali Volynsk
ÂÒÚ¸ β·Ó‚Ìˈ‡, ÍÓÚÓ‡ˇ Ì ÔËÌÓÒËÚ
üÓÒÚ˛Ï˚ Õ‡‰Âʉ‡ œ‡ÒÚÛ¯ÂÌÍÓ
Costume Design Nadezhda Pastushenko
ÂÏÛ ‡‰ÓÒÚË, ÂÒÚ¸ β·ˇ˘‡ˇ „Ó
üÓÏÔÓÁËÚÓ ¬‡‰ËÏ ’‡Ô‡˜Â‚
Composer Vadim Khrapachev
ÊÂÌ˘Ë̇ Ë ‰ÛÁ¸ˇ, ÍÓÚÓ˚ ÏÓ„ÛÚ ÂÏÛ
«‚ÛÍ À˛‰ÏË· À˛·ÂÌÒ͇ˇ
Sound Liudmila Liubenskaya
Î˯¸ ÔÓÒÓ˜Û‚ÒÚ‚Ó‚‡Ú¸...
¬ ÓΡı: ŒÎ„ flÌÍÓ‚ÒÍËÈ, À˛‰ÏË·
Cast: Oleg Yankovsky, Liudmila
´√ÂÓÈ Í‡ÚËÌ˚ ñ ËÚÓ„ ÌÂÒÍÓθÍËı
√Û˜ÂÌÍÓ, ŒÎ„ “‡·‡ÍÓ‚, À˛‰ÏË·
Gurchenko, Oleg Tabakov, Liudmila
ÔÓÍÓÎÂÌËÈ. Õ ÒÎÛ˜ËÚ¸Òˇ ÓÌ Ì ÏÓ„ ñ
»‚‡ÌÓ‚‡, À˛‰ÏË· «ÓË̇, ≈ÎÂ̇
Ivanova, Liudmila Zorina, Elena
˝ÚÓ, Í‡Í ÌÂÏËÌÛÂχˇ ͇ڇÒÚÓÙ‡ ËÎË
üÓÒÚË̇, ŒÎ„ ÃÂ̸¯ËÍÓ‚, À˛·Ó‚¸
Kostina, Oleg Menshikov, Liubov
ÁÂÏÎÂÚˇÒÂÌ˪ ñ –ÓÏ‡Ì ¡‡Î‡ˇÌ.
–ۉ̂‡, ¿ÎÂÍ҇̉ ¿‰‡·‡¯¸ˇÌ,
Rudneva, Alexander Adabashian, Nikita
ÕËÍËÚ‡ ÃËı‡ÎÍÓ‚, ≈ÎÂ̇ ◊ÂÌˇÍ,
Mikhalkov, Elena Cherniak, Alena
¿ÎÂ̇ Œ‰ËÌÓÍÓ‚‡, —Â„ÂÈ »‚‡ÌÓ‚,
Odinokova, Sergei Ivanov, Galina
√‡ÎË̇ ÿË„‡Â‚‡
Shigaeva
ƒËÂÍÚÓ ͇ÚËÌ˚ ŒÎ„ œËÍÂÒÍËÈ
Executive Director Oleg Pikersky
œÓËÁ‚Ó‰ÒÚ‚Ó üË‚Ò͇ˇ ÍËÌÓÒÚÛ‰Ëˇ
Production Dovzhenko Studio Kiev
—Â„² Ç͇Ó‚Û ˜ÂÂÁ ÚË ‰Ìˇ
142
ËÏÂÌË ¿.œ.ƒÓ‚ÊÂÌÍÓ
ñ √ÓÒÛ‰‡ÒÚ‚ÂÌ̇ˇ ÔÂÏˡ ———–
(1987).
Drama.
The engineer Sergei Makarov will be 40
ñ State Prize of the USSR (1987).
in three days. He has a wife whom he
does not love, a daughter whom he
rarely remembers, a mistress who does
not bring him joy, a woman who loves
him and friends who can only
sympathize with him...
ìThe hero of the film is the sum total
of several generations. He could not
have not emerged: it is like an
inevitable catastrophe or an earthquakeî
ñ Roman Balayan.
HAMLET
›Í‡ÌËÁ‡ˆËˇ Ó‰ÌÓËÏÂÌÌÓÈ Ú‡„‰ËË
¬ËθˇÏ‡ ÿÂÍÒÔË‡ (ÔÂ‚Ӊ ¡ÓËÒ‡
œ‡ÒÚÂ͇̇).
Screen version of the tragedy of the
same title by William Shakespeare
(translation by Boris Pasternak).
ñ ÀÂÌËÌÒÍËÂ ÔÂÏËË (1965, Û‰ÓÒÚÓÂÌ˚
ÂÊËÒÒÂ √.üÓÁË̈‚, ‡ÍÚÂ
».—ÏÓÍÚÛÌÓ‚ÒÍËÈ);
ñ ÀÛ˜¯‡ˇ ͇ÚË̇ ñ ü‘
¯ÂÍÒÔËÓ‚ÒÍËı ÙËθÏÓ‚ ‚
¬ËÒ·‡‰ÂÌÂ, 1964;
ñ ÀÛ˜¯‡ˇ ͇ÚË̇ 1964 „Ó‰‡ ÔÓ
ÔËÁ̇Ì˲ ¿Ì„ÎËÈÒÍÓ„Ó ËÌÒÚËÚÛÚ‡
ÍËÌÂχÚÓ„‡ÙËË;
ñ —Ôˆˇθ̇ˇ ÔÂÏˡ Ê˛Ë ´«‡
Û·ÂʉÂÌÌÓÒÚ¸, ıÛ‰ÓÊÂÒÚ‚ÂÌÌÛ˛
˝ÙÙÂÍÚË‚ÌÓÒÚ¸, Ò ÍÓÚÓ˚ÏË
Ú‡ÍÚÛ˛ÚÒˇ Ë Ò‚ˇÁ˚‚‡˛ÚÒˇ
ÔÓ·ÎÂÏ˚ ÒÂ„Ó‰Ìˇ¯ÌÂ„Ó ‰Ìˇ Ò
‚˜Ì˚ÏË ÚÂχÏË ¯ÂÍÒÔËÓ‚ÒÍÓ„Ó
„ÂÌˡª, ´«ÓÎÓÚ‡ˇ ‰ÓÒ͇ª (ÔÂÏˡ
ÊÛ̇· ´◊ËÌÂχ ÌÛÓ‚‡ª) Á‡
ÎÛ˜¯Â ËÒÔÓÎÌÂÌË ÏÛÊÒÍÓÈ ÓÎË
(».—ÏÓÍÚÛÌÓ‚ÒÍËÈ) ñ Ãü‘ ‚
¬Â̈ËË, 1964;
ñ —Ôˆˇθ̇ˇ ÔÂÏˡ Ê˛Ë ´«‡
‚˚‰‡˛˘ÂÂÒˇ ‚ÓÔÎÓ˘ÂÌË ̇ ˝Í‡ÌÂ
Ú‡„‰ËË ÿÂÍÒÔË‡ª, Á‡ ÎÛ˜¯Û˛
ÏÛÁ˚ÍÛ Í ÙËθÏÛ (ƒ.ÿÓÒÚ‡Íӂ˘),
‰ËÔÎÓÏ˚ —Ó˛Á‡ ıÛ‰ÓÊÌËÍÓ‚ ———–
(≈.≈ÌÂÈ, —.¬Ë҇·‰ÁÂ), ‰ËÔÎÓÏ —ü
———– Á‡ ËÒÔÓÎÌÂÌË ÓÎË √‡ÏÎÂÚ‡
(».—ÏÓÍÚÛÌÓ‚ÒÍËÈ) ñ ¬ü‘ ‚
ÀÂÌËÌ„‡‰Â, 1964;
ñ ¬˚Ò¯‡ˇ ÔÂÏˡ —Ó‚ÂÚ‡ ¡ËÚ‡ÌÒÍÓÈ
ÍËÌӇ͇‰ÂÏËË (√.üÓÁË̈‚), ÎÛ˜¯ËÈ
ËÌÓÒÚ‡ÌÌ˚È ÙËθÏ,
‰ÂÏÓÌÒÚËÓ‚‡‚¯ËÈÒˇ ̇ ˝Í‡Ì‡ı
¿Ì„ÎËË ‚ 1965 „Ó‰Û, ‡ Ú‡ÍÊÂ
ËÒÔÓÎÌËÚÂθ ÓÎË √‡ÏÎÂÚ‡
».—ÏÓÍÚÛÌÓ‚ÒÍËÈ ñ ÎÛ˜¯ËÈ
ËÌÓÒÚ‡ÌÌ˚È ‡ÍÚÂ „Ó‰‡;
ñ —Ôˆ. ÔËÁ Ê˛Ë Ë ÔÂÏˡ
Õ‡ˆËÓ̇θÌÓÈ Ù‰Â‡ˆËË ËÒÔ‡ÌÒÍËı
ÍËÌÓÍÎÛ·Ó‚ ñ Ãü‘ ‚ —‡Ì—·‡ÒÚ¸ˇÌÂ, 1965;
ñ œËÁ˚ ´—Â·ˇÌÓ ·Î˛‰Óª
(√.üÓÁË̈‚, ».—ÏÓÍÚÛÌÓ‚ÒÍËÈ,
Í/ÒÚ ´ÀÂÌÙËθϪ) ñ Ãü‘ ‚
œ‡Ì‡ÏÂ, 1966;
ñ ´«ÓÎÓÚÓÈ Î‡‚Ó‚˚È ‚ÂÌÓͪ ‘Ó̉‡
ƒ˝‚ˉ‡ ŒÎË‚Â‡ —ÂÎÁÌË͇ ´«‡ ‚Í·‰
‚ ÏÂʉÛ̇Ó‰ÌÓ ‚Á‡ËÏÓÔÓÌËχÌËÂ
ÔÛÚÂÏ ‡Á‡·ÓÚÍË
Ó·˘Â˜ÂÎӂ˜ÂÒÍËı ÚÂÏ Ë
‰ÂÏÓÌÒÚ‡ˆËË
ÍËÌÂχÚÓ„‡Ù˘ÂÒÍÓ„Ó ËÒÍÛÒÒÚ‚‡
‚˚Ò¯Â„Ó ÛÓ‚Ìˇª ñ Ãü‘ ‚ —‡Ì‘‡ÌˆËÒÍÓ, 1966;
ñ œÂÏˡ ´‘ÂÏË̇ª, ¡Âθ„ˡ, 1966;
ñ ÀÛ˜¯ËÈ ÙËÎ¸Ï 1964 „Ó‰‡,
»ÌÌÓÍÂÌÚËÈ —ÏÓÍÚÛÌÓ‚ÒÍËÈ ñ
ÎÛ˜¯ËÈ ‡ÍÚÂ „Ó‰‡ ÔÓ ÓÔÓÒÛ
ÊÛ̇· ´—Ó‚ÂÚÒÍËÈ ˝Í‡Ìª Ë ‰.
(23 ̇„‡‰˚ Á‡ ˜ÂÚ˚ „Ó‰‡).
1964 (‚˚Ô. 24.04.1964), ———–,
140 ÏËÌ., ˜/·, 1:2.35
1964 (release 24 April 1964), USSR,
140 min., b/w, 1:2.35
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ
√Ë„ÓËÈ üÓÁË̈‚
ŒÔÂ‡ÚÓ …ÓÌ‡Ò √ˈ˛Ò
’Û‰ÓÊÌËÍ ≈‚„ÂÌËÈ ≈ÌÂÈ
üÓÒÚ˛Ï˚ —ËÏÓÌ ¬Ë҇·‰ÁÂ
üÓÏÔÓÁËÚÓ ƒÏËÚËÈ ÿÓÒÚ‡Íӂ˘
«‚ÛÍ ¡ÓËÒ ’ÛÚÓˇÌÒÍËÈ
¬ ÓΡı: »ÌÌÓÍÂÌÚËÈ —ÏÓÍÚÛÌÓ‚ÒÍËÈ,
ÃËı‡ËÎ Õ‡Á‚‡ÌÓ‚, ›Î¸Á –‡‰ÁËÌˇ,
fiËÈ “ÓÎ۷‚, ¿Ì‡ÒÚ‡Òˡ
¬ÂÚËÌÒ͇ˇ, ¬‡‰ËÏ Ã‰‚‰‚,
¬Î‡‰ËÏË ›ÂÌ·Â„, —ÚÂÔ‡Ì
ŒÎÂÍÒÂÌÍÓ, »„Ó¸ ƒÏËÚË‚, –ÂÈÌÓ
¿ÂÌ, ¿ÌÚÒ À‡ÛÚÂ, ¬ËÍÚÓ üÓÎÔ‡ÍÓ‚,
fiËÈ ¡ÂÍÛÌ
ƒËÂÍÚÓ ͇ÚËÌ˚ ÃËı‡ËÎ ÿÓÒÚ‡Í
œÓËÁ‚Ó‰ÒÚ‚Ó ´ÀÂÌÙËθϪ
Scriptwriter and Director
Grigori Kozintsev
Director of Photography Jonas Gritsius
Production Design Evgeni Enei
Costume Design Simon Virsaladze
Composer Dmitri Shostakovich
Sound Boris Khutoriansky
Cast: Innokenti Smoktunovsky,
Mikhail Nazvanov, Else Radzinia,
Yuri Tolubeev, Anastasia Vertinskaya,
Vadim Medvedev, Vladimir Erenberg,
Stepan Oleksenko, Igor Dmitriev, Reino
Aren, Ants Lauter, Viktor Kolpakov,
Yuri Berkun
Executive Director Mikhail Shostak
Production Lenfilm
ñ
ñ
ñ
ñ
ñ
ñ
ñ
ñ
ñ
ñ
ñ
Lenin Prize (1965, director G. Kozintsev, actor I. Smoktunovsky);
Best Film ñ Film Festival of Shakespeare Films in Wiesbaden, 1964;
Best Film of 1964, according to the BFI (British Film Institute);
Special Jury Prize ìFor conviction, artistic efficiency with which contemporary
problems are treated and rendered in conjunction with the eternal themes of
Shakespeareís geniusî, ìGolden Boardî (prize of the journal ìCinema Nuovoî)
for the best actor (I. Smoktunovsky) ñ IFF in Venice, 1964;
Special Jury Prize ìFor an outstanding screen rendering of Shakespeareís
tragedyî, for the best film music (D. Shostakovich), diplomas of the Union of
Artists of the USSR (E. Enei, S. Virsaladze), diploma of the Filmmakersí
Union of the USSR for the performance of the role of Hamlet (I.
Smoktunovsky) ñ Film Festival in Leningrad, 1964;
Highest Award of the Council of the British Film Academy (G. Kozintsev), best
foreign film shown on British screens in 1965, and also best performer of the
role of Hamlet: I. Smoktunovsky ñ best foreign actor of the year;
Special Jury Prize and Prize of the National Federation of Spanish Film Clubs
ñ IFF in San Sebastian, 1965;
Prizes ìSilver Plateî (G. Kozintsev, I. Smoktunovsky, studio Lenfilm) ñ IFF in
Panama, 1966;
ìGolden Laurelî of the David Oliver Selznick Fund ìFor the contribution to
international understanding through the development of universal themes and
demonstrations of cinematic art at the highest levelî ñ IFF in San Francisco,
1966;
Prize ìFeminaî, Belgium, 1966;
Best film of 1964, Innokenty Smoktunovsky as best actor of the year according
to a survey of the journal ìSoviet Screenî, etc. (23 awards in four years).
1958-2000. ÎÛ˜¯Ë ÙËθÏ˚ Ë ÂÊËÒÒÂ˚
1958-2000: the best films and directors
√¿ÃÀ≈“
143
1958-2000. ÎÛ˜¯Ë ÙËθÏ˚ Ë ÂÊËÒÒÂ˚
1958-2000: the best films and directors
Œ’Œ“¿ Õ¿ À»—
FOX HUNT
1980 (‚˚Ô. 22.12.1980), ———–,
1980 (release 22 Dec. 1980), USSR, 97
—ӈˇθÌÓ-ÔÒËıÓÎӄ˘ÂÒ͇ˇ ‰‡Ï‡.
97 ÏËÌ., ˆ‚.
min., col.
œÓ‚Ë̈ˇθÌ˚È ÒÓ‚ÂÚÒÍËÈ „ÓÓ‰ÓÍ.
¿‚ÚÓ ÒˆÂ̇ˡ ¿ÎÂÍ҇̉ ÃË̉‡‰ÁÂ
Scriptwriter Alexander Mindadze
ËÁ·Ë‚‡˛Ú ‚ Ô‡Í ‰‚Ó ÔÓ‰ÓÒÚÍÓ‚.
–ÂÊËÒÒÂ ¬‡‰ËÏ ¿·‰‡¯ËÚÓ‚
Director Vadim Abdrashitov
Œ‰ËÌ ËÁ ÌËı ñ ¬Î‡‰ËÏË ¡ÂÎËÍÓ‚ ñ
ŒÔÂ‡ÚÓ fiËÈ Õ‚ÒÍËÈ
Director of Photography Yuri Nevsky
ÔÓÔ‡‰‡ÂÚ Ì‡ ‰‚‡ „Ó‰‡ ‚ ËÒÔ‡‚ËÚÂθÌÓ-
’Û‰ÓÊÌËÍ ¬Î‡‰ËÏË üÓÓ‚ËÌ
Production Design Vladimir Korovin
ÚÛ‰Ó‚Û˛ ÍÓÎÓÌ˲, ‰Û„ÓÈ ñ ÔÓÎÛ˜‡ÂÚ
üÓÒÚ˛Ï˚ –ÓÁ‡ —‡ÚÛÌÓ‚Ò͇ˇ
Costume Design Roza Satunovskaya
ÒÓÍ ÛÒÎÓ‚ÌÓ. ¿ ¡ÂÎÓ‚ ÔÓ-ÔÂÊÌÂÏÛ
üÓÏÔÓÁËÚÓ ›‰Û‡‰ ¿ÚÂϸ‚
Composer Eduard Artemiev
ÊË‚ÂÚ Ë ‡·ÓÚ‡ÂÚ. ΔËÁ̸ ÔÓÒÚ‡ Ë
«‚ÛÍ flÌ œÓÚÓˆÍËÈ
Sound Jan Pototsky
Ó‰ÌÓÁ̇˜Ì‡: Á‡‚Ó‰, ÊÂ̇ Ë „ÛΡÌ˚Â
¬ ÓΡı: ¬Î‡‰ËÏË √ÓÒÚ˛ıËÌ,
Cast: Vladimir Gostiukhin,
Á‡‚Ó‰ÒÍË ÒÔÓÚË‚Ì˚ ÒÓÒÚˇÁ‡Ìˡ.
»Ë̇ ÃÛ‡‚¸Â‚‡, »„Ó¸ ÕÂÙ‰ӂ,
Irina Muravieva, Igor Nefedov,
Œ‰Ì‡ÍÓ ‚ÓÒÔÓÏË̇Ìˡ Ó Ôӯ‰¯ÂÏ
¿Î· œÓÍÓ‚Ò͇ˇ, ƒÏËÚËÈ ’‡‡Ú¸ˇÌ,
Alla Pokrovskaya, Dmitri Kharatian,
Òۉ Ì ‰‡˛Ú ¬ËÍÚÓÛ ÔÓÍÓˇ. ¬Ò ·˚ÎÓ
»„Ó¸ ¡ÂÁˇÂ‚, ¬‡ÎÂÌÚË̇ —‡ÙÓÌÓ‚‡,
Igor Beziaev, Valentina Safonova,
Ú‡Ï ÌÂ Ú‡Í Ô‡‚ËθÌÓ, Í‡Í ÂÏÛ ÚÓ„‰‡
¿ÎÂÍ҇̉ “ÛÍÓ‚, fiËÈ ÀÂÓÌˉӂ,
Alexander Turkov, Yuri Leonidov,
ÔÓ͇Á‡ÎÓÒ¸. ◊ÚÓ·˚ ËÁÏÂÌËÚ¸ Û˜‡ÒÚ¸
fiËÈ ÃËıÂÂÌÍÓ‚, ÃËı‡ËÎ ¡Ó˜‡Ó‚,
Yuri Mikheenkov, Mikhail Bocharov,
Á‡Íβ˜ÂÌÌÓ„Ó ÔÓ‰ÓÒÚ͇ ¡ÂÎËÍÓ‚‡, ÓÌ
√‡ÎË̇ ¡Ó˜‡Ó‚‡, ÿ‡‚Í‡Ú √‡ÁË‚
Galina Bocharova, Shavkat Gaziev
‰ÂÚ ‚ ÍÓÎÓÌ˲, ‰Ó·Ë‚‡ÂÚÒˇ Ò ÌËÏ
ƒËÂÍÚÓ ͇ÚËÌ˚
Executive Director Vitali Boguslavsky
҂ˉ‡ÌËÈ Ë ÔËÌËχÂÚ Û˜‡ÒÚË ‚
¬ËÚ‡ÎËÈ ¡Ó„ÛÒ·‚ÒÍËÈ
Production Mosfilm
‰ÓÒÓ˜ÌÓÏ Â„Ó ÓÒ‚Ó·ÓʉÂÌËË...
ñ —ÔˆˇθÌ˚È ÔËÁ Ê˛Ë Á‡ ÙËθÏ
ñ Special Jury Prize for best film and
Socio-psychological drama.
Ë Á‡ ÎÛ˜¯Â ËÒÔÓÎÌÂÌË ÏÛÊÒÍÓÈ ÓÎË
best actor (Vladimir Gostiukhin) ñ IFF
A small, provincial Soviet town. The
(¬Î‡‰ËÏË √ÓÒÚ˛ıËÌ) ñ Ãü‘ ‚ —‡Ì-
in San Remo, 1982.
factory worker Viktor Belov is beaten
–‡·Ó˜Â„Ó Á‡‚Ó‰‡ ¬ËÍÚÓ‡ ¡ÂÎÓ‚‡
144
œÓËÁ‚Ó‰ÒÚ‚Ó ´ÃÓÒÙËθϪ
–ÂÏÓ, 1982 .
up in the park by two teenagers. One of
them, Vladimir Belikov, gets two years
in a correctional labour camp, while the
other receives a conditional sentence.
Belov carries on with his life and work.
His life is simple and unequivocal:
factory, wife and regular sports
meetings. However, the memory of the
trial does not let Viktor rest. Not
everything was as correct as it seemed
to him then. In order to change the fate
of the teenager Belikov, he visits the
colony, meets him and tries to obtain an
early release...
AUTUMN MARATHON
œÓ ÏÓÚË‚‡Ï ÒˆÂ̇ˡ ¿ÎÂÍ҇̉‡
1979 (‚˚Ô. 28.12.1979), ———–,
1979 (release 28 Dec.1979), USSR,
¬ÓÎÓ‰Ë̇ ´√ÓÂÒÚ̇ˇ ÊËÁ̸ ÔÎÛÚ‡ª.
94 ÏËÌ., ˆ‚.
94 min., col.
¡ÛÁ˚ÍËÌ, ˜ÚÓ·˚ ÌËÍÓ„Ó Ì ӷˉÂÚ¸,
¿‚ÚÓ ÒˆÂ̇ˡ ¿ÎÂÍ҇̉ ¬ÓÎÓ‰ËÌ
Scriptwriter Alexander Volodin
ÒÚ‡‡ÂÚÒˇ ‚ÒÂÏ ÔÓÏÓ˜¸. ΔËÚ¸ Ò‚ÓÂÈ
–ÂÊËÒÒÂ √ÂÓ„ËÈ ƒ‡ÌÂÎˡ
Director Georgi Daneliya
ÊËÁ̸˛ ÂÏÛ Ì ۉ‡ÂÚÒˇ, ‡ ÂÏÛ ÛÊ Á‡
ŒÔÂ‡ÚÓ —Â„ÂÈ ¬ÓÌÒÍËÈ
Director of Photography
ÒÓÓÍ. ÕÓ ÒËÚÛ‡ˆËË, ‚ ÍÓÚÓ˚Â
’Û‰ÓÊÌËÍË À‚‡Ì ÿÂÌ„ÂÎˡ,
Sergei Vronsky
ÔÓÔ‡‰‡ÂÚ „ÂÓÈ, ÒÚ‡ÌÓ‚ˇÚÒˇ ·ÓÎÂÂ
›ÎÂÓÌÓ‡ ÕÂϘÂÍ
Production Design Levan Shegeliya,
ÒÎÓÊÌ˚ÏË, ‡ „·‚ÌÓ ñ ‰Ó Ú‡ÍÓÈ
üÓÒÚ˛Ï˚ —.ŒÎ¸¯Â‚Ò͇ˇ
Eleonora Nemechek
ÒÚÂÔÂÌË ÏÌÓ„Ó˜ËÒÎÂÌÌ˚ÏË, ˜ÚÓ ÓÌ ÛÊÂ
üÓÏÔÓÁËÚÓ ¿Ì‰ÂÈ œÂÚÓ‚
Costume Design S. Olshevskaya
˜Û‚ÒÚ‚ÛÂÚ, Í‡Í ‚ ·ÛÍ‚‡Î¸ÌÓÏ ÒÏ˚ÒÎÂ
«‚ÛÍ ¿ÎÂÍ҇̉ œÓ„ÓÒˇÌ
Composer Andrei Petrov
‡Á˚‚‡ÂÚÒˇ ̇ ˜‡ÒÚË. ŒÚ ÌÂ„Ó ÛıÓ‰ËÚ
¬ ÓΡı: ŒÎ„ ¡‡ÒË·¯‚ËÎË,
Sound Alexander Pogosian
ÊÂ̇. ≈„Ó ÓÒÚ‡‚ΡÂÚ Î˛·Ó‚Ìˈ‡.
Շڇθˇ √Û̉‡‚‡, ÇË̇ ÕÂÂÎÓ‚‡,
Cast: Oleg Basilashvili, Natalia
¡ÛÁ˚ÍËÌ ÔËÌËχÂÚ ¯ÂÌË ÒÚ‡Ú¸
≈‚„ÂÌËÈ ÀÂÓÌÓ‚, ÕÓ·ÂÚ üÛıËÌÍÂ,
Gundareva, Marina Neelova, Evgeni
‰Û„ËÏ ˜ÂÎÓ‚ÂÍÓÏÖ ÕÓ Î˛·Ëχˇ
ÕËÍÓÎ‡È ü˛˜ÍÓ‚, √‡ÎË̇ ¬ÓΘÂÍ,
Leonov, Norbert Kuchinke, Nikolai
ÊÂÌ˘Ë̇ ÓÔˇÚ¸ ´Ì‡ ÔӂӉª, ‡
¡ÓËÒ·‚ ¡Ó̉ÛÍÓ‚, ¬Î‡‰ËÏË
Kriuchkov, Galina Volchek, Borislav
ÌÂÒ˜‡ÒÚ̇ˇ ÊÂ̇ ÒÌÓ‚‡ ‚ ‰‚Âˇı...
√‡ÏχÚËÍÓ‚, ÕËÍËÚ‡ œÓ‰„ÓÌ˚È
Brondukov, Vladimir Grammatikov,
ƒËÂÍÚÓ ͇ÚËÌ˚
Nikita Podgorny
¬ËÚ‡ÎËÈ üË‚ÓÌÓ˘ÂÌÍÓ
Executive Director
œÓËÁ‚Ó‰ÒÚ‚Ó ´ÃÓÒÙËθϪ
Vitali Krivonoshchenko
1958-2000. ÎÛ˜¯Ë ÙËθÏ˚ Ë ÂÊËÒÒÂ˚
1958-2000: the best films and directors
Œ—≈ÕÕ»… ÿ–¿‘ŒÕ (œÂ˜‡Î¸Ì‡ˇ ÍÓωˡ)
ƒÓ·˚È Ë ÓÚÁ˚‚˜Ë‚˚È ÔÂ‚Ӊ˜ËÍ
On the motives of Alexander Volodinís
Production Mosfilm
script ìThe Sad Life of a Tricksterî.
The kind and sympathetic translator
Buzykin tries to help everybody and
offend nobody. He does not manage to
live his own life, yet he is already over
forty. But the situations in which the
hero gets entangled become more and
more complex, and so frequent that he
is literally torn apart. His wife leaves
him. His mistress leaves him. Buzykin
makes a decision to changeÖ and the
beloved woman is again ìon the lineî,
and the unhappy wife stands again in
the door...
ñ √ÓÒÛ‰‡ÒÚ‚ÂÌÌ˚ ÔÂÏËË –—‘—–
ËÏÂÌË ¡‡Ú¸Â‚ ¬‡ÒËθ‚˚ı (1981,
Û‰ÓÒÚÓÂÌ˚: √ÂÓ„ËÈ ƒ‡ÌÂÎˡ,
¿ÎÂÍ҇̉ ¬ÓÎÓ‰ËÌ, —Â„ÂÈ
¬ÓÌÒÍËÈ, À‚‡Ì ÿÂÌ„ÂÎˡ Ë
›ÎÂÓÌÓ‡ ÕÂϘÂÍ, Շڇθˇ
√Û̉‡‚‡, ≈‚„ÂÌËÈ ÀÂÓÌÓ‚, ÇË̇
ÕÂÂÎÓ‚‡);
ñ œËÁ —Ó˛Á‡ ÊÛ̇ÎËÒÚÓ‚ ÎÛ˜¯ÂÏÛ
ËÒÔÓÎÌËÚÂβ ÏÛÊÒÍÓÈ ÓÎË
(≈.ÀÂÓÌÓ‚), ÔËÁ ‘»œ–≈——» ñ
Ãü‘ ‚ ¬Â̈ËË, 1979;
ñ œËÁ ´¡Óθ¯‡ˇ «ÓÎÓÚ‡ˇ ‡ÍÓ‚Ë̇ª
ñ Ãü‘ ‚ —‡Ì-—·‡ÒÚ¸ˇÌÂ, 1979;
ñ √·‚Ì˚È ÔËÁ ¬ü‘ ‚ ƒÛ¯‡Ì·Â,
1980;
ñ √·‚Ì˚È ÔËÁ Ãü‘ ÍÓωËÈÌ˚ı
ÙËθÏÓ‚ ‚ ÿ‡ÏÛÒÂ, 1980;
ñ œÂÏˡ Œ·˘ÂÒÚ‚‡ ÒÓ‚ÂÚÒÍÓ·Ó΄‡ÒÍÓÈ ‰ÛÊ·˚ ñ Ãü‘ ‚
ü‡ÎÓ‚˚ı ¬‡‡ı, 1980;
ñ —ÔˆˇθÌ˚È ÔËÁ Ãü‘
ÍÓωËÈÌ˚ı ÙËθÏÓ‚ ‚ ¡Ó΄‡ËË,
1981.
ñ ìVasiliev Brothersî State Prize of the
RSFSR (1981, awarded to Georgi
Daneliya, Alexander Volodin, Sergei
Vronsky, Levan Shengeliya and
Eleonora Nemechek, Natalia
Gundareva, Evgeni Leonov, Marina
Neelova);
ñ Prize of the Union of Journalists to
the best actor (E. Leonov),
FIPRESCI Prize ñ IFF in Venice,
1979;
ñ Prize ìGolden Shellî ñ IFF in San
Sebastian, 1979;
ñ Main Prize of the All-Union Film
Festival in Dushanbe, 1980;
ñ Main Prize of the IFF of comedy
films in Chamrousse, 1980;
ñ Prize of the Society of the SovietBulgarian friendship ñ IFF in
Karlovy Vary, 1980;
ñ Special Prize of the IFF of comedy
films in Bulgaria, 1981.
145
1958-2000. ÎÛ˜¯Ë ÙËθÏ˚ Ë ÂÊËÒÒÂ˚
1958-2000: the best films and directors
146
’–”—“¿À≈¬, ÿÿ»Õ”!
KHRUSTALYOV, MY CAR!
1998 (‚˚Ô. 27.08.1999), –ÓÒÒˡ/
1998 (release 27 Aug.1999),
—ӈˇθÌÓ-ËÒÚÓ˘ÂÒ͇ˇ ‰‡Ï‡.
‘‡ÌˆËˇ, 137 ÏËÌ., ˜/·, 1:1.37,
Russia/France, 137 min., b/w, 1:1.37,
Œ β‰ˇı ÔÓÒ΂ÓÂÌÌÓ„Ó ‚ÂÏÂÌË Ë Ú‡Í
Dolby Digital
Dolby Digital
̇Á˚‚‡ÂÏÓÏ ƒÂΠ‚‡˜ÂÈ. ƒÂÈÒÚ‚ËÂ
¿‚ÚÓ˚ ÒˆÂ̇ˡ —‚ÂÚ·̇
Scriptwriters Svetlana Karmalita,
‰ÌÂÈ ‚ ÍÓ̈ Ù‚‡Îˇ ñ ̇˜‡Î χÚ‡
ü‡χÎËÚ‡, ¿ÎÂÍÒÂÈ √ÂχÌ
Alexei German
1953 „Ó‰‡. –‡ÒÒ͇Á ‚‰ÂÚÒˇ ÓÚ Îˈ‡
–ÂÊËÒÒÂ ¿ÎÂÍÒÂÈ √ÂχÌ
Director Alexei German
χθ˜Ë͇, Ò˚̇ „·‚ÌÓ„Ó „ÂÓˇ,
ŒÔÂ‡ÚÓ ¬Î‡‰ËÏË »Î¸ËÌ
Director of Photography Vladimir Ilyin
„ÂÌÂ‡Î‡ ωˈËÌÒÍÓÈ ÒÎÛÊ·˚ fiˡ
’Û‰ÓÊÌËÍË ¬Î‡‰ËÏË —‚ÂÚÓÁ‡Ó‚,
Production Design
üÎÂÌÒÍÓ„Ó ñ ˜ÂÎÓ‚Â͇ ËÒÚËÌÌÓ
√ÂÓ„ËÈ üÓÔ‡˜Â‚, ÃËı‡ËÎ √Â‡ÒËÏÓ‚
Vladimir Svetozarov, Georgi Kropachev,
ÛÒÒÍÓÈ ‰Û¯Ë Ë ÚËÔ˘ÌÓ ÒÓ‚ÂÚÒÍÓÈ
üÓÒÚ˛Ï˚ ≈͇ÚÂË̇ ÿ‡Ô͇Ȉ
Mikhail Gerasimov
ÒÛ‰¸·˚.
üÓÏÔÓÁËÚÓ ¿Ì‰ÂÈ œÂÚÓ‚
Costume Design Ekaterina Shapkaits
´fl Ò̇˜‡Î‡ ıÓÚÂÎ ÒÌˇÚ¸
«‚ÛÍ ÕËÍÓÎ‡È ¿ÒÚ‡ıÓ‚
Composer Andrei Petrov
‡Áӷ·˜ËÚÂθÌÓ ÍËÌÓ, ÌÓ ÔÓÚÓÏ
¬ ÓΡı: fiËÈ ÷ÛËÎÓ,
Sound Nikolai Astakhov
ÁÎÓÒÚ¸ ۯ·, ‡ β‰Ë ÓÒÚ‡ÎËÒ¸...ª ñ
ÕË̇ –ÛÒ·ÌÓ‚‡, fiË fl‚ÂÚ-ÏÎ.,
Cast: Yuri Tsurilo, Nina Ruslanova,
¿ÎÂÍÒÂÈ √ÂχÌ.
Ã˯‡ ƒÂÏÂÌڸ‚, ¿ÎÂÍ҇̉ ¡‡¯ËÓ‚,
Yuro Yarvet Jr., Misha Dementiev,
ÃËÓ‚‡ˇ ÔÂϸÂ‡ ñ 20.05.1998, Ãü‘
Շڇθˇ À¸‚Ó‚‡, »‚‡Ì Lj͂˘,
Alexander Bashirov, Natalia Lvova,
‚ ü‡Ì̇ı
œ‡ÛÎË̇ ÃˇÒÌËÍÓ‚‡, ¬ËÍÚÓ
Ivan Matskevich, Paulina Miasnikova,
ÃËı‡ÈÎÓ‚, ÕËÂΠՇÏÓÌÚ‡ÈÚÂ, ŒÎ¸„‡
Viktor Mikhailov, Niele Narmontaite,
—‡ÏÓ¯Ë̇, “‡Ï‡‡ —ÂÍÓ‚‡, √ÂÌËÂÚÚ‡
Olga Samoshina, Tamara Serkova,
flÌÓ‚Ò͇ˇ, ¿ÎÂÍÒÂÈ Δ‡ÍÓ‚, ¬‡ÎÂËÈ
Genrietta Yanovskaya, Alexei Zharkov,
œÓÓ¯ËÌ
Valeri Poroshin
œÓ‰˛ÒÂ˚ ¿ÏÂÌ Ã‰‚‰‚,
Producers Armen Medvedev, Alexander
Socio-historical drama.
¿ÎÂÍ҇̉ √ÓÎÛÚ‚‡, √Ë —ÂÎ˄χÌ,
Golutva, Guy Seligman, Viacheslav
About people of the post-war period and
¬ˇ˜ÂÒ·‚ “ÂθÌÓ‚
Telnov
about the so-called ìDoctorsí Plotî. The
œÓËÁ‚Ó‰ÒÚ‚Ó ´ÀÂÌÙËθϪ, √ÓÒÍËÌÓ,
Production Lenfilm, Goskino,
action unfolds within several days at
Sodaperaga (‘‡ÌˆËˇ), ÔË Û˜‡ÒÚËË:
Sodaperaga (France), with participation
the end of February and beginning of
La Sept Cinema (‘‡ÌˆËˇ), œË›‘Ö
os La Sept Cinema (France), PiEF
March 1953. The story is narrated by a
‡Á‚Ó‡˜Ë‚‡ÂÚÒˇ ‚ Ú˜ÂÌË ÌÂÒÍÓθÍËı
boy, the son of the main hero Yuri
Klensky, a general of the medical
ñ œÓ˜ÂÚ̇ˇ ·Âθ„ËÈÒ͇ˇ
ÍËÌÂχÚÓ„‡Ù˘ÂÒ͇ˇ ÔÂÏˡ
´«ÓÎÓÚÓÈ ‚Âͪ (1999);
ñ œÂÏËË üËÌӇ͇‰ÂÏËË ´ÕË͇ª
(1999) ‚ ÌÓÏË̇ˆËˇı: ÎÛ˜¯ËÈ
Ë„Ó‚ÓÈ ÙËθÏ, ÎÛ˜¯‡ˇ
ÂÊËÒÒÂÒ͇ˇ ‡·ÓÚ‡, ÎÛ˜¯‡ˇ
ÓÔÂ‡ÚÓÒ͇ˇ ‡·ÓÚ‡, ÎÛ˜¯‡ˇ
‡·ÓÚ‡ ıÛ‰ÓÊÌË͇, ÎÛ˜¯‡ˇ ‡·ÓÚ‡
ıÛ‰ÓÊÌË͇ ÔÓ ÍÓÒÚ˛Ï‡Ï;
ñ Õ‡ˆËÓ̇θÌ˚ ÔÂÏËË √Ëθ‰ËË
ÍËÌӂ‰ӂ Ë ÍËÌÓÍËÚËÍË ´«ÓÎÓÚÓÈ
Œ‚Â̪ (1999) ‚ ÌÓÏË̇ˆËˇı:
ÎÛ˜¯ËÈ ÙËθÏ, ÎÛ˜¯‡ˇ
ÂÊËÒÒÂÒ͇ˇ ‡·ÓÚ‡, ÎÛ˜¯‡ˇ
‡·ÓÚ‡ ıÛ‰ÓÊÌË͇ Ë ‰.
ñ Honorary Prize of Belgian Cinema
ìGolden Ageî (1999);
ñ Prizes of the Film Academy NIKA
(1999) in the nominations: best
fiction film, best director, best
cinematography, best production
design, best costume design;
ñ National Award of the Guild of Film
Critics and Film Scholars ìGolden
Ariesî (1999) in the nominations:
best film, best director, best
production design, etc.
services, a man with a truly Russian
soul and a typically Soviet destiny.
ìI first wanted to make a film that
exposes, but once the rage disappeared,
people remained...î ñ Alexei German.
World Premiere 20 May 1998, IFF
Cannes
BROTHER
1997, –ÓÒÒˡ, 100 ÏËÌ., ˆ‚., 1:1.33
1997, Russia, 100 min., col., 1:1.33
‚ ÔÓ‚Ë̈ˇθÌ˚È „ÓÓ‰ÓÍ, ‡ Á‡ÚÂÏ
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ
Scriptwriter and Director
‰ÂÚ ‚ œËÚÂ Í ÒÚ‡¯ÂÏÛ ·‡ÚÛ,
¿ÎÂÍÒÂÈ ¡‡Î‡·‡ÌÓ‚
Alexei Balabanov
ÍÓÚÓÓ„Ó ‰‡‚ÌÓ Ì ‚ˉÂÎ. ¡‡Ú
ŒÔÂ‡ÚÓ —Â„ÂÈ ¿ÒÚ‡ıÓ‚
Director of Photography
Ó͇Á˚‚‡ÂÚÒˇ ̇ÂÏÌ˚Ï Û·ËȈÂÈ Ë
’Û‰ÓÊÌËÍ ¬Î‡‰ËÏË ü‡Ú‡¯Ó‚
Sergei Astakhov
Ô˚Ú‡ÂÚÒˇ ‚ÚˇÌÛÚ¸ ƒ‡ÌËÎÛ ‚ Ò‚Ó ‰ÂÎÓÖ
üÓÒÚ˛Ï˚ Õ‡‰Âʉ‡ ¬‡ÒË肇
Production Design Vladimir Kartashov
´ÕË˜Â„Ó ˝ÚËÏ ÙËθÏÓÏ Ì ıÓ˜Û
—‡Û̉ÚÂÍ ¬ˇ˜ÂÒ·‚ ¡ÛÚÛÒÓ‚
Costume Design Nadezhda Vasilieva
Ò͇Á‡Ú¸ ñ ÔÓÒÚÓ ˝ÚÓ ÊËÁ̸ ‚ –ÓÒÒËË
(´Õ‡ÛÚËÎÛÒ œÓÏÔËÎËÛÒª)
Soundtrack Viacheslav Butusov
ÒÂ‰ËÌ˚ 90-ı, ͇ÍÓÈ ˇ  ÔÓÌËχ˛ Ë
«‚ÛÍ Ã‡ÍÒËÏ ¡ÂÎÓ‚ÓÎÓ‚
(ìNautilus Pompiliusî)
˜Û‚ÒÚ‚Û˛. fl ҉·ΠχÍÒËχθÌÓ
ÃÓÌÚ‡Ê Ã‡Ë̇ ÀËÔ‡Úˡ
Sound Maxim Belovolov
‚ÓÁÏÓÊÌ˚È ‰Îˇ Ò·ˇ ¯‡„ ‚ ÒÚÓÓÌÛ
¬ ÓΡı: —Â„ÂÈ ¡Ó‰Ó‚, ¬ËÍÚÓ
Editing Marina Lipartiya
ʇÌ‡ª ñ ¿ÎÂÍÒÂÈ ¡‡Î‡·‡ÌÓ‚.
—ÛıÓÛÍÓ‚, —‚ÂÚ·̇ œËÒ¸Ï˘ÂÌÍÓ,
Cast: Sergei Bodrov Jr, Viktor
Çˡ ΔÛÍÓ‚‡, —Â„ÂÈ ÃÛÁËÌ, fiËÈ
Sukhorukov, Svetlana Pismichenko,
üÛÁ̈ӂ, ¬ˇ˜ÂÒ·‚ ¡ÛÚÛÒÓ‚, —Â„ÂÈ
Maria Zhukova, Sergei Murzin,
◊Ë„‡ÍÓ‚, —Â„ÂÈ ƒÂ·ËÊ‚, »Ë̇
Yuri Kuznetsov, Viacheslav Butusov,
–‡Í¯Ë̇, ¿Ì‡ÚÓÎËÈ ΔÛ‡‚΂,
Sergei Chigrakov, Sergei Debizhev,
¿Ì‰ÂÈ ‘‰ÓˆÓ‚, »„Ó¸ üÓÔ˚ÎÓ‚,
Irina Rakshina, Anatoli Zhuravlev,
Õ‡ÒÚˇ œÓ΂‡, »„Ó¸ ÿË·‡ÌÓ‚,
Andrei Fedortsov, Igor Kopylov,
¿Ì‰ÂÈ ü‡ÒÍÓ, “‡Ú¸ˇÌ‡ «‡ı‡Ó‚‡
Nastia Poleva, Igor Shibanov,
œÓ‰˛ÒÂ —Â„ÂÈ —ÂθˇÌÓ‚
Andrei Krasko, Tatiana Zakharova
œÓËÁ‚Ó‰ÒÚ‚Ó ´—“¬ª, √Œ—ü»ÕŒ
Producer Sergei Selianov
œÓÍ‡Ú ´—“¬ª, ´»ÌÚÂÒËÌÂχ-¿Úª
Production —“¬, Goskino
üËÏË̇θÌ˚È ·Ó‚ËÍ/ ƒ‡Ï‡.
1958-2000. ÎÛ˜¯Ë ÙËθÏ˚ Ë ÂÊËÒÒÂ˚
1958-2000: the best films and directors
¡–¿“
ƒ‡ÌË· ¡‡„Ó‚ ‚ÓÁ‚‡˘‡ÂÚÒˇ ËÁ ‡ÏËË
Criminal action film / Drama.
Danila Bagrov returns from army
service to his small provincial town
before going to Petersburg to visit his
elder brother whom he has not seen for
a long time. His brother is a hired
Distribution —“¬, Intercinema-Art
www.ctb.ru
www.ctb.ru
murderer and tries to involve Danila in
the businessÖ
ìI do not want to say anything with
this film: this is simply life in Russia in
the mid 1990s as I understand and feel
it. I have made the greatest possible
move towards genreî ñ Alexei
Balabanov.
ñ √‡Ì-ÔË ÙËθÏÛ, ÔËÁ Á‡ ÎÛ˜¯Û˛
ÏÛÊÒÍÛ˛ Óθ (—.¡Ó‰Ó‚-ÏÎ.) ñ
Œ–ü‘ ´üËÌÓÚ‡‚ª, —Ó˜Ë, 1997;
ñ —ÔˆˇθÌ˚È ÔËÁ Ê˛Ë ñ Ãü‘ ‚
“ÛËÌÂ, 1997;
ñ —ÔˆˇθÌ˚È ÔËÁ Ê˛Ë, ÔÓ˜ÂÚÌ˚È
‰ËÔÎÓÏ Ê˛Ë ‘»œ–≈——» ñ Ãü‘
‚ üÓÚ·ÛÒÂ, 1997;
ñ √‡Ì-ÔË ´«ÓÎÓÚ‡ˇ ω‡Î¸ª ñ Ãü‘
‚ “ËÂÒÚÂ, 1997;
ñ œËÁ Á‡ ÎÛ˜¯Û˛ ÏÛÊÒÍÛ˛ Óθ
(—.¡Ó‰Ó‚-ÏÎ.) ñ Ãü‘ ‚ ◊Ë͇„Ó,
1997 Ë ‰.
ñ Grand Prix for the film, Prize for
Best Actor (S. Bodrov Jr). ñ Open
Russian Film Festival Kinotavr,
Sochi, 1997;
ñ Special Jury Prize ñ IFF in Turin,
1997;
ñ Special Jury Prize, Honorary
Diploma of the FIPRESCI Jury ñ
IFF in Cottbus, 1997;
ñ Grand Prix ìGold Medalî ñ IFF in
Trieste, 1997;
ñ Prize for best actor (S. Bodrov Jr) ñ
IFF in Chicago, 1997, etc.
147
1958-2000. ÎÛ˜¯Ë ÙËθÏ˚ Ë ÂÊËÒÒÂ˚
1958-2000: the best films and directors
148
œfl“‹ ¬≈◊≈–Œ¬
FIVE EVENINGS
1978 (‚˚Ô. 04.06.1979), ———–,
1978 (release 4 June 1979), USSR, 103
103 ÏËÌ., ˆ‚.+˜/·, ‚ËËÓ‚‡ÌÌ˚È
min., col. & b/w
¿‚ÚÓ˚ ÒˆÂ̇ˡ
Scriptwriters Alexander Adabashian,
¿ÎÂÍ҇̉ ¿‰‡·‡¯¸ˇÌ,
Nikita Mikhalkov
ÕËÍËÚ‡ ÃËı‡ÎÍÓ‚
Director Nikita Mikhalkov
–ÂÊËÒÒÂ ÕËÍËÚ‡ ÃËı‡ÎÍÓ‚
Director of Photography
ŒÔÂ‡ÚÓ œ‡‚ÂÎ À·¯‚
Pavel Lebeshev
’Û‰ÓÊÌËÍË ¿ÎÂÍ҇̉ —‡ÏÛÎÂÍËÌ,
Production Design Alexander
¿ÎÂÍ҇̉ ¿‰‡·‡¯¸ˇÌ
Samulekin, Alexander Adabashian
üÓÒÚ˛Ï˚ Ã‡Èˇ ¿·‡-¡‡‡ÌÓ‚Ò͇ˇ
Costume Design
¿‚ÚÓ ÔÂÒÂÌ fiÎËÈ üËÏ
Maya Abar-Baranovskaya
«‚ÛÍ ≈͇ÚÂË̇ œÓÔÓ‚‡
Songs by Yuli Kim
ÃÓÌÚ‡Ê ›ÎÂÓÌÓ‡ œ‡ÍÒË̇
Sound Ekaterina Popova
¬ ÓΡı: —Ú‡ÌËÒ·‚ À˛·¯ËÌ,
Editing Eleonora Praksina
À˛‰ÏË· √Û˜ÂÌÍÓ, »„Ó¸ ÕÂÙ‰ӂ,
Cast: Stanislav Liubshin, Liudmila
À‡ËÒ‡ üÛÁ̈ӂ‡, ¿ÎÂÍ҇̉
Gurchenko, Igor Nefedov, Larissa
¿‰‡·‡¯¸ˇÌ, ¬‡ÎÂÌÚË̇ “Â΢ÍË̇,
Kuznetsova, Alexander Adabashian,
ÕË̇ “Â-ŒÒËÔˇÌ, ŒÎ¸„‡ ÕËÍÓ·‚‡,
Valentina Telichkina, Nina Ter-Osipian,
—Â„ÂÈ À‡·‡ÌÍÓ‚, À˛‰ÏË·
Olga Nikolaeva, Sergei Labankov,
√‡ÈÎËÍÓ‚Ò͇ˇ
Liudmila Gailikovskaya
ƒËÂÍÚÓ ͇ÚËÌ˚ ¬ËÎÎË √ÂÎÎÂ
Executive Director Villi Geller
œÓËÁ‚Ó‰ÒÚ‚Ó ´ÃÓÒÙËθϪ
Production Mosfilm
ñ œÂÏˡ ÙËθÏÛ, ÔÂÏˡ Á‡ ÎÛ˜¯Û˛
ÏÛÊÒÍÛ˛ Óθ (—.À˛·¯ËÌ) ñ Ãü‘
‚ …ÂÂ, 1979;
ñ ÀÛ˜¯ËÈ ËÌÓÒÚ‡ÌÌ˚È ÙËÎ¸Ï Ì‡
˝Í‡Ì‡ı œÓθ¯Ë Ë ¡Ó΄‡ËË (1979);
ñ œÓ ÓÔÓÒÛ ÊÛ̇· ´—Ó‚ÂÚÒÍËÈ
˝Í‡Ìª —Ú‡ÌËÒ·‚ À˛·¯ËÌ ÔËÁ̇Ì
ÎÛ˜¯ËÏ ‡ÍÚÂÓÏ 1979 „Ó‰‡.
ñ Prize for best film, best actor (S.
Liubshin) ñ IFF in Hyeres, 1979;
ñ Best foreign film on Polish and
Bulgarian screens (1979);
ñ According to a survey of the journal
ìSoviet Screenî Stanislav Liubshin is
recognized as the best actor of 1979.
œÒËıÓÎӄ˘ÂÒ͇ˇ ÏÂÎÓ‰‡Ï‡ ÔÓ
ÏÓÚË‚‡Ï Ó‰ÌÓËÏÂÌÌÓÈ Ô¸ÂÒ˚
¿ÎÂÍ҇̉‡ ¬ÓÎÓ‰Ë̇.
¬ „ÛÔÔ ·˚ÎÓ ‰‚‡‰ˆ‡Ú¸ ÒÚÛ‰ÂÌÚÓ‚.
—‡¯‡ »Î¸ËÌ ·˚Π‰ËÌÒÚ‚ÂÌÌ˚È, ÍÚÓ
Ò͇Á‡Î ÔӉΈÛ, ˜ÚÓ ÓÌ ÔӉΈ. ¬ÒÂ
ÓÒڇθÌ˚ ÒÏÓΘ‡ÎË. — ˝ÚÓ„Ó ‚Ò Ë
̇˜‡ÎÓÒ¸. —‡¯Û ÓÚ˜ËÒÎËÎË ËÁ
ËÌÒÚËÚÛÚ‡. “‡Ï‡ ӷ ˝ÚÓÏ ÓÌ ÌÂ
Ò͇Á‡Î. ¬ÒÔÓÏÌËÎ, ˜ÚÓ ÍÓ„‰‡-ÚÓ Î˛·ËÎ
·ÓÍÒ ñ Ë ÒڇΠ·ÓÍÒÂÓÏ. ÕÓ
ÒÔÓÚÒÏÂÌÓÏ ÓÌ ÌÂ ·˚Î, Ë ·ÓÍÒ ·ÓÒËÎ.
¬ÒÍÓ ̇˜‡Î‡Ò¸ ‚ÓÈ̇. œӂӉ˂
»Î¸Ë̇ ̇ ÙÓÌÚ, “‡Ï‡‡ ÛÒÚÓË·Ҹ
̇ ÍÛÒ˚ ωÒÂÒÚÂ Ë, Í‡Í ÏÌÓ„ËÂ
ÊÂÌ˘ËÌ˚, ‡·ÓÚ‡ˇ ‚ „ÓÒÔËڇΡı Ë Ì‡
ÔÂ‰ӂ˚ı, ÔÓÏÓ„‡Î‡ ‚˚ÊËÚ¸ ÒÓΉ‡Ú‡Ï
Ë ‰Ûχ· Ó Ò‚ÓÂÏ ·Û‰Û˘ÂÏ. üÓ„‰‡
‚ÓÈ̇ Á‡ÍÓ̘Ë·Ҹ, “‡Ï‡‡ ‚ÂÌÛ·Ҹ ‚
ÃÓÒÍ‚Û, ÛÒÚÓË·Ҹ ̇ ‡·ÓÚÛ Ë ‚ÁˇÎ‡
̇ ‚ÓÒÔËÚ‡ÌË —·‚ÍÛ, Ò˚̇ ÔÓ„Ë·¯ÂÈ
ÒÂÒÚ˚. »Î¸ËÌ Ì ÒڇΠËÒ͇ڸ “‡Ï‡Û,
Ì ıÓÚÂÎ ‚ÓÁ‚‡˘‡Ú¸Òˇ Ë Ì ÏÓ„
β·ËÚ¸. ŒÌ ÔÓÂı‡Î ̇ —‚Â... œÓ¯ÎÓ
ÒÂÏ̇‰ˆ‡Ú¸ ÎÂÚ. ¬Ò ˝ÚË „Ó‰˚ »Î¸ËÌ
‡·ÓڇΠ¯ÓÙÂÓÏ ‚ ¬ÓÍÛÚÂ, ‡Á‚ÓÁËÎ
„ÛÁ ‚ χÎÓ‰ÓÒÚÛÔÌ˚ ÒÂÎÂÌˡ. ¡˚Î
ÊÂ̇Ú, ÌÓ “‡Ï‡Û Á‡·˚Ú¸ Ì ÒÏÓ„.
œÓ˝ÚÓÏÛ ‚ÁˇÎ ̇ÍÓÔË‚¯ËÈÒˇ Á‡ ‰Ó΄ËÂ
„Ó‰˚ ÓÚÔÛÒÍ Ë ÔËÂı‡Î ‚ ÃÓÒÍ‚Û...
Psychological melodrama on motives of
the play of the same title by Alexander
Volodin.
There were twenty students in the
group. Sasha Ilyin was the only one who
told the rascal that he was a rascal. All
the others kept quiet. From here it all
began. Sasha was dismissed from the
institute. He did not tell Tamara about
that. He remembered that he used to
like boxing and became a boxer. But he
was no sportsman and stopped boxing.
Soon the war began. Having seen Ilyin
off to the front, Tamara enrolled in a
nursing college and worked in hospitals
and on the front to help the soldiers.
She thought of the future. When the
war ended, Tamara returned to Moscow,
found a job and took in Slavka, the son
of her sister who had perished. Ilyin did
not search for Tamara, did not want to
come back and could not love. He went
to the North... and seventeen years have
passed. All these years Ilyin has worked
as a driver in Vorkuta, delivering goods
to inaccessible settlements. He has
married, but he never forgot Tamara.
Therefore he has taken a holiday saved
up over several years and visited
Moscow...
THE MONOLOGUE
ƒ‡Ï‡.
1972 (‚˚Ô. 09.1973), ———–, 100 ÏËÌ., ˆ‚.
1972 (release Sept. 1973), USSR,
100 min., col.
¿Í‡‰ÂÏËÍ ÕËÍÓ‰ËÏ ¬‡ÒËθ‚˘
—ÂÚÂÌÒÍËÈ Ì‡ ÒÍÎÓÌ ÎÂÚ ÓÒÚ‡‚ΡÂÚ
¿‚ÚÓ ÒˆÂ̇ˡ ≈‚„ÂÌËÈ √‡·ËÎӂ˘
ÔÓÒÚ ‰ËÂÍÚÓ‡ ËÌÒÚËÚÛÚ‡ Ë
–ÂÊËÒÒÂ »Î¸ˇ ¿‚Â·‡ı
Scriptwriter Evgeni Gabrilovich
‚ÓÁ‚‡˘‡ÂÚÒˇ Í Î‡·Ó‡ÚÓÌ˚Ï
ŒÔÂ‡ÚÓ ƒÏËÚËÈ ÃÂÒıË‚
Director Ilya Averbakh
ËÒÒΉӂ‡ÌˡÏ, ̇˜‡Ú˚Ï ‚ ̇˜‡ÎÂ
’Û‰ÓÊÌËÍ Ã‡Ë̇ ¿ÁËÁˇÌ
Director of Photography
̇ۘÌÓÈ Í‡¸Â˚ Ë ÌÂÁ‡‚Â¯ÂÌÌ˚Ï ÔÓ
üÓÒÚ˛Ï˚ ».ÿ‡¯ËÎË̇
Dmitri Meskhiev Sr.
ˇ‰Û Ó·ÒÚÓˇÚÂθÒÚ‚. ÕÓ Ò‰Â·ÌÌÓÂ
üÓÏÔÓÁËÚÓ ŒÎ„ ü‡‡‚‡È˜ÛÍ
Production Design Marina Azizian
ÓÚÍ˚ÚËÂ ÌÂ ÔËÌÓÒËÚ ÂÏÛ
«‚ÛÍ ›‰Û‡‰ ¬‡ÌÛ̈
Costume Design I. Sharshilina
Û‰Ó‚ÎÂÚ‚ÓÂÌËˇÖ ŒÒÌÓ‚Û Ò˛ÊÂÚ‡
ÃÓÌÚ‡Ê ≈‚„ÂÌˡ Çı‡Ì¸ÍÓ‚‡
Composer Oleg Karavaichuk
ÒÓÒÚ‡‚Ρ˛Ú ÒÎÓÊÌ˚ ‚Á‡ËÏÓÓÚÌÓ¯ÂÌˡ
¬ ÓΡı: ÃËı‡ËÎ √ÎÛÁÒÍËÈ,
Sound Eduard Vanunts
—ÂÚÂÌÒÍÓ„Ó, Â„Ó ‰Ó˜ÂË, ÍÓÚÓ‡ˇ
ÇË̇ ÕÂÂÎÓ‚‡, Ç„‡ËÚ‡ “ÂÂıÓ‚‡,
Editing Evgeniya Makhankova
‚ÂÏˇ ÓÚ ‚ÂÏÂÌË ‚˚ÌÛʉÂ̇
—Ú‡ÌËÒ·‚ À˛·¯ËÌ, ≈‚„ÂÌˡ ’‡Ì‡Â‚‡,
Cast: Mikhail Gluzsky, Marina Neelova,
‚ÓÁ‚‡˘‡Ú¸Òˇ ‚ Â„Ó ‰ÓÏ, Ë Î˛·ËÏÓÈ
ÀÂÓÌˉ Õ‚‰ÓÏÒÍËÈ, ÀÂÓÌˉ √‡ÎÎËÒ,
Margarita Terekhova,
‚ÌÛ˜ÍË, Û ÍÓÚÓÓÈ ÛÊÂ Ò‚Óˇ ΢̇ˇ
¬ËÚ‡ÎËÈ Ã‡Ú‚Â‚, ›ÌÒÚ –ÓχÌÓ‚,
Stanislav Liubshin, Evgeniya Khanaeva,
ÊËÁ̸ Ë Î˘̇ˇ ‰‡Ï‡...
ÀÂ̇ «‡ı‡Ó‚‡, ¬Â‡ ü‡‚‡ÎÂÓ‚‡,
Leonid Nevedomsky, Leonid Gallis,
≈ÎÂ̇ ü‡Ôˈ‡, √η œÎ‡ÍÒËÌ
Vitali Matveev, Ernst Romanov,
ƒËÂÍÚÓ ͇ÚËÌ˚ ¿ÎÂÍ҇̉
Lena Zakharova, Nadezhda Kavalerova,
¿¯‡ÌÒÍËÈ
Elena Kapitsa, Gleb Plaksin
œÓËÁ‚Ó‰ÒÚ‚Ó ´ÀÂÌÙËθϪ
Executive Director
Drama.
Alexander Arshansky
The elderly academician Nikodim
Production Lenfilm
Vasilievich Sretensky leaves the post of
director of the institute and returns to
laboratory research which he started at
the beginning of his scientific career
and which he left uncompleted due to a
number of circumstances. But the
discovery he makes brings him no
satisfactionÖ The basis of the plot are
the complex relations of Sretensky, his
daughter who from time to time is
compelled to come back to his house,
and his favourite granddaughter who
already has her own private life and
personal tragedies...
1958-2000. ÎÛ˜¯Ë ÙËθÏ˚ Ë ÂÊËÒÒÂ˚
1958-2000: the best films and directors
ÌՌÀŒ√
ñ œÓ˜ÂÚÌ˚È ‰ËÔÎÓÏ ñ Ãü‘ ‚
ƒÊÓ‰ÊÚ‡ÛÌÂ, √‡È‡Ì‡, 1976;
ñ œÂÏˡ ÔÓθÒÍÓ„Ó ÊÛ̇· ´›Í‡Ìª
ÎÛ˜¯ÂÏÛ ËÌÓÒÚ‡ÌÌÓÏÛ ÙËθÏÛ
1974 „Ó‰‡.
ñ Honorary Diploma ñ IFF in
Georgetown, Guyana, 1976;
ñ Prize of the Polish magazine ìScreenî
to the best foreign film of 1974.
149
1958-2000. ÎÛ˜¯Ë ÙËθÏ˚ Ë ÂÊËÒÒÂ˚
1958-2000: the best films and directors
150
üŒ–Œ“ü»≈ ¬—“–≈◊»
SHORT ENCOUNTERS
1967 (‚˚Ô. 13.07.1967, 1987), ———–,
1967 (release 13 July 1967, and 1987),
96 ÏËÌ., ˜/·
USSR, 96 min., b/w
¿‚ÚÓ˚ ÒˆÂ̇ˡ üË‡ ÃÛ‡ÚÓ‚‡,
Scriptwriters Kira Muratova,
ÀÂÓÌˉ ΔÛıӂˈÍËÈ
Leonid Zhukhovitsky
–ÂÊËÒÒÂ üË‡ ÃÛ‡ÚÓ‚‡
Director Kira Muratova
ŒÔÂ‡ÚÓ √ÂÌ̇‰ËÈ ü‡˛Í
Director of Photography
’Û‰ÓÊÌËÍË ŒÎ„ œÂ‰ÂËÈ,
Gennadi Kariuk
¿ÎÂÍ҇̉‡ üÓ̇‰Ó‚‡
Production Design Oleg Peredery,
üÓÒÚ˛Ï˚ À. “ÓÎÒÚ˚ı
Alexandra Konardova
üÓÏÔÓÁËÚÓ ŒÎ„ ü‡‡‚‡È˜ÛÍ
Costume Design L. Tolstykh
¿‚ÚÓ Ë ËÒÔÓÎÌËÚÂθ ÔÂÒÂÌ
Composer Oleg Karavaichuk
¬Î‡‰ËÏË ¬˚ÒÓˆÍËÈ
Songs written and performed by
«‚ÛÍ »„Ó¸ —ÍË̉Â
Vladimir Vysotsky
¬ ÓΡı: üË‡ ÃÛ‡ÚÓ‚‡,
Sound Igor Skinder
¬Î‡‰ËÏË ¬˚ÒÓˆÍËÈ, ÕË̇ –ÛÒ·ÌÓ‚‡,
Cast: Kira Muratova, Vladimir
Àˉˡ ¡‡ÁËθÒ͇ˇ, ¬‡ÎÂËÈ »Ò‡ÍÓ‚,
Vysotsky, Nina Ruslanova,
ŒÎ¸„‡ ¬ËÍ·̉Ú, ¿ÎÂÍÒÂÈ √·Á˚ËÌ,
Lydia Bazilskaya, Valeri Isakov,
—‚ÂÚ·̇ ÕÂÏÓΡ‚‡, “‡Ú¸ˇÌ‡ É̇ˇ,
Olga Viklandt, Alexei Glazyrin,
¿ÎÂÍ҇̉ –‡‰¸ÍÓ
Svetlana Nemoliaeva, Tatiana Mednaya,
ƒËÂÍÚÓ ͇ÚËÌ˚ ¿ÎÂÍÒÂÈ —Â‰˛ÍÓ‚
Alexander Radko
œÓËÁ‚Ó‰ÒÚ‚Ó Œ‰ÂÒÒ͇ˇ ÍËÌÓÒÚÛ‰Ëˇ
Executive Director Alexei Serdiukov
Production Odessa Film Studio
ñ œÂÏˡ üËÌӇ͇‰ÂÏËË ´ÕË͇ª
Á‡ 1987 „Ó‰ ñ ‡ÍÚËÒ‡ ÕË̇
–ÛÒ·ÌÓ‚‡ Á‡ ÙËθÏ˚: ´üÓÓÚÍËÂ
‚ÒÚ˜˪, ´«‡‚Ú‡ ·˚· ‚ÓÈ̇ª,
´«Ì‡Í ·Â‰˚ª.
ñ Prize of the Film Academy NIKA for
1987: actress Nina Ruslanova for the
films: ìShort Encountersî,
ìTomorrow there was Warî, ìSign of
Troubleî.
ÃÂÎÓ‰‡Ï‡ ÔÓ Ó˜ÂÍÛ ÀÂÓÌˉ‡
ΔÛıӂˈÍÓ„Ó.
œÓ‚‡Ëı‡ ˝ÍÒÔ‰ˈËË Õ‡‰ˇ β·ËÚ
„ÂÓÎÓ„‡ ÇÍÒËχ, Ë Â„Ó Î˘̇ˇ ÊËÁ̸
‚Ì ˝ÍÒÔ‰ˈËË Ì ‰‡ÂÚ ÂÈ ÔÓÍÓˇ.
ƒÂ‚ۯ͇ Ú‡ÈÍÓÏ ‰ÓÒÚ‡ÂÚ Â„Ó ‡‰ÂÒ,
ÔËÂÁʇÂÚ ‚ „ÓÓ‰, „‰Â ÓÌ ÊË‚ÂÚ, Ë
ÔÓÔ‡‰‡ÂÚ ‚ Í‚‡ÚËÛ Ô‰Ò‰‡ÚÂΡ
‡ÈÒÓ‚ÂÚ‡ ¬‡ÎÂÌÚËÌ˚ »‚‡ÌÓ‚Ì˚
—‚ËˉӂÓÈ. Õ‡‰ˇ Ì ÏÓÊÂÚ ÚÓÎÍÓÏ
Ó·˙ˇÒÌËÚ¸ Ô˘ËÌÛ Ò‚ÓÂ„Ó ‚ËÁËÚ‡ Ë ÔÓ
Ô‰ÎÓÊÂÌ˲ ÏÓÎÓ‰ÓÈ ıÓÁˇÈÍË
ÓÒÚ‡ÂÚÒˇ Á‰ÂÒ¸ ÊËÚ¸ ̇ Ô‡‚‡ı
‰ÓÏ‡·ÓÚÌˈ˚. üÓ„‰‡ Ó̇ ÔÓÈÏÂÚ, ˜ÚÓ
ÇÍÒËÏ Ë ¬‡ÎÂÌÚË̇ β·ˇÚ ‰Û„
‰Û„‡, Ó̇ ÔÓÍËÌÂÚ ˝ÚÓÚ ‰ÓÏÖ
—Ó·‡‚ 4.4 ÏÎÌ. ÁËÚÂÎÂÈ, ÙËÎ¸Ï ·˚Î
ÓÒÚ‡ÌÓ‚ÎÂÌ ‚ ÔÓ͇ÚÂ, ÌÂÒÏÓÚˇ ̇ ÚÓ,
˜ÚÓ ·˚ÎÓ Ò‰Â·ÌÓ 725 ÍÓÔËÈ. ¬ 1987
„Ó‰Û Í‡ÚË̇ ‚ÌÓ‚¸ ‚˚¯Î‡ ̇ ˝Í‡Ì˚.
Melodrama based on Leonid
Zhukhovitskyís sketch.
Nadya, who works as a cook catering
for expeditions, falls in love with the
geologist Maxim; but his private life
outside his expeditions does not let her
rest. The girl secretly gets his address,
goes to the city where he lives, and
arrives at the apartment of the
chairman of the district council
Valentina Ivanovna Sviridova. Nadya
cannot properly explain the reason of
her visit and, as suggested by the young
mistress, she stays ñ as housekeeper.
When she understands that Maxim and
Valentina really like each other, she
leaves the houseÖ
Having attracted 4.4 million spectators,
the film was stopped in distribution
despite the fact that 725 copies had
been prepared. In 1987 the film was
again released.
ONE HUNDRED DAYS AFTER CHILDHOOD
ÀË˘ÂÒ͇ˇ ‰‡Ï‡ ÔÓ ÏÓÚË‚‡Ï
Ó‰ÌÓËÏÂÌÌÓÈ ÔÓ‚ÂÒÚË ¿ÎÂÍ҇̉‡
¿ÎÂÍ҇̉Ó‚‡.
ÃËÚˇ ÀÓÔÛıËÌ ÔÓ‚Ó‰ËÚ ‚ ÔËÓÌÂÒÍÓÏ
·„Â ÔÓÒΉÌ ¯ÍÓθÌÓ ÎÂÚÓ. ŒÌ
‚ÔÂ‚˚ ‚β·ÎÂÌ, ÌÓ Â„Ó ËÁ·‡ÌÌˈ‡ ñ
ÀÂ̇ ≈„ÓÎË̇ ñ ۂΘÂ̇ ÎˉÂÓÏ
ÓÚˇ‰‡ √ηÓÏ ÀÛÌ‚˚Ï. ÃËÚˇ ‰Â·ÂÚ
ÌÂÎÓ‚ÍË ÔÓÔ˚ÚÍË Ô˂Θ¸ Í Ò·Â
‚ÌËχÌˡ ÀÂÌ˚, Ô˯ÂÚ ÂÈ ÔËÒ¸ÏÓ Ë
‰Ó·Ë‚‡ÂÚÒˇ ҂ˉ‡Ìˡ, ÔÓÒΠ˜Â„Ó ‚ÒÂ
Â„Ó Ï˜Ú˚ Û¯‡ÚÒˇ, ÌÓ Í ÌÂÏÛ ‚ÔÂ‚˚Â
ÔËıÓ‰ËÚ Ó˘Û˘ÂÌË ÚÓ„Ó, ˜ÚÓ ÚÂÔÂ¸
‚Ò ·Û‰ÂÚ Ë̇˜Â... —˛ÊÂÚ
ÔÓ‚ÂÒÚ‚Ó‚‡Ìˡ ÒÓÒÚÓËÚ ËÁ 11 ÌÓ‚ÂÎÎ:
´›ÔËÎÓ„ª, ´üÚÓ ÂÒÚ¸ ÍÚÓª, ´¡ÂÎ˚È
͇ÏÂ̸ª, ´ÃËÁ‡ÌÚÓÔª, ´Ã‡Ò͇‡‰.
¿ÍÚ ‚ÚÓÓȪ, ´¡ÂÒÒÓÌÌˈ‡. —Â‰Ë̇
ÎÂÚ‡ª, ´üÓÏÔÓÚ ËÁ ‚˯Ì˪,
´œÓ‰‚ËÊÌ˚ ˄˚ ̇ Ò‚ÂÊÂÏ
‚ÓÁ‰Ûıª, ´ÕÂÓÊˉ‡ÌÌ˚È ÎË‚Â̸.
¿‚„ÛÒÚª, ´œÓÎÓ„ª.
Lyrical drama based on the motives of
Alexander Alexandrovís story of the
same title.
Mitya Lopukhin spends his last school
summer in a pioneer camp. He is in love
for the first time, but his chosen one,
Lena Ergolina, has her eyes set on the
group leader Gleb Lunev. Mitya makes
awkward attempts to attract Lenaís
attention: he writes letters and gets a
date with her, after which all his
dreams are shattered, but for the first
time he has the sensation that
everything will be different from now
on... The narrative consists of 11 short
stories: ìEpilogueî, ìWho is whoî, ìThe
White Stoneî, ìThe Misanthropeî, ìThe
Masquerade: Second Actî,
ìSleeplessness. Mid Summerî, ìCherry
Compoteî, ìOutdoor Games at the Open
Airî, ìUnexpected Downpour. Augustî,
ìPrologueî.
1975 (‚˚Ô. 01.12.1975), ———–,
1975 (release 1 Dec. 1975), USSR, 94
94 ÏËÌ., ˆ‚., 1:2.35
min., col, 1:2.35
¿‚ÚÓ˚ ÒˆÂ̇ˡ ¿ÎÂÍ҇̉
Scriptwriters Alexander Alexandrov,
¿ÎÂÍ҇̉Ó‚, —Â„ÂÈ —ÓÎÓ‚¸Â‚
Sergei Soloviev
–ÂÊËÒÒÂ —Â„ÂÈ —ÓÎÓ‚¸Â‚
Director Sergei Soloviev
ŒÔÂ‡ÚÓ ÀÂÓÌˉ ü‡Î‡¯ÌËÍÓ‚
Director of Photography Leonid
’Û‰ÓÊÌËÍ ¿ÎÂÍ҇̉ ¡ÓËÒÓ‚
Kalashnikov
üÓÒÚ˛Ï˚ À˛‰ÏË· üÛÒ‡ÍÓ‚‡
Production Design Alexander Borisov
üÓÏÔÓÁËÚÓ »Ò‡‡Í ÿ‚‡ˆ
Costume Design Liudmila Kusakova
«‚ÛÍ ¬Î‡‰ËÏË ü‡˜ÍÓ‚ÒÍËÈ,
Composer Isaak Schwarz
¬Î‡‰ËÏË ¡‡ıχˆÍËÈ
Sound Vladimir Krachkovsky,
¬ ÓΡı: ¡ÓËÒ “Ó͇‚,
Vladimir Bakhmatsky
“‡Ú¸ˇÌ‡ ƒ۷˘, »Ë̇ ÇÎ˚¯Â‚‡,
Cast: Boris Tokarev, Tatiana Drubich,
fiËÈ ¿„ËÎËÌ, —Â„ÂÈ ÿ‡ÍÛÓ‚,
Irina Malysheva, Yuri Agilin,
ÕË̇ ÃÂ̸¯ËÍÓ‚‡, ¿Ë̇
Sergei Shakurov, Nina Menshikova,
¿ÎÂÈÌËÍÓ‚‡, ¿Ì‰ÂÈ «‚ˇ„ËÌ,
Arina Aleinikova, Andrei Zviagin,
fi‡ —ÓÍËÌ, “‡Ú¸ˇÌ‡ fiËÌÓ‚‡,
Yura Sorkin, Tatiana Yurinova, Sergei
—Â„ÂÈ ’ηÌËÍÓ‚, ¬ËÍÚÓ ÇÍËÌ
Khlebnikov, Viktor Markin
ƒËÂÍÚÓ ͇ÚËÌ˚ ¡ÓËÒ √ÓÒÚ˚ÌÒÍËÈ
Executive Director Boris Gostynsky
œÓËÁ‚Ó‰ÒÚ‚Ó ´ÃÓÒÙËθϪ
Production Mosfilm
ñ √ÓÒÛ‰‡ÒÚ‚ÂÌÌ˚ ÔÂÏËË ———–
(1977, Û‰ÓÒÚÓÂÌ˚ ÒˆÂ̇ËÒÚ
¿.¿ÎÂÍ҇̉Ó‚, ÒˆÂ̇ËÒÚ Ë
ÂÊËÒÒÂ —.—ÓÎÓ‚¸Â‚, ÓÔÂ‡ÚÓ
À.ü‡Î‡¯ÌËÍÓ‚, ıÛ‰ÓÊÌËÍ
¿.¡ÓËÒÓ‚);
ñ œÂÏˡ ÀÂÌËÌÒÍÓ„Ó ÍÓÏÒÓÏÓ·
(1976, ˝ÚÓÏÛ Ê ÒÓÒÚ‡‚Û);
ñ ´—Â·ˇÌ˚È Ï‰‚‰¸ª Á‡ ÎÛ˜¯Û˛
ÂÊËÒÒÛÛ ñ Ãü‘ ‚ «‡Ô‡‰ÌÓÏ
¡ÂÎËÌÂ, 1975;
ñ —Â·ˇÌ‡ˇ ω‡Î¸ Ãü‘ ‚
¿‚ÂÎÎËÌÓ, 1976;
ñ √·‚̇ˇ ÔÂÏˡ ÍÓÎÎÂÍÚË‚Û Ë ÔËÁ
Á‡ ÎÛ˜¯Û˛ ÓÔÂ‡ÚÓÒÍÛ˛ ‡·ÓÚÛ ñ
¬ü‘, „. ‘ÛÌÁÂ, 1976;
ñ √·‚Ì˚È ÔËÁ Á‡ ÎÛ˜¯Û˛ ÂÊËÒÒÛÛ
ñ Ãü‘ ‰ÂÚÒÍËı ÙËθÏÓ‚ ‚
¡Â΄‡‰Â, 1976 Ë ‰.
ñ State Prize of the USSR (1977, script
writer A. Alexandrov, scriptwriter
and director S. Soloviev,
cinematographer L. Kalashnikov,
production designer A. Borisov);
ñ Prize of the Lenin Komsomol (1976,
same recipients);
ñ ìSilver Bearî for best direction ñ IFF
in West Berlin, 1975;
ñ Silver Medal, IFF in Avellino, 1976;
ñ Main Prize to the collective and Prize
for Best Cinematography ñ All-Union
Film Festival Frunze, 1976;
ñ Main Prize for best direction ñ IFF of
childrenís films in Belgrade, 1976, etc.
1958-2000. ÎÛ˜¯Ë ÙËθÏ˚ Ë ÂÊËÒÒÂ˚
1958-2000: the best films and directors
—“Œ ƒÕ≈… œŒ—À≈ ƒ≈“—“¬¿
151
1958-2000. ÎÛ˜¯Ë ÙËθÏ˚ Ë ÂÊËÒÒÂ˚
1958-2000: the best films and directors
¿—“≈Õ»◊≈—ü»… —»Õƒ–ŒÃ
ASTHENIC SYNDROME
1989, ———–, 153 ÏËÌ., ˆ‚.+˜/·,
1989, USSR, 153 min., col. & b/w,
ƒ‡Ï‡.
1:1.37, ÏÓÌÓ
1:1.37, mono
ΔÂÌ˘Ë̇ ÔÓ ËÏÂÌË Õ‡Ú‡¯‡ ıÓÓÌËÚ
¿‚ÚÓ˚ ÒˆÂ̇ˡ —Â„ÂÈ œÓÔÓ‚,
Scriptwriters Sergei Popov,
ÒÚ‡ÌÓ‚ËÚÒˇ Ú‡ÍËÏ, ͇ÍÓÈ ÓÌ ÂÒÚ¸ ̇
¿ÎÂÍ҇̉ ◊ÂÌ˚ı, üË‡ ÃÛ‡ÚÓ‚‡
Alexander Chernykh, Kira Muratova
Ò‡ÏÓÏ ‰ÂÎÂ...
–ÂÊËÒÒÂ üË‡ ÃÛ‡ÚÓ‚‡
Director Kira Muratova
ŒÔÂ‡ÚÓ ¬Î‡‰ËÏË œ‡ÌÍÓ‚
Director of Photography
’Û‰ÓÊÌËÍ ŒÎ„ »‚‡ÌÓ‚
Vladimir Pankov
ƒÂÍÓ‡ˆËË ≈‚„ÂÌËÈ √ÓÎÛ·ÂÌÍÓ
Production Design Oleg Ivanov
üÓÒÚ˛Ï˚ Ã. ¡Ó‰ÍË̇
Set Evgeni Golubenko
ÃÛÁ˚͇ ‘‡Ìˆ ÿÛ·ÂÚ
Costume Design M. Brodkina
«‚ÛÍ ≈ÎÂ̇ ƒÂÏˉӂ‡
Music Franz Schubert
¬ ÓΡı: ŒÎ¸„‡ ¿ÌÚÓÌÓ‚‡,
Sound Elena Demidova
—Â„ÂÈ œÓÔÓ‚, √‡ÎË̇ «‡ıÛ‰‡Â‚‡,
Cast: Olga Antonova, Sergei Popov,
Շڇθˇ ¡ÛÁ¸ÍÓ, ¿ÎÂÍ҇̉‡ —‚ÂÌÒ͇ˇ,
Galina Zakhurdaeva, Natalia Buzko,
œ‡‚ÂÎ œÓÎˢÛÍ, Շڇθˇ –‡Î΂‡,
Alexandra Svenskaya, Pavel Polishchuk,
√‡ÎË̇ ü‡ÒÔÂӂ˘, ¬ËÍÚÓ ¿ËÒÚÓ‚,
Natalia Ralleva, Galina Kasperovich,
ÕËÍÓÎ‡È —ÂÏÂÌÓ‚, ŒÎ„ ÿÍÓθÌËÍ,
Viktor Aristov, Nikolai Semenov,
¬Â‡ —ÚÓÓÊ‚‡, ¿ÎÂÍ҇̉ ◊ÂÌ˚ı,
Oleg Shkolnik, Vera Storozheva,
ÀÂÓÌˉ üÛ¯ÌË
Alexander Chernykh, Leonid Kushnir
ƒËÂÍÚÓ˚ ͇ÚËÌ˚ Õ‡‰Âʉ‡ œÓÔÓ‚‡,
Executive Director Nadezhda Popova,
√„‡Ï “‡¯˜‡Ì
Gegam Tashchan
œÓËÁ‚Ó‰ÒÚ‚Ó Œ‰ÂÒÒ͇ˇ ÍËÌÓÒÚÛ‰Ëˇ,
Production Odessa Film Studio,
ÔË Û˜‡ÒÚËË √ÓÒÍËÌÓ
with participation of Goskino
ñ ´—Â·ˇÌ˚È Ï‰‚‰¸ª, ÒÔˆˇθÌ˚È
ÔËÁ Ê˛Ë ñ Ãü‘ ‚ «‡Ô‡‰ÌÓÏ
¡ÂpÎËÌÂ, 1990;
ñ œÂÏˡ üËÌӇ͇‰ÂÏËË ´ÕË͇ª
(1990) ñ Á‡ ÎÛ˜¯ËÈ Ë„Ó‚ÓÈ ÙËθÏ;
ñ œËÁ ‘ÂÒÚË‚‡Îˇ ‡ÍÚÂÓ‚ ÍËÌÓ
´—ÓÁ‚ÂÁ‰Ëª (ŒÎ¸„‡ ¿ÌÚÓÌÓ‚‡), 1990.
ñ ìSilver Bearî, Special Jury Prize ñ
IFF in Berlin, 1990;
ñ Prize of the Film Academy NIKA
(1990) for best fiction film;
ñ Prize of the Festival of Film Actors
ìSozvezdieî (Olga Antonova), 1990.
ÏÛʇ, β·ËÏÓ„Ó ˜ÂÎÓ‚Â͇, ñ Ë ÏË
152
Drama.
A woman called Natasha buries her
husband, her favourite person, and the
world turns into what it actually is...
PARADE OF PLANETS
œËÚ˜‡ Ó Ò‚Ó·Ó‰Â, ÔÓ˜ÚË
1984 (‚˚Ô. 23.11.1984), ———–, 97
1984 (release 11 Nov.1984), USSR, 97
Ù‡ÌÚ‡ÒÚ˘ÂÒ͇ˇ ËÒÚÓˡ Ó
ÏËÌ., ˆ‚.
min., col.
ÒÓ·ÒÚ‚ÂÌÌÓÈ ÊËÁÌË ˜ÂÂÁ Ôӯ‰¯Û˛
¿‚ÚÓ ÒˆÂ̇ˡ ¿ÎÂÍ҇̉ ÃË̉‡‰ÁÂ
Scriptwriter Alexander Mindadze
ÏÓÎÓ‰ÓÒÚ¸ Ë ·Û‰Û˘Û˛ ÒÚ‡ÓÒÚ¸.
–ÂÊËÒÒÂ ¬‡‰ËÏ ¿·‰‡¯ËÚÓ‚
Director Vadim Abdrashitov
ŒÔÂ‡ÚÓ ¬Î‡‰ËÏË ÿ‚ˆËÍ
Director of Photography
’Û‰ÓÊÌËÍ ¿ÎÂÍ҇̉ “ÓÎ͇˜Â‚
Vladimir Shevtsik
üÓÒÚ˛Ï˚ –ÓÁ‡ —‡ÚÛÌÓ‚Ò͇ˇ
Production Design Alexander Tolkachev
üÓÏÔÓÁËÚÓ ¬ˇ˜ÂÒ·‚ √‡ÌÂÎËÌ
Costume Design Roza Satunovskaya
«‚ÛÍ flÌ œÓÚÓˆÍËÈ
Composer Viacheslav Ganelin
¬ ÓΡı: ŒÎ„ ¡ÓËÒÓ‚,
Sound Yan Pototsky
—Â„ÂÈ ÿ‡ÍÛÓ‚, —Â„ÂÈ ÕËÍÓÌÂÌÍÓ,
Cast: Oleg Borisov, Sergei Shakurov,
¿ÎÂÍ҇̉ œ‡¯ÛÚËÌ, œÂÚ «‡È˜ÂÌÍÓ,
Sergei Nikonenko, Alexander Pashutin,
¿ÎÂÍÒÂÈ Δ‡ÍÓ‚, ¡ÓËÒ –ÓχÌÓ‚, ÀËÎˡ
Petr Zaichenko, Alexei Zharkov, Boris
√ˈÂÌÍÓ, ≈ÎÂ̇ ÇÈÓÓ‚‡, ÇË̇
Romanov, Lilia Gritsenko, Elena
ÿËχÌÒ͇ˇ, ¿ÌÊÂÎË͇ Õ‚ÓÎË̇
Mayorova, Marina Shimanskaya,
ƒËÂÍÚÓ ͇ÚËÌ˚ À˛‰ÏË· √‡·Â·ˇ
Anzhelika Nevolina
œÓËÁ‚Ó‰ÒÚ‚Ó ´ÃÓÒÙËθϪ
Executive Director Liudmila Gabelaya
1958-2000. ÎÛ˜¯Ë ÙËθÏ˚ Ë ÂÊËÒÒÂ˚
1958-2000: the best films and directors
œ¿–¿ƒ œÀ¿Õ≈“
ÔÛÚ¯ÂÒÚ‚ËË ÒÓÓ͇ÎÂÚÌËı ÏÛʘËÌ ÔÓ
Production Mosfilm
A parable about freedom, an almost
fantastic story about the journey of
some forty-year-old men through their
own lives, through the past pf their
youth and the future of old age.
ñ √·‚Ì˚È ÔËÁ ´«ÓÎÓÚÓ Ô·ÚÓª Á‡
ÎÛ˜¯Û˛ ÂÊËÒÒÛÛ
(¬‡‰ËÏ ¿·‰‡¯ËÚÓ‚) ñ
Ãü‘ ‚ ¿‚ÂÎÎËÌÓ, 1985.
ñ ìGolden Plateauî Award for best
direction (Vadim Abdrashitov) ñ IFF
in Avellino, 1985
153
1958-2000. ÎÛ˜¯Ë ÙËθÏ˚ Ë ÂÊËÒÒÂ˚
1958-2000: the best films and directors
¿…¡ŒÀ»“-66
AIBOLIT 66
1966 (‚˚Ô. 19.04.1967), ———–,
1966 (release 19 April 1967), USSR, 99
›ÍÒˆÂÌÚ˘ÂÒ͇ˇ ÏÛÁ˚͇θ̇ˇ
99 ÏËÌ., ˆ‚., 1:1.87/ 1:2.35
min., col., 1:1.87/1:2.35
ÍÓωˡ ÔÓ Ò͇ÁÍ üÓÌ¡ ◊ÛÍÓ‚ÒÍÓ„Ó
¿‚ÚÓ˚ ÒˆÂ̇ˡ ¬‡‰ËÏ üÓÓÒÚ˚΂,
Scriptwriters Vadim Korostylev,
‚ÁÓÒÎ˚ı ñ Ò ÔÂÒÌˇÏË, ÏÛÁ˚ÍÓÈ,
–ÓÎ‡Ì ¡˚ÍÓ‚
Rolan Bykov
ڇ̈‡ÏË, ÌÂ̇ÒÚÓˇ˘ÂÈ ÒÚÂθ·ÓÈ Ë
–ÂÊËÒÒÂ –ÓÎ‡Ì ¡˚ÍÓ‚
Director Rolan Bykov
̇ÒÚÓˇ˘ËÏË ‡ÍÚÂ‡ÏË.
ŒÔÂ‡ÚÓ˚ √ÂÌ̇‰ËÈ ÷Â͇‚˚È,
Director of Photography
¬ËÍÚÓ flÍۯ‚
Gennadi Tsekavy, Viktor Yakushev
’Û‰ÓÊÌËÍ ¿ÎÂÍ҇̉ üÛÁ̈ӂ
Production Design
üÓÒÚ˛Ï˚ À˛‰ÏË· üÛÒ‡ÍÓ‚‡
Alexander Kuznetsov
üÓÏÔÓÁËÚÓ ¡ÓËÒ ◊‡ÈÍÓ‚ÒÍËÈ
Costume Design Liudmila Kusakova
«‚ÛÍ fiËÈ –‡·ËÌӂ˘
Composer Boris Chaikovsky
¬ ÓΡı: ŒÎ„ ≈ÙÂÏÓ‚, –ÓÎ‡Ì ¡˚ÍÓ‚,
Sound Yuri Rabinovich
Àˉˡ üÌˇÁ‚‡, ≈‚„ÂÌËÈ ¬‡ÒËθ‚,
Cast: Oleg Efremov, Rolan Bykov,
¿ÎÂÍÒÂÈ —ÏËÌÓ‚, ‘ÛÌÁËÍ ÃÍÚ˜ˇÌ,
Lydia Kniazeva, Evgeni Vasiliev, Alexei
ÀÂÓÌˉ ≈Ì„Ë·‡Ó‚, –ÛÒÎ‡Ì ¿ıÏÂÚÓ‚,
Smirnov, Frunzik Mkrtchian, Leonid
»„Ó¸ flÒÛÎӂ˘, »Î¸ˇ –ÛÚ·Â„,
Engibarov, Ruslan Akhmetov, Igor
¬‡ÎÂÌÚËÌ √‡˜Â‚, √Û„ÂÌ ƒÊ‡ÌË·Â͡Ì,
Yasulovich, Ilya Rutberg, Valentin
«Óˇ »Ò‡Â‚‡, À˛‰ÏË· ü‡‡Û¯,
Grachev, Gurgen Dzhanibekian, Zoya
¬Î‡‰ËÏË œËˆÂÍ
Isaeva, Liudmila Karaush, Vladimir Pitsek
ƒËÂÍÚÓ ͇ÚËÌ˚ ¡ÓËÒ √ÓÒÚ˚ÌÒÍËÈ
Executive Director Boris Gostynsky
œÓËÁ‚Ó‰ÒÚ‚Ó ´ÃÓÒÙËθϪ
Production Mosfilm
´¿È·ÓÎËÚª, Ô‰ÒÚ‡‚ÎÂÌË ‰Îˇ ‰ÂÚÂÈ Ë
154
Eccentric musical comedy based on the
fairy tale by Kornei Chukovsky
ìAibolitî (Ouch-it-hurts), a
representation for children and adults
with songs, music, dances, unreal
shooting and real actors.
ñ œËÁ Ã√ü ¬Àü—à ñ ¬ÒÂÒÓ˛Á̇ˇ
̉ÂΡ ‰ÂÚÒÍÓ„Ó ÙËθχ, 1967.
ñ Prize of the Lenin Communist Youth
League ñ All-Union Week of
Childrenís Film, 1967.
DAYS OF ECLIPSE
1988, ———–, 125 ÏËÌ., ˆ‚., 1:2.35
1988, USSR, 125 min., col., 1:2.35
´«‡ ÏËÎΡ‰ ÎÂÚ ‰Ó ÍÓ̈‡ Ò‚ÂÚ‡ª.
¿‚ÚÓ ÒˆÂ̇ˡ fiËÈ ¿‡·Ó‚ ÔË
Scriptwriter Yuri Arabov,
ÃÓÎÓ‰ÓÈ ‚‡˜ ƒÏËÚËÈ Ã‡ÎˇÌÓ‚
Û˜‡ÒÚËË œÂÚ‡ ü‡‰Ó˜ÌËÍÓ‚‡, ¡ÓËÒ‡ Ë
with participation of Petr Kadochnikov,
ÔËÂÁʇÂÚ ÔÓ ‡ÒÔ‰ÂÎÂÌ˲ ‚
¿͇‰Ëˇ —ÚÛ„‡ˆÍËı
Boris and Arkadi Strugatskikh
Ò‰Ì‡ÁˇÚÒÍËÈ „ÓÓ‰ÓÍ Ò
–ÂÊËÒÒÂ ¿ÎÂÍ҇̉ —ÓÍÛÓ‚
Director Alexander Sokurov
ÏÌÓ„ÓˇÁ˚˜ÌÓÈ Ò‰ÓÈ, ‡Á΢Ì˚Ï
ŒÔÂ‡ÚÓ —Â„ÂÈ fiËÁ‰ËˆÍËÈ
Director of Photography Sergei
ÛÍ·‰ÓÏ ·˚Ú‡, Û·Ó„ËÏ Û·‡ÌËÁÏÓÏ,
’Û‰ÓÊÌËÍ ≈ÎÂ̇ ¿Ï¯ËÌÒ͇ˇ
Yurizditsky
ʇÓÈ Ë ÔÛÒÚ˚ÌÌÓÒÚ¸˛, ‚ ÍÓÚÓÓÈ
üÓÒÚ˛Ï˚ Àˉˡ ü˛ÍÓ‚‡
Production Design Elena Amshinskaya
ÒÍ˚Ú¸ Ò·ˇ Ì‚ÓÁÏÓÊÌÓ. »Á̇˜‡Î¸ÌÓ
üÓÏÔÓÁËÚÓ fiËÈ ’‡ÌËÌ
Costume Design Lydia Kriukova
ÒÓ‚ÂÒÚ¸ Ã‡ÎˇÌÓ‚‡ ÒÔÓÍÓÈ̇. ŒÌ
«‚ÛÍ ¬Î‡‰ËÏË œÂÒÓ‚
Composer Yuri Khanin
‡·ÓÚ‡ÂÚ, ΘËÚ Î˛‰ÂÈ ñ ÔÓ˜ÚË
¬ ÓΡı: ¿ÎÂÍÒÂÈ ¿Ì‡Ì˯ÌÓ‚,
Sound Vladimir Persov
Ò˜‡ÒÚÎË‚. Œ‰Ì‡ÍÓ Î˛‰Ë ÔÓÍˉ‡˛Ú ˝ÚÓÚ
›ÒÍẨÂ ”χÓ‚, »Ë̇ —ÓÍÓÎÓ‚‡,
Cast: Alexei Ananishnov, Eskender
ÏË ñ ÛÏË‡˛Ú, ÍÓ̘‡˛Ú Ò ÒÓ·ÓÈ,
¬Î‡‰ËÏË «‡Ï‡ÌÒÍËÈ,
Umarov, Irina Sokolova, Vladimir
ÒıÓ‰ˇÚ Ò Ûχ. ƒÏËÚËÈ ËÏÂÂÚ ‚ÒÂ
üËËÎÎ ƒÛ‰ÍËÌ, ¿ÎÂÍÒÂÈ flÌÍÓ‚ÒÍËÈ,
Zamansky, Kirill Dudkin, Alexei
ÓÒÌÓ‚‡Ìˡ Ë Ô‡‚Ó ÛÂı‡Ú¸ ÓÚÒ˛‰‡.
¬ËÍÚÓ ¡ÂÎÓ‚ÓθÒÍËÈ, —ÂÂʇ ü˚ÎÓ‚
Yankovsky, Viktor Belovolsky,
œÓÒΠÓÚ˙ÂÁ‰‡ ‰ËÌÒÚ‚ÂÌÌÓ„Ó ‰Û„‡
ƒËÂÍÚÓ ͇ÚËÌ˚ “‡Ú¸ˇÌ‡ Õ‡ÛÏÓ‚‡
Serezha Krylov
Ã‡ÎˇÌÓ‚ ÓÒÚ‡ÂÚÒˇ ‚ ÒÛ˘ÌÓÒÚË Ó‰ËÌ Ë
œÓËÁ‚Ó‰ÒÚ‚Ó ´ÀÂÌÙËθϪ,
Executive Director Tatiana Naumova
Â˘Â Ì‡‰ÂÂÚÒˇ ·˚Ú¸ ÔÓÎÂÁÌ˚Ï...
´“ÓˈÍËÈ ÏÓÒÚª
Production Lenfilm, ìTroitsky Mostî
ñ ŒÒÓ·˚È ÔËÁ ≈‚ÓÔÂÈÒÍÓÈ
ÍËÌӇ͇‰ÂÏËË ´‘ÂÎËÍÒª (1988) Á‡
ÎÛ˜¯Û˛ ÏÛÁ˚ÍÛ Í ÙËθÏÛ;
ñ ƒËÔÎÓÏ˚ Ãü‘ ‚ “ÓÓÌÚÓ Ë
ŒÌÚ‡ËÓ, 1988;
ñ œÂÏˡ üËÌӇ͇‰ÂÏËË ´ÕË͇ª
(1988) ‚ ÌÓÏË̇ˆËË ´ÎÛ˜¯‡ˇ
Á‚ÛÍÓÂÊËÒÒÛ‡ª;
ñ œËÁ —ü ———– Á‡ ÎÛ˜¯Û˛ ‡·ÓÚÛ
ÓÔÂ‡ÚÓ‡;
ñ ÀËÚÂ‡ÚÛ̇ˇ ÔÂÏˡ ´—Ú‡ÌÌËͪ
‚ ÌÓÏË̇ˆËË ´À„Ẩ‡ ÛÒÒÍÓ„Ó
Ù‡ÌÚ‡ÒÚ˘ÂÒÍÓ„Ó ÍËÌÂχÚÓ„‡Ù‡ª
(¿.—ÓÍÛÓ‚).
ñ Special Prize of the European Film
Academy FELIX (1988) for best film
music;
ñ Diplomas at the IFF in Toronto and
Ontario, 1988;
ñ Prize of the Film Academy NIKA
(1988) in the nomination ìbest
soundî;
ñ Prize of the Filmmakersí Union of the
USSR for best cinematography;
ñ Literary award ìWandererî in the
nomination ìLegend of Russian
Fantastic Cinemaî (A. Sokurov).
—ӈˇθ̇ˇ ‡ÌÚËÛÚÓÔˡ, ÔËÚ˜‡ ÔÓ
1958-2000. ÎÛ˜¯Ë ÙËθÏ˚ Ë ÂÊËÒÒÂ˚
1958-2000: the best films and directors
ƒÕ» «¿“Ã≈Õ»fl
ÏÓÚË‚‡Ï ÔÓ‚ÂÒÚË ·‡Ú¸Â‚ —ÚÛ„‡ˆÍËı
Social anti-utopia, parable on the
motives of the Strugatsky Brothersí
story ìFor a billion years up to
doomsdayî.
The young doctor Dmitri Malyanov is
assigned to a small town in Central Asia
with a multilingual environment, with a
range of ways of a life, poor urbanism,
heat and emptiness and where it is
impossible to hide. Initially Malyanovís
conscience remains quiet. He works,
treats people and is almost happy.
However, people leave this world: they
die, kill themselves, go mad. Dmitri has
every reasons and right to leave. After
the departure of his only friend
Malyanov remains in effect alone and
still hopes to be useful...
155
üËÌÓ, ÍÓÚÓÓ Ï˚ Ì Á‡ÏÂÚËÎË
The cinema we failed to notice
156
80-Â: œÂ‰ ·ÛÂÈ
the 1980s:
before the storm
” Ì‡Ò ·˚· ‚ÂÎË͇ˇ ˝ÔÓı‡. üÓÚÓÛ˛ Ï˚ Ì Á‡ÏÂÚËÎË.
—ÚÓ„Ó „Ó‚Óˇ, Û Ì‡Ò Ëı ·˚ÎÓ ÌÂÒÍÓθÍÓ, Ë Í‡Ê‰‡ˇ ËÁ ÌËı
ËÁÓ·ËÎÓ‚‡Î‡ ۉ˂ËÚÂθÌ˚ÏË ÓÚÍ˚ÚˡÏË ‚ ӷ·ÒÚË
ÍÛθÚÛ˚ Ë ËÒÍÛÒÒÚ‚‡, ÏÓ˘Ì˚ÏË ıÛ‰ÓÊÂÒÚ‚ÂÌÌ˚ÏË, ‰‡ Ë
ÒӈˇθÌ˚ÏË Ò‚Â¯ÂÌˡÏË. Œ‰ÌÓÈ ˝ÔÓı ñ 60-Ï „Ó‰‡Ï ’’
‚Â͇ ñ ÔÓ‚ÂÁÎÓ,  ӈÂÌËÎË ÔÓ ‰ÓÒÚÓËÌÒÚ‚Û, Ú‡ÍÊ ÌÂχÎ˚Â
ÔÓ˜ÂÒÚË ‚ÓÁ‰‡ÎË Ë ‰Û„ÓÈ ˝ÔÓı ñ Ô‰‚ÓβˆËÓÌÌÓÈ. ¿
‚ÓÚ ÔÂÂÒÚÓÈÍ ÔÓ‚ÂÁÎÓ Ì ÒÎ˯ÍÓÏ. ¬ ËÒÚÓ˲ Ó̇ ‚ÓȉÂÚ
ÒÍÓ ÌÂ Í‡Í ‚ÂÏˇ ÒÓÁˉ‡Ìˡ, ‡ Í‡Í ‚ÂÏˇ ‡ÁÛ¯ÂÌˡ.
–‡ÁÛ¯ÂÌˡ ‚‡ÊÌÓ„Ó Ë ·Î‡„Ó„Ó ‰Îˇ Ó·˘ÂÒÚ‚‡, ÌÓ ñ
‡ÁÛ¯ÂÌˡ. —ÓÁ‰‡ÌÌÓ ҇ÏÓÈ ˝ÔÓıÓÈ Í‡Í-ÚÓ Á‡·Û‰ÂÚÒˇ,
ÒÓÚÂÚÒˇ ËÁ Ô‡ÏˇÚË. »·Ó ‚ ÍÓ̈ 80-ı ‚Ò ̇ÒÚÓθÍÓ „ÓÂÎË
Ô‡ÙÓÒÓÏ Ò‚Â‰ÂÌˡ Ò˜ÂÚÓ‚ Ò ÔÓ¯Î˚Ï, ˜ÚÓ Ì‡ÒÚÓˇ˘ÂÂ
Á‡ÏÂÚËÚ¸ ÔÓÒÚÓ Ì ÛÒÔ‚‡ÎË. » Î˯¸ ËÌÓ„‰‡ ‡Á‰‡‚‡ÎËÒ¸
·˛Áʇ˘Ë „ÓÎÓÒ‡: Ï˚, ‰ÂÒ͇ڸ, ʉ‡ÎË Ò ÔËıÓ‰ÓÏ Ò‚Ó·Ó‰˚
ÌÓ‚˚ı Ò‚Â¯ÂÌËÈ ‚ ËÒÍÛÒÒÚ‚Â, ‡ Ëı ‚Ò ÌÂÚ Ë ÌÂÚ.
ÃÂÊ ÚÂÏ ÓÌË ·˚ÎË. ÕÂÚ ‚ÓÁÏÓÊÌÓÒÚË ‚ ‰‡ÌÌÓÈ Á‡ÏÂÚÍÂ
‡ÒÒ͇Á˚‚‡Ú¸ Ó Ò‚Â¯ÂÌˡı ‚Ó ‚ÒÂı ËÒÍÛÒÒÚ‚‡ı. Ã˚
ÓÒÚ‡ÌÓ‚ËÏÒˇ ̇ ÍËÌÂχÚÓ„‡ÙÂ. √·‚ÌÓÈ Á‡ÒÎÛ„ÓÈ ÌÓ‚Ó„Ó
‚ÂÏÂÌË ·˚Î Ì‚ÂÓˇÚÌ˚È ÔÓ‰˙ÂÏ Ò‰ÌÂ„Ó ÛÓ‚Ìˇ,
Á‡ÍÎÂÈÏÂÌÌ˚È ‚ÔÓÒΉÒÚ‚ËË ıÎÂÒÚÍËÏ ÒÎÓ‚ˆÓÏ ´˜ÂÌÛı‡ª.
ÃÂÊ ÚÂÏ Ì ·˚ÎÓ ÌË͇ÍÓÈ ÔÓ‚‡Î¸ÌÓÈ ´˜ÂÌÛı˪ (ÓÚ‰ÂθÌ˚Â
·ÂÒÔÓÒ‚ÂÚÌ˚Â Ë ‰ÂÔÂÒÒË‚Ì˚ ÔÓËÁ‚‰ÂÌˡ ñ Ì ‚ Ò˜ÂÚ),
·˚ÎÓ ÓÚÍ˚ÚË ÕÓ‚Ó„Ó ‡ÎËÁχ. –‡ÎËÁχ, Î˯ÂÌÌÓ„Ó
ÔË‚˚˜ÌÓ„Ó Ë‰ÂÓÎӄ˘ÂÒÍÓ„Ó ‰ËÒÍÛÒ‡, Ô˂Ӊ˂¯Â„Ó ‚ „Ó‰˚
´Á‡ÒÚÓˇª Í ˜Û‰Ó‚ˢÌÓÏÛ ÍÓ΢ÂÒÚ‚Û ÏÛÚÌÓÈ ÒÂÓÒÚË, ÍÓÚÓ‡ˇ
ÒÓÒÚ‡‚Ρ· 80 ÔÓˆÂÌÚÓ‚ ÓÚ Ó·˘ÂÈ ÔÓ‰Û͈ËË. ›ÚÓÚ ÕÓ‚˚È
‡ÎËÁÏ ÒڇΠÁ‡ÌÓ‚Ó ÓÚÍ˚‚‡Ú¸ ÒÓ‚ÂÚÒÍÓ„Ó, ‡, ÚÓ˜ÌÂÂ, ÛÒÒÍÓ„Ó
˜ÂÎÓ‚Â͇ ‚Ó ‚ÒÂÈ Â„Ó ÒÎÓÊÌÓÒÚË Ë Ô‡‡‰ÓÍ҇θÌÓÒÚË. »Ò˜ÂÁ‡ÂÚ
ÔË‚˚˜ÌÓ ÔÓ ÔÓ¯Î˚Ï „Ó‰‡Ï ‰ÂÎÂÌË ̇ ´˜ÂÌÓª Ë
´·ÂÎÓª, ̇ ´Ô‡‚ËθÌ˚ıª „ÂÓ‚ Ë ´ÌÂÔ‡‚ËθÌ˚ıª.
œÂÒÓ̇ÊË ÍÓ̈‡ 80-ı Ó͇Á˚‚‡˛ÚÒˇ ̇ ´Ô‡Á‰ÌËÍ ӷ˘ÂÈ
·Â‰˚ª, „‰Â ͇ʉ˚È ‰ÓÎÊÂÌ Á‡ÌÓ‚Ó ÓÚÍ˚‚‡Ú¸ ‚ Ò· ÔÛÚË
ÔÓÒÚËÊÂÌˡ Ò·ˇ ‚ ÏËÂ, ˜ÂÂÁ ‡ÒÚÂˇÌÌÓÒÚ¸ Ë
ÓÔÛÒÚÓ¯ÂÌÌÓÒÚ¸ ‰‚Ë„‡Ú¸Òˇ Í ÔÓÌËχÌ˲ Ò‡ÏÓˉÂÌÚËÙË͇ˆËË.
ÕÓ‚˚È ‡ÎËÁÏ Â˘Â Ì ÔÓ‰‚ÂÊÂÌ ÔÂÍÎÓÌÂÌËÂÏ ÔÂ‰
˚ÌÓ˜Ì˚ÏË ˆÂÌÌÓÒÚˇÏË, Ó Ï‡ÒÒÓ‚˚ı ‚ÍÛÒ‡ı Ë Ï‡ÒÒÓ‚ÓÈ
ÍÛθÚÛ ÓÌ ‚ÓÓ·˘Â Ì ËÏÂÂÚ Ô‰ÒÚ‡‚ÎÂÌˡ. ŒÌ ÓÚÍ˚Ú
ÊËÁÌË ñ Ú‡Í ÊÂ, Í‡Í Ë ‚ 60- „Ó‰˚. ÕÓ ÂÒÎË ¯ÂÒÚˉÂÒˇÚÌËÍË
ÓÚÍ˚‚‡ÎË ÒÎÓÊÌÓÒÚ¸ ·˚Úˡ ˜ÂÂÁ Â„Ó Ò‚ÂÚÎ˚ ˜ÂÚ˚,
ÂÊËÒÒÂ˚ ÍÓ̈‡ 80-ı ÓÚÍ˚‚‡˛Ú ˝ÚÛ ÒÎÓÊÌÓÒÚ¸ ˜ÂÂÁ “¸ÏÛ,
˜ÂÂÁ ¡ÂÁ‰ÌÛ. ÕÓ Á‰ÂÒ¸ ¢ ÌÂÚ ÚÓ„Ó ‡ÔÓ͇ÎËÔÚ˘ÂÒÍÓ„Ó Ûʇ҇
ÔÂ‰ ÊËÁ̸˛, ÍÓÚÓ˚È Ó·ÂÌÂÚÒˇ ‚ ̇˜‡Î 90-ı ̇ ˝Í‡ÌÂ
˝ÍÎÂÍÚËÍÓÈ, ı‡ÓÒÓÏ Ë ÔÂÚÂ̈ËÓÁÌ˚Ï ·ÂÒÔ‰ÂÎÓÏ. «‰ÂÒ¸
ÚÓÊÂÒÚ‚ÛÂÚ ÒÔÓÍÓÈÌÓÂ, ‚ÌˇÚÌÓ ÓÒÏ˚ÒÎÂÌË ÔÓËү‰¯Â„Ó ÒÓ
ÒÚ‡ÌÓÈ Ë ÒÓ ‚ÒÂÏ ÒÓ‚ÂÚÒÍËÏ ÍÓÒÏÓÒÓÏ. ¬ÓÁÌË͇ÂÚ
ÔÂÂÓÒÏ˚ÒÎÂÌË ÔË‚˚˜Ì˚ı ÒÓ‚ÂÚÒÍËı ÏËÙÓ‚ ñ ¬ÓÈÌ˚ ͇Í
¬ÂÎËÍÓÈ œÓ‚ÂÍË Ì‡ œÓ˜ÌÓÒÚ¸, –‚ÓβˆËË Í‡Í “ÓڇθÌÓ„Ó
Œ˜ËÒÚËÚÂθÌÓ„Ó œÓʇ‡. ¬Ò ÔÂÊÌË ‰Ó„Ï˚ Û¯‡ÚÒˇ ÔÓ‰
ÔˈÂθÌ˚Ï, ÚÓ˜Ì˚Ï, ‚ÌˇÚÌ˚Ï ‚Á„Ρ‰ÓÏ ıÛ‰ÓÊÌËÍÓ‚,
ÓÚÒÚ‡Ìˇ˛˘Ëı ÒÚ‡˚ ÏËÙ˚ Ë Ô˚Ú‡˛˘ËıÒˇ ‚ÓÒÒÓÁ‰‡Ú¸
„ÎÛ·ÓÍÛ˛, ÒÎÓÊÌÛ˛ ͇ÚËÌÛ ÊËÁÌË. «‡˜‡ÒÚÛ˛ ÔÓÔ˚ÚÍË Ú‡Í Ë
ÓÒÚ‡˛ÚÒˇ ÔÓÔ˚Ú͇ÏË ñ ËÏ Ì ı‚‡Ú‡ÂÚ ıÛ‰ÓÊÂÒÚ‚ÂÌÌÓ„Ó
̇ÔÓÎÌÂÌˡ ñ ÌÓ Ò‡Ï ÔÓÒ˚Î, ‚ ÓÒÌÓ‚Â ÍÓÚÓÓ„Ó ñ
‡ÁÏ˚¯ÎÂÌËÂ, ‚ÓËÒÚËÌÛ ÔÂÍ‡ÒÂÌ. Õ‡Ï ÒÂ„Ó‰Ìˇ ÒÚ‡¯ÌÓ ÌÂ
ı‚‡Ú‡ÂÚ ÔÓ‰Ó·ÌÓ„Ó ÔÓÒ˚·. » ÔÓ‰Ó·ÌÓ„Ó ËÒÍÛÒÒÚ‚‡. »·Ó
ÒÂ„Ó‰Ìˇ ÚÓÊÂÒÚ‚ÛÂÚ ˚ÌÓÍ, Ë Ò‰ÌËÈ ÛÓ‚Â̸ Á‡ÔÓÎÓÌÂÌ
Ó‰ÌÓÓ·‡ÁÌ˚ÏË, ÍÂÔÍËÏË Ë Ú‚Â‰Ó ÒÚÓˇ˘ËÏË Ì‡ Ò‚ÓËı ÌÓ„‡ı
Ó‰ÌÓ‡ÁÓ‚˚ÏË ÙËθχÏË-ÍÎÓ̇ÏË, ÒÓ‰ÂʇÌË ÍÓÚÓ˚ı
Ï„ÌÓ‚ÂÌÌÓ Á‡·˚‚‡ÂÚÒˇ ÔÓÒΠÔÓÒÏÓÚ‡. üÎÓ̇ÏË Ò
ÌÂÔÂÏÂÌÌ˚Ï ı˝ÔÔË-˝Ì‰ÓÏ, ÍÓÚÓ˚È ÏÓÊÌÓ Ô‰Ò͇Á‡Ú¸ ÛÊÂ
̇ ‰ÂÒˇÚÓÈ ÏËÌÛÚ ÔÓÒÏÓÚ‡, ‡ ÔÓÚÓÏÛ Ë Ì ӘÂ̸ ÔÓÌˇÚÌÓ,
̇‰Ó ÎË ‚ÓÓ·˘Â ÒÏÓÚÂÚ¸ Ò‡ÏÓ ÔÓËÁ‚‰ÂÌËÂ. » ˝ÚÓ ‚Ò ÔÓ
·Óθ¯ÓÏÛ Ò˜ÂÚÛ ÛʇÒÌÓ, Ë·Ó ÛÒÒ͇ˇ ÍÛθÚÛ‡ ñ ÍÛθÚÛ‡ ÔÓ
ÒÛÚË Ò‚ÓÂÈ Ô˜‡Î¸Ì‡ˇ, Ó̇ ̇Ò˚˘Â̇ Ú‚ӄÓÈ Ë ·Óθ˛, Ó̇
ÍÓ̈ÂÌÚËÛÂÚ ‚ Ò· Ì ÒÚÓθÍÓ ÒÓÒÚÓˇÌË „·ÏÛÌÓÈ
·ÂÒÒÏ˚ÒÎÂÌÌÓÈ ‡‰ÓÒÚË, ÒÍÓθÍÓ ˝ÍÁËÒÚÂ̈ˇθÌÓ Ë
ÏÂÚ‡ÙËÁ˘ÂÒÍÓ ·ÂÒÔÓÍÓÈÒÚ‚Ó. Ã˚ ÒÂ„Ó‰Ìˇ Ó· ˝ÚÓÏ ÔÓ˜ÚË
Á‡·˚ÎË.
›Ú‡ ÂÚÓÒÔÂÍÚË‚‡ ÔÓÁ̇ÍÓÏËÚ Î˯¸ Ò Ï‡ÎÓÈ ˜‡ÒÚ¸˛ ÚÂı
ÎÂÌÚ, ÍÓÚÓ˚Â, Í‡Í Ë ·Óθ¯ËÌÒÚ‚Ó ÙËθÏÓ‚ 1987ñ89 „Ó‰Ó‚,
ÔÓ¯ÎË ÏËÏÓ ‚ÒÂı, ÒÚ‡‚ ˜‡ÒÚ¸˛ ÍËÌÂχÚÓ„‡Ù‡, ÍÓÚÓÛ˛ Ï˚
‰ÂÈÒÚ‚ËÚÂθÌÓ ÔÓÚÂˇÎË. ¿ ‚ÒÔÓÏÌËÚ¸ Â„Ó ÛÓÍË ËÏÂÌÌÓ
ÒÂȘ‡Ò, ̇ ÏÓÈ ‚Á„Ρ‰, ÌÂÓ·ıÓ‰ËÏÓ.
It was a great epoch. One which we did not notice.
Strictly speaking, we had several such eras and each of them
abounded with surprising discoveries in the field of culture
and art, with powerful artistic and social fulfilment. One such
epoch, the 1960s, were lucky enough to have found
appreciation, and considerable honours were done to another
epoch, the pre-Revolutionary era. But perestroika has not been
too lucky. It will enter history more likely not as a time of
creation, but as a time of destruction: a destruction that was
both important and good for society, but that was nevertheless
destruction. What was created in the epoch was somehow
forgotten and erased from memory. Because at the end of the
1980s everybody was inflamed with the pathos of squaring
accounts with the past, and people simply had no time to
notice the present. Only a few grumbling voices could
sometimes be heard: we expected the arrival of freedom and
new artistic fulfilment, but this is not happening at all.
Meanwhile it was all there. There is no room here to discuss
the achievements in all artistic disciplines: we shall focus on
cinema. The main merit of the new era was the improbable
rise of the average level, branded subsequently with the biting
word ëchernukhaí (making dark or black). Meanwhile, there
was no epidemic of ëchernukhaí ñ individual gloomy and
depressive works not taken into account ñ, but there was the
discovery of New Realism: a realism deprived of the usual
ideological discourse, which had, in the stagnation era, led to
a huge amount of muddy greyness that made up 80 per cent
of the overall film production. This New Realism began to
rediscover the Soviet, or more precisely, Russian man with all
his complexities and paradoxes. The commonly assumed
division of the past into ëblackí and ëwhiteí, or ërightí and
ëwrongí heroes, disappeared. The characters of the late 1980s
celebrate ëthe time of troublesí, where everyone has to find in
himself ways of comprehending the world and move through
confusion and spiritual bankruptcy to an understanding of the
self. The New Realism did not yet worship market values and
was oblivious to mass taste and mass culture. It was open to
life, as in the 1960s. But if the generation of the 1960s
discovered the complexity of existence through its lighter
features, the directors of the late 1980s explored this
complexity through Darkness and Hell. Nevertheless, there is
none of the apocalyptical horror of life that would envelop the
films of the early 1990s with eclecticism, chaos and
pretentious limitlessness. The quiet, distinct understanding of
the events in the country and Soviet space triumphed here.
The common Soviet myths were being reconsidered: Wars as a
Great Test of Strength; the Revolution as Total Cleansing
Fire. All previous dogmas crumbled under the targeted,
precise and distinct gaze of the artists debunking old myths
and trying to create a deep and complex image of life.
Frequently these attempts remained just that: attempts; they
lacked artistic content, but the meaning, full of reflection,
was genuinely beautiful. Today such a message is lacking
terribly, but also such art. Today, the market triumphs and
the average level is taken up by monotonous film-clones that
strongly and firmly stand on their feet, but whose content is
instantly forgotten after the viewing. Clones with
indispensable happy endings, which can be predicted already
after ten minutes of screening, thus obscuring the reason why
such films should be watched at all. All this is, by and large,
rather awful, because Russian culture is an inherently sad
culture, sated with alarm and pain, and concerned not only
with the condition of senseless glamorous pleasure, but also
with existential and metaphysical anxiety. Today we have
almost forgotten that.
This retrospective intends to acquaint the viewer only with a
small portion of those films which, as well as the majority of
films from 1987-89, have passed unnoticed by everybody:
they have turned into a part of a cinema which we have
genuinely lost. In my opinion, it is crucial to remember its
lessons right now.
Alexander Shpagin
film historian, critic
¿ÎÂÍ҇̉ ÿÔ‡„ËÌ
ËÒÚÓËÍ ÍËÌÓ, ÍËÚËÍ
üÓÔËË ÙËθÏÓ‚ ‰Îˇ ÂÚÓÒÔÂÍÚË‚ Ô‰ÓÒÚ‡‚ÎÂÌ˚
√ÓÒÙËθÏÓÙÓ̉ÓÏ –‘.
The prints for the retrospective have been made available
through the courtesy of Gosfilmofond.
·ÓÏÊ. ·ÂÁ ÓÔ‰ÂÎÂÌÌÓ„Ó ÏÂÒÚ‡
ÊËÚÂθÒÚ‚‡
FOOTLOOSE
...Ë ‚Òˇ β·Ó‚¸
...AND ALL THE LOVE
̇ Ò‚ÓÂÈ ÁÂÏÎÂ
IN ONE'S OWN LAND
ÓÚÒÚÛÔÌËÍ
THE APOSTATE
ÔÂÚÓ„‡‰ÒÍË „‡‚Ó¯Ë
PETROGRAD'S GAVROCHES
Ò͇Á‡ÌËÂ Ó ı‡·ÓÏ ıÓ˜·‡Â
TALE OF THE BRAVE KHOCHBAR
üËÌÓ, ÍÓÚÓÓ Ï˚ Ì Á‡ÏÂÚËÎË
The cinema we failed to notice
üËÌÓ, ÍÓÚÓÓÂ
Ï˚ Ì Á‡ÏÂÚËÎË
The cinema
we failed to notice
157
üËÌÓ, ÍÓÚÓÓ Ï˚ Ì Á‡ÏÂÚËÎË
The cinema we failed to notice
158
¡ŒÃΔ. ¡≈« Œœ–≈ƒ≈À≈ÕÕŒ√Œ
Ã≈—“¿ Δ»“≈À‹—“¬¿
...» ¬—fl Àfi¡Œ¬‹
...AND ALL THE LOVE
FOOTLOOSE
1988, ———–, 97 ÏËÌ., ˆ‚.
1989, ———–, 104 ÏËÌ., ˆ‚.
¿‚ÚÓ ÒˆÂ̇ˡ ¬‡ÎÂËÈ «‡ÎÓÚÛı‡
–ÂÊËÒÒÂ ÕËÍÓÎ‡È —ÍÛÈ·ËÌ
ŒÔÂ‡ÚÓ ¬‡‰ËÏ ¿ÎËÒÓ‚
’Û‰ÓÊÌËÍ ¿ÎÂÍ҇̉ ¡ÓËÒÓ‚
üÓÏÔÓÁËÚÓ ¿ÎÂÍ҇̉ √Óθ‰¯ÚÂÈÌ
«‚ÛÍ ¡ÓËÒ ¬ÂÌ„ÂÓ‚ÒÍËÈ
¬ ÓΡı: ¬Î‡‰ËÏË —ÚÂÍÎÓ‚, —Â„ÂÈ ’‡‚‡Ú, “‡Ï‡‡
—ÂÏË̇, ¬‡ÎÂÌÚËÌ ÃË„ÛÌÓ‚, ÕËÍËÚ‡ ¿ÒÚ‡ıÓ‚, fiËÈ
üÎÂÔËÍÓ‚, ¿ÎÂÍ҇̉ À·‰‚, ¬ËÚ‡ÎËÈ ¡˚ÍÓ‚, —Â„ÂÈ
–ÂÛÒÂÌÍÓ, ÀÂÓÌˉ fiıËÌ
œÓËÁ‚Ó‰ÒÚ‚Ó ´ÃÓÒÙËθϪ
¿‚ÚÓ˚ ÒˆÂ̇ˡ —Â„ÂÈ ¡Ó‰Ó‚, »Ë̇ ¬‡ÒË肇
–ÂÊËÒÒÂ ¿Ì‡ÚÓÎËÈ ¬‡ÒËθ‚
ŒÔÂ‡ÚÓ fiËÈ Õ‚ÒÍËÈ ÔË Û˜‡ÒÚËË ¿ÎÂÍ҇̉‡ ÃÛÒ˚
’Û‰ÓÊÌËÍ —ÂÏÂÌ ¬‡Î˛¯ÓÍ
üÓÏÔÓÁËÚÓ ¬ËÍÚÓ ¡‡·Û¯ÍËÌ
«‚ÛÍ –ÓÏ‡Ì ¡ÂÁ
¬ ÓΡı: »Ë̇ ¡ˇÍÓ‚‡, —Â„ÂÈ ¬‡˜ÛÍ, fiËÈ œÎ‡ÚÓÌÓ‚,
¬‡ÒËÎËÈ œÂÚÂÌÍÓ, fiËÈ Õ‡Á‡Ó‚, »„Ó¸ —ÍË·ËÌ, ŒÎ¸„‡
—ËË̇, ¬‡ÎÂËÈ ÕÂ̇¯Â‚, ÕË̇ ÃÂ̸¯ËÍÓ‚‡, »Ë̇
üÓ‚‡ÎÂÌÍÓ, œ‡‚ÂÎ —ËÓÚËÌ, —Â„ÂÈ ¡‡‡·‡Ì˘ËÍÓ‚,
¿ÎÂÍ҇̉ œˇÚÍÓ‚
œÓËÁ‚Ó‰ÒÚ‚Ó ´ÃÓÒÙËθϪ
—ӈˇθÌÓ-ÔÒËıÓÎӄ˘ÂÒ͇ˇ ‰‡Ï‡.
œÓÊË‚ ‰Ó·Û˛ ÔÓÎÓ‚ËÌÛ ÊËÁÌË Ë ‚ÒÔÓÏÌË‚ Ó ÚÓÏ, ˜ÚÓ „‰ÂÚÓ ‚ ‰‡ÎÂÍÓÏ ÔÓ‚Ë̈ˇθÌÓÏ „ÓӉ͠ÊË‚ÂÚ ·˚‚¯‡ˇ ÊÂ̇
Ò ÛÊ ÔÓ‚ÁÓÒ΂¯ËÏ Ò˚ÌÓÏ, ÍÓÚÓÓ„Ó ÓÌ ·ÓÒËΠ¢Â
Ï·‰Â̈ÂÏ, ¬ËÍÚÓ ‰ÂÚ ÚÛ‰‡, „‰Â Â„Ó Ì ʉÛÚ Ë Ì ÔÓÏÌˇÚ.
ÕÓ ÌË˜Â„Ó ËÁ ˝ÚÓÈ ‚ÒÚÂ˜Ë Ò Ò˚ÌÓÏ Ì ÔÓÎÛ˜‡ÂÚÒˇ ñ ÓÌË ÌÂ
ÒÎ˚¯‡Ú ‰Û„ ‰Û„‡Ö
¡ÓÏÊÂÈ ÚÛÚ ÌÂÚ, ¡ŒÃΔ ñ ˝ÚÓ Ó·˘Â ÒÓÒÚÓˇÌË β‰ÂÈ,
‡ÒÚÂˇ‚¯ËıÒˇ ‚ ÊËÁÌË Ë Î˯ÂÌÌ˚ı ‚ÌˇÚÌÓ„Ó ÒÓÁ̇Ìˡ,
‚˚˜ÂÍÌÛÚ˚ı ËÁ ÔË‚˚˜ÌÓ„Ó ËÏ ÛÍ·‰‡, ÊË‚Û˘Ëı ÔÓ
ËÌÂˆËË. »Ì˚ÏË ÒÎÓ‚‡ÏË, ˝ÚÓ ÒÓÒÚÓˇÌË ÔÓ˜ÚË ‚ÒÂı
ÒÓ‚ÂÚÒÍËı β‰ÂÈ, ÊË‚Û˘Ëı ‚ ÍÓ̈ 80-ı ‚ ‡ÒÔ‡‰‡˛˘ÂÏÒˇ
ÏËÂ, ÍÓÚÓ˚È ‚ÒÍÓ ÔÂÔÓ‰ÌÂÒÂÚ ËÏ ÌÓ‚˚Â Ò˛ÔËÁ˚.
ñ œÂÏˡ üËÌӇ͇‰ÂÏËË ´ÕË͇ª Á‡ ÎÛ˜¯Û˛ ‡·ÓÚÛ
Á‚ÛÍÓÂÊËÒÒÂ‡;
ñ œËÁ Á‡ ÎÛ˜¯Û˛ ÏÛÊÒÍÛ˛ Óθ (¬.—ÚÂÍÎÓ‚) ñ ü‘
‡ÍÚÂÓ‚ ÍËÌÓ ´—ÓÁ‚ÂÁ‰Ëª, 1989.
ƒ‡Ï‡.
¬˚ÔÛÒÍÌˈ‡ ÒÂθıÓÁÚÂıÌËÍÛχ ¬‡Îˇ ƒË‰ÂÌÍÓ, ÒÚ‡‚
ÔÂ‰ӂËÍÓÏ ÔÓËÁ‚Ó‰ÒÚ‚‡, ‡ Á‡ÚÂÏ Ë Ì‡Ó‰Ì˚Ï ‰ÂÔÛÚ‡ÚÓÏ,
ÔÓβ·Ë· Ò‚ÓÂ„Ó ÔÓÍÓ‚ËÚÂΡ ñ Ô‰Ò‰‡ÚÂΡ ÍÓÎıÓÁ‡.
Œ‰Ì‡ÍÓ Ò˜‡ÒÚ¸˛ Ì ÒÛʉÂÌÓ ·˚ÎÓ ÒÓÒÚÓˇÚ¸Òˇ: –ÓÊÍÓ‚‡,
‰‡‚ÌÓ Ë ÒÓÁ̇ÚÂθÌÓ Ì‡Û¯‡‚¯Â„Ó ÛÒÚ‡‚¯Ë ËÌÒÚÛ͈ËË,
Ó·‚ËÌˇ˛Ú ‚ χıË̇ˆËˇı Ë ÓÚ‰‡˛Ú ÔÓ‰ ÒÛ‰, ‡ ¬‡ÎÂÌÚËÌÛ
Î˯‡˛Ú ‚ÒÂı ·Î‡„, ÌÓ ÔÓ͇ ̠ϯ‡˛Ú  ÔÓÔ˚Ú͇Ï
‚˚Û˜ËÚ¸ ËÁ ·Â‰˚ Ô‰Ò‰‡ÚÂΡÖ
ΔÂÒÚ͇ˇ, „ÎÛ·Ó͇ˇ ͇ÚË̇, Ì Î˯ÂÌ̇ˇ β·ÓÔ˚ÚÌÓÈ
ÓÚÒÚ‡ÌÂÌÌÓ-ËÓÌ˘ÂÒÍÓÈ ËÌÚÓ̇ˆËË.
1988, USSR, 97 min., col.
1989, USSR, 104 min., col.
Scriptwriter Valeri Zalotukha
Director Nikolai Skuibin
Director of Photography Vadim Alisov
Production Design Alexander Borisov
Composer Alexander Goldstein
Sound Boris Vengerovsky
Cast: Vladimir Steklov, Sergei Kharvat, Tamara Semina,
Valentin Migunov, Nikita Astakhov, Yuri Klepikov,
Alexander Lebedev, Vitali Bykov, Sergei Reusenko,
Leonid Yukhin
Production Mosfilm
Scriptwriters Sergei Bodrov, Irina Vasilieva
Director Anatoli Vasiliev
Director of Photography Yuri Nevsky, with participation
of Alexander Mursa
Production Design Semen Valiushok
Composer Victor Babushkin
Sound Roman Berz
Cast: Irina Biakova, Sergei Varchuk, Yuri Platonov,
Vasili Petrenko, Yuri Nazarov, Igor Skibin, Olga Sirina,
Valeri Nenashev, Nina Menshikova, Irina Kovalenko,
Pavel Sirotin, Sergei Barabanshchikov, Alexander Piatkov
Production Mosfilm
Socio-psychological drama.
Having lived almost half of his life and remembering that
somewhere, in a far provincial town lives his former wife with
his already grown-up son whom he dumped when the son was
still a baby, Viktor goes to this place, where he is neither
expected nor remembered. But nothing comes of his meeting
with his son: they do not hear each otherÖ
There are no vagabonds in this film, but the term describes
the condition of people who are irritated by life and lack
consciousness, who are deprived of their habitual the way of
life and live only by inertia. In other words, this is the
condition of almost all Soviet people at the end of the 1980s
in a collapsing world which would soon present them with new
surprises.
ñ Prize of the Film Academy NIKA for Best Sound;
ñ Prize for Best Actor (V. Steklov) ñ Festival of Actors of
Cinema ëSozvezdie, 1989.
Drama.
After graduating from agricultural college Valentina Didenko
became production leader and then Peopleís Deputy, before she
fell in love with her patron, the chairman of the collective
farm. However, their happiness is not to be: Rozhkov, for a
long time knowingly breaking the outdated instructions, is
accused of fraud and prosecuted, while Valentina is deprives
of her possessions, but at least her attempts to help the
chairman in trouble are not hamperedÖ
The harsh, profound film possesses a curious intonation of
alienation and irony.
Œ“—“”œÕ»ü
IN ONEíS OWN LAND
THE APOSTATE
1987 (‚˚Ô. 13.11.1987), ———–, 99 ÏËÌ., ˆ‚.
1987 (‚˚Ô. 1988), ———–/‘–√/¿‚ÒÚˡ, 163 ÏËÌ., ˆ‚.
¿‚ÚÓ ÒˆÂ̇ˡ ¬‡‰ËÏ “ÛÌËÌ
–ÂÊËÒÒÂ »„Ó¸ ¿Ô‡ÒˇÌ
ŒÔÂ‡ÚÓ ÀÂÓÌˉ ¡Û·͇
’Û‰ÓÊÌËÍ ÀÂÓÌˉ –ÓÁÒÓı‡
üÓÒÚ˛Ï˚ “‡Ú¸ˇÌ‡ “‡Ó‚‡
üÓÏÔÓÁËÚÓ˚ ŒÎ„ fl̘ÂÌÍÓ, —Â„ÂÈ “ÂÂÌڸ‚
«‚ÛÍ ¿ÎÂÍ҇̉ ÕËÍÓ·‚ÒÍËÈ
¬ ÓΡı: —Â„ÂÈ ü‡Ìˢ‚, ƒÏËÚËÈ –ˇ·˚ı, ¬Î‡‰ËÏË
“‡ʇÌÓ‚, ≈‚„ÂÌˡ ÃÛ‡‚¸Â‚‡, ≈ÎÂ̇ ƒÛÌ‚‡, –ÛÒ·Ì
◊Û̇‚, ¬Î‡‰ËÒ·‚ √‡ÎÍËÌ, ¿ÎÂÍÒÂÈ ‘ÓÏÍËÌ, Շڇθˇ
œÓÔÓ‚‡, ¿Ì‚‡ ’‡ÎËÚÓ‚, ¬Î‡‰ËÏË ¬‡Â̈ӂ, ¬‡ÎÂËÈ
À„ËÌ, “‡Ï‡‡ “ËÏÓÙ‚‡, ÕÓ‡ √ˇÍ‡ÎÓ‚‡, »‚‡Ì Lj͂˘
œÓËÁ‚Ó‰ÒÚ‚Ó Œ‰ÂÒÒ͇ˇ ÍËÌÓÒÚÛ‰Ëˇ
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ ¬‡ÎÂËÈ –Û·Ë̘ËÍ
ŒÔÂ‡ÚÓ fiËÈ ≈ÎıÓ‚
’Û‰ÓÊÌËÍ ¿ÎÂÍ҇̉ ◊ÂÚӂ˘
«‚ÛÍ ¬ËÍÚÓ ÃÓÒ
¬ ÓΡı: √Ë„ÓËÈ √·‰ËÈ, ÕËÍÓÎ‡È ≈ÂÏÂÌÍÓ-ÒÚ., À‡ËÒ‡
¡ÂÎÓ„ÛÓ‚‡, ¬‡ÎÂÌÚË̇ ÿẨËÍÓ‚‡, ü‡Ë̇ ÃÓËÚˆ,
¿Ì‰ÂÈ ü‡¯ÍÂ, ≈ÎÂ̇ üÓÌÓÌÂÌÍÓ, ¬‡ÒËÎËÈ ü‡‚ˆÓ‚,
¬ËÍÚÓ –˚·˜ËÌÒÍËÈ, ¿ÎÂÍ҇̉ —ÚÛÌËÌ
œÓËÁ‚Ó‰ÒÚ‚Ó ´¡Â·ÛÒ¸ÙËθϪ, ÔË Û˜‡ÒÚËË
´¬.ÇÈ˘ ü√ª, ´—ÚÛ‰ËÓ √‡Ï·Û„ª (‘–√),
´üÎËÌ͇Ú ‘ËθϪ (¿‚ÒÚˡ)
ƒ‡Ï‡.
»ÌÒÚÛÍÚÓ ‡ÈÍÓχ üÓÎ˚˜Â‚ ÔËÂÁʇÂÚ ÔÓÒΠ‚ÓÈÌ˚ ‚
ÒÓÊÊÂÌÌÛ˛ ÌÂψ‡ÏË ‰ÂÂ‚Ì˛ ”Ò‡˜Â‚ÍÛ, Ò ˆÂθ˛ ÔÓÏÓ˜¸
β‰ˇÏ ÔÂÂÒÂÎËÚ¸Òˇ ̇ ÌÓ‚˚ ÁÂÏÎË. ÕÓ Ì ‚Ò ÒÂϸË
ÔÓÍËÌÛÎË Ò‚ÓË ‰Óχ. Õ‡„ˇÌÛ‚¯‡ˇ ‚ÂÒÂÌÌˇˇ ‡ÒÔÛÚˈ‡
ÓÚÂÁ‡Î‡ Ëı ÓÚ ‚̯ÌÂ„Ó ÏË‡, ‡ ̇‰‚Ë„‡˛˘ËÈÒˇ „ÓÎÓ‰ Ë
ÔÂ‚˚ ‚ÂÒÂÌÌË ÏËÌ˚ ‰ÌË Ò·ÎËÁËÎË ‚ÒÂı ÓÒÚ‡‚¯ËıÒˇ,
ÒÂ‰Ë ÍÓÚÓ˚ı Ó͇Á‡ÎÒˇ Ë ¡Ó¸Í‡, Ò˚Ì ·Âʇ‚¯Â„Ó
ÔÓÎˈ‡ˇÖ
œÓ‡ÁËÚÂθ̇ˇ ÔÓ Ò‚ÓÂÈ ıÛ‰ÓÊÂÒÚ‚ÂÌÌÓÈ ‰ÓÒÚÓ‚ÂÌÓÒÚË
ÎÂÌÚ‡, ÒÌˇÚ‡ ‚ ˝ÒÚÂÚËÍ „ËÔÂ‡ÎËÁχ.
œÓ ÏÓÚË‚‡Ï ÔÓ‚ÂÒÚË œ‡‚· ¡‡„ˇÍ‡ ´œˇÚ¸ ÔÂÁˉÂÌÚÓ‚ª.
œÓÙÂÒÒÓ ›‰‚‡‰ ÃËÎÎÂ ÒÍÓÌÒÚÛËÓ‚‡Î ÔË·Ó,
ÒÔÓÒÓ·Ì˚È ÍÓÔËÓ‚‡Ú¸ ÊË‚˚ Ó„‡ÌËÁÏ˚. œÂ‚˚È ‰‚ÓÈÌËÍ,
‚ÌÂ¯Ìˇˇ ÍÓÔˡ Ò‡ÏÓ„Ó ÔÓÙÂÒÒÓ‡, ‚ ÓÚ΢ˠÓÚ ËÒÚËÌÌÓ„Ó
ÊÂÒÚÓÍ Ë ˝„ÓËÒÚ˘ÂÌ. ŒÌ ‡ÍÚË‚ÌÓ Ë ·ÂÒˆÂÂÏÓÌÌÓ ‚ÚÓ„‡ÂÚÒˇ
‚ ÊËÁ̸ Ò‚ÓÂ„Ó ÒÓÁ‰‡ÚÂΡ, Ë ÚÂÔÂ¸ ̇ÏÂÂÌ ÔÓ‰‡Ú¸
‚ÓÂÌÌ˚Ï ÒÚÛÍÚÛ‡Ï ËÁÓ·ÂÚÂÌËÂ, ÒÔÓÒÓ·ÌÓ ÌÂÓ„‡Ì˘ÂÌÌÓ
‚ÓÒÔÓËÁ‚Ó‰ËÚ¸ ÒÓΉ‡Ú... ¬ ËÚÓ„Â ÔÓˇ‚ΡÂÚÒˇ ÌÂÏÂÂÌÓÂ
ÍÓ΢ÂÒÚ‚Ó ÍÎÓÌÓ‚, Ë ÏË ‡ÁÛ¯‡ÂÚÒˇ.
œËÚ˜‡, ÒÓÁ‰‡Ì̇ˇ ‚ ÒÌӂˉ˜ÂÒÍÓÈ ˝ÒÚÂÚËÍÂ.
1987 (rel. 13.11.1987), USSR, 99 min., col.
1987 (rel. 1988), USSR/Germany/Austria, 163 min., col.
Scriptwriter Vadim Trunin
Director Igor Apasian
Director of Photography Leonid Burlaka
Production Design Leonid Rozsokha
Costume Design Tatiana Tarova
Composers Oleg Yanchenko, Sergei Terentiev
Sound Alexander Nikolaevsky
Cast: Sergei Kanishchev, Dmitri Ryabykh, Vladimir
Tarzhanov, Evgenia Muravieva, Elena Durneva, Ruslan
Chunaev, Vladislav Galkin, Alexei Fomkin, Natalia Popova,
Anvar Khalitov, Vladimir Varentsov, Valeri Legin, Tamara
Timofeeva, Nora Griakalova, Ivan Matskevich
Production: Odessa Film Studio
Scriptwriter and Director Valeri Rubinchik
Director of Photography Yuri Yelkhov
Production Design Alexander Chertovich
Sound Viktor Mors
Cast: Grigory Glady, Nikolai Eremenko Sr., Larissa
Belogurova, Valentina Shendrikova, Karina Moritts,
Andrei Kashker, Elena Kononenko, Vasili Kravtsov,
Viktor Rybchinsky, Alexander Strunin
Production: Belarusfilm, with participation of V. Majic KG,
Studio Hamburg (Germany), Klinkard Film (Austria)
Drama.
After the war, the instructor of district committee, Kolychev,
comes to the village Usachevka that was burnt by the
Germans. He wants to help the people move to new lands. But
not all the families want to leave their homes. The sudden
spring cuts them off from the outside world, and the
impending famine and the first peaceful spring days bring
closer all those who have stayed, among them Borka, the son
of a policeman who ran awayÖ
The film amazes with its artistic verisimilitude and is shot in
the aesthetics of hyperrealism.
Based on the motives of Pavel Bagriakís story ëFive
Presidentsí.
Professor Edward Miller has designed a device that copies
living organisms. The first double, a copy of the professor
himself, is harsh and egoistic, just the opposed of the real
professor. He actively and inconsiderately interferes into the
professorís life and intends to sell to the military the
invention that can forever duplicate soldiers... In the end the
world is inundated with clones and destroyed.
The parable is made in dream-like aesthetics.
üËÌÓ, ÍÓÚÓÓ Ï˚ Ì Á‡ÏÂÚËÎË
The cinema we failed to notice
Õ¿ —¬Œ≈… «≈ÃÀ≈
159
üËÌÓ, ÍÓÚÓÓ Ï˚ Ì Á‡ÏÂÚËÎË
The cinema we failed to notice
160
œ≈“–Œ√–¿ƒ—ü»≈ √¿¬–Œÿ»
PETROGRADíS GAVROCHES
—ü¿«¿Õ»≈ Œ ’–¿¡–ŒÃ
’Œ◊¡¿–≈
TALE OF THE BRAVE KHOCHBAR
,
1987 (‚˚Ô. 02.11.1987), ———–, 95 ÏËÌ., ˆ‚., 1:2.35
¿‚ÚÓ˚ ÒˆÂ̇ˡ ¬‡ÎÂËÈ Ã̇ˆ‡Í‡ÌÓ‚, —Â„ÂÈ —ÌÂÊÍËÌ
–ÂÊËÒÒÂ —Â„ÂÈ —ÌÂÊÍËÌ
ŒÔÂ‡ÚÓ ≈‚„ÂÌËÈ √Û‚˘
’Û‰ÓÊÌËÍ ¿ÎÂÍÒÂÈ –Û‰ˇÍÓ‚
üÓÒÚ˛Ï˚ »Ë̇ ü‡‚ÂÁË̇
üÓÏÔÓÁËÚÓ ¿ÎÂÍ҇̉ ü̇ÈÙÂθ
«‚ÛÍ ¿ÎˇÍÔÂ √‡Ò‡Ì-Á‡‰Â
¬ ÓΡı: ≈‚„ÂÌËÈ À·‰‚, ¬‡Îˇ √ÓÁÌÓ‚, ¿‰Óθ٠»Î¸ËÌ,
¿Ì‰ÂÈ ¿ÎÂÍ҇̉Ó‚, ƒËχ ¿ÎËÙ‡ÌÓ‚, —ÂÂʇ ¡‡Î‡·ÓÌËÌ,
—ÂÂʇ ¡‡Î‡·ÓÎÂÌÍÓ‚, —Â„ÂÈ ¡ÂıÚÂ‚, —ÂÂʇ √ÓÎÓ˘‡ÔÓ‚,
¿Î¯‡ ≈ÙËÏÓ‚, ƒËχ üÛÁ¸ÏËÌ, ƒÂÌËÒ Ã‡ÍÓ‰˜ÂÌÍÓ,
üÓΡ ÇÍÓ‰˜ÂÌÍÓ
œÓËÁ‚Ó‰ÒÚ‚Ó ´ÀÂÌÙËθϪ
1917 „Ó‰. ¬ Á‡·Ó¯ÂÌÌ˚È ÔË˛Ú ‰Îˇ ·ÂÁ‰ÓÏÌ˚ı ‰ÂÚÂÈ, ‚
ı‡ÓÒ ŒÍÚˇ·¸ÒÍËı ‰ÌÂÈ Î˯˂¯ËÈÒˇ ÙË̇ÌÒËÓ‚‡Ìˡ,
ÔÓÔ‡‰‡ÂÚ ÌÓ‚˚È ‚ÓÒÔËÚ‡ÌÌËÍ ÔÓ ÔÓÁ‚Ë˘Û –Ó·ÂÒÔ¸Â Ë
̇˜Ë̇ÂÚ ‚ ‰ÂÚ‰ÓÏ χÎÂ̸ÍÛ˛ ‚ÓβˆË˛ ÔÓÚË‚ ÏÂÒÚÌ˚ı
ÔÓˇ‰ÍÓ‚, ÍÓÚÓ‡ˇ Û‰‡ÂÚÒˇ, ÌÓ ‚ ÌÂÈ ÓÌ ÊÂ Ë ÔÓ„Ë·‡ÂÚ
ÔÂ‚˚Ï.
œËÚ˜‡ Ó ‚ÓβˆËË, ÒÌˇÚ‡ˇ ‚ ˝ÒÚÂÚËÍ „ËÔÂ‡ÎËÁχ.
1987 (rel. 02.11.1987), USSR, 95 min., col., 1:2.35
Scriptwriter Valeri Mnatsakanov, Sergei Snezhkin
Director Sergei Snezhkin
Director of Photography Evgeni Gurevich
Production Design Alexei Rudiakov
Costume Design Irina Kaverzina
Composer Alexander Knaifel
Sound Aliakper Gasan-Sade
Cast: Evgeni Lebedev, Valya Groznov, Adolf Ilyin, Andrei
Alexandrov, Dima Alifanov, Seryozha Balabonin, Seryozha
Balabolenkov, Sergei Bekhterev, Seryozha Goloshchapov,
Alyosha Yefimov, Dima Kuzmin, Denis Makrodchenko, Kolya
Makrodchenko
Production Lenfilm
The year 1917. In a deserted shelter for homeless children,
during the chaos of the October Days without finances, a new
pupil nicknamed Robbespierre arrives and starts a small
revolution against the local order in childrenís home; this
revolution succeeds, but he perishes first.
A parable about the Revolution, shot in the aesthetics of
hyperrealism.
1987, ———–, 96 ÏËÌ., ˆ‚. / 1987, USSR, 96 min., col.
¿‚ÚÓ ÒˆÂ̇ˡ —‚ÂÚ·̇ ü‡χÎËÚ‡
–ÂÊËÒÒÂ˚ ¿Òı‡· ¿·‡Í‡Ó‚, ÃËı‡ËÎ Œ‰Ó‚ÒÍËÈ
’Û‰. ÛÍ. ¿ÎÂÍÒÂÈ √ÂχÌ
ŒÔÂ‡ÚÓ˚ ŒÎ„ üÛıÓ‚‡ÂÌÍÓ, ÕËÍÓÎ‡È œÓÍÓԈ‚
’Û‰ÓÊÌËÍ ¬‡ÎÂËÈ fiÍ‚˘
üÓÒÚ˛Ï˚ ÇË̇ ü‡È¯‡ÛË
üÓÏÔÓÁËÚÓ ÿË‚‡ÌË ◊‡Î‡Â‚
«‚ÛÍ ÃËı‡ËÎ ¬ËÍÚÓÓ‚
¬ ÓΡı: üÓÌÒÚ‡ÌÚËÌ ¡Ûڇ‚, ¿·‰Û‡¯Ë‰ ÇıÒÛ‰Ó‚,
»Ë̇ ÀÓ„ÛÌӂ˘, ¡Ó„‰‡Ì Ç„Óωӂ, ƒ‡Ìˇ œÓ‰ÓθÒÍËÈ,
ÃÛıÚ‡·ÂÍ ü‡ÌÚÂÏËÓ‚, Ç„Óω ’‡ÎËÎÓ‚,
¬ËÚ‡ÛÚ‡Ò œ‡ÛͯÚÂ, fiÌÛÒ fiÒÛÔÓ‚
œÓËÁ‚Ó‰ÒÚ‚Ó ´ÀÂÌÙËθϪ
›Í‡ÌËÁ‡ˆËˇ ÔÓ˝Ï˚ –‡ÒÛ· √‡ÏÁ‡ÚÓ‚‡ ´—͇Á‡ÌËÂ Ó ’Ó˜·‡Â,
ÛÁ‰ÂÌ ËÁ ‡Û· √ˉ‡Úθ, Ó ı‡Ì ü‡ÁË-üÛÏÛıÒÍÓÏ, Ó
ıÛÌÁ‡ıÒÍÓÏ ÌÛˆ‡ÎÂ Ë Ó ‰Ó˜ÂË Â„Ó —‡‡‰‡Úª.
üÓ̈ XVII ‚Â͇, ƒ‡„ÂÒÚ‡Ì. ƒÊË„ËÚ ’Ó˜·‡, ËÒÍÛˇ ÊËÁ̸˛,
Òӄ·¯‡ÂÚÒˇ ÒÓÔÓ‚Ó‰ËÚ¸ ‰Ó˜¸ ÌÛˆ‡Î‡ ’ÛÌÁ‡ıÒÍÓ„Ó ı‡ÌÒÚ‚‡
—‡‡‰‡Ú, ‚˚‰‡ÌÌÛ˛ Á‡ÏÛÊ ÔÓ ÔÓÎËÚ˘ÂÒÍËÏ ÏÓÚË‚‡Ï Á‡ Ò˚̇
‚·ÒÚËÚÂΡ œË͇ÒÔËÈÒÍËı ÁÂÏÂθ. œÂ‰  ÓÚˆÓÏ ’Ó˜·‡
ÒÚ‡‚ËÚ ÛÒÎÓ‚ËÂ, ˜ÚÓ ‚ ÓÚ‚ÂÚ ÚÓÚ ÌËÍÓ„‰‡ Ì ‰ÓÎÊÂÌ ÒÓ‚Â¯‡Ú¸
̇·Â„Ë Ì‡ Â„Ó ‚ÓθÌ˚È ‡ÛÎ, ÓÚ͇Á˚‚‡˛˘ËÈÒˇ ÔÓ‰˜ËÌˇÚ¸Òˇ
‚·ÒÚË ÒÛÎڇ̇. ƒÊË„ËÚ ËÒÔÓÎÌˇÂÚ Ò‚Ó ӷ¢‡ÌËÂ, ÌÓ ‚ ÓÚ‚ÂÚ Ì‡
˝ÚÓ ÌÛˆ‡Î Á‡Ï‡ÌË‚‡ÂÚ Â„Ó Í Ò· ‚Ó ‰‚Óˆ, ˜ÚÓ·˚ Ú‡Ï Í‡ÁÌËÚ¸Ö
—Ú‡¯Ì‡ˇ Ë ÏÓ˘Ì‡ˇ ÔËÚ˜‡ Ó ´Ì‡Ó‰Â, Î˯ÂÌÌÓÏ
·ÓÊÂÒÚ‚ÂÌÌÓÈ ·Î‡„Ó‰‡Ú˪, Í‡Í Ò͇Á‡ÌÓ ‚ Á‡Í‡‰Ó‚ÓÏ
ÍÓÏÏÂÌÚ‡ËË ÙËθχ. ÕÂÚ Á‰ÂÒ¸ ÌË͇ÍÓ„Ó ´Á‡ÍÓ̇ „Óª ñ
ÍÚÓ ÒËθÌÂÂ, ÚÓÚ Ë Ô‡‚. —ÔÎÓ¯ÌÓÈ ÍÓ‚‡‚˚È ı‡ÓÒ. ‘ËθÏ
ÒÌˇÚ ‚ ˝ÒÚÂÚËÍ „ËÔÂ‡ÎËÁχ.
Scriptwriter Svetlana Karmalita
Director Askhab Abakarov, Mikhail Ordovsky
Art Director Alexei German
Director of Photography Oleg Kukhovarenko,
Nikolai Pokoptsev
Production Design Valeri Yurkevich
Costume Design Marina Kaishauri
Composer Shirvani Chalaev
Sound Mikhail Viktorov
Cast: Konstantin Butaev, Abdurashid Makssudov, Irina
Logunovich, Bogdan Magomedov, Danya Podolsky,
Mukhtarbek Kantemirov, Magomed Khalilov, Vitautas
Paukste, Yunus Yusupov
Production Lenfilm
Screen adaptation of Rasul Gamzatovís poem ëThe Legend about
Khochbar from the aul Gidatl, about the khan Kazi- Kumukhsky,
about the Khunzakh Nutsal and his daughter Saadatí.
The end of the 17th century, Dagestan. The dzhigit Khochbar,
risking his life, agrees to accompany Saadat, the daughter of
the Nutsal of the Khunzhak Khanate, who is given in
marriage to the son of the Ruler over the Caspian Lands for
political reasons. Khochbar makes one condition to Saadatís
father: that in return he should not attack his native
independent aul that refuses to surrender to the sultanís
authorities. The dzhigit keeps his promise, but Nutsal lures
him into the palace to execute himÖ
A terrible and powerful parable about ëpeople deprived of
divine good fortunesí, as the voiceover of the film comments.
There are no ëmountain lawsí here that asserts that the
stronger is also right. Bloodshed and chaos continue. The film
is shot in the aesthetics of hyperrealism.
ANTHOLOGY OF RUSSIAN CINEMA
ÇˇÌ̇ üË‚‡
Marianna Kireeva
ÓÍÓ̘Ë· ÍËÌӂ‰˜ÂÒÍËÈ Ù‡ÍÛθÚÂÚ
¬√»ü‡ (1987, χÒÚÂÒ͇ˇ À.
ÇχÚÓ‚ÓÈ, ≈. —ÛÍÓ‚‡), Á‡ÚÂÏ ‡ÒÔË‡ÌÚÛÛ. ¬ 1992-2002 ‡·Óڇ·
̇ ‡Á΢Ì˚ı ‰ÓÎÊÌÓÒÚˇı ‚ ÒËÒÚÂÏÂ
ÍËÌÓÔÓ͇Á‡ –ÓÒÒËÈÒÍÓ„Ó
ÚÂ΂ˉÂÌˡ. —Ó‡‚ÚÓ Ë ÂÊËÒÒÂ
ˆËÍÎÓ‚ÓÈ ÔÓ„‡ÏÏ˚ "ÃÛÁÂÈ ÍËÌÓ"
("ÿ‰‚˚ ÒÚ‡Ó„Ó ÍËÌÓ", 1993-1997,
ÚÂÎÂ͇̇Î˚ "–ÓÒÒˡ" Ë "–ÓÒÒËÈÒÍËÂ
ÛÌË‚ÂÒËÚÂÚ˚"). —Ó‡‚ÚÓ Ë
ÒÓÂÊËÒÒÂ ÙËθχ Ó —Â„ÂÂ
›ÈÁÂ̯ÚÂÈÌ "ƒÓÏ Ã‡ÒÚÂ‡" (ÔÂÏˡ
"“›‘»"). — 2002 ‡·ÓÚ‡ÂÚ Ì‡‰
‰ÓÍÛÏÂÌڇθÌ˚Ï ˆËÍÎÓÏ "¿ÌÚÓÎӄˡ
ÓÒÒËÈÒÍÓ„Ó ÍËÌÓ".
Graduated in cinema studies from the
Film Institute VGIK (1987, course of
L. Mamatova and E. Surkov), then
postgraduate study. From 1992-2002
worked in various jobs in film
programming for Russian television.
Co-author and director of the cycle
"Museum of Cinema" ("Masterpieces of
Old Cinema", 1993-1997, television
channels "Russia" and "Russian
Universities"). Co-author and codirector of a film about Sergei
Eisenstein, "The House of the Master"
(TEFI award). Since 2002 works on
the documentary cycle "Anthology of
Russian Cinema".
161
1
‘»À‹Ã 10-…: "9 /2"
(1963 - 1969)
‘»À‹Ã 11-…: "ƒ–”√¿fl Δ»«Õ‹"
(1969 - 1975)
2006, –ÓÒÒˡ, (59+52) ÏËÌ., ‰ÓÍ.
¿‚ÚÓ˚ ÒˆÂ̇ˡ ÇˇÌ̇ üË‚‡,
≈‚„ÂÌËÈ Ã‡„ÓÎËÚ
–ÂÊËÒÒÂ ÇˇÌ̇ üË‚‡
–ÂÊËÒÒÂ ÏÓÌڇʇ fiËÈ üÓÚÓ‚
üÓÏÔÓÁËÚÓ ¿ÎÂÍ҇̉ ◊‡ÈÍÓ‚ÒÍËÈ
«‚ÛÍ √‡ÎË̇ —Ë‚Â
“ÂÍÒÚ ˜ËÚ‡ÂÚ ¿ÎÂÍ҇̉ √Ó‰ÓÌ
œÓ‰˛ÒÂ ÇË̇ “Û¯
œÓËÁ‚Ó‰ÒÚ‚Ó "¿ÚËχ", ‘‰Â‡Î¸ÌÓÂ
‡„ÂÌÚÒÚ‚Ó ÔÓ ÍÛθÚÛÂ Ë ÍËÌÂχÚÓ„‡ÙËË
FILM 10:
1
"9 /2" (1963 - 1969)
FILM 11:
"ANOTHER LIFE" (1969 - 1975)
2006, Russia, (59+52) min, doc.
Script Marianna Kireeva, Evgeni Margolit
Director Marianna Kireeva
Editing Yuri Kotov
Composer Alexander Chaikovsky
Sound Galina Siver
Text read by Alexander Gordon
Producer Marina Trush
Production Artima Studio, Federal Agency
of Culture and Cinematography
1
AÌÚÓÎӄˡ ÓÒÒËÈÒÍÓ„Ó ÍËÌÓ
Anthology of russian cinema
¿Õ“ŒÀŒ√»fl –Œ——»…—üŒ√Œ ü»ÕŒ
1
‘ËÎ¸Ï 10-È "9 /2" (1963 - 1969)
Film 10 "9 /2" (1963-1969)
–‡ÒÒ͇Á Ó ÚÓÏ, ͇Í, ۂˉ‚ ̇ ÃÓÒÍÓ‚ÒÍÓÏ ÍËÌÓÙÂÒÚË‚‡ÎÂ
The story about how, seeing Fellini's film at the Moscow Film
1963 „Ó‰‡ ÙËÎ¸Ï ‘ÂÎÎËÌË, ÒÓ‚ÂÚÒÍË ÍËÌÂχÚÓ„‡ÙËÒÚ˚
Festival in 1963, the Soviet cinematographers decided to make
¯ËÎË Ò‰Â·ڸ ÔÓ˝Ú˘ÂÒÍÓ ‚ÓÓ·‡ÊÂÌË „·‚Ì˚Ï ÓÛÊËÂÏ
the poetic imagination the main weapon for the transformation
ÔÂÓ·‡ÁÓ‚‡Ìˡ ÏË‡, Ë ˜ÚÓ ËÁ ˝ÚÓ„Ó ‚˚¯ÎÓ.
of the world - and the consequences of that decision.
‘ËÎ¸Ï 11-È "ƒÛ„‡ˇ ÊËÁ̸" (1969 - 1975)
Film 11 "Another Life" (1969-1975)
— ̇ÒÚÛÔÎÂÌËÂÏ ˝ÔÓıË "Á‡ÒÚÓˇ" ÍËÌÓ ‚˚ÌÓÒËÚ ÓÍÛʇ˛˘ÂÈ
With the approach of the period of "stagnation" cinema
‡θÌÓÒÚË ‚ÓÚÛÏ Ì‰ӂÂˡ. √ÂÓË Ë ‡‚ÚÓ˚ ‚ÌÓ‚¸
announced a vote of no-confidence to the surrounding world.
ÓÚÔ‡‚Ρ˛ÚÒˇ ̇ ÔÓËÒÍË ‰Û„ÓÈ ÊËÁÌË - ÊËÁÌË-Ô‡Á‰ÌË͇.
The heroes and authors again search for another life: the life
of a holiday.
«‡Í˚ÚË ÍËÌÓÙÂÒÚË‚‡Îˇ
Festival closure
«¿ü–¤“»≈ ü»ÕŒ‘≈—“»¬¿Àfl / FESTIVAL CLOSURE
THE ROLLING STONES. ƒ¿ ¡”ƒ≈“ —¬≈“!
THE ROLLING STONES! SHINE A LIGHT
162
2008, —ÿ¿/ ¬ÂÎËÍÓ·ËÚ‡Ìˡ, 122 ÏËÌ., ˜/·+ˆ‚., 1:1.85,
2008, USA/UK, 122 min, b&w/col., 1:1.85,
Dolby Digital
Dolby Digital
–ÂÊËÒÒÂ ÇÚËÌ —ÍÓÒÂÁÂ
Director Martin Scorsese
¿‚ÚÓ ÒˆÂ̇ˡ ”ËθˇÏ ÃÓ̇ı˝Ì
Scriptwriter William Monahan
√·‚Ì˚È ÓÔÂ‡ÚÓ –Ó·ÂÚ –˘‡‰ÒÓÌ
Director of Photography Robert Richardson
«‚ÛÍ ‘ËÎËÔ —ÚÓÍÚÓÌ
Sound Philip Stockton
ÃÓÌÚ‡Ê ƒ‡‚ˉ “‰ÂÒÍË
Editing David Tedeschi
¬ ÙËθÏ ÒÌËχÎËÒ¸: ÃËÍ ƒÊ‡„„Â, üËÚ –˘‡‰Ò,
Cast: Mick Jagger, Keith Richards, Charlie Watts, Ron Wood,
◊‡ÎË ”ÓÚÚÒ, –ÓÌ ¬Û‰, üËÒÚË̇ ¿„ËÎÂ‡, ¡‡‰‰Ë √‡È,
Christina Aguilera, Buddy Guy, Jack White, Lisa Fischer,
ƒÊÂÍ ”‡ÈÚ, ÀËÁ‡ ‘˯ÂÖ, ÇÚËÌ —ÍÓÒÂÁÂ
Martin Scorsese
œÓ‰˛ÒÂ˚ —ÚË‚ ¡ËÌ„, ÇÈÍÎ üÓÎ, ¬ËÍÚÓˡ œËχÌ,
Producers Steve Bing, Michael Cohl, Victoria Pearman,
«˝ÈÌ ¬‡ÈÌÂ
Zane Weiner
œÓËÁ‚Ó‰ÒÚ‚Ó Shangri-La Entertainment,
Production Shangri-La Entertainment,
Concert Promotions International
Concert Promotions International
œÓÍ‡Ú ‚ –ÓÒÒËË ´Õ‡¯Â ÍËÌÓª
Distribution in Russia Nashe Kino
www.shinealight.es
www.shinealight.es
«‡Í˚ÚË ÍËÌÓÙÂÒÚË‚‡Îˇ
Festival closure
ÇÚËÌ —ÍÓÒÂÁ (—ÿ¿)
–ÂÊËÒÒÂ 44 ÙËθÏÓ‚, ÔÓ‰˛ÒÂ ñ 34,
‡ÍÚÂ ñ 23, ÒˆÂ̇ËÒÚ ñ 13.
À‡ÛÂ‡Ú ÔÂÏËË ´ŒÒ͇ª Ë ‰Û„Ëı
‚ÓÒ¸ÏˉÂÒˇÚË ÔËÁÓ‚, ‚ ÚÓÏ ˜ËÒΠ´«ÓÎÓÚ‡ˇ
ԇθÏÓ‚‡ˇ ‚ÂÚ‚¸ª ‚ ü‡Ì̇ı Ë ´—Â·ˇÌ˚È
΂ª ‚ ¬Â̈ËË. –Ó‰ËÎÒˇ ‚ 1942 ‚ Õ¸˛…ÓÍÂ, ‚ ÍËÌÓ ‰Â·˛ÚËÓ‚‡Î ‚ 1963 ñ ͇Í
ÒˆÂ̇ËÒÚ, Í‡Í ÂÊËÒÒÂ ñ ‚ 1967. ΔË‚ÂÚ ‚
163
Õ¸˛-…ÓÍÂ Ë ÒΉÛÂÚ ÚÓθÍÓ Ò‚ÓËÏ ÔÛÚÂÏ,
ÒÌËχˇ „ÎÛ·ÓÍÓ Î˘Ì˚Â Ë ˜‡ÒÚÓ
‡‚ÚÓ·ËÓ„‡Ù˘Ì˚ ÎÂÌÚ˚, ‚ ÚÓÏ ˜ËÒΠË
‰ÓÍÛÏÂÌڇθÌ˚Â, ‡ÍÚË‚ÌÓ Û˜‡ÒÚ‚ÛÂÚ ‚
ÒÓı‡ÌÂÌËË ÒÚ‡˚ı ÎÂÌÚ.
»Á·‡Ì̇ˇ ÙËθÏÓ„‡Ùˡ ÂÊËÒÒÂ‡:
1974 ....¿ÎËÒ‡ Á‰ÂÒ¸ ·Óθ¯Â Ì ÊË‚ÂÚ
1976 ....“‡ÍÒËÒÚ
1977 ....Õ¸˛-…ÓÍ, Õ¸˛-…ÓÍ
1980 ....¡Â¯ÂÌ˚È ·˚Í
1982 ....üÓÓθ ÍÓωËË
1985 ....œÓÒΠ‡·ÓÚ˚
1988 ....œÓÒΉÌ ËÒÍÛ¯ÂÌË ’ËÒÚ‡
1990 ....—·‚Ì˚ ԇÌË
1991 ....Ã˚Ò ÒÚ‡ı‡
1993 ....›ÔÓı‡ Ì‚ËÌÌÓÒÚË
1995 ....ü‡ÁËÌÓ
1997 ....üÛ̉ÛÌ
2002 ....¡‡Ì‰˚ Õ¸˛-…Ó͇
2004 ....¿‚ˇÚÓ
2006 ....ŒÚÒÚÛÔÌËÍË
Martin Scorsese (US)
Directed 44 films, produced 34, acted in 23,
ƒÓÍÛÏÂÌڇθÌ˚È ÙËθÏ, ÏËÓ‚‡ˇ ÔÂϸÂ‡ ÍÓÚÓÓ„Ó ÒÓÒÚÓˇÎ‡Ò¸ ̇
and scripted 13.
ÓÚÍ˚ÚËË ¡ÂÎËÌÒÍÓ„Ó Ãü‘, ÔÓÒ‚ˇ˘ÂÌ Ú‚Ó˜ÂÒÚ‚Û Î„Ẩ‡ÌÓÈ „ÛÔÔ˚
Winner of the OSCAR Academy Award and
´The Rolling Stonesª. ¬ ÓÒÌӂ ͇ÚËÌ˚ - ‰‚‡ ÍÓ̈ÂÚ‡ 2006 „Ó‰‡ (Beacon
another eighty prizes, including the Golden
Theatre, Õ¸˛-…ÓÍ), ËÒÔÓθÁÓ‚‡Ì˚ ‰ÍË ‡ıË‚Ì˚ Á‡ÔËÒË, Á‡ÍÛÎËÒÌ˚Â
Palm of the Cannes Film Festival and the
Ò˙ÂÏÍË, ÓÚ˚‚ÍË ËÁ ÍÎËÔÓ‚ Ë ËÌÚÂ‚¸˛ ‡ÁÌ˚ı ÎÂÚ. —Â‰Ë Ô˄·¯ÂÌÌ˚ı
Silver Lion of Venice. Born in 1942 in New
Á‚ÂÁ‰ ñ ƒÊÂÍ ”‡ÈÚ (´White Stripesª), ¡‡‰‰Ë √‡È, üËÒÚË̇ ¿„ËÎÂ‡ Ë
York, debut in cinema in 1963 as script
·˚‚¯ËÈ ÔÂÁˉÂÌÚ —ÿ¿ ¡ËÎÎ üÎËÌÚÓÌ Ë Â„Ó ÒÛÔÛ„‡ ’ËηË üÎËÌÚÓÌ.
writer, and in 1967 as director. Lives in New
York and follows only his own way, making
deeply personal and frequently
autobiographical films, including
Documentary film that had its world premiere at the opening of the Berlin
documentaries. He actively participates in the
International Film Festival. It is devoted to the creative work of the legendary
preservation of old films.
group ìThe Rolling Stonesî. At the heart of the film lie two concerts of 2006
Selected Directorís Filmography:
1974 ....Alice Doesnít Live Here Anymore
1976 ....Taxi Driver
1977 ....New York, New York
1980 ....Raging Bull
1982 ....The King of Comedy
1985 ....After Hours
1988 ....The Last Temptation of Christ
1990 ....Goodfellas
1991 ....Cape Fear
1993 ....The Age of Innocence
1995 ....Casino
1997 ....Kundun
2002 ....Gangs of New York
2004 ....The Aviator
2006 ....The Departed
(Beacon Theatre, New York), and rare archival recordings, back stage
shootings, fragments from clips and interviews of different years. Among the
invited stars ate Jack White (ìWhite Stripesî), Buddy Guy, Christina Aguilera
and the former US president Bill Clinton and his spouse Hillary.
KÛ„Î˚Â ÒÚÓÎ˚
Round tables
ü–”√À¤≈ —“ŒÀ¤
ROUND TABLES
ÃŒƒ≈–¿“Œ–¤:
MODERATORS:
«АКТУАЛЬНОЕ КИНО – НЕ СНИМАТЬ!» –
Даниил Дондурей, главный редактор
журнала «Искусство кино»
164
“TOPICAL CINEMA: DON’T FILM!” –
Daniil Dondurei, editorinchief of the
journal “Iskusstvo kino” (Film Art)
«ИЗ РОССИИ С ЛЮБОВЬЮ.
СОВРЕМЕННОЕ РОССИЙСКОЕ КИНО И
ЗАРУБЕЖНАЯ КРИТИКА» –
президент ФИПРЕССИ Андрей Плахов
и генеральный секретарь ФИПРЕССИ
Клаус Эдер (Германия)
"FROM RUSSIA WITH LOVE.
FOREIGN CRITICS JUDGE RECENT
RUSSIAN CINEMA"–
FIPRESCI president Andrei Plakhov
and FIPRESCI General Secretary
Klaus Eder (Germany)
«ПРОКАТ ДЛЯ БЛОКБАСТЕРОВ»:
ЕСТЬ ЛИ АЛЬТЕРНАТИВЫ?» –
Вячеслав Шмыров, главный редактор
журнала «Кинопроцесс»
«DISTRIBUTION FOR BLOCKBUSTERS”:
ARE THERE ALTERNATIVES?” –
Viacheslav Shmyrov, editorinchief
of the journal “KinoProcess”
ìTopical cinema: donít film!î
´üÛ„Î˚ ÒÚÓÎ˚ª ÙÂÒÚË‚‡Îˇ ´üËÌÓÚ‡‚ª ÔÓ Ú‡‰ËˆËË
ÔÓÒ‚ˇ˘‡˛ÚÒˇ ÒÚ‡Ú„˘ÂÒÍËÏ ‚ÓÔÓÒ‡Ï ÙÓÏËÓ‚‡Ìˡ
ÍÓÌÚÂÌÚ‡ ÓÒÒËÈÒÍÓ„Ó ÍËÌÂχÚÓ„‡Ù‡. ¬ ˝ÚÓÏ „Ó‰Û ÓÌ ·Û‰ÂÚ
ÔÓÒ‚ˇ˘ÂÌ Ò‡ÏÓÈ ‚‡ÊÌÓÈ Ë ‚Ò„‰‡ ‡ÍÚۇθÌÓÈ ÚÂÏ ñ ÔÓ ˜ÚÓ
ÒÌËχÂÏ ÍËÌÓ? œÓ˜ÂÏÛ Ú‡Í Ï‡ÎÓ ÙËθÏÓ‚ ‰Â·ÂÚÒˇ ̇
Á̇˜ËÏ˚Â, Ì ‚˚˜ÛÌ˚Â, ÔÂÂÊË‚‡ÂÏ˚ ÏËÎÎËÓ̇ÏË Î˛‰ÂÈ
ÔÓ·ÎÂÏ˚ Ì˚̯ÌÂÈ ÊËÁÌË? œÓ˜ÂÏÛ ÂÊËÒÒÂ˚ ‚ÒÂÏË
Ò‚ÓËÏË Ú‚Ó˜ÂÒÍËÏË ÒË·ÏË ÛÍÎÓÌˇ˛ÚÒˇ ÓÚ Â ‡Ì‡ÎËÁ‡ ñ
χÒÒÓ‚Ó ÛıÓ‰ˇÚ ‚ ÂÚÓ, ‚ ʇÌ, ‚ Ù˝ÌÚÂÁË, ‚ ‡ÁÌÓ„Ó Ó‰‡
ÒÚ‡¯ËÎÍË, ‚ χ„Ë̇θÌ˚ ÚÂÏ˚ Ë ÒÚËÎËÒÚËÍÛ. œÓ˜ÂÏÛ ‚
ÍÓÏÏÂ˜ÂÒÍÓÏ ÍËÌÓ ˛Ì˚ ÁËÚÂÎË ÒÚ‡ÎÍË‚‡˛ÚÒˇ ‚ ÓÒÌÓ‚ÌÓÏ
Ò ·Ó‚Ë͇ÏË, ‡ ‚ ‡‚ÚÓÒÍÓÏ ñ Ò ‡ÁÌ˚ÏË ‚‡ˇÌÚ‡ÏË
ËÒÚÓËÈ Ó „ÎÛ·ÓÍÓ ÌÂÒ˜‡ÒÚÌÓÈ Ë ‰ÂÔÂÒÒË‚ÌÓÈ ÒÚ‡ÌÂ?
Õ‡ ´ÍÛ„ÎÓÏ ÒÚÓΪ ´¿ÍÚۇθÌÓ ÍËÌÓ ñ Ì ÒÌËχڸ!ª, ͇Í
‚Ò„‰‡, ÔËÌËχ˛Ú Û˜‡ÒÚË ‚Â‰Û˘Ë ÓÚ˜ÂÒÚ‚ÂÌÌ˚Â
ÔÓ‰˛ÒÂ˚, ÂÊËÒÒÂ˚, ‰‡Ï‡ÚÛ„Ë, ÓÚ·Ó˘ËÍË ‚Â‰Û˘Ëı
ÏÂʉÛ̇Ó‰Ì˚ı ÍËÌÓÙÂÒÚË‚‡ÎÂÈ, ÛÍÓ‚Ó‰ËÚÂÎË
ÚÂ΂ËÁËÓÌÌ˚ı ͇̇ÎÓ‚ Ë ÍËÌÓÒÚÛ‰ËÈ.
ƒ‡ÌËËÎ ƒÓ̉ÛÂÈ
Round tables of the festival ìKinotavrî are traditionally
devoted to strategic questions of the formation of Russian
cinema and its content. This yearís round table will be devoted
to a crucial and always essential topic: what are we going to
make a film about? Why are so few films being made about
problems of contemporary life that are significant,
unpretentious, and experienced by millions of people? Why do
directors with their whole creative power avoid analysis, and
instead turn en masse to retro, genre, fantasy, all sorts of
horror stories, to marginal themes and styles. Why are young
spectators of commercial cinema basically presented with
action movies, while in art cinema they are mainly shown
different versions of stories about a deeply unfortunate and
utterly depressive country?
Participants of the round table ìTopical cinema: donít film!î
will, as always, include leading producers, directors,
playwrights, selectors of international film festivals, heads of
television channels and film studios.
Daniil Dondurei
´»Á –ÓÒÒËË Ò Î˛·Ó‚¸˛.
—Ó‚ÂÏÂÌÌÓÂ ÓÒÒËÈÒÍÓÂ ÍËÌÓ
Ë Á‡Û·ÂÊ̇ˇ ÍËÚË͇ª
"From Russia with Love.
Foreign Critics Judge Recent
Russian Cinema"
ÕÂÒÓÏÌÂÌÌÓ, –ÓÒÒˡ ‚Ò„‰‡ ·˚· Ó‰ÌÓÈ ËÁ ‚Â‰Û˘Ëı
ÍËÌÂχÚÓ„‡Ù˘ÂÒÍËı ÒÚ‡Ì ÏË‡ ñ ÒÚÓθ Ê ‚ÎˡÚÂθ̇ˇ ͇Í
—Ó‰ËÌÂÌÌ˚ ÿÚ‡Ú˚, √ÂχÌˡ ËÎË ‘‡ÌˆËˇ. ¬ „Ó‰˚ ÒÓ‚ÂÚÒÍÓÈ
‚·ÒÚË Í ÍËÌÓ ÓÚÌÓÒËÎËÒ¸ Ë Í‡Í Í ËÒÍÛÒÒÚ‚Û, Ë Í‡Í Í Ò‰ÒÚ‚Û
ÔÓÔ‡„‡Ì‰˚, Ë ÒÓÁ‰‡‚‡Ú¸ ¯Â‰Â‚˚ Ô‡ÍÚ˘ÂÒÍË ·˚ÎÓ
Ì‚ÓÁÏÓÊÌÓ. ◊‡˘Â ‚ÒÂ„Ó ˝ÚÓ ·˚ÎÓ Ò‚ˇÁ‡ÌÓ Ò ÔÓÎËÚ˘ÂÒÍËÏË
ÚÛ‰ÌÓÒÚˇÏË (Í‡Í ˝ÚÓ ·˚ÎÓ Ò Ú‡Í Ì‡Á˚‚‡ÂÏ˚ÏË ÔÓÎÓ˜Ì˚ÏË
ÙËθχÏË). »ı ÒÏÓÚÂÎË Ì‡ ÙÂÒÚË‚‡Îˇı, ‚ ÍËÌÓÍÎÛ·‡ı, ̇
Á‡Í˚Ú˚ı ÔÓÒÏÓÚ‡ı, Ë ÓÌË ÔÓÒ·‚ËÎË ÒÚ‡ÌÛ, ÒÚ‡‚¯Û˛
ËÒÚÓ˜ÌËÍÓÏ Û‰Ë‚ËÚÂθÌ˚ı ÙËθÏÓ‚, ñ ËÌÓ„‰‡ ÔÓÚË‚ Ê·ÌËÈ
‚·ÒÚÂÈ (Í‡Í ˝ÚÓ ·˚ÎÓ ‚ˉÌÓ ÔÓ ÒÚ‡ÒÚˇÏ, ‡Á˚„‡‚¯ËÏÒˇ
‚ÓÍÛ„ ÙËθχ “‡ÍÓ‚ÒÍÓ„Ó ´¿Ì‰ÂÈ –۷΂ª Ë Â„Ó ÔÓ͇Á‡ ̇
ü‡ÌÌÒÍÓÏ ÙÂÒÚË‚‡Î ‚ 1969 „Ó‰Û). œÓÒΠ‡ÒÔ‡‰‡ ÒËÒÚÂÏ˚ ÒÚ‡ÎÓ
‡Á‰‡ÊËÚÂθÌÓ ÚËıÓ. –ÓÒÒËÈÒÍË ÙËθÏ˚ ÒÂ„Ó‰Ìˇ ‰ÍÓ ‚ıÓ‰ˇÚ
‚ ÍÓÌÍÛÒÌ˚ ÔÓ„‡ÏÏ˚ „·‚Ì˚ı ÙÂÒÚË‚‡ÎÂÈ (Ú‡Í, ̇ÔËÏÂ, ‚
ÓÒÌÓ‚ÌÓÏ ÍÓÌÍÛÒ Ì˚̯ÌÂ„Ó ü‡ÌÌÒÍÓ„Ó ÙÂÒÚË‚‡Îˇ ÌÂÚ ÌË
Ó‰ÌÓÈ ÓÒÒËÈÒÍÓÈ Í‡ÚËÌ˚). À˯¸ ÌÂÒÍÓθÍÓ ËÏÂÌ ÂÊËÒÒÂÓ‚
ÒÛÏÂÎË ÔÂÂÒ˜¸ „‡ÌˈÛ: ˝ÚÓ ñ ÕËÍËÚ‡ ÃËı‡ÎÍÓ‚, ÍÓ̘ÌÓ ÊÂ,
Ë ¿ÎÂÍ҇̉ —ÓÍÛÓ‚, ËÎË ¿Ì‰ÂÈ «‚ˇ„Ë̈‚ Ë »Î¸ˇ
’ʇÌÓ‚ÒÍËÈ, Í‡Í Ô‰ÒÚ‡‚ËÚÂÎË ÂÊËÒÒÂÓ‚ ÏÓÎÓ‰Ó„Ó
ÔÓÍÓÎÂÌˡ, ÍÓÚÓ˚ ÒÛÏÂÎË ÔÓ·ËÚ¸Òˇ. ÕÓ Ì ˇ‚Ρ˛ÚÒˇ ÎË ÓÌË
ËÒÍβ˜ÂÌËÂÏ? ƒÓÒÚ‡ÚÓ˜ÌÓ ÎË ‚ ̇ÒÚÓˇ˘Â ‚ÂÏˇ ÓÒÒËÈÒÍÓÂ
ÍËÌÓ ËÁ‚ÂÒÚÌÓ Á‡ Û·ÂÊÓÏ? ≈ÒÚ¸ ÎË ÌÓ‚Ó ÔÓÌËχÌË ÓÎË Ë
ÙÛÌ͈ËË ÍËÌÓ? Õ ˇ‚ΡÂÚÒˇ ÎË ´ÍËÌÓ Í‡Í ËÒÍÛÒÒÚ‚Óª
‚˚¯Â‰¯ÂÈ ËÁ ÏÓ‰˚ ÍÓ̈ÂÔˆËË ‚ ÒÂ„Ó‰Ìˇ¯ÌÂÈ –ÓÒÒËË? ◊ÚÓ
ϯ‡ÂÚ ÂÊËÒÒÂ‡Ï ÏÓÎÓ‰Ó„Ó ÔÓÍÓÎÂÌˡ ‰Â·ڸ ÏÂʉÛ̇Ó‰ÌÛ˛
͇¸ÂÛ, ͇ÍÓ‚˚ Ëı ‚ÓÁÏÓÊÌÓÒÚË Ì‡ÈÚË Ò‚ÓËı ÁËÚÂÎÂÈ ‚ÌÂ
ÒÚ‡Ì˚? fl‚ΡÂÚÒˇ ÎË ÔÓÌˇÚË ´Ì‡ˆËÓ̇θÌÓ ÍËÌÓª ‚Ò ¢Â
ÒÓ‚ÂÏÂÌÌ˚Ï Ë ‡ÍÚۇθÌ˚Ï? » ¢ ·ÓΠӷ˘ËÈ ‚ÓÔÓÒ: ˜ÚÓ
Ú‡ÍÓ ÍËÌÓ ÒÂ„Ó‰Ìˇ ‚ –ÓÒÒËË? ›ÚÓÈ ´‚Á˚‚˜‡ÚÍ˪ ÛÊÂ
‰ÓÒÚ‡ÚÓ˜ÌÓ ‰Îˇ Ó·ÒÛʉÂÌˡ ÏÂÊ‰Û ÓÒÒËÈÒÍËÏË ÍËÚË͇ÏË Ë Ëı
Á‡Û·ÂÊÌ˚ÏË ÍÓÎ΄‡ÏË ñ ̇ ÙÓÌ ÌÓ‚˚ı ÓÒÒËÈÒÍËı ÙËθÏÓ‚,
‚Íβ˜ÂÌÌ˚ı ‚ —Ó˜ËÌÒÍÛ˛ ÔÓ„‡ÏÏÛ.
ü·ÛÒ ›‰Â
Undoubtedly, Russia has been one of the leading cinema
nations of the world ñ as influential as the United States,
Germany or France. Under Soviet rule, cinema was considered
as art (and as a means of propaganda), and there was not
rarely a space and chance to create masterpieces (often linked
to political difficulties and personal pain, as we know, see the
history of the ´shelved filmsª). They toured through festivals,
film clubs and cinemas and increased the glory of the country
as a source of astonishing films (sometimes against the will of
the authorities, see the turbulences around Tarkovskyís
´Andrei Rublyovª and its Cannes screening of 1969). After
the end of the system, it became irritatingly quiet. Russian
films enter today only occasionally the competition of the
major festivals (see this yearís Cannes programme: no Russian
film in competition). A few names only managed to cross the
border: Nikita Mikhalkov of course and Alexander Sokurov, or
Andrei Zviagintsev and Ilya Khrzhanovsky (acting for a few
filmmakers of a younger generation who managed to make
their way). But: Arenít they exceptions? Isnít nowadays
Russian cinema fairly unknown abroad? Why? Is there a new
understanding and conception of the role and function of
cinema? Is ´cinema as artª outmoded in todayís Russia? What
is preventing films (in particular of a younger generation of
filmmakers) to make an international career, what are their
chances to find a public also outside the own country? In
general, is the notion of a ´national cinemaª still up to date?
And, even more general: What is cinema, today and in
Russia? Enough ´dynamiteª to be discussed between foreign
critics and their Russian colleagues, on the background of the
new Russian films included in the Sochi programme.
"œÓÍ‡Ú ‰Îˇ ·ÎÓÍ·‡ÒÚÂÓ‚":
ÂÒÚ¸ ÎË ‡Î¸ÚÂ̇ÚË‚˚?
"Distribution for blockbusters":
are there alternatives?
—Ó‚ÂÏÂÌÌ˚È ÓÒÒËÈÒÍËÈ ÍËÌÓÔÓÍ‡Ú ñ ˝ÚÓ ÒÛÏχ
Ô‡‡‰ÓÍÒÓ‚. — Ó‰ÌÓÈ ÒÚÓÓÌ˚, Ì ÏÓÊÂÚ Ì ‡‰Ó‚‡Ú¸, ˜ÚÓ ‚
˜ËÒÎÂ Â„Ó ÎˉÂÓ‚ ñ ̇‡ÒÚ‡˛˘Â ˜ËÒÎÓ ÓÚ˜ÂÒÚ‚ÂÌÌ˚ı
·ÎÓÍ·‡ÒÚÂÓ‚. — ‰Û„ÓÈ ÒÚÓÓÌ˚, ÔÓÌˇÚÌÓ, ˜ÚÓ Ì ÚÓθÍÓ
‡Úı‡ÛÒ, ÌÓ Ë ÔÓÒÚÓ ´˜ÂÎӂ˜ÂÒÍÓ ÍËÌÓª, ÏÂ̸¯Â ‚Ò„Ó
Ô‰̇Á̇˜ÂÌÌÓ ‰Îˇ ÔÓ‰ÓÒÚÍÓ‚, ÔÓ˜ÚË Ì ËÏÂÂÚ ¯‡ÌÒÓ‚
‚ÒÚÂÚËÚ¸Òˇ ÒÓ Ò‚ÓÂÈ ‡Û‰ËÚÓËÂÈ. –‡ÒÚÂÚ ÍÓ΢ÂÒÚ‚Ó Á‡ÎÓ‚
(ÔÛÒÚ¸ ÌÂ Ú‡Í ·˚ÒÚÓ, Í‡Í ÔÂʉÂ), ÌÓ Î„˜Â ÎË ÓÚ ˝ÚÓ„Ó
ÔÓ͇Ú˚‚‡Ú¸ ‚ÓÔÂÈÒÍË ÙËθÏ˚ ËÎË ÓÒÒËÈÒÍË ÙËθÏ˚‰Â·˛Ú˚, ‰ÓÍÛÏÂÌڇθÌÓ ËÎË ‡ÌËχˆËÓÌÌÓ ÍËÌÓ?
´œÓÍ‡Ú ‰Îˇ ·ÎÓÍ·‡ÒÚÂÓ‚ª: ÂÒÚ¸ ÎË ‡Î¸ÚÂ̇ÚË‚˚?ª ñ ÚÂχ
ÍÛ„ÎÓ„Ó ÒÚÓ·, ÍÓÚÓ˚È 11 Ë˛Ìˇ 2008 „Ó‰‡ ÔÓ‚Ó‰ËÚÒˇ ̇
ÙÂÒÚË‚‡Î ´üËÌÓÚ‡‚ª Â„Ó ÔÓ„‡ÏÏÌÓÈ ‰ËÂ͈ËÂÈ
ÒÓ‚ÏÂÒÚÌÓ Ò ‰‡ÍˆËÂÈ ÊÛ̇· ´üËÌÓÔÔÓˆÂÒÒª.
¬ˇ˜ÂÒ·‚ ÿÏ˚Ó‚
Modern Russian film distribution is the sum of paradoxes. On
the one hand, we should be happy that there are a growing
number of home-made blockbusters among the leaders of
distribution. On the other hand, it is clear that not only arthouse, but also simply ìhumanistic cinemaî least intended for
teenagers, has almost no chance of finding an audience. The
number of cinema screens is growing (even if not as rapidly as
before), but is it therefore easier to distribute European films
or Russian debuts, documentaries or animation films?
ìDistribution for blockbusters: are there alternatives?î is the
theme of a round table which will take place on 11 June 2008
at the festival ìKinotavrî, organised by the programme
management together with the editorial board of the journal
ìKino-Processî.
Viacheslav Shmyrov
Klaus Eder
KÛ„Î˚Â ÒÚÓÎ˚
Round tables
´¿ÍÚۇθÌÓ ÍËÌÓ ñ Ì ÒÌËχڸ!ª
165
»Ì‰ÂÍÒ ÙËθÏÓ‚
Index of films
166
9 1/2 ............................................................................................161
12 ..................................................................................................86
9 ƒÕ≈… ŒƒÕŒ√Œ √Œƒ¿..................................................................136
PAL/SECAM ....................................................................................43
ROLLING STONES, THE. ƒ¿ ¡”ƒ≈“ —¬≈“! ......................................162
¿…¡ŒÀ»“-66 ................................................................................154
¿Õ√≈À¤ √–≈’¿ VOL. 4 (Dee L'Do) ..................................................44
¿Õƒ–≈… –”¡À≈¬..........................................................................126
¿Õ“»—≈ü— ....................................................................................88
¿——¿ ..............................................................................................90
¿—“≈Õ»◊≈—ü»… —»Õƒ–ŒÃ..........................................................152
¡¿ü—¤ ..........................................................................................12
¡¿ÀÀ¿ƒ¿ Œ —ŒÀƒ¿“≈ ..................................................................127
¡Œ… — “≈Õ‹fi 2: –≈¬¿Õÿ ............................................................92
¡ŒÃΔ. ¡≈« Œœ–≈ƒ≈À≈ÕÕŒ√Œ Ã≈—“¿ Δ»“≈À‹—“¬¿ ..................158
¡–¿“ ............................................................................................147
¡”À‹¬¿– ......................................................................................45
¬ Œ√Õ≈ ¡–Œƒ¿ Õ≈“ ......................................................................141
¬»ƒ Õ¿ √Œ–¤ ................................................................................46
¬—≈ ”Ö”“, ¿ fl Œ—“¿Õ”—‹ ..........................................................66
√¿ÃÀ≈“........................................................................................143
√¿–‹ ..............................................................................................47
√¿“¿ ..............................................................................................48
√Œ—œŒƒ¿ Œ‘»÷≈–¤. —œ¿—“» »Ãœ≈–¿“Œ–¿ ................................94
ƒ≈¬—“¬≈ÕÕŒ—“‹............................................................................14
ƒ≈Õ‹ –¿ƒ»Œ..................................................................................96
ƒ»üŒ≈ œŒÀ≈ ................................................................................16
ƒÕ» «¿“Ã≈Õ»fl ..........................................................................155
ƒŒ¡–Œ œŒΔ¿ÀŒ¬¿“‹, »À» œŒ—“Œ–ŒÕջà ¬’Œƒ ¬Œ—œ–≈Ÿ≈Õ ....134
ƒ–”√¿fl Δ»«Õ‹ ..........................................................................161
Δƒ” “≈¡fl ....................................................................................49
Δ»¬» » œŒÃÕ» ..........................................................................10
«¿ü–¤“¤≈ œ–Œ—“–¿Õ—“¬¿ ..........................................................68
«ƒ–¿¬Õ»÷¿ ..................................................................................50
«≈À≈Õ¤… “≈¿“– ¬ «≈Ñ»–≈........................................................98
«≈–ü¿ÀŒ......................................................................................128
» ¬—fl Àfi¡Œ¬‹ ............................................................................158
»√–¿ ............................................................................................100
»À‹fl Ô–ŒÃ≈÷ » —ŒÀŒ¬≈… –¿«¡Œ…Õ»ü ..................................102
»Õƒ»√Œ ......................................................................................104
»—“Œ–»fl ¿—» üÀfl◊»ÕŒ…, üŒ“Œ–¿fl Àfi¡»À¿,
ƒ¿ Õ≈ ¬¤ÿÀ¿ «¿Ã”Δ ........................................................138
»—◊≈«Õ”¬ÿ¿fl »Ãœ≈–»fl ..........................................................106
»fiÀ‹—ü»… ƒŒΔƒ‹ ....................................................................135
ü¿À»Õ¿ ü–¿—Õ¿fl ......................................................................130
üŒÃ»——¿– ..................................................................................131
üŒÕ≈÷ VI √À¿¬¤ ..........................................................................51
üŒ–Œ“ü»≈ ¬—“–≈◊» ....................................................................150
ü–¿“ü»≈ —¬≈ƒ≈Õ»fl œŒ Õ≈üŒ“Œ–¤Ã ›œ»«Œƒ¿Ã ......................52
ÿÀ≈Õ‹ü¿fl ¬≈–¿ ......................................................................137
ÿ“¿—ŒÕ»ü ..................................................................................53
ÃÕ≈ ƒ¬¿ƒ÷¿“‹ À≈“ ..................................................................132
ÃŒ… ƒ–”√ »¬¿Õ À¿œÿ»Õ..........................................................129
ÃŒÕ√ŒÀ ......................................................................................108
ÌՌÀŒ√ ....................................................................................149
Ô’¿ ..........................................................................................110
ä »« ¡”ƒ”Ÿ≈√Œ ......................................................................112
Õ¿ —¬Œ≈… «≈ÃÀ≈ ........................................................................159
Õ¿◊¿ÀŒ ......................................................................................139
Õ≈Õ”ΔÕ¤… œŒƒ¿–Œü..................................................................54
Õ≈ŒüŒÕ◊≈ÕÕ¿fl œ‹≈—¿ ƒÀfl Ã≈’¿Õ»◊≈—üŒ√Œ œ»¿Õ»ÕŒ ......133
Õ»–¬¿Õ¿ ......................................................................................18
ÕŒ¬¿fl «≈ÃÀfl ..............................................................................20
ÕŒ¬¤≈ “≈’ÕŒÀŒ√»» ....................................................................55
Œü≈¿Õ ..........................................................................................22
Œü–¿»Õ¿ ....................................................................................140
ŒÀ≈√ ü”À»ü - ¬¤«Œ¬ » œ–Œ¬Œü¿÷»fl ........................................70
Œ—≈ÕÕ»… ÿ–¿‘ŒÕ....................................................................145
Œ“—“”œÕ»ü ................................................................................159
Œ’Œ“¿ Õ¿ À»— ............................................................................144
œ¿–¿ƒ œÀ¿Õ≈“ ..........................................................................153
œ≈“–Œ√–¿ƒ—ü»≈ √¿¬–Œÿ» ........................................................160
œÀ≈ÕÕ¤… ....................................................................................24
œÀfi— Œƒ»Õ ..................................................................................26
œŒÀ≈“¤ ¬Œ —Õ≈ » Õ¿fl¬” ..........................................................142
œŒœÀ¿¬Œü ....................................................................................56
œ–≈ƒ—“¿¬À≈Õ»≈ ..........................................................................72
œ”—“Œ“¿........................................................................................57
œfl“Õ¿ÿü» ..................................................................................58
œfl“‹ ¬≈◊≈–Œ¬ ............................................................................148
–»Œ–»“¿ ......................................................................................80
–Œ«¤√–¤ÿ..................................................................................114
–¤¡¿ ............................................................................................59
—¿…ƒ-—“≈œ ..................................................................................116
—≈«ŒÕ “”ÿՌ¬ ..........................................................................74
—ü¿Δ» À≈Œ ..................................................................................28
—ü¿«¿Õ»≈ Œ ’–¿¡–ŒÃ ’Œ◊¡¿–≈ ..............................................160
—œ¿…ƒ≈– ......................................................................................60
—œ»—Œü üŒ–¿¡À≈… ......................................................................76
—“¿–¿fl ÕŒ¬¿fl –Œ——» ..................................................................61
—“¿–ÿ¿fl Δ≈Õ¿ ..........................................................................30
—“Œ ƒÕ≈… œŒ—À≈ ƒ≈“—“¬¿..........................................................151
“Œ“, ü“Œ √¿—»“ —¬≈“ ....................................................................32
“–¿——¿ Ã8 ....................................................................................62
”“–Œ ƒ–”√»Ã» √À¿«¿Ã» ............................................................63
’ŒÀŒƒÕŒ≈ —ŒÀÕ÷≈ ....................................................................118
’–”—“¿À≈¬, ÿÿ»Õ”! ..............................................................146
◊≈“¤–≈ ¬Œ«–¿—“¿ Àfi¡¬» ..........................................................34
◊”Δ»≈ ..........................................................................................82
ÿ”À‹“≈— ......................................................................................36
fi–‹≈¬ ƒ≈Õ‹ ................................................................................38
9 1/2 ............................................................................................161
12 (Twelve) ......................................................................................86
AIBOLIT 66 ..................................................................................154
AND ALL THE LOVE ......................................................................158
ANDREI RUBLEV ..........................................................................126
ANGELS OF SIN VOL. 4 (Dee L'Do)....................................................44
ANOTHER LIFE ............................................................................161
ANTISEX ........................................................................................88
APOSTATE, THE ............................................................................159
ASSA ..............................................................................................90
ASTHENIC SYNDROME ..................................................................152
AUTUMN MARATHON ..................................................................145
BAKSY............................................................................................12
BALLAD OF A SOLDIER ................................................................127
BEGINNING, THE ..........................................................................139
BOULEVARD ..................................................................................45
BROTHER......................................................................................147
CAPTIVE ........................................................................................24
CINDERS ........................................................................................47
CLOSED SPACES ..............................................................................68
COLD SUN, THE ............................................................................118
COMMISSAR, THE..........................................................................131
DAY OF RADIO ..............................................................................96
DAYS OF ECLIPSE ........................................................................155
DREAM FLIGHTS ..........................................................................142
ELDER WIFE, THE ..........................................................................30
EMPTINESS ....................................................................................57
END OF CHAPTER 6, THE................................................................51
EVERYBODY DIES BUT ME ..............................................................66
FISH, THE ......................................................................................59
FIVE EVENINGS ............................................................................148
FLOAT ............................................................................................56
FOOTLOOSE ..................................................................................158
FOUR AGES OF LOVE ......................................................................34
FOX HUNT ....................................................................................144
GAME, THE ..................................................................................100
GATA..............................................................................................48
GENTLEMEN OFFICERS. SAVE THE EMPEROR ................................94
GREEN THEATRE IN ZEMFIRA ........................................................98
HAMLET ......................................................................................143
HE WHO SWITCHES OFF THE LIGHTS..............................................32
HIGHWAY Ã8 ................................................................................62
I AM TWENTY ..............................................................................132
ILYA MUROMETS AND NIGHTINGALE-ROBBER..............................102
IN ONE'S OWN LAND ....................................................................159
INDIGO ........................................................................................104
JOKE, THE ....................................................................................114
JULY RAIN ..................................................................................135
KHRUSTALYOV, MY CAR!..............................................................146
LIST OF SHIPS, THE ........................................................................76
LITTLE VERA ................................................................................137
LIVE TO REMEMBER ......................................................................10
MATASONIC ....................................................................................53
MIRROR ........................................................................................128
MONGOL ......................................................................................108
MONOLOGUE, THE ........................................................................149
MORNING, WITH DIFFERENT EYES, THE ........................................63
MUKHA ........................................................................................110
MY FRIEND IVAN LAPSHIN ..........................................................129
NEW TECHNOLOGIES ......................................................................55
NINE DAYS OF ONE YEAR ............................................................136
NIRVANA ......................................................................................18
NO PATH THROUGH FIRE ............................................................141
OCEAN............................................................................................22
OLD NEW ROSSI ............................................................................61
OLEG KULIK - CHALLENGE AND PROVOCATION..............................70
ONE HUNDRED DAYS AFTER CHILDHOOD ....................................151
OUTSKIRTS ..................................................................................140
PAL/SECAM ....................................................................................43
PARADE OF PLANETS ..................................................................153
PETROGRAD'S GAVROCHES ..........................................................160
PLUS ONE ......................................................................................26
RED GUELDER BERRY, THE ..........................................................123
REVUE, THE ..................................................................................72
RIORITA ........................................................................................80
ROLLING STONES! SHINE A LIGHT, THE ........................................162
SANATORIUM ................................................................................50
SAY LEO ........................................................................................28
SEASON OF MISTS ..........................................................................74
SHADOW BOXING 2: REVENGE ......................................................92
SHORT ENCOUNTERS ....................................................................150
SHORT INFOMATION ON SOME EPISODES ........................................52
SHULTES ........................................................................................36
SIDE STEP ....................................................................................116
SPIDER ..........................................................................................60
STORY OF ASYA KLYACHINA, THE ..............................................138
STRANGERS....................................................................................82
TAG ................................................................................................58
TALE OF THE BRAVE KHOCHBAR ................................................160
TERRA NOVA..................................................................................20
UNFINISHED PIECE FOR MECHANICAL PIANO ..............................133
UNNECESSARY GIFT, THE ..............................................................54
VANISHED EMPIRE, THE ..............................................................106
VIEW ON THE MOUNTAINS, A ........................................................46
VIRGINITY......................................................................................14
WAITING FOR YOU ........................................................................49
WE ARE FROM THE FUTURE ........................................................112
WELCOME, OR NO TRESPASSING ..................................................134
WILD FIELD....................................................................................16
YURI'S DAY ....................................................................................38
Abakarov, Askhab........................................................................160
Abdrashitov, Vadim ..............................................................144, 153
Agranovich, Maria ........................................................................49
Apasian, Igor ..............................................................................159
Askoldov, Alexander ....................................................................131
Averbakh, Ilya ............................................................................149
Bakuradze, Bakur..........................................................................36
Balabanov, Alexei ........................................................................147
Balayan, Roman ..........................................................................142
Bodrov Sr., Sergei ......................................................................108
Bychkova, Oksana ........................................................................26
Bykov, Rolan ..............................................................................154
Chizhov, Alexei ............................................................................53
Chukhrai, Grigori ........................................................................127
Daneliya, Georgi ..........................................................................145
Diachenko, Dmitri ........................................................................96
Fomin, Oleg ..................................................................................94
German, Alexei ....................................................................129, 146
Germanika, Valeria Gai ..................................................................66
Gleb Panfilov ..............................................................................141
Govorina, Natalia ..........................................................................50
Groznov, Sergei ............................................................................55
Grymov, Yuri ..............................................................................82
Gusev, Alexei ..............................................................................76
Isaeva, Larissa ..............................................................................88
Ishina, Tatiana..............................................................................56
Kalatozishvili, Mikhail ..................................................................16
Karavaev, Alexander ....................................................................61
Kargaltsev, Alexander ..................................................................57
Kavtaradze, Sergei ........................................................................47
Khmelnitskaya, Alisa ....................................................................45
Khomsky, Igor ..............................................................................52
Khutsiev, Marlen..................................................................132, 135
Kireeva, Marianna ......................................................................161
Klimov, Elem ..............................................................................134
Konchalovsky, Andrei ..................................................................138
Kosyrev-Nesterov, Mikhail ............................................................22
Kott, Alexander ............................................................................59
Kott, Vladimir ............................................................................110
Kozintsev, Grigori ......................................................................143
Kudinenko, Andrei ......................................................................114
Lebedev, Igor................................................................................68
Libenson, Andrei ..........................................................................32
Litvinova, Renata..........................................................................98
Loznitsa, Sergei ............................................................................72
Lutsik, Petr ................................................................................140
Maliukov, Andrei ........................................................................112
Mansky, Vitali ..............................................................................14
Megerdichev, Anton ......................................................................92
Melnik, Alexander ........................................................................20
Migunova, Marina ......................................................................116
Mikhalkov, Nikita ..........................................................86, 133, 148
Mitta, Evgeni ..............................................................................70
Mkrtchian, Diana ..........................................................................48
Mokritsky, Sergei ..........................................................................34
Muratova, Kira ....................................................................150, 152
Omarova, Guka ............................................................................12
Ordovsky, Mikhail ......................................................................160
Panfilov, Gleb ......................................................................139, 141
Pichul, Vasili ..............................................................................137
Poltoratsky, Viktor........................................................................44
Poluyanov, Sergei..........................................................................60
Popov, Sergei ..............................................................................118
Povolotsky, Dmitri ........................................................................43
Pronchenko, Zinaida ......................................................................46
Proshkin, Alexander ......................................................................10
Prygunov, Roman ........................................................................104
Rogozhkin, Alexander ..................................................................100
Romm, Mikhail ..........................................................................136
Rubinchik, Valeri ........................................................................159
Rybakov, Leonid ..........................................................................28
Scorsese, Martin ..........................................................................162
Serebrennikov, Kirill ....................................................................38
Shakhnazarov, Karen ..................................................................106
Shukshin, Vasili ..........................................................................130
Skuibin Nikolai ..........................................................................158
Snezhkin, Sergei..........................................................................160
Sokurov, Alexander ....................................................................155
Soloviev, Sergei ....................................................................90, 151
Solovov, Ivan ................................................................................30
Sudilovsky, Andrei ........................................................................51
Tarkovsky, Andrei ................................................................126, 128
Tchernakova, Anna ........................................................................74
Todorovsky, Petr ..........................................................................80
Toropchin, Vladimir ....................................................................102
Uchitel, Alexei ..............................................................................24
Uglitskikh, Natalia ........................................................................58
Vasiliev, Anatoli..........................................................................158
Voloshin, Igor ..............................................................................18
Yuriev, Filipp ..............................................................................63
Zaretskaya, Nadezhda ....................................................................62
Zhivov, Stepan ..............................................................................54
»Ì‰ÂÍÒ ÂÊËÒÒÂÓ‚
Index of directors
¿·‡Í‡Ó‚ ¿Òı‡· ..........................................................................160
¿·‰‡¯ËÚÓ‚ ¬‡‰ËÏ ..............................................................144, 153
¿‚Â·‡ı »Î¸ˇ ............................................................................149
¿„‡Ìӂ˘ Çˡ ........................................................................49
¿Ô‡ÒˇÌ »„Ó¸ ............................................................................159
¿ÒÍÓθ‰Ó‚ ¿ÎÂÍ҇̉ ..................................................................131
¡‡ÍÛ‡‰Á ¡‡ÍÛ ..........................................................................36
¡‡Î‡·‡ÌÓ‚ ¿ÎÂÍÒÂÈ ....................................................................147
¡‡Î‡ˇÌ –ÓÏ‡Ì ............................................................................142
¡Ó‰Ó‚-ÒÚ‡¯ËÈ, —Â„ÂÈ ..............................................................108
¡˚ÍÓ‚ –ÓÎ‡Ì ..............................................................................154
¡˚˜ÍÓ‚‡ ŒÍ҇̇ ..........................................................................26
¬‡ÒËθ‚ ¿Ì‡ÚÓÎËÈ ....................................................................158
¬ÓÎÓ¯ËÌ »„Ó¸ ............................................................................18
¬ÓÒÍ· »„Ó¸ ............................................................................68
√ÂÏ‡Ì ¿ÎÂÍÒÂÈ ..................................................................129, 146
√ÂχÌË͇ ¬‡ÎÂˡ √‡È ................................................................66
√Ó‚ÓË̇ Շڇθˇ ........................................................................50
√ÓÁÌÓ‚ —Â„ÂÈ ............................................................................55
√˚ÏÓ‚ fiËÈ ..............................................................................82
√ÛÒ‚ ¿ÎÂÍÒÂÈ ..............................................................................76
ƒ‡ÌÂÎˡ √ÂÓ„ËÈ ........................................................................145
ƒ¸ˇ˜ÂÌÍÓ ƒÏËÚËÈ ......................................................................96
ΔË‚Ó‚ —ÚÂÔ‡Ì ..............................................................................54
«‡ˆ͇ˇ Õ‡‰Âʉ‡........................................................................62
»Ò‡Â‚‡ À‡ËÒ‡..............................................................................88
»¯Ë̇ “‡Ú¸ˇÌ‡ ............................................................................56
ü‡‚Ú‡‡‰Á —Â„ÂÈ ........................................................................47
ü‡Î‡ÚÓÁ˯‚ËÎË ÃËı‡ËÎ ..............................................................16
ü‡‡‚‡Â‚ ¿ÎÂÍ҇̉ ....................................................................61
ü‡„‡Î¸ˆÂ‚ ¿ÎÂÍ҇̉ ..................................................................57
üË‚‡ ÇˇÌ̇ ......................................................................161
üÎËÏÓ‚ ›ÎÂÏ..............................................................................134
üÓÁË̈‚ √Ë„ÓËÈ ....................................................................143
üÓ̘‡ÎÓ‚ÒÍËÈ ¿Ì‰ÂÈ ................................................................138
üÓÒ˚‚-ÕÂÒÚÂÓ‚ ÃËı‡ËÎ ............................................................22
üÓÚÚ ¿ÎÂÍ҇̉............................................................................59
üÓÚÚ, ¬Î‡‰ËÏË..........................................................................110
üÛ‰ËÌÂÌÍÓ ¿Ì‰ÂÈ......................................................................114
À·‰‚ »„Ó¸ ..............................................................................68
ÀË·ÂÌÒÓÌ ¿Ì‰ÂÈ..........................................................................32
ÀËÚ‚ËÌÓ‚‡ –Â̇ڇ ........................................................................98
ÀÓÁÌˈ‡ —Â„ÂÈ ............................................................................72
ÀÛˆËÍ œÂÚ................................................................................140
Ã‡Î˛ÍÓ‚ ¿Ì‰ÂÈ ........................................................................112
ÇÌÒÍËÈ ¬ËÚ‡ÎËÈ ........................................................................14
ÄÂ‰Ë˜Â‚ ¿ÌÚÓÌ ........................................................................92
ÃÂθÌËÍ ¿ÎÂÍ҇̉......................................................................20
ÃË„ÛÌÓ‚‡ ÇË̇ ......................................................................116
ÃËÚÚ‡ ≈‚„ÂÌËÈ ............................................................................70
ÃËı‡ÎÍÓ‚ ÕËÍËÚ‡ ..........................................................86, 133, 148
ÃÍÚ˜ˇÌ ƒË‡Ì‡ ............................................................................48
ÃÓÍˈÍËÈ —Â„ÂÈ ......................................................................34
ÃÛ‡ÚÓ‚‡ üË‡ ....................................................................150, 152
ŒÏ‡Ó‚‡ √Û͇ ..............................................................................12
Œ‰Ó‚ÒÍËÈ ÃËı‡ËÎ ....................................................................160
œ‡ÌÙËÎÓ‚ √η ....................................................................139, 141
œË˜ÛÎ ¬‡ÒËÎËÈ ..........................................................................137
œÓ‚ÓÎÓˆÍËÈ ƒÏËÚËÈ ..................................................................43
œÓÎÚÓ‡ˆÍËÈ ¬ËÍÚÓ ....................................................................44
œÓÎÛˇÌÓ‚ —Â„ÂÈ ..........................................................................60
œÓÔÓ‚ —Â„ÂÈ..............................................................................118
œÓ̘ÂÌÍÓ «Ë̇ˉ‡ ......................................................................46
œÓ¯ÍËÌ ¿ÎÂÍ҇̉ ....................................................................10
œ˚„ÛÌÓ‚ –ÓÏ‡Ì ........................................................................104
–Ó„ÓÊÍËÌ ¿ÎÂÍ҇̉ ..................................................................100
–ÓÏÏ ÃËı‡ËÎ ............................................................................136
–Û·Ë̘ËÍ ¬‡ÎÂËÈ ......................................................................159
–˚·‡ÍÓ‚ ÀÂÓÌˉ ..........................................................................28
—Â·ÂÌÌËÍÓ‚ üËËÎÎ ................................................................38
—ÍÓÒÂÁ ÇÚËÌ ........................................................................162
—ÍÛÈ·ËÌ ÕËÍÓÎ‡È ......................................................................158
—ÌÂÊÍËÌ —Â„ÂÈ ........................................................................160
—ÓÍÛÓ‚ ¿ÎÂÍ҇̉ ....................................................................155
—ÓÎÓ‚Ó‚ »‚‡Ì ..............................................................................30
—ÓÎÓ‚¸Â‚ —Â„ÂÈ ....................................................................90, 151
—Û‰ËÎÓ‚ÒÍËÈ ¿Ì‰ÂÈ ....................................................................51
“‡ÍÓ‚ÒÍËÈ ¿Ì‰ÂÈ ............................................................126, 128
“Ó‰ÓÓ‚ÒÍËÈ œÂÚ ........................................................................80
“ÓÓÔ˜ËÌ ¬Î‡‰ËÏË ....................................................................102
”„ÎˈÍËı Շڇθˇ ......................................................................58
”˜ËÚÂθ ¿ÎÂÍÒÂÈ ..........................................................................24
‘ÓÏËÌ ŒÎ„ ................................................................................94
’ÏÂθÌˈ͇ˇ ¿ÎËÒ‡ ....................................................................45
’ÓÏÒÍËÈ »„Ó¸ ............................................................................52
’ۈ˂ ÇÎÂÌ ..................................................................132, 135
◊Â̇ÍÓ‚‡ ¿Ì̇ ..........................................................................74
◊ËÊÓ‚ ¿ÎÂÍÒÂÈ ............................................................................53
◊Ûı‡È √Ë„ÓËÈ ........................................................................127
ÿ‡ı̇Á‡Ó‚ ü‡ÂÌ......................................................................106
ÿÛͯËÌ ¬‡ÒËÎËÈ ......................................................................130
fi¸Â‚ ‘ËÎËÔÔ ............................................................................63
167
Œ„‡ÌËÁ‡ˆËË/ üÓÌÚ‡ÍÚ˚
Companies/ Contacts
168
20th Century Fox CIS/ 20-È ‚ÂÍ ‘ÓÍÒ —Õ√
www.gemini-kinomir.ru
Maximus/ ÇÍÒËÏÛÒ
www.pyramidfilm.ru
Andreevsky Flag/ ¿Ì‰‚ÒÍËÈ Ù·„
anton_melnik@gmail.ru
Melnitsa/ ÃÂθÌˈ‡
www.melnitsa.com
ArtDesign/ ¿ÚƒËÁ‡ÈÌ
marfunt@yandex.ru
Mentor Cinema/ ÃÂÌÚÓ —ËÌÂχ
www.mentor-cinema.ru
Barmaley/ ¡‡χÎÂÈ
tpk@barmaley.spb.ru
M-Film/ "Ã"-‘ËθÏ
m-film@yandex.ru
Bazelevs Production
www.bazelevs.ru
Mikhail Kalatozov's Fund/ ‘Ó̉ ÃËı‡Ë· ü‡Î‡ÚÓÁÓ‚‡
www.kalatozov.ru
Belarusfilm/ ¡Â·ÛÒ¸ÙËθÏ
www. belarusfilm.by
Mirabel/ ÃË‡·Âθ
mirabel@mail.ru
CaroProkat/ ü‡ÓœÓ͇Ú
www.caropremier.ru
Mosfilm/ ÃÓÒÙËθÏ
www.mosfilm.ru
Central Partnership/ ÷ÂÌÚ‡Î œ‡ÚÌÂ¯ËÔ
www.centpart.ru
Nashe Kino/ Õ‡¯Â ÍËÌÓ
www.nkino.ru
Channel One Russia/ œÂ‚˚È Í‡Ì‡Î
www.1tv.ru
Nonclassic/ ÕÓÌÍ·ÒÒË͇
nonclassic@mail.ru
Cherepakha/ ◊ÂÂÔ‡ı‡
ddm@peterlink.ru
Non-Stop Production
slovo@kinoslovo.ru
Cinema-Line
www.cinema-line.ru
Novye Liudi/ ÕÓ‚˚ β‰Ë
mok69@mail.ru
CTB
www.ctb.ru
Odessa Film Studio/Œ‰ÂÒÒ͇ˇ ÍËÌÓÒÚÛ‰Ëˇ
www.odessafilm.net
Deckert Distribution GmbH
info@deckert-distribution.com
Pavel Lungin Studio/ —ÚÛ‰Ëˇ œ‡‚· ÀÛÌ„Ë̇
www.lunginstudio.ru
Direction of Cinema/ ƒËÂÍˆËˇ ÍËÌÓ
www.dk1.ru
Pilotazh/ œËÎÓÚ‡Ê
pilotazh@gorkyfilm.ru
DK/ ğ
www.drugoe-kino.ru
ProFIT/ œÓ‘»“
www.profitkino.ru
DM Studio/ ƒÃ —ÚÛ‰Ëˇ
www.dedmoroz.com; www.kinovideo.ru
Real-Dakota/ –‡Î-ƒ‡ÍÓÚ‡
www.Interfest.ru
Dovzhenko Film Studio/ üËÌÓÒÚÛ‰Ëˇ ËÏÂÌË ¿.œ.ƒÓ‚ÊÂÌÍÓ,
www.dovzhenko.com.ua
Rock/ –ÓÍ
www.rockfilm.ru
HCSF/ ¬ü—–
www.kinobraz.ru
RTR/Channel "Russia"/ –“–/ ü‡Ì‡Î "–ÓÒÒˡ"
www.rtr-tv.ru
Inspiration Films
zinov@mail.ru
SDF/—ƒ‘ (—œ·)
www.cinedoc.ru
Intercinema-Art/ »ÌÚÂÒËÌÂχ-¿Ú
www.intercinema.ru
Seagull Films
www.seagullfilms.com
Interfest/ »ÌÚÂÙÂÒÚ
www.Interfest.ru
Seance/ —‡ÌÒ
www.seance.ru
IUG/ fi√
www.grimov.ru
Shaman-Pictures/ ÿ‡Ï‡Ì-œË͘ÂÒ
www.avatarfilm.ru
Karo Film/ ü‡Ó ‘ËθÏ
www.karofilm.ru
SPbGUKiT/ —œ·√”üË“
www.gucit.spb.ru
Kinoglaz/ üËÌӄ·Á
kinoglaz@aha.ru; tirdatova@yahoo.com
STF films
stf @smtp.ru
Kinomir/ üËÌÓÏË
o.galkina@mosfilm.ru
Telesto/ “ÂÎÂÒÚÓ
www.telestofilm.ru
Kinotavr/ üËÌÓÚ‡‚
www.kinotavr.ru
Timeline
www.timeline.ru
Krug/ üÛ„
krug@mosfilm.ru; spirit@mosfilm.ru
TriTe/ “Ë“˝
www.trite.ru
Kurier/ üÛ¸Â
www.mosfilm.ru
Tvindie/ “‚Ë̉Ë
www.tvindie.ru
Lenfilm/ ÀÂÌÙËθÏ
www.lenfilm.ru
UG/ fi√
www.grimov.ru
M2BA
info@m2ba.ru
Vertov. Real Cinema/ ¬ÂÚÓ‚. –‡θÌÓ ÍËÌÓ
www.vertov.ru
Max/ ÇÍÒ
larisamax@list.ru
VGIK/ ¬√»ü
www.vgik-edu.ru
Maxim Gorky Film Studio/ üËÌÓÒÚÛ‰Ëˇ ËÏ. Ã.√Ó¸ÍÓ„Ó
www.gorkyfilm.ru
Vox Film
www.vox-video.ru
VVP Alliance/ ¬¬œ ¿Î¸ˇÌÒ
www.say.leo.ru
√”¡≈–Õ¿“Œ–” ü–¿—ÕŒƒ¿–—üŒ√Œ ü–¿fl
¿¬»¿üŒÃœ¿Õ»» ´¿›–Œ‘ÀŒ“ª:
“ü¿◊≈¬” ¿À≈ü—¿Õƒ–” Õ»üŒÀ¿≈¬»◊”
Õ¿◊¿À‹Õ»ü” Œ“ƒ≈À¿ ”œ–¿¬À≈Õ»fl
ƒŒ’Œƒ¿Ã» –‘ » —Õ√
».Œ. √À¿¬¤ √Œ–Œƒ¿ —Œ◊»
—üŒ–Œ¡Œ√¿“Œ¬” ≈¬√≈Õ»fi ¿Õ¿“ŒÀ‹≈¬»◊”
¿‘¿Õ¿—≈ÕüŒ¬” ¬À¿ƒ»Ã»–” Õ»üŒÀ¿≈¬»◊”
Õ¿◊¿À‹Õ»ü” Œ“ƒ≈À¿ √–”œœŒ¬¤’ œ≈–≈¬Œ«Œü
ü”«»ÕŒ… —¬≈“À¿Õ≈ ¬¿À≈Õ“»ÕŒ¬Õ≈
‘≈ƒ≈–¿À‹ÕŒÃ” ¿√≈Õ“—“¬” œŒ ü”À‹“”–≈ »
«¿Ã≈—“»“≈Àfi Œ“ƒ≈À¿ √–”œœŒ¬¤’ œ≈–≈¬Œ«Œü
ü»Õ≈ÿ“Œ√–¿‘»»:
“≈œÀŒ¬Œ… ÀfiƒÃ»À≈ À‹¬Œ¬Õ≈
OÒÓ·‡ˇ ·Î‡„Ó‰‡ÌÓÒÚ¸
Special thanks
Œ—Œ¡¿fl
¡À¿√Œƒ¿–ÕŒ—“‹
ÿ¬¤ƒüŒÃ” û’¿»À” ≈‘»ÃŒ¬»◊”
√ŒÀ”“¬≈ ¿À≈ü—¿Õƒ–” ¿À≈ü—≈≈¬»◊”
œ–≈«»ƒ≈Õ“” ¿√≈Õ“—“¬¿
À¿«¿–”ü” —≈–√≈fi ¬À¿ƒ»Ã»–Œ¬»◊”
ŒŒŒ ´üŒÃœ¿Õ»fl ´ü¿œ»“¿À “”–ª
—“–Œ◊üŒ¬Œ… √¿À»Õ≈ ÿ–üŒ¬Õ≈
¡≈À‹“fiüŒ¬” »√Œ–fi ¬fl◊≈—À¿¬Œ¬»◊”
—Œ–Œü»ÕŒ… »–»Õ≈ ¿Õ¿“ŒÀ‹≈¬Õ≈
–”üŒ¬Œƒ»“≈Àfi Õ¿œ–¿¬À≈Õ»fl œŒ –¿«¬»“»fi
√Œ—‘»À‹ÃŒ‘ŒÕƒ” –‘:
üŒ–œŒ–¿“»¬Õ¤’ » ¿√≈Õ“—“ü»’ œ–Œƒ¿Δ «¿Œ
¡Œ–Œƒ¿◊≈¬” Õ»üŒÀ¿fi û’¿…ÀŒ¬»◊”
´—ü¿… ›ü—œ–≈——ª
ƒÃ»“–»≈¬” ¬À¿ƒ»Ã»–” fi–‹≈¬»◊”
’Œ¬ÿ”Õ ¿ÕÕ≈
«¿Ã≈—“»“≈Àfi √À¿¬¤ ¿ƒÃ»Õ»—“–¿÷»»
üŒÃÃ≈–◊≈—üŒÃ” ƒ»–≈ü“Œ–” ¿¬»¿üŒÃœ¿Õ»»
ü–¿—ÕŒƒ¿–—üŒ√Œ ü–¿fl
´¬»Ã-¿¬»¿ª
«ŒÀ»ÕŒ… √¿À»Õ≈ ƒÃ»“–»≈¬Õ≈
ü¿–√»Õ” ¬À¿ƒ»—À¿¬” ¿À≈ü—¿Õƒ–Œ¬»◊”
Õ¿◊¿À‹Õ»ü” Œ“ƒ≈À¿ “¿–»‘ÕŒ… œŒÀ»“»ü»
ƒ≈œ¿–“¿Ã≈Õ“” ü”À‹“”–¤
¿¬»¿üŒÃœ¿Õ»» ´¬»Ã-¿¬»¿ª
ü–¿—ÕŒƒ¿–—üŒ√Œ ü–¿fl
ÃŒ–Œ«Œ¬Œ… Õ¿“¿À‹≈
–”üŒ¬Œƒ»“≈Àfi ƒ≈œ¿–“¿Ã≈Õ“¿ ü”À‹“”–¤
ü–¿—ÕŒƒ¿–—üŒ√Œ ü–¿fl
¿¬“Œ“–¿Õ—œŒ–“ՌÔ ¿√≈Õ“—“¬” ´¿√¿“¿ª
œ”√¿◊≈¬Œ… Õ¿“¿À‹≈ √≈Œ–√»≈¬Õ≈
¿À¿ƒ»ÕŒ… »–»Õ≈ ¬¿ƒ»ÃŒ¬Õ≈
Õ¿◊¿À‹Õ»ü” Œ“ƒ≈À¿ ü»Õ≈ÿ“Œ√–¿‘»»
PRODUCTION ¡fi–Œ ´EXITª:
ƒ≈œ¿–“¿Ã≈Õ“¿ ü”À‹“”–¤
ü¿À»Õü»Õ” ¿Õ“ŒÕ”
ü–¿—ÕŒƒ¿–—üŒ√Œ ü–¿fl
œŒÕŒÃ¿–≈ÕüŒ ¬À¿ƒ»Ã»–”
¿“–¿ÿ≈¬»◊ “¿“‹flÕ≈ —≈–√≈≈¬Õ≈
üŒÃœ¿Õ»» ´ü»ÕŒœ–Œ≈ü“ª:
«¿Ã≈—“»“≈Àfi √À¿¬¤ √Œ–Œƒ¿ —Œ◊»
–”¡»Õ” ¿À≈ü—¿Õƒ–”
—≈Ã≈ÕüŒ¬Œ… Àfi¡Œ¬» û’¿…ÀŒ¬Õ≈
üŒÃœ¿Õ»» ´—Œ”ƒ —Œ◊»Õ—ü»≈ ¬¤—“¿¬ü»ª:
”œ–¿¬À≈Õ»fi ü”À‹“”–¤ ¿ƒÃ»Õ»—“–¿÷»»
«¿’¿–◊≈ÕüŒ fi–»fi ¿À≈ü—¿Õƒ–Œ¬»◊”
√Œ–Œƒ¿ —Œ◊»
«¿’¿–◊≈ÕüŒ »ÕÕ≈ »¬¿ÕŒ¬Õ≈
Õ¿◊¿À‹Õ»ü” ”œ–¿¬À≈Õ»fl ü”À‹“”–¤
¿ƒÃ»Õ»—“–¿÷»» √Œ–Œƒ¿ —Œ◊»
üŒÃÔջü¿÷»ŒÕÕŒ… √–”œœ≈
¡¿–—≈√flÕ –”«¿ÕÕ≈ √≈Œ–√»≈¬Õ≈
´œÀ¿Õ≈“¿ »Õ‘Œ–ê
√À¿¬ÕŒÃ” —œ≈÷»¿À»—“” ”œ–¿¬À≈Õ»fl
Œ’–¿ÕՌÔ œ–≈ƒœ–»fl“»fi ´ü¿–¿“-÷ª
ü”À‹“”–¤ ¿ƒÃ»Õ»—“–¿÷»» √Œ–Œƒ¿ —Œ◊»
√≈Õ≈–¿À‹ÕŒÃ” ƒ»–≈ü“Œ–”
—ÃŒÀ≈Õ÷≈¬” »√Œ–fi œ≈“–Œ¬»◊”
—¬≈“ÀŒ¬” ¬¿À≈–»fi ¿À≈ü—≈≈¬»◊”
Œ¿Œ √ü ´Δ≈Ã◊”Δ»Õ¿ª:
–≈üÀ¿ÃÕŒ… —À”Δ¡≈ √Œ–Œƒ¿ —Œ◊» » À»◊ÕŒ
üŒ¬¿À≈¬” √≈ÕÕ¿ƒ»fi ≈√Œ–Œ¬»◊”
¡Œ…üŒ “¿“‹flÕ≈ ¿Õ¿“ŒÀ‹≈¬Õ≈
Óü” ´“¬Œ–◊≈—üŒ≈ Œ¡⁄≈ƒ»Õ≈Õ»≈
ü»ÕŒüŒÃœ¿Õ»» UPI
´—Œ◊»Õ—ü¿fl ‘»À¿–Ìջflª:
¡≈√»Õ»Õ” ≈¬√≈Õ»fi »¬¿ÕŒ¬»◊”
»¬ŒÀ√≈ √≈ÕÕ¿ƒ»fi »¬¿ÕŒ¬»◊”
¡≈«ÕŒ—fiü Õ¿“¿À‹≈ ≈¬√≈Õ‹≈¬Õ≈
ü¿¡»Õ≈“” Œ“≈◊≈—“¬≈ÕÕŒ√Œ ü»ÕŒ ¬√»ü¿:
ƒÃ»“–»≈¬” fi–»fi —≈–√≈≈¬»◊”
◊≈–“Œ¬Œ… Õ¿“¿À‹≈ √–»√Œ–‹≈¬Õ≈
169
OÒÓ·‡ˇ ·Î‡„Ó‰‡ÌÓÒÚ¸
Special thanks
SPECIAL
THANKS TO:
THE GOVERNOR OF THE KRASNODAR REGION
AEROFLOT AIRLINES:
ALEXANDER TKACHEV
HEAD OF RUSSIA AND CIS REVENUES
EVGENI SKOROBOGATOV
THE ACTING HEAD OF THE CITY OF SOCHI
HEAD OF GROUP TRAVEL
VLADIMIR AFANASENKOV
SVETLANA KUZINA
DEPUTY HEAD OF GROUP TRAVEL
THE FEDERAL AGENCY OF CULTURE AND
LIUDMILA TEPLOVA
CINEMATOGRAPHY:
MIKHAIL SHVYDKOI
PRESIDENT OF THE AGENCY ìCAPITAL TOURSî
ALEXANDER GOLUTVA
IGOR BELTIUKOV
SERGEI LAZARUK
GALINA STROCHKOVA
HEAD OF DEVELOPMENT OF CORPORATE AND
IRINA SOROKINA
AGENCY SALES OF ìSKY EXPRESSî
ANNA KHOVSHUN
170
GOSFILMOFOND OF RUSSIA:
NIKOLAI BORODACHEV
COMMERCIAL DIRECTOR OF THE AIRLINE
VLADIMIR DMITRIEV
ìVIM-AVIAî
VLADISLAV KARGIN
DEPUTY HEAD OF THE KRASNODAR
HEAD OF SECTION FOR FARE POLICY OF THE
REGIONAL ADMINISTRATION
AIRLINE ìVIM-AVIAî
GALINA ZOLINA
NATALIA MOROZOVA
CULTURAL DEPARTMENT OF THE
CAR TRANSPORT AGENCY ìAGATHAî
KRASNODAR REGION
IRINA ALADINA
HEAD OF CULTURAL DEPARTMENT OF THE
KRASNODAR REGION
PRODUCTION BUREAU ìEXITî:
NATALIA PUGACHEVA
ANTON KALINKIN
VLADIMIR PONOMARENKO
HEAD OF CINEMA SECTION IN THE CULTURAL
DEPARTMENT OF THE KRASNODAR REGION
COMPANY ìKINOPROECTî:
TATIANA ARTASHEVICH
ALEXANDER RUBIN
DEPUTY HEAD OF THE CITY OF SOCHI
COMPANY ìSOUD SOCHI EXHIBITIONSî:
LIUBOV SEMENKOVA
YURI ZAKHARENKO
INNA ZAKHARENKO
CULTURAL ASMINISTRATION OF SOCHI, HEAD OF
THE CULTURAL DIRECTORATE OF THE SOCHI CITY
COMMUNICATION GROUP ìPLANETA INFORMî
RUZANNA BARSEGIAN
SECURITY AGENCY ìKARAT TSî
CHIEF EXPERT OF THE CULTURAL DIRECTORATE
GENERAL DIRECTOR
OF SOCHI CITY ADMINISTRATION
VALERI SVETLOV
IGOR SMOLENTSEV
ADVERTISING SERVICES SOCHI, PERSONALLY
HOTEL COMPLEX ìZHEMCHUZHINAî:
TATIANA BOIKO
GENNADI KOVALEV
FILM COMPANY UPI
CREATIVE ASSOCIATION ìSOCHI PHILHARMONIC
EVGENI BEGININ
SOCIETYî:
GENNADI IVOLGA
RUSSIAN CINEMA SECTION AT THE FILM
NATALIA BEZNOSIUK
INSTITUTE VGIK:
YURI DMITRIEV
NATALIA CHERTOVA
√ÂÌÂ‡Î¸Ì˚È ÔÓ‰˛ÒÂ
»√Œ–‹ “ŒÀ—“”ÕŒ¬
–ÛÍÓ‚Ó‰ËÚÂθ PR-ÒÎÛÊ·˚
¿Õ¿—“¿—»fl ¡”À√¿üŒ¬¿
General Producer
IGOR TOLSTUNOV
Head of PR
ANASTASIA BULGAKOVA
œÓ„‡ÏÏÌ˚È ‰ËÂÍÚÓ
—»“Œ–¿ ¿À»≈¬¿
–ÛÍÓ‚Ó‰ËÚÂθ ÒÎÛÊ·˚
Promotion
ƒ¿–‹fl ü–Œ¬flüŒ¬¿
Programme Director
SITORA ALIEVA
Head of Promotion
DARIA KROVIAKOVA
Director of the Festival
ELENA LAPINA
ƒËÂÍÚÓ ÙÂÒÚË‚‡Îˇ
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ƒËÂÍÚÓ Õ‘ ´üËÌÓÚ‡‚ª
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‰ËÂÍÚÓ‡
Õ»ü»“¿ √¿Àfi«Œ¬
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»–»Õ¿ ◊≈—“ÕŒ¬¿
ŒÚ·ÓӘ̇ˇ ÍÓÏËÒÒˡ
»–»Õ¿ Àfi¡¿–—ü¿fl
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¿À≈Õ¿ —ŒÀÕ÷≈¬¿
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–ÛÍÓ‚Ó‰ËÚÂθ ÒÎÛÊ·˚ ÔÓÚÓÍÓ·
Õ¿“¿À‹fl flü”ÿü»Õ¿
üÛ‡ÚÓ ÔËÚ˜ËÌ„‡
¿ÕÕ¿ √”ƒüŒ¬¿
Director of the Noncommercial
Fund ìKinotavrî
POLINA ZUEVA
“ÂıÌ˘ÂÒÍËÈ ‰ËÂÍÚÓ
¬—≈¬ŒÀŒƒ üŒ—¿–≈ÕüŒ¬
–ÛÍÓ‚Ó‰ËÚÂθ ÒÎÛÊ·˚
‡ÁÏ¢ÂÌˡ
√¿À»Õ¿ Õ»üŒÀ≈ÕüŒ
—ÎÛÊ·‡ ‡ÁÏ¢ÂÌˡ
Õ¿ƒ≈Δƒ¿ üŒÀ≈—Õ»üŒ¬¿
–ÛÍÓ‚Ó‰ËÚÂθ ÒÎÛÊ·˚ ÔËÚ‡Ìˡ
»ÀŒÕ¿ Ã≈“≈À‹üŒ¬¿
—ÎÛÊ·‡ ÔËÚ‡Ìˡ:
ÿ–»fl ‘¿“fiÿ»Õ¿
fiÀ»fl ü¿–œ≈ÕüŒ
“¿“‹flÕ¿ ÿ¿–¿‘”“ƒ»ÕŒ¬¿
Head of Accommodation Services
GALINA NIKOLENKO
Administrative Director
IRINA CHESTNOVA
Accommodation Services
NADEZHDA KOLESNIKOVA
Selection Committee
IRINA LIUBARSKAYA
VIKTORIA BELOPOLSKAYA
ALENA SOLNTSEVA
EVGENI GUSIATINSKY
Head of Catering Services
ILONA METELKOVA
Head of Protocol Services
NATALIA YAKUSHKINA
–ÛÍÓ‚Ó‰ËÚÂθ Ú‡ÌÒÔÓÚÌÓÈ
ÒÎÛÊ·˚
—≈–√≈… ÀŒ—‹
VIP-Service
SERGEI KOVALSKY
–ÛÍÓ‚Ó‰ËÚÂθ ÏÂʉÛ̇Ó‰ÌÓ„Ó
Óډ·
≈ü¿“≈–»Õ¿ ü–¿—ÕŒ¬—ü¿fl
—ÎÛÊ·‡ ‡‚ˇÔÂÂÎÂÚÓ‚ Ë Ê/‰
ÔÂ‚ÓÁÓÍ
»ÕÕŒü≈Õ“»… ÃŒ–Œ«
¿À≈ü—≈… ¡”¡¿ÿ¬»À»
Head of International
Department
EKATERINA KRASNOVSKAYA
–ÛÍÓ‚Ó‰ËÚÂθ ÒÎÛÊ·˚ ÔÂ‚Ӊ‡
¿Õ√≈À»Õ¿ ‘≈ƒŒ–Œ¬—ü¿fl
‘Ë̇ÌÒÓ‚˚È ‰ËÂÍÚÓ
¬»“¿À»… ¡”◊»Õ—ü»…
—ÂÍÂÚ‡¸ Ê˛Ë ÍÓÌÍÛÒ‡
´üËÌÓÚ‡‚. üÓÓÚÍËÈ ÏÂÚª
ÿ–“¿ ’”ÿ¬¿’“Œ¬¿
‘Ë̇ÌÒÓ‚Ó-˛ˉ˘ÂÒ͇ˇ
ÒÎÛÊ·‡:
À¿–»—¿ ü¿«¿Õ»Õ¿
√¿À»Õ¿ ◊≈–ü¿—Œ¬¿
Õ¿“¿À‹fl üŒ«¤ü»Õ¿
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ÀfiƒÃ»À¿ ÀŒ¡¿ÕŒ¬¿
–ÛÍÓ‚Ó‰ËÚÂθ ÔÓ ‡·ÓÚ Ò
ÙËθÏÓ„ÛÔÔ‡ÏË
ŒÀ‹√¿ œ≈–¬”ÿ»Õ¿
IT-ÓÚ‰ÂÎ:
–ŒÃ¿Õ ÿ”—“Œ¬
»À‹fl “≈À≈Δü»Õ
üÓÓ‰Ë̇ÚÓ ÍÓÌÍÛÒ‡
´üËÌÓÚ‡‚. üÓÓÚÍËÈ ÏÂÚª
“¿“‹flÕ¿ ÿ“¬≈≈¬¿
–ÛÍÓ‚Ó‰ËÚÂθ ÏÓÒÍÓ‚ÒÍÓ„Ó ¯Ú‡·‡
fiÀ»fl ¿…«≈Õ¡≈–√
üÓÓ‰Ë̇ÚÓ ÒÎÛÊ·˚ ÍËÌÓÔÓ͇Á‡
ÿ–»fl ¿ü“¿≈¬¿
¿‰ÏËÌËÒÚ‡ÚÓ ÒÎÛÊ·˚
ÍËÌÓÔÓ͇Á‡
√≈ÕÕ¿ƒ»… ¿Õ»—‹üŒ
üÓÓ‰Ë̇ÚÓ ÒÎÛÊ·
ÍËÌÓÙÂÒÚË‚‡Îˇ
¬¿À≈–»… ◊»√¿–≈¬
Technical Director
VSEVOLOD KOSARENKOV
Assistant to Commercial Director
NIKITA GALIUZOV
INESSA LOMAKINA
VIP-ÒÎÛÊ·‡
—≈–√≈… üŒ¬¿À‹—ü»…
—ÂÍÂÚ‡¸ ·Óθ¯Ó„Ó Ê˛Ë
»–»Õ¿ äÿü»Õ¿
Curator of Pitching
ANNA GUDKOVA
Head of Translation Services
ANGELINA FEDOROVSKAYA
Grand Jury Secretary
IRINA MYSHKINA
Jury Secretary ìKinotavr. Shortsî
MARTHA KHUSHVAKHTOVA
Head of Co-ordination of Film
Groups
OLGA PERVUSHINA
Catering Services
MARIA FATIUSHINA
YULIA KARPENKO
TATIANA SHARAFUTDINOVA
Head of Transport Services
SERGEI LOS
Air and Rail Travel
INNOKENTY MOROZ
ALEXEI BUBASHVILI
Finance Director
VITALI BUCHINSKY
Financial and Judicial Services
LARISA KAZANINA
GALINA CHERKASOVA
NATALIA KOZYKINA
NINA KUZNETSOVA
LIUDMILA LOBANOVA
IR Department
ROMAN SHUSTOV
ILYA TELEZHKIN
Head of Moscow Office
YULIA AIZENBERG
Coordinator of ìKinotavr. Shortsî
TATIANA MATVEEVA
Coordinator of Festival Services
VALERI CHIGAREV
Projection Coordinator
MARIA AKTAEVA
Head of Information Services
ELIZAVETA KASYAN
Projection Service
GENNADI ANISKO
Moderator of Press Conferences
VIKTORIA BELOPOLSKAYA
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ALLA KUZNETSOVA
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Chief editor MIROSLAVA SEGIDA
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Translation BIRGIT BEUMERS
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Cover Design SHANDESIGN
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Layout and Typesetting DMITRY IVLIANOV
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Proof-Reader ELENA KOPYLEVA
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Management and services
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MANAGEMENT
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