dasha markova pass

ƒÓÓ„Ë ‰ÛÁ¸ˇ!
Dear friends!
ŒÚ ËÏÂÌË ÃËÌËÒÚÂÒÚ‚‡ ÍÛθÚÛ˚ Ë Ï‡ÒÒÓ‚˚ı
On behalf of the Ministry of Culture and Mass
ÍÓÏÏÛÌË͇ˆËÈ –ÓÒÒËÈÒÍÓÈ ‘‰Â‡ˆËË
Communications of the Russian Federation I
ÔË‚ÂÚÒÚ‚Û˛ ‚ÒÂı Û˜‡ÒÚÌËÍÓ‚ Ë „ÓÒÚÂÈ XVIII
welcome all participants and visitors of the 18th
ŒÚÍ˚ÚÓ„Ó ÓÒÒËÈÒÍÓ„Ó ÍËÌÓÙÂÒÚË‚‡Îˇ
Open Russian Film Festival ´Kinotavrª!
´üËÌÓÚ‡‚ª!
This annual event is an integral part of our
≈„Ó ÂÊ„ӉÌÓ Ôӂ‰ÂÌË ˇ‚ΡÂÚÒˇ ÌÂÓÚ˙ÂÏÎÂÏÓÈ
State policy on the support of the national
˜‡ÒÚ¸˛ „ÓÒÛ‰‡ÒÚ‚ÂÌÌÓÈ ÔÓÎËÚËÍË ÔÓ ÔÓ‰‰ÂÊÍÂ
cinema. ´Kinotavrª can, without exaggeration,
ÓÚ˜ÂÒÚ‚ÂÌÌÓ„Ó ÍËÌÂχÚÓ„‡Ù‡. ´üËÌÓÚ‡‚ª
be called the most anticipated event in the
ÏÓÊÌÓ ·ÂÁ ÔÂÛ‚Â΢ÂÌˡ ̇Á‚‡Ú¸ Ò‡Ï˚Ï
Russian film-season. For the 17 years of its
ÓÊˉ‡ÂÏ˚Ï ÒÓ·˚ÚËÂÏ ÓÒÒËÈÒÍÓ„Ó ÍËÌÓÒÂÁÓ̇. «‡
existence this main national cinema event has
ÒÂÏ̇‰ˆ‡Ú¸ ÎÂÚ Ò‚ÓÂ„Ó ÒÛ˘ÂÒÚ‚Ó‚‡Ìˡ „·‚Ì˚È
gained a strong position, both in the Russian
̇ˆËÓ̇θÌ˚È ÍËÌÓÒÏÓÚ Á‡‚Ó‚‡Î ÔÓ˜Ì˚È
film world and abroad.
‡‚ÚÓËÚÂÚ, Í‡Í ‚ ÓÒÒËÈÒÍÓÈ
The festival is developing fast, becoming more
ÍËÌÂχÚÓ„‡Ù˘ÂÒÍÓÈ Ò‰Â, Ú‡Í Ë ‚ Á‡Û·ÂÊÌÓÈ.
dynamic and alive, saturated and informative.
‘ÂÒÚË‚‡Î¸ ÒÚÂÏËÚÂθÌÓ ‡Á‚Ë‚‡ÂÚÒˇ, ÒÚ‡ÌÓ‚ˇÒ¸
The success of festival films among Russian
·ÓΠ‰Ë̇Ï˘Ì˚Ï Ë ÊË‚˚Ï, ̇Ò˚˘ÂÌÌ˚Ï Ë
audiences once again confirms that there is a
ËÌÙÓχÚË‚Ì˚Ï. ”ÒÔÂı ÙÂÒÚË‚‡Î¸ÌÓ„Ó ÍËÌÓ Û
´noncommercialª spectator in the country who
ÓÒÒËÈÒÍÓÈ ÔÛ·ÎËÍË Î˯ÌËÈ ‡Á ÔÓ‰Ú‚Âʉ‡ÂÚ
desperately needs good cinema. Wholeheartedly,
ÚÓÚ Ù‡ÍÚ, ˜ÚÓ ‚ ÒÚ‡Ì ÂÒÚ¸ ´ÌÂÍÓÏÏÂ˜ÂÒÍËȪ
I wish all the visitors and participants of the
ÁËÚÂθ, ÍÓÚÓ˚È ÓÒÚÓ ÌÛʉ‡ÂÚÒˇ ‚ ıÓÓ¯ÂÏ
festival new creative and professional
ÍËÌÓ. » ˇ ÓÚ ‚ÒÂÈ ‰Û¯Ë Ê·˛ „ÓÒÚˇÏ Ë
discoveries. I wish the competition films a
Û˜‡ÒÚÌËÍ‡Ï ÙÂÒÚË‚‡Îˇ ÌÓ‚˚ı ÓÚÍ˚ÚËÈ,
sparkling and long life on the screens of the
Ú‚Ó˜ÂÒÍËı Ë ÔÓÙÂÒÒËÓ̇θÌ˚ı, ÍÓÌÍÛÒÌ˚Ï
country. And I wish the organizers success and
͇ÚËÌ‡Ï ñ ˇÍÓÈ Ë ÔÓ‰ÓÎÊËÚÂθÌÓÈ ÊËÁÌË
recognition during the festival.
̇ ˝Í‡Ì‡ı ÒÚ‡Ì˚, ‡ Ëı ÒÓÁ‰‡ÚÂÎˇÏ ñ Û‰‡˜Ë Ë
With best regards,
ÔËÁ̇Ìˡ ̇ ÙÂÒÚË‚‡ÎÂ.
Minister of Culture and Mass Communications
— ̇ËÎÛ˜¯ËÏË ÔÓÊ·ÌˡÏË,
of the Russian Federation
ÃËÌËÒÚ ÍÛθÚÛ˚ Ë Ï‡ÒÒÓ‚˚ı
A. S. Sokolov
ÍÓÏÏÛÌË͇ˆËÈ –ÓÒÒËÈÒÍÓÈ ‘‰Â‡ˆËË
¿. —. —ÓÍÓÎÓ‚.
ƒÓÓ„Ë ‰ÛÁ¸ˇ!
Dear friends!
ŒÚ ËÏÂÌË ‘‰Â‡Î¸ÌÓ„Ó ‡„ÂÌÚÒÚ‚‡ ÔÓ ÍÛθÚÛÂ
On behalf of the Federal Agency of Culture and
Ë ÍËÌÂχÚÓ„‡ÙËË ÔÓÁ‰‡‚Ρ˛ ‚ÒÂı Ò Ì‡˜‡ÎÓÏ
Cinematography I congratulate you on the start
‡·ÓÚ˚ XVIII ŒÚÍ˚ÚÓ„Ó ÓÒÒËÈÒÍÓ„Ó
of the 18th Open Russian Film Festival
ÍËÌÓÙÂÒÚË‚‡Îˇ ´üËÌÓÚ‡‚ª.
´Kinotavrª.
»Á „Ó‰‡ ‚ „Ó‰ ÙÂÒÚË‚‡Î¸ ‡‰ÛÂÚ ÁËÚÂÎÂÈ Ë
Year after year the festival delights audiences
ÍËÌÂχÚÓ„‡Ù˘ÂÒÍÛ˛ Ó·˘ÂÒÚ‚ÂÌÌÓÒÚ¸ ÌÓ‚˚ÏË
and the cinematic community with new
ÓÚÍ˚ÚˡÏË. ¬ Ôӯ‰¯ÂÏ „Ó‰Û Î‡Û‡Ú˚
discoveries. The winners of last yearís
´üËÌÓÚ‡‚‡ª ÚËÛÏهθÌÓ ‚˚ÒÚÛÔËÎË Ì‡
´Kinotavrª triumphed at the biggest
ÍÛÔÌÂȯËı ÏÂʉÛ̇Ó‰Ì˚ı ÍËÌÓÙÂÒÚË‚‡Îˇı,
international film festivals, garnering numerous
Á‡‚Ó‚‡‚ ÏÌÓÊÂÒÚ‚Ó ÔÂÒÚËÊÌ˚ı ̇„‡‰ Ë
prestigious awards and prizes. This bears
ÔÂÏËÈ. ›ÚÓ Ò‚Ë‰ÂÚÂθÒÚ‚ÛÂÚ Ó ÚÓÏ, ˜ÚÓ
evidence to the fact that ´Kinotavrª shows films
´üËÌÓÚ‡‚ª ‰ÂÏÓÌÒÚËÛÂÚ Ò‡ÏÓ ͇˜ÂÒÚ‚ÂÌÌÓ Ë
of great quality and talent; it defines trends in
ڇ·ÌÚÎË‚Ó ÍËÌÓ, ÓÔ‰ÂΡÂÚ ÚẨÂ̈ËË
the cinematic developments, opens urgent issues
‡Á‚ËÚˡ ÍËÌÂχÚÓ„‡Ù‡, ‚˚ÌÓÒËÚ Ì‡
of creativity and industry to professional
ÔÓÙÂÒÒËÓ̇θÌÓ ӷÒÛʉÂÌË ̇˷ÓÎÂÂ
discussion, and helps in building a favorable
‡ÍÚۇθÌ˚ ‚ÓÔÓÒ˚ Ú‚Ó˜ÂÒÚ‚‡ Ë Ë̉ÛÒÚËË,
climate for the development of Russian film art.
ÒÔÓÒÓ·ÒÚ‚ÛÂÚ ÛÍÂÔÎÂÌ˲ ·Î‡„ÓÔˡÚÌÓ„Ó ÍÎËχڇ
Wholeheartedly, I wish the organizers of
‰Îˇ ‡Á‚ËÚˡ ÓÚ˜ÂÒÚ‚ÂÌÌÓ„Ó ÍËÌÓËÒÍÛÒÒÚ‚‡.
´Kinotavrª continuing success in their fruitful
ŒÚ ‚ÒÂÈ ‰Û¯Ë Ê·˛ Ó„‡ÌËÁ‡ÚÓ‡Ï
activity. I wish victories to the participants of
´üËÌÓÚ‡‚‡ª ‰‡Î¸ÌÂȯÂÈ ÔÎÓ‰ÓÚ‚ÓÌÓÈ
the festival, and a good mood through the
‰ÂˇÚÂθÌÓÒÚË, Û˜‡ÒÚÌËÍ‡Ï ÙÂÒÚË‚‡Îˇ ñ Ôӷ‰, ‡
encounters with good cinema to the spectators.
ÁËÚÂÎˇÏ ñ ÔÂÍ‡ÒÌÓ„Ó Ì‡ÒÚÓÂÌˡ ÓÚ ‚ÒÚ˜ Ò
ıÓÓ¯ËÏË ÙËθχÏË.
M.E. Shvydkoi
Head of the Federal Agency for Culture and
Ã.≈. ÿ‚˚‰ÍÓÈ
–ÛÍÓ‚Ó‰ËÚÂθ ‘‰Â‡Î¸ÌÓ„Ó ‡„ÂÌÚÒÚ‚‡ ÔÓ
ÍÛθÚÛÂ Ë ÍËÌÂχÚÓ„‡ÙËË
Cinematography
1
2
ƒÓÓ„Ë ‰ÛÁ¸ˇ!
´üËÌÓÚ‡‚ª ñ ˝ÚÓ Ì ÚÓθÍÓ ÙÂÒÚË‚‡Î¸, ÌÓ Ë
ÏÓÂ, ÒÓÎ̈Â, üÛ·‡Ì¸! ŒÚ‡‰ÌÓ, ˜ÚÓ ‚ÓÚ ÛÊÂ
‚ÓÒÂÏ̇‰ˆ‡Ú¸ ÎÂÚ Ï˚ „Ó‚ÓËÏ ´üËÌÓÚ‡‚ª ñ
ÔÓ‰‡ÁÛÏ‚‡ÂÏ —Ó˜Ë! »ÏÂÌÌÓ ´üËÌÓÚ‡‚ÓϪ ‚
ÍÛÓÚÌÓÈ ÒÚÓÎˈ –ÓÒÒËË ÓÚÍ˚‚‡ÂÚÒˇ
̇ÒÚÓˇ˘Â ˛ÊÌÓ ÎÂÚÓ!
Õ‡ üÛ·‡ÌË ÓÚÌÓ¯ÂÌËÂ Í ÍËÌÂχÚÓ„‡ÙÛ Ë Â„Ó
ÎÛ˜¯ËÏ ÓÚ˜ÂÒÚ‚ÂÌÌ˚Ï Ó·‡Áˆ‡Ï ‚Ò„‰‡ ·˚ÎÓ
ÓÒÓ·ÓÂ. üÛ·‡Ìˆ˚ β·ËÎË Ë ÔÓ‰ÓÎʇ˛Ú β·ËÚ¸
̇¯Â ÍËÌÓ. » Ò‡Ï Í‡È ÔÓ ÍÓ΢ÂÒÚ‚Û
ÓÚÒÌˇÚ˚ı Á‰ÂÒ¸ ÎÂÌÚ ËÒÍÛÂÚ Ô‚‡ÚËÚ¸Òˇ ‚
Ó‰ÌÛ ·Óθ¯Û˛ Ò˙ÂÏÓ˜ÌÛ˛ ÔÎÓ˘‡‰ÍÛ.
Õ‡¯ ÙÂÒÚË‚‡Î¸ Á‡ÒÎÛÊÂÌÌÓ ÔËÁÌ‡Ì Ó‰ÌËÏ ËÁ
Ò‡Ï˚ı ÔÓÔÛΡÌ˚ı Ë Ô‰ÒÚ‡‚ËÚÂθÌ˚ı
´ÒÏÓÚÓ‚ ÍËÌÓËÒÍÛÒÒÚ‚‡ª ‚ ÒÚ‡ÌÂ. ŒÌ Ì ÚÓθÍÓ
Ò·‚ËÚÒˇ ÌÂÔÂ‰‡‚‡ÂÏÓÈ ‡ÚÏÓÒÙÂÓÈ Ú‚Ó˜ÂÒÚ‚‡,
Á‡Ï˜‡ÚÂθÌ˚ÏË ÔÂϸÂ‡ÏË, ‚ÒÚ˜‡ÏË Ò
χÒÚÂ‡ÏË ÍËÌÓ Ë ÏÓÎÓ‰˚ÏË ´Á‚ÂÁ‰‡Ï˪, ÌÓ Ë ‚Ó
ÏÌÓ„ÓÏ Á‡‰‡ÂÚ ÚÓÌ ‰Û„ËÏ ÍËÌÓÙÂÒÚË‚‡ÎˇÏ.
Œ‰Ì‡ÍÓ Ò‡ÏÓ „·‚ÌÓ ñ ´üËÌÓÚ‡‚ª ÔÓ̇ÒÚÓˇ˘ÂÏÛ ËÌÚÂÂÒÂÌ Ë ÌÛÊÂÌ ÁËÚÂΡÏ!
¬Â˛, ˜ÚÓ Ì˚̯ÌËÈ ÙÂÒÚË‚‡Î¸ ÔÓȉÂÚ Ì ÏÂÌÂÂ
ÛÒÔ¯ÌÓ, ˜ÂÏ ‚Ò Ô‰˚‰Û˘Ë ´üËÌÓÚ‡‚˚ª Ë
ÓÚÍÓÂÚ Ì‡ Ì·ÓÒÍÎÓÌ ÍËÌÓ ÌÓ‚˚ Á‚ÂÁ‰˚.
ŒÚ ‚ÒÂÈ ‰Û¯Ë Ê·˛ Û˜‡ÒÚÌËÍ‡Ï XVIII
ŒÚÍ˚ÚÓ„Ó ÓÒÒËÈÒÍÓ„Ó ÙÂÒÚË‚‡Îˇ ´üËÌÓÚ‡‚ª
Ú‚Ó˜ÂÒÍÓÈ Ë ÔÎÓ‰ÓÚ‚ÓÌÓÈ ‡·ÓÚ˚, ‰ÂÎÓ‚˚ı
‚ÒÚ˜ Ë ÔˡÚÌÓ„Ó ÓÚ‰˚ı‡!
Dear friends!
´Kinotavrª is not only a festival, but also sea,
sun, and Kuban! It is a pleasure that for 18
years that we mean Sochi when we say
´Kinotavrª! ´Kinotavrª in Russiaís prime
holiday resort opens the real southern summer!
On the Kuban the attitude to national cinema
and its best examples has always been a special
one. The people from the Kuban loved and
continue to love our cinema. Going by the
number of films shot here, the region risks t
become one big film set.
Our festival is deservedly recognized as one of
the most popular and representative ìcinema
reviewsî in the country. It not only prides itself
with an inexpressible atmosphere of creativity,
remarkable premieres, meetings with the masters
of cinema and young ´starsª, but it also sets in
many respects the tone for other film festivals.
However, most importantly ´Kinotavrª is
genuinely interesting and vital for the
spectators!
I believe that the present festival will be no less
successful than all the previous ´Kinotavrsª and
will discover new stars in the cinematic skies.
From the bottom of my heart I wish the
participants of the 18th Open Russian Festival
´Kinotavrª creative and fruitful work, good
business meetings and a pleasant rest!
¿.Õ. “͇˜Â‚
√·‚‡ ‡‰ÏËÌËÒÚ‡ˆËË ü‡ÒÌÓ‰‡ÒÍÓ„Ó Í‡ˇ
¿.N. Tkachiov
Head of Administration of the Krasnodar Region
¬ 2006 „Ó‰Û ‚ ÔÓ„‡ÏÏÛ ü»ÕŒ“¿¬–¿ Û‰‡ÎÓÒ¸
ÓÚÓ·‡Ú¸ ̇ ۉ˂ÎÂÌË ÏÌÓ„Ó ÔÂϸÂÌ˚ı ÙËθÏÓ‚.
‘ËθÏÓ‚, ‡ÒÒ˜ËÚ‡ÌÌ˚ı ̇ β·ËÚÂÎÂÈ Ë ˆÂÌËÚÂÎÂÈ
ÍËÌÓˇÁ˚͇.
‘ËθÏÓ‚ ‡ÁÌ˚ı ʇÌÓ‚ Ë ‰Ë‡ÏÂÚ‡Î¸ÌÓ
ÔÓÚË‚ÓÔÓÎÓÊÌ˚ı ÒÚËÎÂÈ.
”‰‡ÎÓÒ¸ ÒÓ·‡Ú¸ ÍÓÌÍÛÒÌÛ˛ ÔÓ„‡ÏÏÛ ·ÂÁ ÌÓ‚˚ı
ÓÒÒËÈÒÍËı ´·ÎÓÍ·‡ÒÚÂÓ‚ª. ŒÌË ·˚ÎË ÔÓ͇Á‡Ì˚
Ú˚Òˇ˜‡Ï ÁËÚÂÎÂÈ Ì‡ ÔÎÓ˘‡‰Ë ÔÂ‰ «ËÏÌËÏ
Ú‡ÚÓÏ. ü‡Í, ‚ÂÓˇÚÌÓ, Ë ıÓÚÂÎÓÒ¸ Ëı ÒÓÁ‰‡ÚÂΡÏ.
»Á ÔÓ„‡ÏÏ˚ ü»ÕŒ“¿¬–¿ Ô‡ÍÚ˘ÂÒÍË ‚ÒÂ
ÙËθÏ˚-Ôӷ‰ËÚÂÎË ·˚ÎË ÓÚÓ·‡Ì˚ ÍÛÔÌÂȯËÏË
ÏÂʉÛ̇Ó‰Ì˚ÏË ÍËÌÓÙÂÒÚË‚‡ÎˇÏË: ´œÂ„Ó̪ Ë
´“Ә͇ª ñ ü‡ÎÓ‚˚ÏË ¬‡‡ÏË, ´›ÈÙÓˡª,
´—‚Ó·Ó‰ÌÓ Ô·‚‡Ì˪, ´ŒÒÚÓ‚ª ñ ¬Â̈ËÂÈ,
´»ÁÓ·‡Ê‡ˇ ÊÂÚ‚Ûª ñ –ËÏÓÏ, ´◊ÂÎÓ‚ÂÍ
·ÂÁ‚ÓÁ‚‡ÚÌ˚Ȫ ñ –ÓÚÚÂ‰‡ÏÓÏ.
Õ‡ ÙÂÒÚË‚‡Î ·˚ÎÓ ÏÌÓ„Ó ÔÂÒÒ-ÍÓÌÙÂÂ̈ËÈ,
‰ËÒÍÛÒÒËÈ Ë ÒÔÓÓ‚.
ƒÎˇ ˝ÚÓ„Ó Ë ÒÛ˘ÂÒÚ‚ÛÂÚ ü»ÕŒ“¿¬–.
¬ 2007 „Ó‰Û ÔÓ‚ÂÒÚ͇ ‰Ìˇ Ú‡ ÊÂ: ÔÂϸÂÌ˚Â
ÙËθÏ˚, ÏÌÓ„Ó ‰Â·˛ÚÓ‚, ‡ÍˆÂÌÚ Ì‡ Ú‚Ó˜ÂÒÍËı
¯ÂÌˡı Ë ÔÓËÒ͇ı.
–ÓÒÒËÈÒÍË ÂÊËÒÒÂ˚, ÒˆÂ̇ËÒÚ˚, ÔÓ‰˛ÒÂ˚,
ÓÔÂ‡ÚÓ˚ Ë ‡ÍÚÂ˚ ñ ‚ÒÂ, ÍÚÓ ‰Â·ÂÚ ÒÓ‚ÂÏÂÌÌÓÂ
ÓÒÒËÈÒÍÓ ÍËÌÓ Ë ÒÓÁ‰‡˛Ú ÚÓ, ˜ÚÓ ·Û‰ÂÚ
̇Á˚‚‡Ú¸Òˇ Ë̉ÛÒÚËÂÈ, ñ ‚ ͇˜ÂÒÚ‚Â Û˜‡ÒÚÌËÍÓ‚.
ÃÂʉÛ̇Ó‰Ì˚ ÔÓ‰˛ÒÂÒÍË ÍÓÏÔ‡ÌËË,
Á‡ËÌÚÂÂÒÓ‚‡ÌÌ˚ ‚ ÒÓÚÛ‰Ì˘ÂÒÚ‚Â, ñ ‚ ͇˜ÂÒÚ‚Â
„ÓÒÚÂÈ.
—ÂÎÂ͈ËÓÌÂ˚ Ë ÛÍÓ‚Ó‰ËÚÂÎË ÍÛÔÌÂȯËı
ÏÂʉÛ̇Ó‰Ì˚ı ÙÂÒÚË‚‡ÎÂÈ ñ ‚ ͇˜ÂÒÚ‚Â Ô‡ÚÌÂÓ‚
ü»ÕŒ“¿¬–¿.
ÃÌÓ„Ó ´ÍÛ„Î˚ı ÒÚÓÎÓ‚ª, ÔËÚ˜ËÌ„-ÔÓÂÍÚÓ‚, ÔÂÒÒÍÓÌÙÂÂ̈ËË ñ ü»ÕŒ“¿¬– Í‡Í ÔÎÓ˘‡‰Í‡ ‰Îˇ
‰ËÒÍÛÒÒËÈ Ë Ó·ÏÂ̇ ÏÌÂÌˡÏË, ͇ÍËÏ ·˚Ú¸
ÓÒÒËÈÒÍÓÏÛ ÍËÌÓ.
“‡ÍËÏ Ï˚ ıÓÚËÏ ‚ˉÂÚ¸ ÙÂÒÚË‚‡Î¸ ‚ 2007 „Ó‰Û:
ÊË‚˚Ï, ÍÓÌÍÛÂÌÚÌ˚Ï, ‰ËÒÍÛÒÒËÓÌÌ˚Ï Ë, „·‚ÌÓÂ,
ÔÓÎÂÁÌ˚Ï ÚÂÏ Ú˚Òˇ˜‡Ï ̇¯Ëı ÍÓÎ΄ Ë ‰ÛÁÂÈ,
ÍÓÚÓ˚ Ó͇Á˚‚‡˛Ú Ì‡Ï ˜ÂÒÚ¸, ÔËÂÁʇˇ ‚ —Ó˜Ë.
In 2006 we could include in the programme of
KINOTAVR surprisingly many film premieres.
Films made for film fans and for those who appreciate
film language.
Films of different genres and contrasting styles.
It was possible to compile a competition program
without new Russian ìblockbustersî. They were shown
to thousands of spectators on the square in front of
the Winter Theatre, probably very much how
producers and creators would have wanted it.
Practically all the winners from KINOTAVR have been
selected by the big international film festivals:
ìTransitî and ìThe Spotî by Karlovy Vary,
ìEuphoriaî, ìFree Floatingî, ìThe Islandî by Venice,
ìPlaying the Victimî by Rome, ìThe Man without
Returnî by Rotterdam.
During the festival there were many press conferences,
discussions and disputes.
It is for this purpose that KINOTAVR exits.
In 2007 the agenda is the much same: film premieres,
a lot of debuts, an accent on the creative approach and
new searches.
Russian directors, scriptwriters, producers, directors of
photography and actors ñ everyone who makes modern
Russian cinema and composes what is called the
industry ñ are participants.
International production companies interested in
cooperation are visitors.
Selectors and heads of large international festivals are
KINOTAVRís partners.
Numerous round tables, pitching projects, and press
conferences make KINOTAVR a platform for
discussions and exchange of views about Russian
cinema.
Thus we want to see the festival in 2007: alive,
competitive, engaged in discussion and, above all,
useful for those thousands of our colleagues and
friends who honour us by coming to Sochi.
¿ÎÂÍ҇̉ –Ó‰ÌˇÌÒÍËÈ
œÂÁˉÂÌÚ ıÓΉËÌ„‡ ´—“— ɡª,
œ‰Ò‰‡ÚÂθ ÔÓÔ˜ËÚÂθÒÍÓ„Ó ÒÓ‚ÂÚ‡
ÙÂÒÚË‚‡Îˇ ´üËÌÓÚ‡‚ª
Alexander Rodnyansky
President of the Media Holding CTC
Chairman of the Board of Trustees
of the Festival ìKinotavrî
œÓ¯ÎÓ„Ó‰ÌËÈ, XVII ´üËÌÓÚ‡‚ª ÔÓ͇Á‡Î ‚
Last yearís 17th ìKinotavrî included in the
ÍÓÌÍÛÒÌÓÈ ÔÓ„‡ÏÏÂ Ë Ì‡„‡‰ËÎ ÙËθÏ˚,
competition programme ñ and awarded prizes to ñ
ÍÓÚÓ˚ ÓÔ‰ÂÎËÎË ÍËÌÂχÚÓ„‡Ù˘ÂÒÍÛ˛
films that defined the cinematic profile of the
´Í‡ÚËÌÛª Ôӯ‰¯Â„Ó „Ó‰‡.
last year.
ÃÌÓ„Ë ͇ÚËÌ˚, ̇ ÍÓÚÓ˚ ÔÂ‚˚Ï Ó·‡ÚËÎ
Many films that first came into the focus of
‚ÌËχÌË ´üËÌÓÚ‡‚ª, ÒÚ‡ÎË Ó·Î‡‰‡ÚÂΡÏË
attention at ìKinotavrî subsequently won
„·‚Ì˚ı ÓÚ˜ÂÒÚ‚ÂÌÌ˚ı ̇„‡‰ Ë ÔÂÏËÈ Á‡
national awards and prizes for 2006, such as the
2006 „Ó‰, ÔËÁÂ‡ÏË ´«ÓÎÓÚÓ„Ó Œ·ª, ´ÕËÍ˪,
ìGolden Eagleî, the ìNikaî, or the ìWhite
´¡ÂÎÓ„Ó ÒÎÓ̇ª.
Elephantî.
— ÔÓÏÓ˘¸˛ ´üËÌÓÚ‡‚‡ª ÏÌÓ„Ë ÓÒÒËÈÒÍËÂ
With the help of ìKinotavrî many Russian films
ÎÂÌÚ˚ Ó·ÂÎË Ë Á‡Û·ÂÊÌÛ˛ ÙÂÒÚË‚‡Î¸ÌÛ˛
have also reached foreign festivals. During the
ÒÛ‰¸·Û. Õ‡ ÔÓÚˇÊÂÌËË ˆÂÎÓ„Ó „Ó‰‡ ÙËθÏ˚,
entire year those films which premiered at our
˜¸Ë ÔÂϸÂ˚ ÒÓÒÚÓˇÎËÒ¸ ̇ ̇¯ÂÏ ÙÂÒÚË‚‡ÎÂ,
festival have been surrounded by dozens of
·˚ÎË ÓÍÛÊÂÌ˚ ‚ÌËχÌËÂÏ ‰ÂÒˇÚÍÓ‚
European, American and Asian festivals.
‚ÓÔÂÈÒÍËı, ‡ÏÂË͇ÌÒÍËı Ë ‡ÁˇÚÒÍËı
ìKinotavrî has really become a genuine launch
ÙÂÒÚË‚‡ÎÂÈ.
position for films both of well-known and new
´üËÌÓÚ‡‚ª ‰ÂÈÒÚ‚ËÚÂθÌÓ ÒڇΠ̇ÒÚÓˇ˘ÂÈ
authors and directors.
ÒÚ‡ÚÓ‚ÓÈ ÔÎÓ˘‡‰ÍÓÈ ‰Îˇ ÙËθÏÓ‚ ͇Í
The present 18th ìKinotavrî is already the third
Á̇ÏÂÌËÚ˚ı, Ú‡Í Ë Ì‡˜Ë̇˛˘Ëı ‡‚ÚÓÓ‚ Ë
festival to be carried out by our team. In the
ÂÊËÒÒÂÓ‚.
past we have declared that we want to transform
Õ˚̯ÌËÈ, XVIII ´üËÌÓÚ‡‚ª ñ ÛÊ ÚÂÚËÈ ÔÓ
the festival into a creative laboratory of
Ò˜ÂÚÛ, ÍÓÚÓ˚È ÔÓ‚Ó‰ËÚ Ì‡¯‡ ÍÓχ̉‡.
cinematographers, into a platform where the best
¬ ÔÓ¯Î˚ „Ó‰˚ Ï˚ ‰ÂÍ·ËÓ‚‡ÎË, ˜ÚÓ ıÓÚËÏ
and most topical films created during the year
Ô‚‡ÚËÚ¸ ÙÂÒÚË‚‡Î¸ ‚ Ú‚Ó˜ÂÒÍÛ˛
will be screened, and where films find their first
··Ó‡ÚÓ˲ ÍËÌÂχÚÓ„‡ÙËÒÚÓ‚, ‚ ‡·Ó˜Û˛
spectators and receive a first public opinion, and
ÔÎÓ˘‡‰ÍÛ, „‰Â ·Û‰ÂÚ Ô‰ÒÚ‡‚ÎÂÌÓ ‚Ò ÎÛ˜¯Â Ë
where new projects are born.
‡ÍÚۇθÌÓÂ, ÒÓÁ‰‡ÌÌÓ ‚ ÓÒÒËÈÒÍÓÏ ÍËÌÓ Á‡
These tasks are still ahead of us. But now, based
„Ó‰, „‰Â ÙËθÏ˚ Ó·ÂÚ‡˛Ú Ò‚ÓËı ÔÂ‚˚ı
on the success of the previous festivals, we aim
ÁËÚÂÎÂÈ Ë ÔÂ‚Ó ӷ˘ÂÒÚ‚ÂÌÌÓ ÏÌÂÌËÂ, „‰Â
to debug the working mechanism of ìKinotavrî
Óʉ‡˛ÚÒˇ ÌÓ‚˚ ÔÓÂÍÚ˚.
and polish the fine details. We specify the rules
›ÚË Á‡‰‡˜Ë ÔÓ-ÔÂÊÌÂÏÛ ÒÚÓˇÚ ÔÂ‰ ̇ÏË. ÕÓ
ad regulations, we create a more convenient
ÚÂÔÂ¸, Á‡ÍÂÔΡˇ ÛÒÔÂıË Ô‰˚‰Û˘Ëı
schedule of activities, we organize the festival
ÙÂÒÚË‚‡ÎÂÈ, Ï˚ ̇ˆÂÎÂÌ˚ ̇ ÓÚ·‰ÍÛ ‡·Ó˜Â„Ó
space in a more logical manner.
´ÏÂı‡ÌËÁχª ´üËÌÓÚ‡‚‡ª, ̇ „Ó
ìKinotavrî is interested in the fruitful
ÛÒÓ‚Â¯ÂÌÒÚ‚Ó‚‡ÌË ‚ ‰ÂڇΡı. Ã˚ ÛÚÓ˜ÌˇÂÏ
cooperation with the film-market, which takes
„·ÏÂÌÚ, ‚˚ÒÚ‡Ë‚‡ÂÏ ·ÓΠۉӷÌÛ˛ ÒÂÚÍÛ
place in Sochi simultaneously with the festival.
ÏÂÓÔˡÚËÈ, Îӄ˘ÌÂÂ, Í‡Í Ì‡Ï Í‡ÊÂÚÒˇ,
Together with the management of the film-
Ó„‡ÌËÁÓ‚˚‚‡ÂÏ ÙÂÒÚË‚‡Î¸ÌÓ ÔÓÒÚ‡ÌÒÚ‚Ó.
market we search and find effective forms of
´üËÌÓÚ‡‚ª Á‡ËÌÚÂÂÒÓ‚‡Ì ‚ ÔÎÓ‰ÓÚ‚ÓÌÓÏ
interaction and, we hope, shall achieve further
ÒÓÚÛ‰Ì˘ÂÒÚ‚Â Ò ÍËÌÓ˚ÌÍÓÏ, ÍÓÚÓ˚È
success this year.
ÔÓıÓ‰ËÚ ‚ —Ó˜Ë Ó‰ÌÓ‚ÂÏÂÌÌÓ Ò ÙÂÒÚË‚‡ÎÂÏ.
Dear colleagues! At this stage feedback from film
¬ÏÂÒÚÂ Ò ÛÍÓ‚Ó‰ÒÚ‚ÓÏ ÍËÌÓ˚Ì͇ Ï˚ ˢÂÏ Ë
professionals is especially important for us: your
̇ıÓ‰ËÏ ˝ÙÙÂÍÚË‚Ì˚ ÙÓÏ˚ ‚Á‡ËÏÓ‰ÂÈÒڂˡ
advice and your opinion will help the festival
Ë, ̇‰Â˛Ò¸, ‰Ó·¸ÂÏÒˇ ‚ ˝ÚÓÏ „Ó‰Û ÂÁÛθڇÚÓ‚.
develop.
üÓÎ΄Ë! —ÂȘ‡Ò ‰Îˇ Ì‡Ò ÓÒÓ·ÂÌÌÓ ‚‡Ê̇
´Ó·‡Ú̇ˇ Ò‚ˇÁ¸ª ÒÓ ‚ÒÂÏË ÔÓÙÂÒÒËÓ̇·ÏË
ÍËÌÂχÚÓ„‡Ù‡: ‚‡¯Ë ÒÓ‚ÂÚ˚, ‚‡¯Â ÏÌÂÌËÂ
ÔÓÏÓ„ÛÚ ÙÂÒÚË‚‡Î˛ ‡Á‚Ë‚‡Ú¸Òˇ.
»„Ó¸ “ÓÎÒÚÛÌÓ‚
√ÂÌÂ‡Î¸Ì˚È ÔÓ‰˛ÒÂ ÙÂÒÚË‚‡Îˇ ´üËÌÓÚ‡‚ª
Igor Tolstunov
General Producer of the Festival ìKinotavrî
3
ƒ≈Õ‹√» ñ Õ»◊“Œ
4
¬ÒÚ˜‡ˇÒ¸ Ò ÓÒÒËÈÒÍËÏË ÔÓ‰˛ÒÂ‡ÏË Ë
—Ó‚ÂÏÂÌÌÓÏÛ ÓÒÒËÈÒÍÓÏÛ ÍËÌÓ Ì ı‚‡Ú‡ÂÚ
ÂÊËÒÒÂ‡ÏË, ˇ ÒÎ˚¯Û ÓÚ ÌËı Ó‰ÌÓ ÒÎÓ‚Ó:
ËÏÂÌÌÓ ˝ÚÓÈ ËÒÍÂÌÌÓÒÚË Ë ÔÓÒÚÓÚ˚. œÓ˜ÂÏÛ
‰Â̸„Ë. ´Ã˚ Ô·ÌËÛÂÏ ÔÓÚ‡ÚËÚ¸ª, ´Ã˚
Ï˚ ‡·ÓÚ‡ÂÏ ÒÓ ¯Ú‡ÏÔ‡ÏË? œÓıÓÊË ҈Â̇ËË,
Ô·ÌËÛÂÏ ÒÓ·‡Ú¸ª. –‡Á„Ó‚Ó˚ Ò ËÌ‚ÂÒÚÓ‡ÏË,
ÔÓıÓÊË „ÂÓË. ÃÂÈÌÒÚËÏ-2006 ñ ·˚ÚÓ‚‡ˇ
ÏËÎÎËÓÌ˚, ·˛‰ÊÂÚÖ ¬ ÒÚ‡Ì ÔÓˇ‚ËÎËÒ¸
ËÎË ‡‚‡ÌÚ˛̇ˇ ÍÓωˡ. ›ÚÓ Î„ÍÓ Ó·˙ˇÒÌËÚ¸:
ÌÂÁ‡‚ËÒËÏ˚ ËÌ‚ÂÒÚÓ˚? ›ÚÓ ÓÚ΢ÌÓ!
ÒÂ„Ó‰Ìˇ ÏÌÓ„Ë Ô˚Ú‡˛ÚÒˇ ‰Â·ڸ ´ÁËÚÂθÒÍÓª
üËÌÓË̉ÛÒÚˡ ̇·Ë‡ÂÚ Ó·ÓÓÚ˚?
ÍËÌÓ, ‰Ûχˇ ËÒÍβ˜ËÚÂθÌÓ Ó „ˇ‰Û˘Ëı
«‡Ï˜‡ÚÂθÌÓ! ¬ÓÚ ÚÓθÍÓ ·Ûı„‡ÎÚÂˡ ˝Ú‡ Í
Ò·Ó‡ı. Œ‰Ì‡ÍÓ, ͇ÍÓ‚˚ ·˚ ÌË ·˚ÎË Ô·Ì˚,
ËÒÍÛÒÒÚ‚Û ÓÚÌÓ¯ÂÌˡ Ì ËÏÂÂÚ. «‡ ÏËÌÛ‚¯ËÈ
·ÓÍÒ-ÓÙËÒ ÔÓ͇Á˚‚‡ÂÚ: ˝ÚË ËÒÚÓËË,
„Ó‰ ‚ –ÓÒÒËË ÒÓÁ‰‡ÌÓ ·ÓΠÒÚ‡ ͇ÚËÌ. ÕÓ ‰Îˇ
ÒÓ˜ËÌÂÌÌ˚Â Ò ÔˈÂÎÓÏ Ì‡ ËÌ‚ÂÒÚÓ‡-ÌÂÓÙËÚ‡,
ÍÓÌÍÛÒÌÓÈ ÔÓ„‡ÏÏ˚ ´üËÌÓÚ‡‚‡ª Ï˚
Ì ÓÔ‡‚‰˚‚‡˛Ú ÌË͇ÍËı ÓÊˉ‡ÌËÈ. ü
ÓÚÓ·‡ÎË Î˯¸ 14 ñ ÔÂϸÂÌ˚ı ÙËθÏÓ‚. fl
ÒÓʇÎÂÌ˲, Ë ÂÊËÒÒÂ˚-‰Â·˛Ú‡ÌÚ˚ ñ
Ò˜ËÚ‡˛, ˜ÚÓ Ì‡ÈÚË Ëı ·˚ÎÓ ·Óθ¯ÓÈ Û‰‡˜ÂÈ:
‡‚‡Ì„‡‰ β·Ó„Ó ÍËÌÓÔÓˆÂÒÒ‡ ñ ‡ÔËÓË ÌÂ
·Î‡„Ó‰‡ˇ ËÏ ÙÂÒÚË‚‡Î¸ ÓÒÚ‡ÂÚÒˇ ÏÂÒÚÓÏ, „‰Â
Ò‚Ó·Ó‰Ì˚, Ëı ÙËθÏ˚ ˜‡ÒÚÓ ‡ÏÓÙÌ˚ ËÎË
ÒÚËı‡ÂÚ ‡Á„Ó‚Ó Ó ‰Â̸„‡ı. œÓÚÓÏÛ ˜ÚÓ ‚
Ó˜Â̸ ÔÂÚÂ̈ËÓÁÌ˚. ≈ÒÎË ˝ÚÓ Ë ÂÒÚ¸
–ÓÒÒËË ÒÂ„Ó‰Ìˇ ÏÌÓ„Ó Ú‡ÍËı ·ÂÒ‰. » χÎÓ ñ
ÍËÌÓË̉ÛÒÚˡ, ÚÓ ÁËÚÂθ ÔÂÂÒÚ‡ÌÂÚ ÒÏÓÚÂÚ¸
ÌÂÒÚ˚‰ÌÓ„Ó ÍËÌÓ.
ÓÒÒËÈÒÍË ÙËθÏ˚, ‡ ‚ÂÏÂÌÌ˚È ‚ÒÔÎÂÒÍ
¬ Ôӯ‰¯ÂÏ ÒÂÁÓÌÂ Í‡Í ˜ÎÂÌ Ê˛Ë
ËÌÚÂÂÒ‡ Í ÓÚ˜ÂÒÚ‚ÂÌÌÓÏÛ ÍËÌÓ ·˚ÒÚÓ ÔÓȉÂÚ
‚ÓÒÚÓ˜ÌÓ‚ÓÔÂÈÒÍÓ„Ó Ë ‡ÁˇÚÒÍÓ„Ó ÙÂÒÚË‚‡ÎÂÈ
̇ ÒÔ‡‰. ¬Â‰¸, Ò Ó‰ÌÓÈ ÒÚÓÓÌ˚, Û Ì‡Ò ÌÂÚ
ˇ ÔÓÒÏÓÚ· ÏÌÓ„Ó ˇÍËı, ÔË ˝ÚÓÏ
Ò‚ÓÂ„Ó ÌÓ‚Ó„Ó ÍÓÏÏÂ˜ÂÒÍÓ„Ó ‚Á„Ρ‰‡, ‡ Ò
χÎÓ·˛‰ÊÂÚÌ˚ı ͇ÚËÌ. ÕÂÍÓÚÓ˚ ËÁ ÌËı
‰Û„ÓÈ ñ Ï˚ Á‡·˚‚‡ÂÏ Ú‡‰ËˆËË ÒÂ¸ÂÁÌÓ„Ó
·˚ÎË ÒÌˇÚ˚ ̇ ˆËÙÛ Ë Á‡ÚÂÏ ÔÂ‚‰ÂÌ˚ ̇
‡‚ÚÓÒÍÓ„Ó ÍËÌÓ, ÍÓÚÓÓ ÚÓÊ ҘËÚ‡ÂÚÒˇ
ÔÎÂÌÍÛ. “ÂÏ˚, ʇÌ˚, ÒÚËÎË ÙÂÒÚË‚‡Î¸Ì˚ı
χÍÓ˝ÍÓÌÓÏËÍÓÈ. ¬ ≈‚ÓÔ ÔÓ‰˛ÒÂ,
͇ÚËÌ Ì‚ÂÓˇÚÌÓ ÏÌÓ„ÓÓ·‡ÁÌ˚. ” ͇ʉӄÓ
‚Í·‰˚‚‡ˇ ‚ ÙËÎ¸Ï ÏËÎÎËÓÌ, Á̇ÂÚ, Í‡Í Ë
ËÁ ÌËı Ë Ì‡ Ó‰ËÌÂ, Ë Á‡ Û·ÂÊÓÏ ÂÒÚ¸ Ú‡ ËÎË
·Î‡„Ó‰‡ˇ ͇ÍÓÏÛ ÁËÚÂβ ÓÌ ˝ÚË ‰Â̸„Ë
Ë̇ˇ ÔÓ͇Ú̇ˇ ÒÛ‰¸·‡. ÕÓ ÌË Ëı ÒÓÁ‰‡ÚÂÎË, ÌË
‚ÂÌÂÚ. ¡Û‰ÂÚ Ú‡ÍÓÈ-ÚÓ ÙÂÒÚË‚‡Î¸, ÔÓ‰Íβ˜ËÚÒˇ
Ëı ÔÓ͇ژËÍË Ì ̇Á˚‚‡˛Ú ÙËÎ¸Ï ´ÚÓ‚‡ÓϪ
Ú‡ÍÓÈ-ÚÓ ‰ËÒÚË·¸˛ÚÓ, Â„Ó ÙËÎ¸Ï ÍÛÔËÚ
ËÎË ´ÔÓ‰ÛÍÚÓϪ. üËÌÂχÚÓ„‡Ù ñ ‚ËÚ‡ÎÂÌ ÓÌ
Ú‡ÍÓÈ-ÚÓ Í‡Ì‡Î. ≈‚ÓÔ‡ ‚ˉËÚ Ë ÔÓÌËχÂÚ
ËÎË ‰ÂÔÂÒÒË‚ÂÌ ñ ÓÒÚ‡ÂÚÒˇ ËÒÍÛÒÒÚ‚ÓÏ. Œ‰ÌÛ
ÁËÚÂΡ. ¿ ‚ÓÚ ÓÒÒËÈÒÍËÈ ÍËÌÓÔÓˆÂÒÒ ÛÊÂ
ËÁ Ò‡Ï˚ı ËÁ‚ÂÒÚÌ˚ı ‚ÓÔÂÈÒÍËı ͇ÚËÌ
ÔÓ‚ÂÌÛÎÒˇ ÒÔËÌÓÈ Í ËÒÍÛÒÒÚ‚Û Ë ÔÓ͇ ÌÂ
ÔÓ¯ÎÓ„Ó „Ó‰‡ ñ ‡Á„Ó‚ÓÌÛ˛ Ú‡„ËÍÓω˲
Á̇ÂÚ, Í‡Í ÒÚ‡Ú¸ ·ËÁÌÂÒÓÏ.
´12:08 ¬ÓÒÚÓ˜Ì˚È ¡Ûı‡ÂÒÚª ñ ÂÊËÒÒÂ
¬ ˝ÚÓÏ ÒÂÁÓÌ ˇ ÔÓÎÛ˜‡Î‡ ̇ ÓÚ·Ó
üÓÌÂÎËÛ œÓÛÏ·ÂÛ ÒÌˇÎ Á‡ 150 000 ‚Ó,
ÌÂÔÓ‰ÛχÌÌ˚ ´‡‚ÚÓÒÍ˪ ÎÂÌÚ˚ Ë ‚ˇÎ˚ ñ
Á‡ÌˇÚ˚ı Û ÓÚˆ‡. ¬ ËÚÓ„Â ñ ´«ÓÎÓÚ‡ˇ ͇ÏÂ‡ª
ÍÓÏÏÂ˜ÂÒÍËÂ, ËÁ ˜Â„Ó Á‡Íβ˜Ë·: ‰Â̸„Ë ‚
ü‡ÌÌÒÍÓ„Ó ÙÂÒÚË‚‡Îˇ Ë ·ÓΠ20
̇¯ÂÏ ÍËÌÓ ÂÒÚ¸, ‡ ‚ÓÚ Ë‰ÂÈ Ï‡ÎÓ. ÕÓ Ì‡¯‡
ÏÂʉÛ̇Ó‰Ì˚ı ̇„‡‰, ‚ ÚÓÏ ˜ËÒΠÍÛÔÌ˚ı
ÓÚ·ÓӘ̇ˇ ÍÓÏËÒÒˡ ҉·· ‚ÒÂ, ˜ÚÓ·˚
‰ÂÌÂÊÌ˚ı. ü‡ÚË̇ ÔÓÁ‚Û˜‡Î‡ ÛÊ ÚÂÏ, ͇Í
´üËÌÓÚ‡‚ª ÓÒÚ‡ÎÒˇ ˝ÍÒÔÂÚÌÓÈ ÔÎÓ˘‡‰ÍÓÈ,
‰ÂÎË͇ÚÌÓ, ΄ÍÓ, ÔÓÒÚÓ Ë Ò ˛ÏÓÓÏ Ó̇
Ôˉ‡˛˘ÂÈ ˝ÚÓÏÛ ·ÂÁ΢ÌÓÏÛ ı‡ÓÒÛ ‡θÌ˚È
‡ÒÒ͇Á‡Î‡ Ó Ô‡‰ÂÌËË ÂÊËχ ◊‡Û¯ÂÒÍÛ: ÚË
΢ÌÓÒÚÌ˚È ÒÏ˚ÒÎ. » ÔÓ‚Â¸ÚÂ, Ï˚ ·Î‡„Ó‰‡Ì˚
„ÂÓˇ ‚ ÚÂÎÂÒÚÛ‰ËË, Á‚ÓÌÍË ‚ ˝ÙË ñ Ë ˝ÚÓ„Ó,
‚ÒÂÏ ÚÂÏ, ÍÚÓ Ô‰ÓÒÚ‡‚ËÎ Ì‡Ï Ò‚ÓË
Ó͇Á˚‚‡ÂÚÒˇ, ‰ÓÒÚ‡ÚÓ˜ÌÓ, ˜ÚÓ·˚ Ò͇Á‡Ú¸ Ó Ò·Â,
ÔÂϸÂÌ˚ ͇ÚËÌ˚. ÀÛ˜¯Ë ͇ÚËÌ˚,
Ò‚ÓÂÈ ËÒÚÓËË, ·ÓÎË, Ò‚ÓÂÏ ÓÚÌÓ¯ÂÌËË Í ÚÓÏÛ,
ÔÓËÁ‚‰ÂÌÌ˚ ‚ ÒÚ‡ÌÂ Í Ë˛Ì˛ 2007 „Ó‰‡.
˜ÚÓ ÒÎÛ˜ËÎÓÒ¸!
—ËÚÓ‡ ¿ÎË‚‡
ƒËÂÍÚÓ ÍËÌÓÔÓ„‡ÏÏ
MONEY IS NOTHING
Meeting with Russian producers and directors, I
Modern Russian cinema does not have not
hear only one word: money. ìWe plan to spendî.
enough of this sincerity and simplicity. Why do
ìWe plan to gainî. Conversations with investors,
we work with clichÈs? Similar scripts, similar
millions, budgetsÖ Independent investors have
heroes. The mainstream of 2006: a household or
appeared in the country? Thatís excellent! The
adventure comedy. This is easy to explain: today
film-industry is growing? Wonderful! Only these
many people try to make cinema ìfor the
accounts have nothing to do with art. Over the
spectatorsî, thinking only about income.
last year more than 100 films have been made in
However, whatever the plans may have been, the
Russia. But for the competition programme of
box office shows: these stories, composed with a
ìKinotavrî we have selected only 14 premiere
nod to the investor, rarely meet the
films. I think that it was a great success to find
expectations. Unfortunately, first-time directors
these films: thanks to them the festival remains
ñ the avant-garde of the cinematic process ñ are
a place where conversations about money cease to
a priori not free; their films are frequently
take place. Because in Russia today there are
amorphous or very pretentious. If this is the
many such conversations. And not enough
film industry, the spectators will cease to watch
cinema that to be proud of.
Russian films, and the temporary splash of
In the last season, as a judge in East European
interest in Russian cinema will soon vanish. On
and the Asian festivals, I have seen many
the one hand, we do not have new commercial
impressive low-budget films. Some of them were
perspectives; on the other hand, we forget abut
shot digitally and then transferred onto film.
the traditions of serious auteur cinema, which
The themes, genres, and styles of festival films
also plays a role in macroeconomics. In Europe
are incredibly diverse. Each of them has some
the producer who puts a million into a film
kind of history of distribution at home and
knows how and though which audience he will
abroad. But neither their makers nor the
retrieve his money. There will be such-and-such
distributors call the films ìgoodsî or ìproductsî.
festival, such-and-such distributor will join
Cinema ñ be it assertive or depressing ñ remains
force, and such-and-such a television channel
art. One of the best-known European films of the
will buy his film. Europe sees and understands
last year is the tragicomedy ì12:08 East of
its spectator. But the Russian film process has
Bucharestî, which the director Corneliu
already turned its back on art and does not yet
Porumboiu has shot for 150000 euros that he
know how to become a business.
borrowed from his father. The result is the
In this season I received for selection some
ìGolden Cameraî at Cannes and over twenty
ridiculous auteur films and no commercial
international awards, including large monetary
films; I deduce from this that there is money
prizes. The film has had resonance because of its
in cinema, but not enough ideas. But our
delicate, light, simple and humorous approach to
selection committee has done everything so
its story about the fallen Ceausescu regime:
that ìKinotavrî remains a platform for
Three heroes in a television studio, telephone
experts, giving this faceless chaos a genuinely
calls to the studio ñ that is enough to tell about
personal dimension. And, trust me, we are
oneself, to tell a story, to express pain and oneís
grateful to all those who have given us their
relation to what happened!
premiere films. The best films completed in
Russia by June 2007.
Sitora Alieva
Programme Director
5
6
œŒœ≈◊»“≈À‹—ü»…
—Œ¬≈“ ‘≈—“»¬¿Àfl
BOARD OF TRUSTEES
OF THE FESTIVAL
¿À≈ü—¿Õƒ– –ŒƒÕflÕ—ü»…
ALEXANDER RODNYANSKY
œÂÁˉÂÌÚ ıÓΉËÌ„‡ ´—“— ɡª
President of the Media Holding CTC
œ‰Ò‰‡ÚÂθ ÔÓÔ˜ËÚÂθÒÍÓ„Ó ÒÓ‚ÂÚ‡
Chairman of the Board of Trustees of the
ÙÂÒÚË‚‡Îˇ ´üËÌÓÚ‡‚ª
Kinotavr Festival
œ≈“– ¿¬≈Õ
PETER AVEN
œÂÁˉÂÌÚ Œ¿Œ ´¿Î¸Ù‡-¡‡Ìͪ
President of ìAlpha Bankî
ŒÀ≈√ ƒ≈–»œ¿—ü¿
OLEG DERIPASKA
√ÂÌÂ‡Î¸Ì˚È ‰ËÂÍÚÓ Œ¿Œ ´–ÛÒÒÍËÈ ‡Î˛ÏËÌËȪ
General Director of ìRussian Aluminiumî
¬»“¿À»… »√Õ¿“≈ÕüŒ
VITALY IGNATENKO
√ÂÌÂ‡Î¸Ì˚È ‰ËÂÍÚÓ ´»“¿–-“¿——ª
General Director of ìITAR-TASSî
¿À≈ü—¿Õƒ– “ü¿◊≈¬
ALEXANDER TKACHIOV
√·‚‡ ‡‰ÏËÌËÒÚ‡ˆËË ü‡ÒÌÓ‰‡ÒÍÓ„Ó Í‡ˇ
Governor of the Krasnodar Region
û’¿»À ÿ¬¤ƒüŒ…
MIKHAIL SHVYDKOI
–ÛÍÓ‚Ó‰ËÚÂθ ‘‰Â‡Î¸ÌÓ„Ó ¿„ÂÌÚÒÚ‚‡ ÔÓ
Head of the Federal Agency for Culture and
ÍÛθÚÛÂ Ë ÍËÌÂχÚÓ„‡ÙËË
Cinematography
üŒÕ—“¿Õ“»Õ ›–Õ—“
KONSTANTIN ERNST
√ÂÌÂ‡Î¸Ì˚È ‰ËÂÍÚÓ Œ¿Œ ´œÂ‚˚È Í‡Ì‡Îª
General Director of ìFirst Channelî
ƒ»–≈ü÷»fl
‘≈—“»¬¿Àfl
FESTIVAL
DIRECTION
»√Œ–‹ “ŒÀ—“”ÕŒ¬
√ÂÌÂ‡Î¸Ì˚È ÔÓ‰˛ÒÂ
IGOR TOLSTUNOV
General Director
—»“Œ–¿ ¿À»≈¬¿
œÓ„‡ÏÏÌ˚È ‰ËÂÍÚÓ
SITORA ALIEVA
Programme Director
≈À≈Õ¿ À¿œ»Õ¿
ƒËÂÍÚÓ
ELENA LAPINA
Director
œŒÀ»Õ¿ «”≈¬¿
üÓÏÏÂ˜ÂÒÍËÈ ‰ËÂÍÚÓ
POLINA ZUEVA
Commercial Director
¿Õ¿—“¿—»fl ¡”À√¿üŒ¬¿
–ÛÍÓ‚Ó‰ËÚÂθ PR-ÒÎÛÊ·˚
ANASTASIA BULGAKOVA
Head of PR Service
≈À≈Õ¿ ü”œ–»flÕŒ¬¿
–ÛÍÓ‚Ó‰ËÚÂθ ÔÂÒÒ-ˆÂÌÚ‡
ELENA KUPRIANOVA
Head of Press Centre
Õ¿“¿À‹fl flü”ÿü»Õ¿
–ÛÍÓ‚Ó‰ËÚÂθ ÒÎÛÊ·˚ ÔÓÚÓÍÓ·
NATALIA YAKUSHKINA
Head of Protocol
¬»“¿À»… ¡”◊»Õ—ü»…
‘Ë̇ÌÒÓ‚˚È ‰ËÂÍÚÓ
VITALI BUCHINSKY
Finance Director
8
10
12
Œ“ü–¤“»≈
OPENING GALA
—œ≈÷»¿À‹ÕŒ≈ —Œ¡¤“»≈
SPECIAL EVENT
«¿ü–¤“»≈
CLOSING GALA
ÒÓ‰ÂʇÌËÂ
contents
14
42
72
85
115
124
126
139
148
180
üŒÕü”–—
COMPETITION
ü»ÕŒ“¿¬–. üŒ–Œ“ü»… Ã≈“–
KINOTAVR. SHORTS
À≈“Õflfl ›…‘Œ–»fl
SUMMER EUPHORIA
ü»ÕŒ Õ¿ œÀŒŸ¿ƒ»
CINEMA ON THE SQUARE
œŒ–“–≈“ Õ¿—“ŒflŸ≈√Œ
PORTRAIT OF THE PRESENT
¿Õ“ŒÀŒ√»fl –Œ——»…—üŒ√Œ ü»ÕŒ
ANTHOLOGY OF RUSSIAN CINEMA
ü»ÕŒ“≈¿“–.DOC
KINOTEATR.DOC
¬≈À»üŒÀ≈œÕ¿fl —≈Ã≈–ü¿
THE MAGNIFICENT SEVEN
50 ¬¤¡»–¿fi“ 50 (˜‡ÒÚ¸ I)
50 CHOOSE 50 (part 1)
»Õ‘Œ–ÿ÷»ŒÕÕ¤… œŒü¿«
INFORMATION SCREENING
7
ÓÚÍ˚ÚËÂ
opening gala
√ÀflÕ≈÷
GLOSS
8
2007, –ÓÒÒˡ, 118 ÏËÌ., ˆ‚., 1:2.35, Dolby Digital 5.1
2007, Russia, 118 min, col., 1:2.35, Dolby Digital 5.1
¿‚ÚÓ˚ ÒˆÂ̇ˡ ¿Ì‰ÂÈ üÓ̘‡ÎÓ‚ÒÍËÈ, ƒÛÌˇ —ÏËÌÓ‚‡
Scriptwriters Andrei Konchalovsky, Dunia Smirnova
–ÂÊËÒÒÂ ¿Ì‰ÂÈ üÓ̘‡ÎÓ‚ÒÍËÈ
Director Andrei Konchalovsky
ŒÔÂ‡ÚÓ Çˡ —ÓÎÓ‚¸Â‚‡
Director of Photography Maria Solovieva
’Û‰ÓÊÌËÍ ≈͇ÚÂË̇ «‡ÎÂڇ‚‡
Production Design Ekaterina Zaletaeva
üÓÒÚ˛Ï˚ ≈͇ÚÂË̇ ƒ˚ÏËÌÒ͇ˇ
Costume Design Ekaterina Dyminskaya
‘ÓÚÓıÛ‰ÓÊÌËÍ ¬Î‡‰ ÀÓÍÚ‚
Photographer Vlad Loktev
üÓÏÔÓÁËÚÓ ¡ÓËÒ ‘ÛÏÍËÌ
Composer Boris Frumkin
»ÒÔÓÎÌËÚÂθ ÔÂÒÂÌ ƒËχ ¡Ë·Ì
Songs performed by Dima Bilan
«‚ÛÍ ¿ÎÂÍ √ÛÒÒ
Sound Alek Goosse
–ÂÊËÒÒÂ ÏÓÌڇʇ ŒÎ¸„‡ √Ë̯ÔÛÌ
Editing Olga Grinshpun
¬ ÓΡı: fiÎˡ ¬˚Òӈ͇ˇ, »Î¸ˇ »Ò‡Â‚, »Ë̇ –ÓÁ‡ÌÓ‚‡,
Cast: Julia Vysotskaya, Ilya Isaev, Irina Rozanova,
ŒÎ¸„‡ ¿ÌÚ„Óθˆ, ≈ÙËÏ ÿËÙËÌ, √ÂÌ̇‰ËÈ —ÏËÌÓ‚,
Olga Arntgolts, Efim Shifrin, Gennadi Smirnov,
¿ÎÂÍ҇̉ ƒÓÏÓ„‡Ó‚, ¿ÎÂÍÒÂÈ —Â·ˇÍÓ‚, ¿Ì‰ÂÈ ÕÓÒÍÓ‚,
Alexander Domogarov, Alexei Serebriakov, Andrei Noskov,
ŒÎ¸„‡ ÃÂÎÓˇÌË̇, ¿ÚÂÏËÈ “ÓˈÍËÈ, “‡Ú¸ˇÌ‡ ¿ÌÚ„Óθˆ,
Olga Meloyanina, Artemy Troitsky, Tatiana Arntgolts,
¿ÎÂÍÒÂÈ üÓ΄‡Ì, “ËÏÓÙÂÈ “Ë·Û̈‚
Alexei Kolgan, Timofei Tribuntsev
œÓ‰˛ÒÂ˚ ¿Ì‰ÂÈ üÓ̘‡ÎÓ‚ÒÍËÈ, ≈‚„ÂÌËÈ —ÚÂÔ‡ÌÓ‚,
Producers Andrei Konchalovsky, Evgeni Stepanov,
¿ÎÂÍ҇̉ ¡Ó‚‡ˆ, ŒÎ¸„‡ ¬‡ÒË肇
Alexander Brovarets, Olga Vasilieva
œÓËÁ‚Ó‰ÒÚ‚Ó ´œÓ‰˛ÒÂÒÍËÈ ˆÂÌÚ ¿Ì‰¡ üÓ̘‡ÎÓ‚ÒÍÓ„Óª
Production ìAndrei Konchalovsky Producerís Centreî
œÓÍ‡Ú ´÷ÂÌÚ‡Î œ‡ÚÌÂ¯ËÔª
Distribution ìCentral Partnershipî
www.konchalovsky.ru
ÓÚÍ˚ÚËÂ
opening gala
¿Ì‰ÂÈ üÓ̘‡ÎÓ‚ÒÍËÈ
Õ‡Ó‰Ì˚È ‡ÚËÒÚ –ÓÒÒËË, ÔËÁÂ ÏÂʉÛ̇Ó‰Ì˚ı
(Ãü‘ ‚ ü‡Ì̇ı, ‰‚‡Ê‰˚ ñ ‚ ¬Â̈ËË) Ë
ÓÚ˜ÂÒÚ‚ÂÌÌ˚ı ÍËÌÓÙÂÒÚË‚‡ÎÂÈ, ·Û‡Ú
ÔÓÙÂÒÒËÓ̇θÌ˚ı ÍËÌÓÔÂÏËÈ, √ÓÒÛ‰‡ÒÚ‚ÂÌÌÓÈ
ÔÂÏËË –‘ Ë √ÓÒÛ‰‡ÒÚ‚ÂÌÌÓÈ ÔÂÏËË ü‡Á‡ıÒڇ̇.
–Ó‰ËÎÒˇ 20 ‡‚„ÛÒÚ‡ 1937 „Ó‰‡ ‚ ÃÓÒÍ‚Â. ŒÍÓ̘ËÎ
ÂÊËÒÒÂÒÍËÈ Ù‡ÍÛθÚÂÚ ¬√»ü‡ (1965, Û˜ÂÌËÍ
ÃËı‡Ë· –ÓÏχ). üËÌÓÂÊËÒÒÂ, ‡‚ÚÓ ÓÍÓÎÓ 30
‡ÎËÁÓ‚‡ÌÌ˚ı ÍËÌÓÒˆÂ̇Ë‚, ÏÌÓ„Ó˜ËÒÎÂÌÌ˚ı ÍÌË„
Ë ÒÚ‡ÚÂÈ, ÔÓÒÚ‡ÌÓ‚˘ËÍ Ú‡Ú‡Î¸Ì˚ı ÒÔÂÍÚ‡ÍÎÂÈ, ÓÔÂ
(Ú‡Ú˚ ´À‡ —͇·ª, ´ŒÔÂ‡-¡‡ÒÚËÎˡª,
ÇËËÌÒÍËÈ), Ú‡Ú‡ÎËÁÓ‚‡ÌÌ˚ı ‡ÍˆËÈ Ë
‰ÓÍÛÏÂÌڇθÌ˚ı ÚÂÎÂÔÓÂÍÚÓ‚.
9
‘ËθÏÓ„‡Ùˡ ÂÊËÒÒÂ‡ (Ë„Ó‚Ó ÍËÌÓ):
1965 ......œÂ‚˚È Û˜ËÚÂθ (‰ËÔÎÓÏ)
1967-87 ......»ÒÚÓˡ ¿ÒË üΡ˜ËÌÓÈ, ÍÓÚÓ‡ˇ
β·Ë·, ‰‡ Ì ‚˚¯Î‡ Á‡ÏÛÊ
1969 ......ƒ‚ÓˇÌÒÍÓ „ÌÂÁ‰Ó
1970 ......ƒˇ‰ˇ ¬‡Ìˇ
1974 ......–ÓχÌÒ Ó ‚β·ÎÂÌÌ˚ı
1979 ......—Ë·Ëˇ‰‡
1982 ......—ÎÓχÌÌÓ ‚˯Ì‚Ó ‰Â‚ˆÂ (—ÿ¿, Í/Ï)
1983 ......¬ÓÁβ·ÎÂÌÌ˚ ÇËË (—ÿ¿)
1985 ......œÓÂÁ‰-·Â„Έ (—ÿ¿)
1986 ......ƒÛ˝Ú ‰Îˇ ÒÓÎËÒÚÍË (—ÿ¿)
1987 ......—Ú˚‰ÎË‚˚ β‰Ë (—ÿ¿)
1989 ......√ÓÏÂ Ë ›‰‰Ë (—ÿ¿)
1989 ......“‡Ì„Ó Ë ü˝¯ (—ÿ¿)
1992 ......¡ÎËÊÌËÈ ÍÛ„
1994 ......üÛӘ͇ –ˇ·‡
1997 ......Œ‰ËÒÒ¡ (—ÿ¿, ÒÂˇÎ)
2002 ......ƒÓÏ ‰Û‡ÍÓ‚
2003 ......À‚ ÁËÏÓÈ (—ÿ¿, Ú‚)
2007 ......√Ρ̈
Andrei Konchalovsky
Peopleís actor of the RSFSR (1980), prizewinner of
international (Cannes, twice in Venice) and national
film festivals, winner of professional film awards.
State Prize of the Russian Federation and State Prize
of Kazakhstan. Born on 20 August 1937 in Moscow.
Graduated from the directorís faculty at the Film
Institute VGIK (1965, pupil of Mikhail Romm).
Filmmaker; author of about thirty filmscripts, books
and article; director of theatre productions and operas
(La Scala, Bastille Opera, Mariinsky); director of
theatre events and documentary television projects.
ƒ‡Ï‡Ú˘ÂÒ͇ˇ ÍÓωˡ.
¬ ÃÓÒÍ‚Û ËÁ ÓÒÚÓ‚ÒÍÓÈ ÔÓ‚Ë̈ËË ÔËÂÁʇÂÚ ¯‚¡ √‡Îˇ. ≈ Ï˜ڇ ñ ÒÚ‡Ú¸
ÒÛÔÂÏÓ‰Âθ˛, ÌÓ ÏÓ‰Âθ˛ ÂÈ ÒÚ‡Ú¸ Ì ÒÛʉÂÌÓ. ›ÚÓ ÂÈ Ó·˙ˇÒÌˇÚ Ò‡ÁÛ, Ë ‚
˝ÚÓÏ Ó̇ ҇χ ۷‰ËÚÒˇ Í ÍÓÌˆÛ ÙËθχ, ÔÓ‡·ÓÚ‡‚ ¯‚ÂÂÈ Û ËÁ‚ÂÒÚÌÓ„Ó
ÏÓ‰ÂθÂ‡, ÔÓÏÓ˘ÌˈÂÈ ‚·‰Âθˆ‡ ˝ÎËÚÌÓ„Ó ˜‡ÒÚÌÓ„Ó ÏÓ‰ÂθÌÓ„Ó ‡„ÂÌÚÒÚ‚‡,
Á‡ÌËχ˛˘Â„ÓÒˇ ÔÓ‰·ÓÓÏ Ì‚ÂÒÚ ‰Îˇ ·Ó„‡Ú˚ı β‰ÂÈ, ÔÓÁ̇ÂÚ ·Ó„‡ÚÒÚ‚Ó Ë
ÛÁ̇ÂÚ, ͇ÍÓ‚‡ Ô·ڇ Á‡ Ò˜‡ÒÚÎË‚Û˛ ÊËÁ̸ ‚ ÓÒÍÓ¯Ì˚ı ÓÒÓ·ÌˇÍ‡ı. ¬
Ò˛ÊÂÚ ÙËθχ ËÒÔÓθÁÓ‚‡Ì˚ ‡θÌ˚Â Ò˛ÊÂÚ˚ Ë ÒÓ·˚Úˡ.
Dramatic comedy.
Filmography:
1965 ......The First Teacher (diploma)
1967-87 ......The Story of Asya Kliachina Who Loved
but did not Get Married (Asyaís Happiness)
1969 ......A Nest of Gentlefolk
1970 ......Uncle Vanya
1974 ......Romance for Lovers
1979 ......Siberiade
1982 ......Split Cherry Tree (USA, short)
1983 ......Mariaís Lovers, USA
1985 ......Runaway-Train (USA)
1986 ......Duet for One (USA)
1987 ......Shy People (USA)
1989 ......Homer and Eddie (USA)
1989 ......Tango & Cash (USA)
1992 ......The Inner Circle
1994 ......Riaba ma Poule
1997 ......The Odyssey (USA, television)
2002 ......House of Fools
2003 ......The Lion in Winter (USA, television)
2007 ......Gloss
The simple seamstress Galia arrives in Moscow from the Rostov province. She
dreams of a career as a supermodel, but she is not destined to become a model.
Indeed, she is told so right away, and reaches this conclusion herself by the
end of film, having worked as seamstress with a well-known fashion designer,
as assistant to the owner of an elite model agency engaged in the selection of
brides for rich people ñ where she learns how much the rich pay for the happy
life in their villas. The film is based on real events.
ÒÔˆˇθÌÓ ÒÓ·˚ÚËÂ
special event
¿À≈ü—¿Õƒ–¿
ALEXANDRA
10
2007, –ÓÒÒˡ/ ‘‡ÌˆËˇ, 92 ÏËÌ., ˆ‚., 1:1.66, Dolby Digital 5.1
2007, Russia/ France, 92 min., col., 1:1.66, Dolby Digital 5.1
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ ¿ÎÂÍ҇̉ —ÓÍÛÓ‚
Scriptwriter and Director Alexander Sokurov
ŒÔÂ‡ÚÓ ¿ÎÂÍ҇̉ ¡ÛÓ‚
Director of Photography Alexander Burov
’Û‰ÓÊÌËÍ ƒÏËÚËÈ Ã‡Î˘-üÓ̸ÍÓ‚
Production Design Dmitri Malich-Konkov
üÓÒÚ˛Ï˚ Àˉˡ ü˛ÍÓ‚‡
Costume Design Lydia Kriukova
üÓÏÔÓÁËÚÓ ¿Ì‰ÂÈ —Ë„ÎÂ
Composer Andrei Sigle
«‚ÛÍ ¬Î‡‰ËÏË œÂÒÓ‚
Sound Vladimir Persov
ÃÓÌÚ‡Ê —Â„ÂÈ »‚‡ÌÓ‚
Editing Sergei Ivanov
¬ ÓΡı: √‡ÎË̇ ¬Ë¯Ì‚Ò͇ˇ, ¬‡ÒËÎËÈ ÿ‚ˆÓ‚,
Cast: Galina Vishnevskaya, Vasili Shevtsov, Raisa Gichaeva,
–‡ËÒ‡ √˘‡Â‚‡, ≈‚„ÂÌËÈ “͇˜ÛÍ, ¿Ì‰ÂÈ ¡Ó„‰‡ÌÓ‚,
Evgeni Tkachuk, Andrei Bogdanov, Alexander Kladko
¿ÎÂÍ҇̉ ü·‰¸ÍÓ
Producers Andrei Sigle, Laurent Danielou
œÓ‰˛ÒÂ˚ ¿Ì‰ÂÈ —Ë„ÎÂ, ÀÓ‡Ì ƒ‡ÌËÂÎÛ
Production ìProline Filmî (Russia), Rezofilm (France) with
œÓËÁ‚Ó‰ÒÚ‚Ó ´Proline-filmª (–ÓÒÒˡ), Rezofilm (‘‡ÌˆËˇ)
the support of the Federal Agency of Culture and
ÔË ÔÓ‰‰ÂÊÍ ‘‰Â‡Î¸ÌÓ„Ó ‡„ÂÌÚÒÚ‚‡ ÔÓ ÍÛθÚÛÂ
Cinematography, Centre National de la Cinematographie
Ë ÍËÌÂχÚÓ„‡ÙËË, Centre National de la Cinematographie
(France)
(‘‡ÌˆËˇ)
www.proline-film.ru
ÒÔˆˇθÌÓ ÒÓ·˚ÚËÂ
special event
¿ÎÂÍ҇̉ —ÓÍÛÓ‚
–ÂÊËÒÒÂ Ë„Ó‚Ó„Ó Ë ‰ÓÍÛÏÂÌڇθÌÓ„Ó ÍËÌÓ.
Õ‡Ó‰Ì˚È ‡ÚËÒÚ –ÓÒÒËË , ·Û‡Ú
√ÓÒÛ‰‡ÒÚ‚ÂÌÌÓÈ ÔÂÏËË –ÓÒÒËË,
̇ˆËÓ̇θÌ˚ı ÍËÌÓÔÂÏËÈ, ÔËÁÂ
ÏÂʉÛ̇Ó‰Ì˚ı Ë ÓÚ˜ÂÒÚ‚ÂÌÌ˚ı
ÍËÌÓÙÂÒÚË‚‡ÎÂÈ. –Ó‰ËÎÒˇ 14 Ë˛Ìˇ 1951
„Ó‰‡ ‚ —Ë·ËË. ¬ 1974 ÓÍÓ̘ËÎ
ËÒÚÓ˘ÂÒÍËÈ Ù‡ÍÛθÚÂÚ √Ó¸ÍÓ‚ÒÍÓ„Ó
„ÓÒÛ‰‡ÒÚ‚ÂÌÌÓ„Ó ÛÌË‚ÂÒËÚÂÚ‡, ‚ 1979 ñ
¬√»ü (χÒÚÂÒ͇ˇ ‰ÓÍÛÏÂÌڇθÌÓ„Ó ÍËÌÓ
¿ÎÂÍ҇̉‡ «„ÛˉË). ¿‚ÚÓ Ë„Ó‚˚ı Ë
‰ÓÍÛÏÂÌڇθÌ˚ı ÙËθÏÓ‚, ÍÓÚÓ˚ ‡‚ÌÓ
‚‡ÊÌ˚ Ë Ë‰ÂÈÌÓ ‚Á‡ËÏÓÒ‚ˇÁ‡Ì˚ ‚
Ú‚Ó˜ÂÒڂ χÒÚÂ‡ ‰ÛıÓ‚ÌÓÈ ‰‡Ï˚.
œÓÎÌÛ˛ ÙËθÏÓ„‡Ù˲ (Ë„Ó‚Ó Ë
‰ÓÍÛÏÂÌڇθÌÓ ÍËÌÓ, Ú‡Ú‡Î¸Ì˚ ‡·ÓÚ˚)
Ë ‰Û„Ë χÚÂˇÎ˚ Ó ÊËÁÌË Ë Ú‚Ó˜ÂÒÚ‚Â
ÂÊËÒÒÂ‡ Ô‰ÒÚ‡‚ÎÂÌ˚ ̇ Ò‡ÈÚÂ
www.sokurov.spb.ru.
11
‘ËθÏÓ„‡Ùˡ (Ë„Ó‚Ó ÍËÌÓ):
1978-87 ....Œ‰ËÌÓÍËÈ „ÓÎÓÒ ˜ÂÎÓ‚Â͇
1980 ....–‡ÁʇÎÓ‚‡ÌÌ˚È
1983-87 ....—ÍÓ·ÌÓÂ ·ÂÒ˜Û‚ÒÚ‚ËÂ
1986 ....¿ÏÔË
1988 ....ƒÌË Á‡ÚÏÂÌˡ
1989 ....—Ô‡ÒË Ë ÒÓı‡ÌË
1990 ....üÛ„ ‚ÚÓÓÈ
1992 ....ü‡ÏÂ̸
1993 ....“ËıË ÒÚ‡Ìˈ˚
1997 ....Çڸ Ë Ò˚Ì
1999 ....ÃÓÎÓı
2000 ....“ÂΈ
2002 ....–ÛÒÒÍËÈ ÍÓ‚˜Â„
2003 ....ŒÚˆ Ë Ò˚Ì
2005 ....—ÓÎ̈Â
2007 ....¿ÎÂÍ҇̉‡
Alexander Sokurov
Director of narrative and documentary
cinema. National Artist of Russia, winner of
the State Prize of Russia, national film
awards, prize-winner of international and
national film festivals. Born on 14 June 1951
in Siberia. In 1974 graduated from the
faculty of history of Gorky State University;
in 1979 graduated from the Film Institute
VGIK (workshop of documentary cinema of
Alexander Zguridi). Author of feature and
documentary films, which are of equal
importance and ideologically interconnected
in the masterís creativity of spiritual drama.
A full filmography (feature and documentary
cinema, theatre works) and other materials
about the directorís life and creativity can be
found at www.sokurov.spb.ru.
ƒ‡Ï‡.
œÓÊË·ˇ ÊÂÌ˘Ë̇ ¿ÎÂÍ҇̉‡ ÔËÂÁʇÂÚ ‚ ‚ÓÂÌÌÛ˛ ˜‡ÒÚ¸ ̇‚ÂÒÚËÚ¸ ‚ÌÛ͇,
ÓÙˈÂ‡ –ÓÒÒËÈÒÍÓÈ ‡ÏËË, ÒÎÛʇ˘Â„Ó ‚ ◊˜ÌÂ. —Ó·˚Úˡ ˝ÚËı ‰‚Ûı ‰ÌÂÈ ñ
‰Ó΄ËÈ ÌÓ˜ÌÓÈ ‡Á„Ó‚Ó Ò ‚ÌÛÍÓÏ, Í‡Í ÌÂÔÓÒÚÓÈ ÔÛÚ¸ ̇‚ÒÚÂ˜Û ‰Û„ Í
‰Û„Û. —ÎÛ˜‡È̇ˇ ‚ÒÚ˜‡ Ò ÌÂÁ̇ÍÓÏÓÈ ÏÂÒÚÌÓÈ ÊÂÌ˘ËÌÓÈ, ‚ÂÌÛ‚¯‡ˇ
ÔÓÚÂˇÌÌÛ˛ ̇‰ÂʉÛ, ÔÓ„ÛÎ͇ ÔÓ ´‡ÌÂÌÓÏÛª „ÓÓ‰Û ñ „ÎÛ·ÓÍÓ ÚÓÌÛÚ ÂÂ
‰Û¯Û. ‘ËÎ¸Ï ÔÓ‚ÂÒÚ‚ÛÂÚ Ó ÒÎÓÊÌÓÈ Ú͇ÌË ˜ÂÎӂ˜ÂÒÍËı ÓÚÌÓ¯ÂÌËÈ. ¬ ˜ÂÏÚÓ ´¿ÎÂÍ҇̉‡ª ÔÂÂÍÎË͇ÂÚÒˇ Ò Ô‰˚‰Û˘ËÏË ´˝Î„ˡÏ˪ χÒÚÂ‡ (´ŒÚˆ
Ë Ò˚̪, ´Ã‡Ú¸ Ë Ò˚̪), ÌÓ ˝Ú‡ ËÒÚÓˡ ñ ‰‡‚ÌËÈ Á‡Ï˚ÒÂÎ ÂÊËÒÒÂ‡ ÒÌˇÚ¸
ÙËÎ¸Ï Ò Û˜‡ÒÚËÂÏ ‚ÂÎËÍÓÈ ÓÔÂÌÓÈ Ô‚ˈ˚ √‡ÎËÌ˚ ¬Ë¯Ì‚ÒÍÓÈ.
ÃËÓ‚‡ˇ ÔÂϸÂ‡ ñ 24.05.2007 ñ Ãü‘ ‚ ü‡Ì̇ı
Drama.
The elderly woman Alexandra arrives at a military base to visit her grandson,
Directorís filmography (features):
1978-87 ....The Lonely Voice of Man
1980 ....The Degraded
1983-87 ....Mournful Indifference
(Anaesthesia Dolorosa)
1986 ....Empire
1988 ....Days of Eclipse
1989 ....Save and Protect
1990 ....The Second Circle
1992 ....Stone
1993 ....Whispering Pages (Verborgene Seiten)
1997 ....Mother and Son
1999 ....Moloch
2000 ....Taurus
2002 ....Russian Ark
2003 ....Father and Son
2005 ....The Sun
2007 ....Alexandra
an Russian Army officer serving in Chechnya. The events of these two days ñ
a long night of conversations with the grandson ñ form an uneasy path of the
two becoming closer to each other. The casual meeting with an unknown local
woman, returning lost hope and a walk around the ìinjuredî city deeply touch
her soul. The film tells about the complex fabric of human relations. Somehow
ìAlexandraî echoes the previous ìelegiesî of the master (ìFather and Sonî,
ìMother and Sonî), but this story is based on an old plan by the director to
make a film with the participation of the great opera diva Galina
Vishnevskaya.
World premiere 24.05.2007 ñ IFF Cannes
Á‡Í˚ÚËÂ
closing gala
»«√Õ¿Õ»≈
THE BANISHMENT
12
2007, –ÓÒÒˡ, 150 ÏËÌ., ˆ‚., 1:2.35, Dolby Digital 5.1
2007, Russia, 150 min., col., 1:2.35, Dolby Digital 5.1
¿‚ÚÓ˚ ÒˆÂ̇ˡ ŒÎ„ Õ„ËÌ, ¿Ì‰ÂÈ «‚ˇ„Ë̈‚,
Scriptwriters Oleg Negin, Andrei Zviagintsev,
ÔË Û˜‡ÒÚËË ¿ÚÂχ ÃÂÎÍÛÏˇÌ‡
with participation of Artem Melkumian
–ÂÊËÒÒÂ ¿Ì‰ÂÈ «‚ˇ„Ë̈‚
Director Andrei Zviagintsev
ŒÔÂ‡ÚÓ ÃËı‡ËÎ ü˘χÌ
Director of Photography Mikhail Krichman
’Û‰ÓÊÌËÍ ¿Ì‰ÂÈ œÓÌÍ‡ÚÓ‚
Production Design Andrei Ponkratov
üÓÒÚ˛Ï˚ ¿Ì̇ ¡‡ÚÛÎË
Costume Design Anna Bartuli
üÓÏÔÓÁËÚÓ ¿Ì‰ÂÈ ƒÂ„‡˜Â‚, ¿‚Ó œˇÚ
Composers Andrei Dergachiov, Arvo Part
«‚ÛÍ ¿Ì‰ÂÈ ƒÂ„‡˜Â‚
Sound Andrei Dergachev
ÃÓÌÚ‡Ê ¿Ì̇ ÇÒÒ
Editor Anna Mass
¬ ÓΡı: ÇË ¡ÓÌÌ‚Ë, üÓÌÒÚ‡ÌÚËÌ À‡‚ÓÌÂÌÍÓ,
Cast: Maria Bonnevie, Konstantin Lavronenko,
¿ÎÂÍ҇̉ ¡‡ÎÛ‚, ÇÍÒËÏ ÿË·‡Â‚, ü‡Úˇ üÛθÍË̇,
Alexander Baluev, Maxim Shibaev, Katia Kulkina,
ƒÏËÚËÈ ”θˇÌÓ‚, ¿ÎÂÍÒÂÈ ¬ÂÚÍÓ‚
Dmitri Ulianov, Alexei Vertkov
œÓ‰˛ÒÂ˚ ƒÏËÚËÈ ÀÂÒÌ‚ÒÍËÈ
Producer Dmitri Lesnevsky
œÓËÁ‚Ó‰ÒÚ‚Ó REN-‘ËθÏ
Production REN Film
ÃÂʉÛ̇Ó‰Ì˚È ÔÓÍ‡Ú Intercinema XXI Century
Distribution Intercinema XXI Century
Á‡Í˚ÚËÂ
closing gala
¿Ì‰ÂÈ «‚ˇ„Ë̈‚
–ÂÊËÒÒÂ Ë„Ó‚Ó„Ó ÍËÌÓ, ‡ÍÚÂ. –Ó‰ËÎÒˇ 6
Ù‚‡Îˇ 1964 „Ó‰‡ ‚ ÕÓ‚ÓÒË·ËÒÍÂ.
ŒÍÓ̘ËÎ ÕÓ‚ÓÒË·ËÒÍÓ Ú‡Ú‡Î¸ÌÓÂ
Û˜ËÎˢÂ, ‡ÍÚÂÒÍËÈ Ù‡ÍÛθÚÂÚ √»“»—‡
(1990). ü‡Í ‡ÍÚÂ Û˜‡ÒÚ‚Ó‚‡Î ‚
ÌÂÁ‡‚ËÒËÏ˚ı Ú‡Ú‡Î¸Ì˚ı ÔÓÂÍÚ‡ı
¬Î‡‰ËÏË‡ ¿„‚‡, ÒÌËχÎÒˇ ‚ ÍËÌÓ,
‡·ÓڇΠ‚ ÂÍ·ÏÂ. ¬ 2003 ÒÌˇÎ ÔÂ‚˚È
13
ÔÓÎÌÓÏÂÚ‡ÊÌ˚È ÙËÎ¸Ï ´¬ÓÁ‚‡˘ÂÌ˪ ñ
´«ÓÎÓÚÓÈ À‚ Ò‚. Ç͇ª, ÔËÁ ÀÛˉÊË ‰Â
À‡ÛÂÌÚËÒ‡ Á‡ ÎÛ˜¯ËÈ ‰Â·˛Ú (´À‚
·Û‰Û˘Â„Óª) ñ Ãü‘ ‚ ¬Â̈ËË Ë ÏÌÓÊÂÒÚ‚Ó
‰Û„Ëı ÔËÁÓ‚ Ë ÔÓÙÂÒÒËÓ̇θÌ˚ı ÔÂÏËÈ
„Ó‰‡, ·ÛÂ‡Ú ÔÂÏËÈ ÍËÌӇ͇‰ÂÏËÈ ´ÕË͇ª
Ë ´«ÓÎÓÚÓÈ ŒÂΪ.
‘ËθÏÓ„‡Ùˡ ÂÊËÒÒÂ‡:
2000 ....¬˚·Ó; Obscure; ¡ÛÒË‰Ó (ÌÓ‚ÂÎÎ˚
ÒÂˇ· ´◊Â̇ˇ ÍÓÏ̇ڇª)
2003 ....¬ÓÁ‚‡˘ÂÌËÂ
2007 ....»Á„̇ÌËÂ
Andrei Zviagintsev
Director of feature films, actor. Born on 6
February 1964 in Novosibirsk. Graduated
from Novosibirsk Theatre School, then from
the acting faculty of the Moscow State
Theatre Institute GITIS (1990). As actor
participated in Vladimir Ageevís independent
theatre projects, acted in films, worked in
ƒ‡Ï‡Ú˘ÂÒ͇ˇ ÔËÚ˜‡.
advertising. In 2003 he made his first feature
ÃÛÊ, ÊÂ̇ Ë ‰‚Ó ‰ÂÚÂÈ (χθ˜ËÍ Ë ‰Â‚Ә͇) ÔËÂÁʇ˛Ú ËÁ
film ìThe Returnî, which received the
Ë̉ÛÒÚˇθÌÓ„Ó „ÓÓ‰‡ ‚ ÒÂθÒÍÛ˛ ÏÂÒÚÌÓÒÚ¸, ̇ Ó‰ËÌÛ ÏÛʇ, ‚ ÒÚ‡˚È
ìGolden Lion of St Markî and the Luigi de
ÓÚˆÓ‚ÒÍËÈ ‰ÓÏÖ ´ü‡Í Ë Î˛·‡ˇ ‰Û„‡ˇ ͇ÚË̇ ñ ˝ÚÓ ÍËÌÓ Ú‡Í ËÎË Ë̇˜Â
Laurentiis Award for Best Debut (ìLion of
´ÔÓ Ì‡Ò, ÔÓ ‚ÒÂıª: ‰Ó·˚Â, Í‡ÒË‚˚ β‰Ë ‚ Ú‡„˘ÂÒÍËı Ó·ÒÚÓˇÚÂθÒÚ‚‡ı
the Futureî) at the IFF in Venice, and a host
·ÂÁ˚ÒıÓ‰ÌÓÒÚË.
of other prizes and professional annual
awards; winner of awards of the film
ÃËÓ‚‡ˇ ÔÂϸÂ‡ ñ 18.05.2007, Ãü‘ ‚ ü‡Ì̇ı.
academies ìNikaî and ìGolden Eagleî.
Filmography:
Dramatic parable.
2000 ....Choice; Obscure; Bushido (novellas of
A husband, wife and two children (a boy and a girl) arrive from an industrial
the serial ìThe Black Roomî)
town to the countryside, to the husbandís birthplace, to stay in his fatherís old
2003 ....The Return
house ìJust like any other film, in one way or another, this film is about all of
2007 ....The Banishment
us ñ kind, beautiful people in the tragic circumstances of hopelessnessî.
World Premiere ñ 18.05.2007, IFF in Cannes.
ÍÓÌÍÛÒ
competition
14
∆fi–» / JURY
¬‡‰ËÏ ¿·‰‡¯ËÚÓ‚
Ô‰Ò‰‡ÚÂθ Ê˛Ë
ÍËÌÓÂÊËÒÒÂ
≈‚„ÂÌˡ
—ËÏÓÌÓ‚‡
‡ÍÚËÒ‡
фото: Аня Чибисова
»„Ó¸
üη‡ÌÓ‚
ÍËÌÓÓÔÂ‡ÚÓ
www. mk.ru
Фото: Анатолий Морковкин
Vadim Abdrashitov
jury chairman
film director
¿ÎÂÍ҇̉
flˆÂÌÍÓ
‡ÍÚÂ
Igor
Klebanov
cinematographer
Evgeniya
Simonova
actress
—Â„ÂÈ
À‡‚ÂÌڸ‚
ËÒÚÓËÍ ÍËÌÓ,
ÍËÚËÍ
¡ÓËÒ
’ηÌËÍÓ‚
ÍËÌÓÂÊËÒÒÂ
≈ÎÂ̇
flˆÛ‡
ÔÓ‰˛ÒÂ
Boris
Khlebnikov
film director
Elena
Yatsura
producer
Sergei
Lavrentiev
film historian,
critic
Alexander
Yatsenko
actor
„ÛÁ 200
CARGO 200
‰‚‡ ‚ Ó‰ÌÓÏ
TWO IN ONE
‰Â̸ ÓʉÂÌˡ ËÌÙ‡ÌÚ˚
INFANTE'S BIRTHDAY
ÊÂÒÚÓÍÓÒÚ¸
CRUELTY
ËÌÁÂÂ̸-χÎË̇
INZEEN-RASPBERRY
ÍÂÏÂ̸
HARD-HEARTED
ÍÛ͇
KUKA
̇ÚÛ˘Ëˆ‡
INSPIRING
ÓÚ˚‚
SOAR
ÔÓÒÚ˚ ‚¢Ë
SIMPLE THINGS
ÛÒ‡Î͇
THE MERMAID
ÚËÒÍË
VICE
ˇ
THE HOLLOW
15
ÍÓÌÍÛÒ
competition
√–”« 200
CARGO 200
16
2007, –ÓÒÒˡ, 94 ÏËÌ., ˆ‚., 1:1.85, Dolby Digital 5.1
2007, Russia, 94 min, col., 1:1.85, Dolby Digital 5.1
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ ¿ÎÂÍÒÂÈ ¡‡Î‡·‡ÌÓ‚
Scriptwriter and Director Alexei Balabanov
ŒÔÂ‡ÚÓ ¿ÎÂÍ҇̉ —ËÏÓÌÓ‚
Camera Alexander Simonov
’Û‰ÓÊÌËÍ œ‡‚ÂÎ œ‡ıÓÏÂÌÍÓ
Production Design Pavel Parkhomenko
üÓÒÚ˛Ï˚ Õ‡‰Âʉ‡ ¬‡ÒË肇
Costume Design Nadezhda Vasilieva
«‚ÛÍ ÃËı‡ËÎ ÕËÍÓ·‚
Sound Mikhail Nikolaev
ÃÓÌÚ‡Ê “‡Ú¸ˇÌ‡ üÛÁ¸Ï˘‚‡
Editing Tatiana Kuzmicheva
¬ ÓΡı: ¿„Ìˡ üÛÁ̈ӂ‡, ¿ÎÂÍÒÂÈ œÓÎÛˇÌ,
Cast: Agniya Kuznetsova, Alexei Poluyan, Leonid Gromov,
ÀÂÓÌˉ √ÓÏÓ‚, ¿ÎÂÍÒÂÈ —Â·ˇÍÓ‚, ÀÂÓÌˉ ¡Ë˜Â‚ËÌ,
Alexei Serebriakov, Leonid Bichevin, Natalia Akimova,
Շڇθˇ ¿ÍËÏÓ‚‡, fiËÈ —ÚÂÔ‡ÌÓ‚, ÃËı‡ËÎ —Íˇ·ËÌ,
Yuri Stepanov, Mikhail Skriabin, Andrei Mokeev,
¿Ì‰ÂÈ ÃÓÍ‚, ¿ÎÂ̇ ‘‡Î‡Î‚‡, ÀˇÎˇ ÃËÓÔÓθÒ͇ˇ,
Alena Falaleeva, Lialia Miropolskaya, Dmitri Karpov,
ƒÏËÚËÈ ü‡ÔÓ‚, À˛‰ÏË· ≈„ÓÓ‚‡, ¬‡ÎÂÌÚË̇ ¿Ì‰˛ÍÓ‚‡,
Liudmila Egorova, Valentina Andriukova, Ilya Pliatskovsky,
»Î¸ˇ œÎˇˆÍÓ‚ÒÍËÈ, »Ë̇ –‡Í¯Ë̇, ¿ÎÂÍ҇̉ ¡‡¯ËÓ‚
Irina Rakshina, Alexander Bashirov
œÓ‰˛ÒÂ˚ —Â„ÂÈ —ÂθˇÌÓ‚, ÇÍÒËÏ ”ı‡ÌÓ‚
Producers Sergei Selyanov, Maxim Ukhanov
œÓËÁ‚Ó‰ÒÚ‚Ó —“¬
Production CTB Film Company
œÓÍ‡Ú ´Õ‡¯Â ÍËÌÓª, ´ü‡ÓÔÓ͇ڪ
Distribution Nashe Kino, Karoprokat
www.gruz200.ru; www.ctb.ru
ÍÓÌÍÛÒ
competition
¿ÎÂÍÒÂÈ ¡‡Î‡·‡ÌÓ‚
–ÂÊËÒÒÂ, ÒˆÂ̇ËÒÚ, ÔÓ‰˛ÒÂ.
œËÁÂ ÏÂʉÛ̇Ó‰Ì˚ı Ë ÓÒÒËÈÒÍËı
ÍËÌÓÙÂÒÚË‚‡ÎÂÈ, ·ÛÂ‡Ú ÔÓÙÂÒÒËÓ̇θÌ˚ı
ÍËÌÓÔÂÏËÈ. –Ó‰ËÎÒˇ ‚ —‚Â‰ÎÓ‚ÒÍ 25
Ù‚‡Îˇ 1959 „Ó‰‡. ŒÍÓ̘ËÎ ÔÂ‚Ӊ˜ÂÒÍËÈ
Ù‡ÍÛθÚÂÚ √Ó¸ÍÓ‚ÒÍÓ„Ó Ô‰‡„ӄ˘ÂÒÍÓ„Ó
ËÌÒÚËÚÛÚ‡ (1981), ¬˚үˠÍÛÒ˚
ÒˆÂ̇ËÒÚÓ‚ Ë ÂÊËÒÒÂÓ‚ (1990,
17
˝ÍÒÔÂËÏÂÌڇθÌ˚È ÍÛÒ ´¿‚ÚÓÒÍÓÂ
ÍËÌÓª). ¬ 1992 „Ó‰Û ‚ÏÂÒÚÂ Ò —Â„ÂÂÏ
—ÂθˇÌÓ‚˚Ï Ë ¬‡ÒËÎËÂÏ √Ë„Ó¸Â‚˚Ï
ÓÒÌÓ‚‡Î üËÌÓÍÓÏÔ‡Ì˲ —“¬, ÔË Û˜‡ÒÚËË
ÍÓÚÓÓÈ ÓÌ ‚ ÓÒÌÓ‚ÌÓÏ Ë ÒÌËχÂÚ Ò‚ÓË
ÙËθÏ˚.
»Á·‡Ì̇ˇ ÙËθÏÓ„‡Ùˡ ÂÊËÒÒÂ‡:
1991 ....—˜‡ÒÚÎË‚˚ ‰ÌË
1994 ....«‡ÏÓÍ
1995 ....“ÓÙËÏ˙ (Í/Ï)
1997 ....¡‡Ú
1998 ....œÓ ÛÓ‰Ó‚ Ë Î˛‰ÂÈ
2000 ....¡‡Ú-2
2000 ....–Â͇
2002 ....¬ÓÈ̇
2005 ....∆ÏÛÍË
2006 ....ÃÌ Ì ·ÓθÌÓ
Alexei Balabanov
Director, scriptwriter, producer. Prize-winner
of international and national film festivals,
ƒ‡Ï‡.
winner of professional film awards. Born 25
———–. 1984 „Ó‰ ñ ͇ÌÛÌ ÔÂÂÒÚÓÈÍË Ë ‚ÂÏˇ ‚ÓÈÌ˚ ‚ ¿Ù„‡ÌËÒÚ‡ÌÂ.
February 1959 in Sverdlovsk. Graduated from
¬ÓÂÌÌ˚ ҇ÏÓÎÂÚ˚ Ò ˆËÌÍÓ‚˚ÏË „Ó·‡ÏË (´„ÛÁÓÏ 200ª) Ì ӷıÓ‰ˇÚ
the Translation Department of Gorky
ÒÚÓÓÌÓÈ Ë ÔÓ‚Ë̈ˇθÌ˚È „ÓÓ‰ÓÍ ÀÂÌËÌÒÍ. «‰ÂÒ¸ ÊË‚ÂÚ ˛Ì‡ˇ ‰Â‚ۯ͇.
Pedagogical Institute (1981), and from the
ŒÌ‡ ‚β·ÎÂ̇ ‚ Ô‡Ìˇ, ÍÓÚÓ˚È ÒÎÛÊËÚ ‰ÂÒ‡ÌÚÌËÍÓÏ ‚ ¿Ù„‡ÌËÒÚ‡ÌÂ.
Higher Courses for Directors and
œ‡Â̸ ÔÓ„Ë·‡ÂÚ. ¿ ‰Â‚Û¯ÍÛ Î˛·ËÚ ÏËÎˈËÓÌÂ ∆ÛÓ‚ ñ Ó·˚˜Ì˚È
Scriptwriters at the Film Institute (1990,
ÒÓ‚ÂÚÒÍËÈ ÒÛχү‰¯ËÈ. ÃÂÊ‰Û ÚÂÏ ÔÓÒΠӘÂ‰ÌÓÈ ‰ËÒÍÓÚÂÍË ÔÓÔ‡‰‡ÂÚ
experimental course of ëdirectorís cinemaí). In
‰Ó˜¸ ÒÂÍÂÚ‡ˇ Ô‡ÚÍÓχ Ô‡ÚËË. —‚ˉÂÚÂÎÂÈ ÌÂÚ, ‚ËÌÓ‚Ì˚ Ì ӷ̇ÛÊÂÌ˚.
1992 he founded, together with Sergei
¬ ˝ÚÓÚ Ê ‚˜Â ‚ ‰ÓÏ ̇ ÓÍ‡ËÌ „ÓÓ‰‡ ÔÓËÒıÓ‰ËÚ ÊÂÒÚÓÍÓ ۷ËÈÒÚ‚Ó.
Selianov and Vasili Grigoriev, the film
¬ËÌÓ‚Ì˚È ñ ıÓÁˇËÌ ‰Óχ. Œ·‡ ‡ÒÒΉӂ‡Ìˡ ÔÓÛ˜ÂÌ˚ ͇ÔËÚ‡ÌÛ ÏËÎˈËË
company —“¬, with whom he subsequently
∆ÛÓ‚Û...
made all his films.
Drama.
Selected Filmography:
USSR 1984. On the eve of perestroika, during the Afghan war. Military planes
1991 ....Happy Days
with zinc coffins (cargo 200) do not bypass the small provincial town of
1994 ....The Castle
Leninsk. A young girl lives here; she is in love with a lad who serves in
1995 ....Trofim (short)
Afghanistan. He perishes. The militiaman Zhurov, a typical Soviet madman, is
1997 ....Brother
in love with the girl. After a disco, the daughter of the Communist Party
1998 ....Of Freaks and Men
committeeís secretary goes missing. There are no witnesses, and the culprit is
2000 ....Brother 2
not found. On the same evening, a gruesome murder happens in a house on the
2001 ....The River
townís periphery. The house owner is guilty of the crime. Both investigations
2002 ....War
are led by police captain Zhurov...
2005 ....Blind Manís Bluff
2006 ....It Doesnít Hurt
ÍÓÌÍÛÒ
competition
ƒ¬¿ ¬ ŒƒÕŒÃ
TWO IN ONE
18
2006, ”Í‡Ë̇/ –ÓÒÒˡ, ˆ‚., 124 ÏËÌ.
2006, Ukraine/ Russia, col., 124 min.
¿‚ÚÓ˚ ÒˆÂ̇ˡ –Â̇ڇ ÀËÚ‚ËÌÓ‚‡, ≈‚„ÂÌËÈ √ÓÎÛ·ÂÌÍÓ
Scriptwriters Renata Litvinova, Evgeni Golubenko
–ÂÊËÒÒÂ üË‡ ÃÛ‡ÚÓ‚‡
Director Kira Muratova
ŒÔÂ‡ÚÓ ¬Î‡‰ËÏË œ‡ÌÍÓ‚
Director of Photography Vladimir Pankov
’Û‰ÓÊÌËÍ ≈‚„ÂÌËÈ √ÓÎÛ·ÂÌÍÓ
Production Design Evgeni Golubenko
üÓÏÔÓÁËÚÓ ¬‡ÎÂÌÚËÌ —Ëθ‚ÂÒÚÓ‚
Composer Valentin Silvestrov
«‚ÛÍ ≈ÙËÏ “ÛˆÍËÈ
Sound Efim Turetsky
ÃÓÌÚ‡Ê “‡Ï‡‡ ƒÂÌËÒÓ‚‡
Editing Tamara Denisova
¬ ÓΡı: –Â̇ڇ ÀËÚ‚ËÌÓ‚‡, ≈‚„ÂÌËÈ √ÓÎÛ·ÂÌÍÓ,
Cast: Renata Litvinova, Evgeni Golubenko, Bogdan Stupka,
¡Ó„‰‡Ì —ÚÛÔ͇, ÕË̇ –ÛÒ·ÌÓ‚‡, ¬Î‡‰ËÏË √ÓˇÌÒÍËÈ,
Nina Ruslanova, Vladimir Goriansky, Natalia Buzko,
Շڇθˇ ¡ÛÁ¸ÍÓ, ¿ÎÂÍ҇̉ ¡‡¯ËÓ‚, ∆‡Ì ƒ‡Ì˽θ
Alexander Bashirov, Jean Daniel
√ÂÌÂ‡Î¸Ì˚È ÔÓ‰˛ÒÂ ŒÎ„ üÓı‡Ì
General Producer Oleg Kohan
—ÓÔÓ‰˛ÒÂ –Û·ÂÌ ƒË¯‰Ë¯ˇÌ
Co-producer Ruben Dishdishian
œÓËÁ‚Ó‰ÒÚ‚Ó Sota cinema group, ÔË Û˜‡ÒÚËË
Production Sota Cinema Group, with participation from the
ÃËÌËÒÚÂÒÚ‚‡ ÍÛθÚÛ˚ ”Í‡ËÌ˚, "÷ÂÌÚ‡Î œ‡ÚÌÂ¯ËÔ"
Ministry of Culture of Ukraine, "Central Partnership"
œÓÍ‡Ú ´÷ÂÌÚ‡Î œ‡ÚÌÂ¯ËÔª
Distribution Central Partnership
www.sota.net.ua
ÍÓÌÍÛÒ
competition
üË‡ ÃÛ‡ÚÓ‚‡
üËÌÓÂÊËÒÒÂ, ÒˆÂ̇ËÒÚ, ‡ÍÚËÒ‡.
Õ‡Ӊ̇ˇ ‡ÚËÒÚ͇ ”Í‡ËÌ˚, ·Û‡Ú
ÔÓÙÂÒÒËÓ̇θÌ˚ı ÔÂÏËÈ –ÓÒÒËË,
”Í‡ËÌ˚, √ÂχÌËË, ‘‡ÌˆËË, ÿ‚ÂȈ‡ËË,
—ÿ¿, ÔËÁÂ ÏÂʉÛ̇Ó‰Ì˚ı Ë
ÓÚ˜ÂÒÚ‚ÂÌÌ˚ı ÍËÌÓÙÂÒÚË‚‡ÎÂÈ.
∆Ë· ‚ –ÛÏ˚ÌËË, –ÓÒÒËË, ”Á·ÂÍËÒÚ‡ÌÂ,
ÃÓΉ‡‚ËË, ÓÔˇÚ¸ ‚ –ÛÏ˚ÌËË, –ÓÒÒËË Ë
Á‡ÚÂÏ ‚ ”Í‡ËÌÂ. ”˜Ë·Ҹ ̇
ÙËÎÓÎӄ˘ÂÒÍÓÏ Ù‡ÍÛθÚÂÚ Ã√”, ÓÍÓ̘Ë·
ÂÊËÒÒÂÒÍËÈ Ù‡ÍÛθÚÂÚ ¬√»ü‡ (1959,
Û˜ÂÌˈ‡ —Â„¡ √Â‡ÒËÏÓ‚‡). — 1961ñ
ÂÊËÒÒÂ Œ‰ÂÒÒÍÓÈ ÍËÌÓÒÚÛ‰ËË. œÂ‚˚Â
ÙËθÏ˚ ñ ‰ËÔÎÓÏ̇ˇ ‡·ÓÚ‡ ´” ÍÛÚÓ„Ó
ˇ‡ª Ë ´Õ‡¯ ˜ÂÒÚÌ˚È ıηª ñ ÔÓÒÚ‡‚ÎÂÌ˚
ÒÓ‚ÏÂÒÚÌÓ Ò ¿ÎÂÍ҇̉ÓÏ ÃÛ‡ÚÓ‚˚Ï.
19
‘ËθÏÓ„‡Ùˡ ÂÊËÒÒÂ‡:
1967 ....üÓÓÚÍË ‚ÒÚ˜Ë
1971 ....ƒÓ΄Ë ÔÓ‚Ó‰˚
1978 ....œÓÁ̇‚‡ˇ ·ÂÎ˚È Ò‚ÂÚ
1983 ....—Â‰Ë ÒÂ˚ı ͇ÏÌÂÈ
1987 ....œÂÂÏÂ̇ Û˜‡ÒÚË
1989 ....¿ÒÚÂÌ˘ÂÒÍËÈ ÒË̉ÓÏ
1992 ....◊Û‚ÒÚ‚ËÚÂθÌ˚È ÏËÎˈËÓÌÂ
1994 ....”‚ΘÂ̸ˇ
1997 ....“Ë ËÒÚÓËË
1999 ....œËÒ¸ÏÓ ‚ ¿ÏÂËÍÛ (Í/Ï)
2001 ....¬ÚÓÓÒÚÂÔÂÌÌ˚ β‰Ë
2002 ....◊ÂıÓ‚ÒÍË ÏÓÚË‚˚
2004 ....Õ‡ÒÚÓÈ˘ËÍ
2004 ....—Ô‡‚͇ (Í/Ï)
2006 ....ƒ‚‡ ‚ Ó‰ÌÓÏ
2006 ....üÛÍ·
Kira Muratova
Film director, scriptwriter, actress. Peopleís
actress of Ukraine, winner of professional
awards in Russia, Ukraine, Germany, France,
Switzerland, USA; prizewinner of
international and national film festivals.
Lived in Romania, Russia, Uzbekistan,
Moldova, then again in Romania, Russia and
Ukraine. Studied at the faculty of philology
at Moscow State University, graduated from
the directorís faculty of the Film Institute
VGIK (1959, class of Sergei Gerasimov).
Since 1961 director at the Odessa film studio.
Her first films and diploma works ìBy the
Steep Ravineî and ìOur Honest Breadî were
directed together with Alexander Muratov.
“‡„ËÍÓÏ˘ÂÒ͇ˇ ‰‡Ï‡ ËÁ ÊËÁÌË Î˛‰ÂÈ ‚ ‰‚Ûı ÌÓ‚Âηı.
Õ‡ ÒˆÂÌ Ú‡Ú‡ ÔÓ‚ÂÒËÎÒˇ ‡ÍÚÂ. ü‡ÍËÏ-ÚÓ Ó·‡ÁÓÏ ‚ ˝ÚÓÏ Á‡Ï¯‡Ì ‡·Ó˜ËÈ
ÒˆÂÌ˚. ÕÓ ÚÂÎÓ ÎËˆÂ‰Âˇ ‚ ÔÂÚΠñ ‰‡ÎÂÍÓ Ì ҇χˇ Á‡ı‚‡Ú˚‚‡˛˘‡ˇ ËÌÚË„‡,
‡Á‰Ë‡˛˘‡ˇ ÚÛÔÔÛ. » Ì‚ÓÁÏÓÊÌÓ Ô‰ÔÓÎÓÊËÚ¸, ÍÛ‰‡ Á‡‚‰ÂÚ ˜Â‰‡
ÒÓ·˚ÚËÈ Ë ÒÍÓθÍÓ Â˘Â ÒÏÂÚÂÈ Ê‰ÂÚ ˝ÚÛ ÚÛÔÔÛ...
—Ú‡²˘ËÈ ÎÓ‚ÂÎ‡Ò Ì ÏÓÊÂÚ ÒÏËËÚ¸Òˇ Ò Ó‰ËÌÓ˜ÂÒÚ‚ÓÏ. ” ÌÂ„Ó ÂÒÚ¸ ‚ÒÂ,
ÍÓÏ ӉÌÓ„Ó ñ ÊÂÌ˘ËÌ˚ Â„Ó ÊËÁÌË, Ë ÓÌ „ÓÚÓ‚ ËÒ͇ڸ  ‰Ó ËÁÌÂÏÓÊÂÌˡ,
‰Ó Ò‡ÏÓÈ ÒÏÂÚË. ≈‰ËÌÒÚ‚ÂÌ̇ˇ ÊÂÌ˘Ë̇ ˇ‰ÓÏ Ò ÌËÏ ñ Â„Ó ÚÂÔÂÎË‚‡ˇ
‰Ó˜¸. Õ ‚˚‰Âʇ‚ Ú‡ÍÓ„Ó ÔÓÎÓÊÂÌˡ, Ó̇ ÔË‚Ó‰ËÚ ‚ ‰ÓÏ Ò‚Ó˛ ÔÓ‰Û„Û,
ÔÓÒÚÓ‰Û¯ÌÛ˛ ‡·ÓÚÌËˆÛ Ú‡Ï‚‡ÈÌÓ„Ó ‰ÂÔÓÖ
Tragicomic drama in two short stories from the life of people.
On a theatre stage an actor has hung himself. Somehow a stage worker gets
Filmography:
1967 ....Short Encounters
1971 ....Long Farewells
1978 ....Getting to Know the World
1983-87 ....Among the Grey Stones
1987 ....A Change of Fate
1989 ....The Asthenic Syndrome
1992 ....The Sentimental Policeman
1994 ....Enthusiasms
1997 ....Three Stories
1999 ....Letter to America (short)
2001 ....Minor People
2002 ....Chekhov Motifs
2004 ....The Tuner
2004 ....The Certificate (short)
2006 ....Two in One
2006 ....The Dummy (short)
involved in the case. But the actorís body in the sling is by far not the most
fascinating intrigue that is capturing the attention of the troupe. It is
impossible to see where the series of events will lead and how many deathse
await the troupe...
An aging ladyís man cannot reconcile himself with loneliness. He has
everything, except for the women of his life, and he is ready to search for her
until the end, or death. The only woman close to him is his patient daughter.
Unable to cope with her fate, she brings along her friend, a simple working
girl of the tram depotÖ
ÍÓÌÍÛÒ
competition
ƒ≈Õ‹ –Œ∆ƒ≈Õ»fl »Õ‘¿Õ“¤
INFANTEíS BIRTHDAY
20
2007, –ÓÒÒˡ, 65 ÏËÌ., ˆ‚., ÒÚÂÂÓ, Betacam SP
2007, Russia, 65 min., col., stereo, Betacam SP
¿‚ÚÓ˚ ÒˆÂ̇ˡ ¬‡ÎÂˡ-√‡È √ÂχÌË͇,
Scriptwriters Valeria Gai-Germanika, Olga Gella Podolskaya
ŒÎ¸„‡ Gella œÓ‰ÓθÒ͇ˇ
Director Valeria-Gai Germanika
–ÂÊËÒÒÂ ¬‡ÎÂˡ-√‡È √ÂχÌË͇
Director of Photography Ivan Finogeev
ŒÔÂ‡ÚÓ »‚‡Ì ‘ËÌӄ‚
Production Design Polina Bakhtina
’Û‰ÓÊÌËÍ œÓÎË̇ ¡‡ıÚË̇
Sound Viktor Timshin, Sergei Ovcharenko
«‚ÛÍ ¬ËÍÚÓ “ËϯËÌ, —Â„ÂÈ Œ‚˜‡ÂÌÍÓ
Cast: WishMaster, Umnitsa Lil (Clever Lil), Irina Orlova,
¬ ÓΡı: WishMaster, ”ÏÌˈ‡ ÀËÎ, »Ë̇ ŒÎÓ‚‡,
Sergei Orlov, Oleg Logota, Tatiana Logota,
—Â„ÂÈ ŒÎÓ‚, ŒÎ„ ÀÓ„ÓÚ‡, “‡Ú¸ˇÌ‡ ÀÓ„ÓÚ‡,
Elizaveta Trofimova
≈ÎËÁ‡‚ÂÚ‡ “ÓÙËÏÓ‚‡
Producers Giya Lordkipanidze, Alexander Shein
œÓ‰˛ÒÂ˚ √ˡ ÀÓ‰ÍËÔ‡ÌˉÁÂ, ¿ÎÂÍ҇̉ ÿÂÈÌ
Production ìArtDesignî
œÓËÁ‚Ó‰ÒÚ‚Ó ´¿ÚƒËÁ‡È̪
ÍÓÌÍÛÒ
competition
¬‡ÎÂˡ-√‡È √ÂχÌË͇
–Ӊ˷Ҹ ‚ ÃÓÒÍ‚Â ‚ 1984 „Ó‰Û. ŒÍÓ̘Ë·
ÌÂÁ‡‚ËÒËÏÛ˛ ¯ÍÓÎÛ ÍËÌÓ Ë “¬ ´Internewsª
(2005, χÒÚÂÒ͇ˇ ÇËÌ˚ –‡Á·ÂÊÍËÌÓÈ).
ƒÂ·˛ÚËÓ‚‡Î‡ ÙËθÏÓÏ ´ƒÂ‚Ó˜Í˪ ñ
„·‚Ì˚È ÔËÁ ÍÓÌÍÛÒ‡ ´üÓÓÚÍËÈ ÏÂÚª
Œ–ü‘ ´üËÌÓÚ‡‚ª (2006). ´ƒÂ̸ ÓʉÂÌˡ
»ÌÙ‡ÌÚ˚ª ñ Ë„Ó‚ÓÈ ÔÓÎÌÓÏÂÚ‡ÊÌ˚È
‰Â·˛Ú.
21
‘ËθÏÓ„‡Ùˡ (‰ÓÍ.):
2005 ....ƒÂ‚Ó˜ÍË
2005 ....—ÂÒÚ˚
2006 ....Çθ˜ËÍË
2007 ....”Âı‡Î (Ò ¡ÓËÒÓÏ ’ηÌËÍÓ‚˚Ï)
Valeria-Gai Germanika
Born in Moscow in 1984. Graduated from the
Independent School of Cinema and Television
ìInternewsî (2005, workshop of Marina
Razbezhkina). Debut film ìGirlsî: Main Prize
of the Short Film Competition ORFF
ìKinotavrî (2006). ìInfanteís Birthdayî is
her feature film debut.
Filmography (doc.):
2005 ....Girls
2005 ....Sisters
2006 ....Boys
2007 ....Heís Gone (with Boris Khlebnikov)
ƒÓÍÛÏÂÌڇθÌÓ-Ë„Ó‚‡ˇ ‰‡Ï‡.
WishMaster, ”ÏÌˈ‡ ÀËÎ, Õ¸˛, —ÍÛÌÒ, ÀËÒ, ÀËÒÂ̇, üÓ¯Í‡Ö ñ ˝ÚÓ „ÛÔÔ‡
β‰ÂÈ, ÍÓÚÓ˚ ҘËÚ‡˛Ú, ˜ÚÓ Ëı ‚˚‰ÛχÌ̇ˇ ÊËÁ̸, „Ó‡Á‰Ó ·ÓΠ‚‡Ê̇ Ë
‡θ̇, ˜ÂÏ Ú‡, ÍÓÚÓ‡ˇ ·˚· Û„ÓÚÓ‚‡Ì‡ ËÏ ÓÚ ÓʉÂÌˡ. ›ÚÓ ÚÂ, ÍÚÓ
Ô‡ÍÚËÍÛ˛Ú ‚ Ò‚ÓÂÈ ‡θÌÓÒÚË Ò‡‰ÓχÁÓıËÁÏ, ÒÓÁ‰‡‚‡ˇ ‚ÓÍÛ„ Ò‚ÓÂÈ
ÒÚ‡ÒÚË ÓχÌÚ˘ÂÒÍËÈ Ó·‡Á ‰Û„Ó„Ó, ‚ˉËÏÓ„Ó ÚÓθÍÓ ËÏË ÏË‡. —
ÔÓÁˈËË Ó·˚‚‡ÚÂΡ ÓÌË ˇ‚Ρ˛ÚÒˇ Ì ·ÓΠ˜ÂÏ ËÁ‚‡˘Â̈‡ÏË Ò
ÔÒËı˘ÂÒÍËÏË ÓÚÍÎÓÌÂÌˡÏË. » ‚Ò ÊÂ, ÍÚÓ ÓÌË? ü‡Í ÓÌË ‚˚ÊË‚‡˛Ú ‚
ÏËÂ, ÍÓÚÓ˚È Ò‡ÏË ÓÌË Ì‡Á˚‚‡˛Ú ´‚‡ÌËθÌ˚Ϫ? » Á‡˜ÂÏ ˝ÚËÏ Î˛‰ˇÏ
Ú‡ÍË ÒÚ‡ÌÌ˚ ÔÓÁ‚ˢ‡, Í ˜ÂÏÛ Ú‡Í‡ˇ Ú˘‡ÚÂθÌÓ ÔÓ‡·ÓÚ‡Ì̇ˇ ÁÎӂ¢‡ˇ
‡ÚË·ÛÚË͇: ÔÎÂÚÍË-ÙÎÓ„„Â˚ ËÎË Î‡ÚÂÍÒÌ˚ ÍÓÒÚ˛Ï˚? ◊ÚÓ ‚ˉˇÚ ÓÌË ‚
Ò‚ÓÂÏ Û‚Î˜ÂÌËË, ˜Â„Ó Ì ‚ˉËÏ Ï˚ Ë ÌËÍÓ„‰‡ Ì ۂˉËÏ, ÂÒÎË Ó„‡Ì˘ËÏÒˇ
ÚÓθÍÓ ‰ÓÍÛÏÂÌڇθÌ˚Ï Ó·ÁÓÓÏ?
Documentary-narrative drama.
WishMaster, Clever Lil, New, Skunk, Fox, Foxy, CatÖ this is a group of
people who reckon that their invented life is much more important and real
than what their birth held in store for them. They practice a sado-masochism,
creating around their passions the romantic image of another world visible
only to them. From the position of ordinary citizens they are no more than
perverts with mental deviations. And still, who are they? How do they survive
in a world that they call ìvanillaî? And why do they use these strange
nicknames and carefully chosen, ominous attributes: flogging scourges or latex
suits? What do they see in their hobby that we do not see ñ and never shall
see, if we limit ourselves by a documentary approach?
ÍÓÌÍÛÒ
competition
∆≈—“ŒüŒ—“‹
CRUELTY
22
2007, –ÓÒÒˡ, 90 ÏËÌ., ˆ‚., 1:1.85, Dolby SRD
2007, Russia, 90 min., col., 1:1.85, Dolby SRD
¿‚ÚÓ˚ ÒˆÂ̇ˡ ÇË̇ À˛·‡ÍÓ‚‡, ƒÂÌËÒ –Ó‰ËÏËÌ
Scriptwriters Marina Liubakova, Denis Rodimin
–ÂÊËÒÒÂ ÇË̇ À˛·‡ÍÓ‚‡
Director Marina Liubakova
’Û‰ÓÊÂÒÚ‚ÂÌÌ˚È ÛÍÓ‚Ó‰ËÚÂθ œ‡‚ÂÎ ÀÛÌ„ËÌ
Artistic Director Pavel Lungin
ŒÔÂ‡ÚÓ ¿ÌÚÓÌ ƒÓÁ‰Ó‚
Director of Photography Anton Drozdov
’Û‰ÓÊÌËÍ —Â„ÂÈ ¿„ËÌ
Production Design Sergei Agin
üÓÒÚ˛Ï˚ ¿Ì‡ÒÚ‡Òˡ ÕÂÙ‰ӂ‡
Costume Design Anastasia Nefedova
üÓÏÔÓÁËÚÓ ƒ‡ÚÓ ≈‚„ÂÌˉÁÂ
Composer Dato Evgenidze
«‚ÛÍ —Â„ÂÈ √ÛÒËÌÒÍËÈ, ¬Î‡‰ËÏË ÀËÚÓ‚ÌËÍ
Sound Sergei Gusinsky, Vladimir Litrovnik
ÃÓÌÚ‡Ê ¿Î¸·Ë̇ ¿ÌÚËÔÂÌÍÓ
Editing Albina Antipenko
¬ ÓΡı: –Â̇ڇ ÀËÚ‚ËÌÓ‚‡, ¿Ì̇ ¡Â„ÛÌÓ‚‡,
Cast: Renata Litvinova, Anna Begunova, Olga Onishchenko,
ŒÎ¸„‡ ŒÌˢÂÌÍÓ, ≈‚„ÂÌËÈ —ÂÓ‚, ¿ÎÂÍÒÂÈ ‘‡Ì‰ÂÚÚË,
Evgeni Serov, Alexei Frandetti, Sasha Astakhov
—‡¯‡ ¿ÒÚ‡ıÓ‚‡
General Producers Yuri Glotser, Nadezhda Solovieva
√ÂÌÂ‡Î¸Ì˚ ÔÓ‰˛ÒÂ˚ fiËÈ √ÎÓˆÂ, Õ‡‰Âʉ‡ —ÓÎÓ‚¸Â‚‡
Producers Pavel Lungin, Olga Vasilieva, Rimma Shulgina
œÓ‰˛ÒÂ˚ œ‡‚ÂÎ ÀÛÌ„ËÌ, ŒÎ¸„‡ ¬‡ÒË肇,
Production BFG-Media Production, Lungin Studio
–ËÏχ ÿÛθ„Ë̇
œÓËÁ‚Ó‰ÒÚ‚Ó BFG-Media Production, —ÚÛ‰Ëˇ œ‡‚· ÀÛÌ„Ë̇
www.lunginstudio.ru
ÍÓÌÍÛÒ
competition
ÇË̇ À˛·‡ÍÓ‚‡
–ÂÊËÒÒÂ Ë„Ó‚Ó„Ó Ë ‰ÓÍÛÏÂÌڇθÌÓ„Ó ÍËÌÓ.
ŒÍÓ̘Ë· ËÒÚÓ˘ÂÒÍËÈ Ù‡ÍÛθÚÂÚ
¬Ó΄ӄ‡‰ÒÍÓ„Ó Ô‰‡„ӄ˘ÂÒÍÓ„Ó ËÌÒÚËÚÛÚ‡
(1986), ¬»œœü (1994, ÂÊËÒÒÂÒ͇ˇ
χÒÚÂÒ͇ˇ Ã.». “ÛχÌ˯‚ËÎË, ¬.¬.
¿ÍËÏÓ‚‡). –‡·Óڇ· ̇ ´œÂ‚ÓÏ Í‡Ì‡Îª,
ÚÂÎÂ͇̇Π´—ÚÓÎˈ‡ª, ‚ ÚÂÎÂÍÓÏÔ‡ÌËË
´Õ“¬ª. ´∆ÂÒÚÓÍÓÒÚ¸ª ñ ÔÂ‚˚È Ë„Ó‚ÓÈ
23
ÔÓÎÌÓÏÂÚ‡ÊÌ˚È ÙËÎ¸Ï ÂÊËÒÒÂ‡.
‘ËθÏÓ„‡Ùˡ:
1994 ....œÓ„ÓÌˇ (Í/Ï)
1996 ....ÕÂÊË‚ÓÈ Á‚Â¸ (Í/Ï)
1997 ....Õ ‚ˉˇ ‰Û„ ‰Û„‡ (Í/Ï, ‰ÓÍ.)
2002 ....ŒÒÚÓ‚‡. Õ‡‰Âʉ‡ üÓÊÛ¯‡Ì‡ˇ
(‰ÓÍ.)
2003 ....ŒÒÚÓ‚‡. ¬‡ÎÂËÈ ‘ˉ (‰ÓÍ.)
2004 ....“ÂÏÌ˚È ÃÛ (‰ÓÍ.)
2007 ....∆ÂÒÚÓÍÓÒÚ¸
Marina Liubakova
Director of feature and documentary films.
Graduated from the history faculty of the
Volgograd Pedagogical Institute (1986),
qualified as director from the Russian
Institute for Upgrading of Qualifications in
the Cinema Sector (VIPPK) (1994, class of
Mikhail Tumanishvili and Vladimir Akimov).
Worked on the First Channel, channel
´Stolitsaª, and NTV. ´Crueltyª is her first
œÒËıÓÎӄ˘ÂÒ͇ˇ ‰‡Ï‡.
feature film.
«Óˇ ñ ·Î‡„ÓÔÓÎۘ̇ˇ, ÌÓ Ó‰ËÌÓ͇ˇ ÊÂÌ˘Ë̇ Ò‰ÌËı ÎÂÚ. ¬Ë͇ ñ
Ê‡Ê‰Û˘‡ˇ ÌÂÁ‡‚ËÒËÏÓÒÚË ‰Â‚Ә͇-ÚËÌÂȉÊÂ. — Í˚¯Ë Ò‚ÓÂÈ ´ıÛ˘Â‚Í˪
Filmography:
¬Ë͇ ̇·Î˛‰‡ÂÚ ÊËÁ̸ Á‡ ÓÍ̇ÏË ÒÓÒ‰ÌÂ„Ó ‰Óχ. ≈ ÙÓÚÓ‡ÔÔ‡‡Ú
1994 ....Pursuit (short)
ÙËÍÒËÛÂÚ Î˛·Ó‚ÌÛ˛ ÒˆÂÌÛ ÏÂÊ‰Û «ÓÂÈ Ë Â ÊÂ̇Ú˚Ï ÒÓÒ‰ÓÏ. ¬ËÍÂ
1996 ....A lifeless animal (short)
ÔËıÓ‰ËÚ ‚ „ÓÎÓ‚Û ´„ÂÌˇθ̇ˇª ˉ¡ ñ ¯‡ÌÚ‡ÊËÓ‚‡Ú¸ Ì‚ÂÌÓ„Ó
1997 ....Without seeing each other (short, doc.)
ÏÛʘËÌÛ. — ÔÓÏÓ˘¸˛ ˜‡ÒÚÌ˚ı ‰ÂÚÂÍÚË‚Ó‚ ÚÓÚ ·˚ÒÚÓ ‡Áӷ·˜‡ÂÚ
2002 ....Islands. Nadezhda Kozhushannaya (doc).
¯‡ÌÚ‡ÊËÒÚÍÛ, ÌÓ, ËÒÔÛ„‡‚¯ËÒ¸ ӄ·ÒÍË, ‚Ò Ê ·ÓÒ‡ÂÚ «Ó˛. œÓÒÚÂÔÂÌÌÓ
2003 ....Islands. Valery Fried (doc).
ÊÂÌ˘ËÌ˚ Ò·ÎËʇ˛ÚÒˇ, Ë ¬Ë͇ Û„Ó‚‡Ë‚‡ÂÚ ÌÓ‚Û˛ Á̇ÍÓÏÛ˛ ÓÚÓÏÒÚËÚ¸
2004 ....Dark Ãu (doc).
·˚‚¯ÂÏÛ Î˛·Ó‚ÌËÍÛ. œÓ‰Û„Ë ´‚ıÓ‰ˇÚ ‚Ó ‚ÍÛÒª, ÏÂÒÚ¸ ÔËÓ·ÂÚ‡ÂÚ
2007 ....Cruelty
ÍËÏË̇θÌ˚ χүڇ·˚. «Óˇ Ë ¬Ë͇ ÛÊ ÌËÍÓ„‰‡ Ì ·Û‰ÛÚ Ú‡ÍËÏË, ͇Í
ÔÂʉÂÖ
Psychological drama.
Zoya is a secure, but lonely middle-aged woman. Vika is a typical teenager
longing for independence. From the roof of her apartment block Vika observes
life behind the windows of the house opposite. Her photo-camera captures a
love scene between Zoya and her married neighbour. Vika has the ingenious
idea of blackmailing the unfaithful husband. With the help of a private
detective the latter quickly exposes Vika, but, scared of the publicity, he
nevertheless ends his affair with Zoya. Gradually the two women get closer,
and Vika persuades her new friend to take revenge on her former lover. The
women take to the idea, and their revenge reaches criminal dimensions. Zoya
and Vika will never be the same as beforeÖ
ÍÓÌÍÛÒ
competition
»Õ«≈≈Õ‹-ÿÀ»Õ¿
INZEEN-RASPBERRY
24
2007, –ÂÒÔÛ·ÎË͇ “‡Ú‡ÒÚ‡Ì (–‘), 75 ÏËÌ., ˆ‚.,
2007, Republic Tatarstan (Russian Federation), 75 min., col.,
Dolby Digital 5.1
Dolby Digital 5.1
¿‚ÚÓ˚ ÒˆÂ̇ˡ ƒÂÌËÒ ŒÒÓÍËÌ, ¬Î‡‰ËÏË —Ë‚ÍÓ‚
Scriptwriters Denis Osokin, Vladimir Sivkov
–ÂÊËÒÒÂ ¬Î‡‰ËÏË —Ë‚ÍÓ‚
Director Vladimir Sivkov
ŒÔÂ‡ÚÓ —Â„ÂÈ ÀËÚӂˆ
Director of Photography Sergei Litovets
’Û‰ÓÊÌËÍ Ã‡Èˇ ’‚‡Ì
Production Design Maya Khvan
üÓÏÔÓÁËÚÓ “‡Ú¸ˇÌ‡ ÀËÚӂˆ
Composer Tatiana Litovets
«‚ÛÍ ŒÎ„ «Û‚
Sound Oleg Zuev
ÃÓÌÚ‡ÊÂ œ‡‚ÂÎ —ÓÍÓÎÓ‚ÒÍËÈ
Editing Pavel Sokolovsky
¬ ÓΡı: œ‡‚ÂÎ √ÛÒÚÓ‚, ≈͇ÚÂË̇ —ÚÓΡ,
Cast: Pavel Gustov, Ekaterina Stoliar, Ekaterina Medvedeva,
≈͇ÚÂË̇ É‚‰‚‡, üÓÌÒÚ‡ÌÚËÌ Ã‡ÎÍÓ‚,
Konstantin Malkov, Alexander Krainov, Polina Logacheva,
¿ÎÂÍ҇̉ ü‡ÈÌÓ‚, œÓÎË̇ ÀÓ„‡˜Â‚‡, √ÂÓ„ËÈ ¬Î‡ÒÂÌÍÓ
Georgi Vlasenko
œÓ‰˛ÒÂ ÃËı‡ËÎ ÃËı‡ÈÎÓ‚
Producer Mikhail Mikhailov
œÓËÁ‚Ó‰ÒÚ‚Ó ü‡Á‡ÌÒ͇ˇ ÍËÌÓÒÚÛ‰Ëˇ
Production Kazan Film Studio
ÍÓÌÍÛÒ
competition
¬Î‡‰ËÏË —Ë‚ÍÓ‚
–ÂÊËÒÒÂ, ‰‡Ï‡ÚÛ„ Ú‡Ú‡ Ë ÍËÌÓ.
À‡ÛÂ‡Ú ÔÂÏËË ËÏÂÌË √.ÀÓÔ‡ÚË̇
(Á‡ ÒˆÂ̇ËË ÍÓÓÚÍÓÏÂÚ‡ÊÌ˚ı
ÍÓωËÈÌ˚ı ÙËθÏÓ‚), Û˜‡ÒÚÌËÍ
ÏÂʉÛ̇Ó‰Ì˚ı ÙÂÒÚË‚‡ÎÂÈ. ŒÍÓ̘ËÎ
¬˚үˠÍÛÒ˚ ÒˆÂ̇ËÒÚÓ‚ Ë ÂÊËÒÒÂÓ‚:
χÒÚÂÒÍÛ˛ ÍËÌÓ‰‡Ï‡ÚÛ„ËË À.ÕËÍÓ·‚‡
Ë fi.ü‡‡‚ÍË̇ (1990) Ë Ï‡ÒÚÂÒÍÛ˛
25
ÍËÌÓÂÊËÒÒÛ˚ —.«ÂÎËÍË̇ Ë œ.ÃÓÒÚÓ‚Ó„Ó
(1993). ¿‚ÚÓ ÏÌÓ„Ó˜ËÒÎÂÌÌ˚ı
ÍËÌÓÒˆÂ̇Ë‚, ÔÓ ÍÓÚÓ˚Ï ÒÌˇÚÓ 15
͇ÚËÌ. ¬ 1987ñ92 ‡·ÓڇΠ̇ –ÓÒÚÓ‚ÒÍÓÈ
ÒÚÛ‰ËË ÍËÌÓıÓÌËÍË, ‚ 1993ñ99 ñ ‚ ÃÓÒÍ‚Â
(–÷—ƒ‘), Ò 2001 ñ ̇ ü‡Á‡ÌÒÍÓÈ ÒÚÛ‰ËË
ÍËÌÓıÓÌËÍË, Û˜‡ÒÚÌËÍ ˇ‰‡
ÏÂʉÛ̇Ó‰Ì˚ı ‰ÓÍÛÏÂÌڇθÌ˚ı ÔÓÂÍÚÓ‚.
¿‚ÚÓ-ÔÂ‚Ӊ˜ËÍ Ù‡ÌˆÛÁÒÍËı Ë„Ó‚˚ı
ÙËθÏÓ‚. ´»ÌÁÂÂ̸-χÎË̇ª ñ ‰Â·˛Ú ‚
Ë„Ó‚ÓÏ ÍËÌÓ.
Vladimir Sivkov
Director, playwright and scriptwriter. Winner
of the Lopatin Prize (for scripts of short
comedy films), participant of international
festivals. Graduated from the Higher Courses
of Scriptwriters and Directors, workshop of
scriptwriting of L. Nikolaev and Yu.
Karavkin (1990), and workshop of film
direction of S. Zelikin and P. Mostovoy
(1993). Author of numerous film scripts, on
“ˉˆ‡ÚËÎÂÚÌËÈ ¿ÎÂÍÒÂÈ, ̇˜‡Î¸ÌËÍ ‡ÈÓÌÌÓ„Ó Óډ· ÍÛθÚÛ˚ ñ Ò‡Ï˚È
the basis of which 15 films were made. From
̇ÒÚÓˇ˘ËÈ ˜Û‰ËÍ. ŒÌ ÔÓ·ÛÂÚ ËÒÓ‚‡Ú¸ ‚ χÌÂ ÿ‡„‡Î‡, Ô˚Ú‡ÂÚÒˇ ÓÚÍ˚Ú¸
1987-92 worked at the Rostov Studio of Film
ÏÛÁÂÈ ÔÓ‚Ë̈ˇθÌÓ„Ó ÛÒÒÍÓ„Ó ‡‚‡Ì„‡‰‡, Á‡ÌËχÂÚÒˇ ‡ıÂÓÎӄ˘ÂÒÍËÏË
Chronicles, from 1993-99 in Moscow at the
‡ÒÍÓÔ͇ÏË, Û˜ËÚÒˇ ÎÂÚ‡Ú¸ ̇ Ô‡‡Ô·ÌÂÖ
Russian Central Studio of Documentary Films
¬ÓÒÂϸ ‡Ú-ı‡ÛÒÌ˚ı ÍËÌÓÌÓ‚ÂÎÎ, Ò‚ÓÂ„Ó Ó‰‡ ´Ú‡ÍÚ‡Ú Ó ÔÛÒÚÓÚª,
(RTsSDF), since 2001 at the Kazan Studio of
̇ÔÓÎÌÂÌÌ˚È ‰ÛıÓ‚ÌÓÈ ˝ÌÂ„ËÂÈ. » ‚Ò ÊÂ, „‰Â ‚ıÓ‰ Ë „‰Â ‚˚ıÓ‰ ‚ ˝ÚÓÈ
Film Chronicles. Participant of international
ÊËÁÌË? ÃÓÊÂÚ, ÔÓÒÚÓ Á‡Í˚Ú¸ „·Á‡, ÔÓ‚ÂÒËÚ¸ Ò· ̇ Û¯Ë ÎÓÊÍË Ë ÚËıÓ
documentary projects. Author and translator
ÔÓ‚ÚÓˇÚ¸ ‚Óί·ÌÓ ÒÎÓ‚Ó ´»ÌÁÂÂ̸ª.
of French fiction films. ìInzeen-Raspberryî is
his debut feature film.
The 30-year-old Alexei, head of the regional department of culture, is a real
crank. He tries to paint in the style of Chagall, to open a museum of provincial
Russian avant-garde, to engage in archeological excavations, to learn
paraglidingÖ
Eight art-house film novellas, some kind of ìtreatise about emptinessî, filled
with spiritual energy. But where is the entrance and where is the exit in this
life? Maybe it can be found just by closing oneís eyes, hanging spoons over
oneís ears, and silently repeating the magic word ìInzeenî.
ÍÓÌÍÛÒ
competition
ü–≈Ã≈Õ‹
HARD-HEARTED
26
2007, –ÓÒÒˡ, 90 ÏËÌ., ˆ‚., 1:1.85, Dolby Digital
2007, Russia, 90 min, col., 1:1.85, Dolby Digital
¿‚ÚÓ ÒˆÂ̇ˡ ¿ÎÂÍÒÂÈ ÃËÁ„Ë‚,
Scriptwriter Alexei Mizgiryov,
ÔË Û˜‡ÒÚËË fiˡ ü·‚‰Ë‚‡
with participation of Yuri Klavdiev
–ÂÊËÒÒÂ ¿ÎÂÍÒÂÈ ÃËÁ„Ë‚
Director Alexei Mizgiryov
ŒÔÂ‡ÚÓ ¬‡‰ËÏ ƒÂ‚
Director of Photography Vadim Deev
’Û‰ÓÊÌËÍ ƒÂÌËÒ ÿË·‡ÌÓ‚
Production Design Denis Shibanov
üÓÒÚ˛Ï˚ fiÎˡ ÇÚÓÒÓ‚‡
Costume Design Yulia Matrosova
«‚ÛÍ ≈‚„ÂÌˡ œÓÚӈ͇ˇ
Sound Evgenia Pototskaya
ÃÓÌÚ‡Ê Õ‡Ú‡Î¸ˇ üÛ˜ÂÂÌÍÓ
Editing Natalia Kucherenko
¬ ÓΡı: ≈‚„ÂÌËÈ ¿ÌÚÓÔÓ‚, ƒÏËÚËÈ üÛ΢ÍÓ‚,
Cast: Evgeni Antropov, Dmitri Kulichkov,
—Â„ÂÈ ÿÂıÓ‚ˆÓ‚, ¿Ì‡ÒÚ‡Òˡ ¡ÂÁ·ÓÓ‰Ó‚‡,
Sergei Shekhovtsov, Anastasia Bezborodova,
“‡Ú¸ˇÌ‡ Õ‡ÒÚ‡¯Â‚Ò͇ˇ, ¿ÎÂÍ҇̉ √ÓÎ۷‚, ü‡˝Ì ¡‡‰‡ÎÓ‚
Tatiana Nastashevskaya, Alexander Golubev, Karen Badalov
œÓ‰˛ÒÂ —Â„ÂÈ —ÂθˇÌÓ‚
Producer Sergei Selyanov
œÓËÁ‚Ó‰ÒÚ‚Ó ´—“¬ª
Production CTB Film Company
œÓÍ‡Ú ´Õ‡¯Â ÍËÌÓª, ´ü‡ÓÔÓ͇ڪ
Distribution Nashe Kino, Karoprokat
www.ctb.ru
ÍÓÌÍÛÒ
competition
¿ÎÂÍÒÂÈ ÃËÁ„Ë‚
üËÌÓÂÊËÒÒÂ, ÒˆÂ̇ËÒÚ. –Ó‰ËÎÒˇ 1 ˲Ρ
1974 „Ó‰‡ ‚ „ÓӉ Ã˚ÒÍË üÂÏÂÓ‚ÒÍÓÈ
ӷ·ÒÚË. ŒÍÓ̘ËÎ ÙËÎÓÒÓÙÒÍËÈ Ù‡ÍÛθÚÂÚ
“ÓÏÒÍÓ„Ó ÛÌË‚ÂÒËÚÂÚ‡ (1997),
ÂÊËÒÒÂÒÍËÈ Ù‡ÍÛθÚÂÚ ¬√»ü‡ (2004,
χÒÚÂÒ͇ˇ ¬.fi. ¿·‰‡¯ËÚÓ‚‡). ¬Ó ‚ÂÏˇ
ۘ·˚ ÒÌˇÎ ÌÂÒÍÓθÍÓ ÍÓÓÚÍÓÏÂÚ‡ÊÌ˚ı
ÙËθÏÓ‚, Ò ÍÓÚÓ˚ÏË ÂÁÛθڇÚË‚ÌÓ
27
Û˜‡ÒÚ‚Ó‚‡Î ‚ ÒÚÛ‰Â̘ÂÒÍËı ÍËÌÓÙÓÛχı,
·˚Î ÂÊËÒÒÂÓÏ-ÒÚ‡ÊÂÓÏ Ì‡ ÙËθÏÂ
¬‡‰Ëχ ¿·‰‡¯ËÚÓ‚‡ ´Ã‡„ÌËÚÌ˚ ·Û˪
(2003). ¬ 2006 „Ó‰Û ‡·ÓڇΠ‚
ÏÌÓ„ÓÒÂËÈÌÓÏ ÚÂÎÂÔÓÂÍÚ ´üÛ·„ËÌ Ë
Ô‡ÚÌÂ˚ª (͇̇Π´–ÓÒÒˡª). ´üÂÏÂ̸ª ñ
ÔÂ‚˚È ÔÓÎÌÓÏÂÚ‡ÊÌ˚È ÙËθÏ.
Alexei Mizgiryov
Film director, scriptwriter. Born 1 July 1974
in Myski, Kemerovo Region. Graduated from
the faculty of philosophy of Tomsk University
(1997), and from the directorsí faculty of the
Film Institute VGIK (2004, workshop of Vadim
Abdrashitov). During his studies he made some
short films, which participated in student film
forums. He was as trainee director on
Abdrashitovís ìMagnetic Stormsî (2003). In
2006 he worked on the multi-serial television
project ìKulagin and Coî (channel Rossiya).
ìHard-heartedî is his first feature film.
ƒ‡Ï‡.
—Ó‚ÂÏÂÌ̇ˇ ÃÓÒÍ‚‡. √ÓÓ‰ ̇‰Âʉ Ë Ó·Ï‡ÌÛÚ˚ı ÓÊˉ‡ÌËÈ. «‰ÂÒ¸ ‰ÂÈÒÚ‚ÛÂÚ
Á‡ÍÓÌ ‚˚ÊË‚‡Ìˡ. œÓ·Âʉ‡ÂÚ ÒËθÌÂȯËÈ. ¿ÌÚÓÌ ÔËÂÁʇÂÚ ‚ ÒÚÓÎËˆÛ Á‡
β·ËÏÓÈ ‰Â‚Û¯ÍÓÈ. ŒÌ‡ ÓÚ‚Â„‡ÂÚ Â„Ó. ÕÓ ÓÌ Ì ÔË‚˚Í ÓÚÒÚÛÔ‡Ú¸. ≈ÏÛ
ÔËıÓ‰ËÚ¸Òˇ ÒÚ‡Ú¸ Ò‚ÓËÏ ‚ ˜ÛÊÓÏ „ÓÓ‰Â. –‡‰Ë Ò‚ÓÂÈ ˆÂÎË ¿ÌÚÓÌ „ÓÚÓ‚ ̇
β·˚ ÔÓÒÚÛÔÍË. ” ÌÂ„Ó ñ Ò‚ÓË Ô‡‚Ë·. ŒÌ ñ ´üÂÏÂ̸ª.
Drama.
Modern Moscow is a glamorous, European, harsh city of hopes and deceived
expectations. Here the law of the survival of the fittest applies. Anton comes to
the capital because of the girl he loves. She rejects him. But Anton is not used
to recede and becomes ëour owní in a strange city. For the sake of his goal he is
prepared to go the whole way. He has his own rules: he is hard-hearted.
ÍÓÌÍÛÒ
competition
ü”ü¿
KUKA
28
2007, –ÓÒÒˡ, 104 ÏËÌ., ˆ‚., 1:1.85, Dolby Digital 5.1
2007, Russia, 104 min., col., 1:1.85, Dolby Digital 5.1
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ flÓÒ·‚ ◊‚‡Ê‚ÒÍËÈ
Scriptwriter and Director Yaroslav Chevazhevsky
ŒÔÂ‡ÚÓ ¿ÌÚÛ‡Ì ¬Ë‚‡Ò ƒÂÌËÒÓ‚
Director of Photography Antoine Vivas Denisov
’Û‰ÓÊÌËÍ ƒÂÌËÒ üÛÔËÌ
Production Design Denis Kuprin
ÃÛÁ˚͇ ÇÍÒËÏ ‘‡‰Â‚, ¿Ì‡ÒÚ‡Òˡ ÇÍÒËÏÓ‚‡,
Music Maxim Fadeev, Anastasia Maximova, Sergei Banevich,
—Â„ÂÈ ¡‡Ì‚˘, ŒÎ„ ¬ÓÈÎẨÓ, fiËÈ »„̇ÚÓ‚,
Oleg Voilendo, Yuri Ignatov, Sergei Paramonov
—Â„ÂÈ œ‡‡ÏÓÌÓ‚
Sound Alexander Obrant, Viktor Timoshin
«‚ÛÍ ¿ÎÂÍ҇̉ Œ·‡ÌÚ, ¬ËÍÚÓ “ËϯËÌ
Editing Nikolai Bulygin
–ÂÊËÒÒÂ ÏÓÌڇʇ ÕËÍÓÎ‡È ¡ÛÎ˚„ËÌ
Cast: Dina Korzun, Nastia Dobrynina, Pavel Derevianko,
¬ ÓΡı: ƒË̇ üÓÁÛÌ, Õ‡ÒÚˇ ƒÓ·˚ÌË̇,
Dmitri Diuzhev, Yuri Kolokolnikov, Alexander Polovtsev,
œ‡‚ÂÎ ƒÂ‚ˇÌÍÓ, ƒÏËÚËÈ ƒ˛Ê‚, fiËÈ üÓÎÓÍÓθÌËÍÓ‚,
Irina Kupchenko, Maria Golub, Andrei Ilyin, Yuri Beliayev
¿ÎÂÍ҇̉ œÓÎÓ‚ˆÂ‚, »Ë̇ üÛÔ˜ÂÌÍÓ, Çˡ √ÓÎÛ·,
General Producers Natela Abuladze, Maxim Osadchi
¿Ì‰ÂÈ »Î¸ËÌ, fiËÈ ¡ÂΡ‚
Production ìStaralisî
œÓ‰˛ÒÂ˚ Õ‡Ú· ¿·Û·‰ÁÂ, ÇÍÒËÏ ŒÒ‡‰˜ËÈ
œÓËÁ‚Ó‰ÒÚ‚Ó ´Staralisª
www.staralis.ru
ÍÓÌÍÛÒ
competition
flÓÒ·‚ ◊‚‡Ê‚ÒÍËÈ
–Ó‰ËÎÒˇ ‚ ÃÓÒÍ‚Â ‚ 1968 „Ó‰Û. –ÂÊËÒÒÂ
ÂÍ·Ï˚, ÍÓÔË‡ÈÚÂ, ÔÓ‰˛ÒÂ.
¬ÓÁ„·‚ΡÂÚ ÒÚÛ‰Ë˛ ´fl◊Â! ‘ËθϪ. ¿‚ÚÓ
ÒˆÂ̇Ë‚ Ë ÂÊËÒÒÂ ·ÓΠ1000
ÂÍ·ÏÌ˚ı ÓÎËÍÓ‚. ¿Í‡‰ÂÏËÍ –ÓÒÒËÈÒÍÓÈ
¿Í‡‰ÂÏËË ÂÍ·Ï˚, ÏÌÓ„ÓÍ‡ÚÌ˚È ÔËÁÂ
ÃÓÒÍÓ‚ÒÍÓ„Ó ÏÂʉÛ̇Ó‰ÌÓ„Ó ÙÂÒÚË‚‡Îˇ
ÂÍ·Ï˚. ‘ËÎ¸Ï ´üÛ͇ª ñ ‰Â·˛Ú ‚
29
ÔÓÎÌÓÏÂÚ‡ÊÌÓÏ ÍËÌÓ.
Yaroslav Chevazhevsky
Born in Moscow in 1968. Director of
advertising, copywriter, producer. Heads the
studio ìYarCheî (BrighTer). Author of scripts
and director of over 1000 advertising clips.
Member of the Russian Academy of
Advertising, repeatedly prize winner of the
Moscow International Festival of Advertising.
ìKukaî is his debut full-length feature.
ÃÂÎÓ‰‡Ï‡.
ÀÂÌ 38 ÎÂÚ. ∆ËÁ̸, ͇Á‡ÎÓÒ¸ ·˚, ̇·ÊÂ̇ ñ ÃÓÒÍ‚‡, ͇¸Â‡,
´ÔÂÒÚËÊÌ˚Ȫ ·ÓÈÙẨ. ÕÓ ÀÂ̇ ÒÓÁ̇ÂÚ, ˜ÚÓ ˝ÚÓ ñ ÔÛÚ¸ ‚ ÌËÍÛ‰‡, ˜ÚÓ ÔË
‚̯ÌÂÏ ·Î‡„ÓÔÓÎÛ˜ËË Ó̇ ÔÓÚÂˇÎ‡ ˜ÚÓ-ÚÓ Ó˜Â̸ ‚‡ÊÌÓÂ Ë ˜ÚÓ Ô˯·
ÔÓ‡ ̇ÍÓ̈ ÔÂÂÒÏÓÚÂÚ¸ Ò‚Ó˛ ÊËÁ̸. ÀË·Ó ÒÂȘ‡Ò, ÎË·Ó ÛÊ ÌËÍÓ„‰‡.
ÀÂ̇ ·ÓÒ‡ÂÚ ‚ÒÂ Ë ÓÚÔ‡‚ΡÂÚÒˇ ‚ œÂÚÂ·Û„, „‰Â ÛÒÚ‡Ë‚‡ÂÚÒˇ ̇ ÔÂ‚Û˛
ÔÓÔ‡‚¯Û˛Òˇ ‡·ÓÚÛ ÔÓ Ó·˙ˇ‚ÎÂÌ˲ ñ ‚ ‡ÈÓÌÌÛ˛ ÒÓˆÒÎÛÊ·ÛÖ
üÛ͇ ÊË‚ÂÚ ‚ œÂÚÂ·Û„ ÒÓ‚Â¯ÂÌÌÓ Ó‰Ì‡. ŒÌ‡ ÒÏ·ˇ, ÒÏ˚¯ÎÂ̇ˇ Ë Ó˜Â̸
‚ÁÓÒ·ˇ ‰Â‚Ә͇, ÂÈ 6 ÎÂÚ. Œ‰Ì‡Ê‰˚ ÀÂ̇ Ë üÛ͇ ‚ÒÚ˜‡˛ÚÒˇ. ÀÂ̇ ıÓ˜ÂÚ
ÔÓÏÓ˜¸ ˝ÚÓÈ ÒÚ‡ÌÌÓÈ ‰Â‚˜Û¯ÍÂ. ÕÓ üÛ͇, Á‡‚ˉ‚ ÒÂ‰Ó·ÓθÌÛ˛ ÚÂÚ˛,
ÏÓÏÂÌڇθÌÓ ËÒÔ‡ˇÂÚÒˇ, ‚‰¸  ÏÓ„ÛÚ ´Ò‰‡Ú¸ª ‚ ‰ÂÚÒÍËÈ ‰ÓÏ!..
Melodrama.
Lena is 38 years old. Her life, it seems, is all mapped out: Moscow, a career, a
ìprestigiousî boyfriend. But Lena understands that all this leads nowhere, that
underneath the appearance she has lost something very important; thus,
finally, she reconsiders her life ñ either now or never. Lena throws it all in
and goes to St Petersburg, where she accepts the first available job: in the
local social servicesÖ
Kuka lives in Petersburg, completely on her own. The six-year-old girl is
courageous, clever and very mature for her age. Lena and Kuka meet one day.
Lena wants to help this strange little girl. But Kuka, having noticed Lenaís
compassion, instantly disappears, because Lena could turn her in to an
orphanage!..
ÍÓÌÍÛÒ
competition
Õ¿“”–Ÿ»÷¿
INSPIRING
30
2006, –ÓÒÒˡ, 117 ÏËÌ., ˆ‚., 1:1.66, Dolby SR
2006, Russia, 117 min, col., 1:1.66, Dolby SR
¿‚ÚÓ ÒˆÂ̇ˡ ƒÏËÚËÈ —Ó·Ó΂
Scriptwriter Dmitri Sobolev
–ÂÊËÒÒÂ “‡Ú¸ˇÌ‡ ¬ÓÓ͇̈ˇ
Director Tatiana Voronetskaya
ŒÔÂ‡ÚÓ ÕËÍÓÎ‡È ÕÂÏÓΡ‚
Camera Nikolai Nemoliaev
’Û‰ÓÊÌËÍË »„Ó¸ ÀÂϯ‚, fiËÈ ŒÒËÔÂÌÍÓ
Art Directors Igor Lemeshev, Yuri Osipenko
üÓÒÚ˛Ï˚ Շڇθˇ ƒË‡ÌÓ‚‡
Costume Design Natalia Dianova
üÓÏÔÓÁËÚÓ ƒÏËÚËÈ üÛÎˇÌ‰ÒÍËÈ
Composer Dmitri Kurliandsky
«‚ÛÍ ¿Ì‰ÂÈ üÓËÌÒÍËÈ
Sound Andrei Korinsky
ÃÓÌÚ‡Ê ÕÂÎÎË ∆‰‡ÌÓ‚‡, —‚ÂÚ·̇ ÀËÔË̇
Editing Nelli Zhdanova, Svetlana Lipina
¬ ÓΡı: ¬ËÍÚÓˡ “ÓÎÒÚÓ„‡ÌÓ‚‡, ƒ‡ÌËËÎ —ÔË‚‡ÍÓ‚ÒÍËÈ,
Cast: Victoria Tolstoganova, Daniil Spivakovsky,
ÕËÍÓÎ‡È ‘ÓÏÂÌÍÓ, ƒ‡ÌËËÎ —Ú‡ıÓ‚, ¬ËÚ‡ÎËÈ ≈„ÓÓ‚,
Nikolai Fomenko, Daniil Strakhov, Vitali Egorov,
“‡Ú¸ˇÌ‡ ü‡‚˜ÂÌÍÓ, ÇÍ –Û‰Ë̯ÚÂÈÌ, À˛‰ÏË· œÓΡÍÓ‚‡
Tatiana Kravchenko, Mark Rudinshtein, Liudmila Poliakova
œÓ‰˛ÒÂ “‡Ú¸ˇÌ‡ ¬ÓÓ͇̈ˇ
Producer Tatiana Voronetskaya
œÓËÁ‚Ó‰ÒÚ‚Ó ´–ÓÒÒÙËθϪ, „ÛÔÔ‡ ÍÓÏÔ‡ÌËÈ ´–ÂÌÓ‚‡ª,
Production Rossfilm, with participation of the Federal
‘‰Â‡Î¸ÌÓ ‡„ÂÌÚÒÚ‚Ó ÔÓ ÍÛθÚÛÂ Ë ÍËÌÂχÚÓ„‡ÙËË
Agency for Culture and Cinematography, Renova-Media
œÓÍ‡Ú ´ü‡Ò͇‰ ÙËθϪ
Distribution ´Cascade Filmª
www.inspiring.ru; www.rossfilm.ru
ÍÓÌÍÛÒ
competition
“‡Ú¸ˇÌ‡ ¬ÓÓ͇̈ˇ
œÓ‰˛ÒÂ, ÂÊËÒÒÂ ‰ÓÍÛÏÂÌڇθÌÓ„Ó Ë
Ë„Ó‚Ó„Ó ÍËÌÓ, „ÂÌÂ‡Î¸Ì˚È ‰ËÂÍÚÓ Ë
ÓÒÌÓ‚‡ÚÂθ ÍËÌÓÍÓÏÔ‡ÌËË ´–ÓÒÒÙËθϪ.
ŒÍÓ̘Ë· ÒˆÂ̇ÌÓ-ÍËÌӂ‰˜ÂÒÍËÈ
Ù‡ÍÛθÚÂÚ ¬√»ü‡ (1981), ‡ÒÔË‡ÌÚÛÛ
(1989). — 1981 ñ ÒÚ‡¯ËÈ ‰‡ÍÚÓ
ÍËÌÓÒÚÛ‰ËË ´—Ó˛ÁÏÛθÚÙËθϪ, ‚ 1983ñ90
ñ ‰ËÂÍÚÓ ̇ۘÌÓ-ÏÂÚӉ˘ÂÒÍÓ„Ó Í‡·ËÌÂÚ‡
31
√ÓÒÍËÌÓ ———–, Ò 1990 ñ Á‡ÏÂÒÚËÚÂθ
‰ËÂÍÚÓ‡ “‡Ú‡-ÒÚÛ‰ËË ´¿–—-90ª ÔË
¬√»ü (˝ÍÒÔÂËÏÂÌڇθ̇ˇ χÒÚÂÒ͇ˇ
—Â„¡ —ÓÎÓ‚¸Â‚‡), Ô‰‡„Ó„ ¬√»ü‡. ¿‚ÚÓ
ÍÌË„Ë ´ÀÂÓÌˉ ‘Ë·ÚÓ‚ª (1991),
ÍËÚ˘ÂÒÍËı ÒÚ‡ÚÂÈ Ó ÍËÌÓ.
‘ËθÏÓ„‡Ùˡ ÂÊËÒÒÂ‡:
2000 ....Œ, Ì ÎÂÚË Ú‡Í, ÊËÁ̸...
ÀÂÓÌˉ ‘Ë·ÚÓ‚ (‰ÓÍ.)
2002 ....¡Ó„ ı‡ÌËÚ ‚ÒÂÖ (‰ÓÍ.)
2003 ....Çڸ ¬Î‡‰ËÏËÒ͇ˇ (‰ÓÍ.)
2003 ....–ˆÂÔÚ ÍÓΉÛ̸Ë
2004 ....ÕÂÁ̇ÍÓÏ͇ (‰ÓÍ.)
2004 ....–ÓÒÒˡ, ÍÓÚÓÛ˛ Ï˚ Ó·ÂÎË (‰ÓÍ.)
2005 ....ÀË„‡ ӷχÌÛÚ˚ı ÊÂÌ (ÒÂˇÎ)
2005 ....—Ô‡Ò‡ÚÂÎË (‰ÓÍ.)
2006 ....◊ËÒÚÓ ÊÂÌÒ͇ˇ ËÒÚÓˡ (‰ÓÍ.)
2006 ....Õ‡ÚÛ˘Ëˆ‡
Tatiana Voronetskaya
Producer, director of documentary and
feature films, general director and founder of
ìRossfilmî Company (Moscow). Graduated
œÒËıÓÎӄ˘ÂÒ͇ˇ ÏÂÎÓ‰‡Ï‡ ÔÓ ÏÓÚË‚‡Ï ‡ÒÒ͇Á‡ fiˡ Õ‡„Ë·Ë̇ ´“Ó Ë
from the scriptwriting department of the
Ӊ̇, Ë Â˘Â Ó‰Ë̪.
Film Institute VGIK (1981), and completed a
Õ‡˜‡ÎÓ XX ‚Â͇. ÃÓÎÓ‰‡ˇ ÒÛÔÛÊÂÒ͇ˇ Ô‡‡, ¬Î‡‰ËÒ·‚ ›¯ÂÌ·‡ı Ë —ÓÙ¸ˇ
higher degree in 1989. From 1981 she worked
œ¯Ë·˚¯Â‚Ò͇ˇ, ÔËÂÁʇ˛Ú ‚ “ËÙÎËÒ, „‰Â Ëı ʉÛÚ ÒÓÎ̈Â, ‚ËÌÓ, ‰Â‚Ìˇˇ
as chief editor of Soyuzmultfilm animation
‡ıËÚÂÍÚÛ‡ Ë ÌÓ‚˚ ‚Ô˜‡ÚÎÂÌˡ. ŒÌ‡ ñ ‚˜̇ˇ β·Ó‚Ìˈ‡, ˝ÚÓ ñ ÂÂ
studio; from 1983-90 she was director of the
ÔÓÙÂÒÒˡ, Ó·‡Á ÊËÁÌË Ë Ó·‡Á Ï˚ÒÎÂÈ. ŒÌ ˝ÚÓ ÔÓÌˇÎ Â˘Â ‰Ó ÊÂÌËÚ¸·˚, ÌÓ
scientific-methodical department of Goskino
Ì ÏÓÊÂÚ Ò ˝ÚËÏ ÒÏËËÚ¸Òˇ. »ı Ó‰Ó΂‡ÂÚ Ò‡ÏÓβ·ËÂ, Ê·ÌË ·˚Ú¸
of the USSR. Since 1990 she worked as
ÔÓÌˇÚ˚Ï Ë ‰‡Ê ÓÚ˜‡ˇÌËÂ. ƒÎˇ Í‡Ê‰Ó„Ó ËÁ ÌËı ‚Á„Ρ‰˚ ‰Û„Ó„Ó ñ
deputy director for the Theatrical Studio
„ÎÛÔÓÒÚ¸, Ë ‚Ò Ê ÓÌË Ô˚Ú‡˛ÚÒˇ ÊËÚ¸ ‚ÏÂÒÚÂ. »ÒıÓ‰ Ú‡ÍÓÈ ËÒÚÓËË,
ìArs-90î at VGIK (experimental class of
͇Á‡ÎÓÒ¸ ·˚, Ә‚ˉÂÌ. ÕÓ Ó̇ ÔËÓ·ÂÚ‡ÂÚ ÒÓ‚Â¯ÂÌÌÓ ËÌÓÈ ÔÓ‚ÓÓÚ: ‚
Sergei Soloviov), and has taught at the Film
ÊËÁÌË ÒÚ‡ÌÌÓÈ Ô‡˚ ̇ÒÚÛÔ‡ÂÚ ÏÓÏÂÌÚ, ÍÓ„‰‡ ͇ʉ˚È ËÁ ÌËı ‰ÓÎÊÂÌ
Institute. Author of the book ìLeonid
¯ËÚ¸ Ò‡Ï˚È ‚‡ÊÌ˚È ‰Îˇ Ò·ˇ ‚ÓÔÓÒÖ
Filatovî (1991), and of critical articles about
cinema.
Directorís filmography:
2000 ....Oh, do not fly past, life...
Leonid Filatov (doc.)
2002 ....God protects allÖ (doc.)
2002 ....Sacred Mother Vladimirskaya (doc.)
2004 ....The Sorceressís Recipe
2004 ....The Unknown Woman (doc.)
2004 ....The Russia that we have found (doc.)
2005 ....The League of Deceived Wives (serial)
2005 ....Rescuers (doc.)
2006 ....An Absolutely Female Story (doc.)
2006 ....Inspiring
Psychological melodrama based on the motives of Yuri Nagibinís story ìThree
men and one woman, and one more manî.
The beginning of the 20th century. The young couple Vladislav Eschenbach and
Sofia Pshebyshevskaya arrive in Tiflis, where sun, wine, ancient architecture
and new impressions await them. She is the eternal mistress; it is her trade,
her way of life and thinking. He understood this well before their marriage,
but he cannot come to terms with her way of life. They are overcome by
vanity, by the desire for understanding, and even by despair. For each of them
the views of the other are nonsense, but they still try to live together. The
outcome of this story seems obvious. But it takes an unexpected turn: in the
life of the strange couple there occurs a moment when each of them has to
resolve the single most important questionÖ
ÍÓÌÍÛÒ
competition
Œ“–¤¬
SOAR
32
2007, –ÓÒÒˡ, 85 ÏËÌ., 1:1.66, Dolby SRD
2007, Russia, 85 min., col., 1:1.66, Dolby SRD
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ ¿ÎÂÍ҇̉ ÃË̉‡‰ÁÂ
Scriptwriter and Director Alexander Mindadze
ŒÔÂ‡ÚÓ ÿ‡Ì‰Ó ¡ÂͯË
Director of Photography Sandor Berkesi
’Û‰ÓÊÌËÍ ¿ÎÂÍ҇̉ ◊ÂÚӂ˘
Production Design Alexander Chertovich
üÓÒÚ˛Ï˚ »Ë̇ √‡Ê‰‡ÌÍË̇, ≈͇ÚÂË̇ ’ËÏ˘‚‡
Costume Design Irina Grazhdankina, Ekaterina Khimicheva
«‚ÛÍ üËËÎÎ ¬‡ÒËÎÂÌÍÓ
Sound Kirill Vasilenko
ÃÓÌÚ‡Ê »‚‡Ì À·‰‚, ƒ‡¸ˇ ƒ‡ÌËÎÓ‚‡
Editing Ivan Lebedev, Dasha Danilova
¬ ÓΡı: ¬ËÚ‡ÎËÈ üˢÂÌÍÓ, ÇÍÒËÏ ¡ËÚ˛ÍÓ‚,
Cast: Vitali Kishchenko, Maxim Bitiukov, Alexander Robak,
¿ÎÂÍ҇̉ –Ó·‡Í, —Â„ÂÈ ≈Ô˯‚, —Ú‡ÌËÒ·‚ ƒÛÊÌËÍÓ‚,
Sergei Epishev, Stanislav Duzhnikov, Maria Matveeva,
Çˡ Çڂ‚‡, ü·‚‰Ëˇ üÓ¯ÛÌÓ‚‡, »Ë̇ Õ‡ı‡Â‚‡,
Klavdia Korshunova, Irina Nakhaeva, Ekaterina Yudina
≈͇ÚÂË̇ fi‰Ë̇
General Producer Ruben Dishdishian
√ÂÌÂ‡Î¸Ì˚È ÔÓ‰˛ÒÂ –Û·ÂÌ ƒË¯‰Ë¯ˇÌ
Producers Sergei Danielian, Aram Movsesian, Yuri Moroz
œÓ‰˛ÒÂ˚ —Â„ÂÈ ƒ‡ÌËÂΡÌ, ¿‡Ï ÃÓ‚ÒÂÒˇÌ, fiËÈ ÃÓÓÁ
Production ´Passengerª, commissioned by Central Partnership
œÓËÁ‚Ó‰ÒÚ‚Ó ´œ‡ÒÒ‡ÊËª ÔÓ Á‡Í‡ÁÛ ´÷ÂÌÚ‡Î œ‡ÚÌÂ¯ËÔª
Distribution Central Partnership
œÓÍ‡Ú ´÷ÂÌÚ‡Î œ‡ÚÌÂ¯ËÔª
www.passengerstudio.ru; www.centpart.ru
ÍÓÌÍÛÒ
competition
¿ÎÂÍ҇̉ ÃË̉‡‰ÁÂ
—ˆÂ̇ËÒÚ Ë ÂÊËÒÒÂ. «‡ÒÎÛÊÂÌÌ˚È
‰ÂˇÚÂθ ËÒÍÛÒÒÚ‚ –—‘—–, ·Û‡Ú
√ÓÒÛ‰‡ÒÚ‚ÂÌÌÓÈ ÔÂÏËË ———–,
√ÓÒÛ‰‡ÒÚ‚ÂÌÌÓÈ ÔÂÏËË –—‘—– ËÏÂÌË
¡‡Ú¸Â‚ ¬‡ÒËθ‚˚ı, ÏÂʉÛ̇Ó‰Ì˚ı Ë
ÓÒÒËÈÒÍËı ÔÓÙÂÒÒËÓ̇θÌ˚ı ÍËÌÓÔÂÏËÈ.
–Ó‰ËÎÒˇ 28 ‡ÔÂΡ 1949 „Ó‰‡ ‚ ÃÓÒÍ‚Â.
ŒÍÓ̘ËÎ ÒˆÂ̇Ì˚È Ù‡ÍÛθÚÂÚ ¬√»ü‡
33
(1971). ¿‚ÚÓ ÒˆÂ̇Ë‚ ÙËθÏÓ‚,
‚ӯ‰¯Ëı ‚ ´ÁÓÎÓÚÓÈ ÙÓ̉ª ÓÚ˜ÂÒÚ‚ÂÌÌÓ„Ó
ÒӈˇθÌÓ-ÔÒËıÓÎӄ˘ÂÒÍÓ„Ó ÍËÌÓ: ´ŒıÓÚ‡
̇ ÎËÒª, ´ŒÒÚ‡ÌÓ‚ËÎÒˇ ÔÓÂÁ‰ª, ´œ‡‡‰
Ô·ÌÂÚª, ´œÎ˛Ï·ÛÏ, ËÎË ŒÔ‡Ò̇ˇ Ë„‡ª,
´—ÎÛ„‡ª, ´¿χ‚Ëª, ´œ¸ÂÒ‡ ‰Îˇ
Ô‡ÒÒ‡ÊË‡ª, ´¬ÂÏˇ ڇ̈Ó‡ª, ´Ã‡„ÌËÚÌ˚Â
·Û˪ (ÂÊËÒÒÂ ¬‡‰ËÏ ¿·‰‡¯ËÚÓ‚);
´“ËÓª (ÂÊ. ¿ÎÂÍ҇̉ œÓ¯ÍËÌ),
´üÓÒÏÓÒ Í‡Í Ô‰˜Û‚Òڂ˪ (ÂÊ. ¿ÎÂÍÒÂÈ
”˜ËÚÂθ)Ö ´ŒÚ˚‚ª ñ ÂÊËÒÒÂÒÍËÈ ‰Â·˛Ú
Í·ÒÒË͇ ÍËÌÓ‰‡Ï‡ÚÛ„ËË.
Alexander Mindadze
Scriptwriter, winner of the State Prize of the
USSR, the Vasiliev Brothersí State Prize of
the RSFSR, and other national and
international awards. Born on 28 April 1949
in Moscow. Graduated from the scriptwriting
department of the Film Institute VGIK
(1971). Author of scripts for films that form
part of the ìgolden fundî of Russiaís socio-
ƒ‡Ï‡.
psychological cinema: ìFox Huntingî, ìThe
◊ÂÎÓ‚ÂÍ, ÔÓÚÂˇ‚¯ËÈ ‚ ‡‚ˇ͇ڇÒÚÓÙ ÊÂÌÛ, Ô˚Ú‡ÂÚÒˇ ‚˚ˇÒÌËÚ¸ ËÒÚËÌÌÛ˛
Train Stoppedî, ìParade of Planetsî,
Ô˘ËÌÛ ÔÓËү‰¯Â„Ó. œÂÓ‰Ó΂‡ˇ ÍÛ„Ó‚Û˛ ÔÓÛÍÛ ÎÊË, ÓÌ ‚˚ÌÛʉÂÌ
ìPlumbum, or a Dangerous Gameî, ìThe
̇ ‚ÂÏˇ Á‡·˚Ú¸ Ó „ÓÂ. ¬Ì‰Ë‚¯ËÒ¸ ‚ ÍÓÏÔ‡Ì˲ ÔËÎÓÚÓ‚ ‰Û„Ó„Ó,
Servantî, ìArmavirî, ìPlay for the
¯Â‰¯Â„Ó Ì‡‚ÒÚ˜Û, ÌÓ ËÁ·Âʇ‚¯Â„Ó Ô‡‰ÂÌˡ Ò‡ÏÓÎÂÚ‡, ÓÌ Ô‡Á‰ÌÛÂÚ ÒÓ
Passengerî, ìTime of the Dancerî, ìMagnetic
ÒÔ‡Ò¯ËÏÒˇ ˝ÍËÔ‡ÊÂÏ Â„Ó ‚ÚÓÓ ÓʉÂÌËÂ. ÕÂÓÊˉ‡ÌÌÓ ÏËÌÛÚ˚ „Óˇ
Stormsî (director Vadim Abdrashitov);
Ó·Ó‡˜Ë‚‡˛ÚÒˇ ‰Îˇ ÌÂ„Ó Ì‚ˉ‡ÌÌÓÈ, ‰ÓÒÂΠÌËÍÓ„‰‡ Ì ËÒÔ˚Ú˚‚‡ÂÏÓÈ
ìDreaming of Spaceî (director Alexei
‚ÒÔ˚¯ÍÓÈ Ò‚Ó·Ó‰˚. ¿ χÒÍËӂ͇ ÒÚ‡ÌÓ‚ËÚÒˇ Ò·‰ÍÓÈ ÎÓ‚Û¯ÍÓÈ, ÔÓÔ‡‚ ‚
Uchitel)Ö ìSoarî is the directorial debut of
ÍÓÚÓÛ˛ ÓÌ ÔÓÊË‚‡ÂÚ ˇÍË ˜‡Ò˚ Ò‚ÓÂÈ ÊËÁÌË.
this classical scriptwriter.
Drama.
Having lost his wife in a plane crash, a man tries to find out the true reason
for the disaster. While surmounting the collective lie all around, he is forced
to forget his grief for a time. He joins a group of pilots from another aircraft
that has just missed a crash, and he celebrates his rebirth with the saved crew.
Unexpectedly, moments of grief turn into an unprecedented, hitherto never
experienced flash of freedom for him. The masking becomes a lulling trap,
from whence he relives the happiest hours of his life.
ÍÓÌÍÛÒ
competition
œ–Œ—“¤≈ ¬≈Ÿ»
SIMPLE THINGS
34
2006, –ÓÒÒˡ, 108 ÏËÌ., ˆ‚., 1:1.66, Dolby Digital 5.1
2006, Russia, 108 min, col., 1:1.66, Dolby Digital 5.1
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ ¿ÎÂÍÒÂÈ œÓÔÓ„·ÒÍËÈ
Scriptwriter and Director Alexei Popogrebsky
ŒÔÂ‡ÚÓ œ‡‚ÂÎ üÓÒÚÓχÓ‚
Director of Photography Pavel Kostomarov
’Û‰ÓÊÌËÍ ŒÎ¸„‡ ŒÒËÔÓ‚‡
Production Design Olga Osipova
üÓÒÚ˛Ï˚ ŒÎ¸„‡ —ÏÓÎË̇
Costume Design Olga Smolina
üÓÏÔÓÁËÚÓ ƒÏËÚËÈ ü‡Úı‡ÌÓ‚
Composer Dmitri Katkhanov
«‚ÛÍ ¬Î‡‰ËÏË √ÓÎÓ‚ÌˈÍËÈ
Sound Vladimir Golovnitsky
–ÂÊËÒÒÂ ÏÓÌڇʇ »‚‡Ì À·‰‚
Editing Ivan Lebedev
¬ ÓΡı: —Â„ÂÈ œÛÒÍÂÔ‡ÎËÒ, ÀÂÓÌˉ ¡ÓÌ‚ÓÈ,
Cast: Sergei Puskepalis, Leonid Bronevoy, Svetlana Kamynina,
—‚ÂÚ·̇ ü‡Ï˚ÌË̇, ƒË̇‡ üÛÚÛ‚‡, »‚‡Ì ŒÒËÔÓ‚,
Dinara Kutuyeva, Ivan Osipov, Malkhaz Zhvaniya,
ÇÎı‡Á ∆‚‡Ìˡ, »‚‡Ì ÿ‚‰ӂ, ÀÛËÁ‡ ÇÍÓ‚‡,
Ivan Shvedov, Luiza Markova, Liubov Makeeva,
À˛·Ó‚¸ ÇÍ‚‡, √ÂÌ̇‰ËÈ ¡Ó„‡˜Â‚, ƒÏËÚËÈ ¡˚ÍÓ‚ÒÍËÈ
Gennadi Bogachev, Dmitri Bykovsky
œÓ‰˛ÒÂ –ÓÏ‡Ì ¡ÓËÒ‚˘
Producer Roman Borisevich
œÓËÁ‚Ó‰ÒÚ‚Ó ´üÓÍÚ·Âθª, ÔË Û˜‡ÒÚËË ‘‰Â‡Î¸ÌÓ„Ó
Production Koktebel, with participation of the Federal
‡„ÂÌÚÒÚ‚‡ ÔÓ ÍÛθÚÛÂ Ë ÍËÌÂχÚÓ„‡ÙËË
Agency of Culture and Cinematography
œÓÍ‡Ú ´üËÌÓ ·ÂÁ „‡Ìˈª
Distribution Cinema Without Frontiers
www.koktebel.cinemax.ru
ÍÓÌÍÛÒ
competition
¿ÎÂÍÒÂÈ œÓÔÓ„·ÒÍËÈ
üËÌÓÂÊËÒÒÂ, ÒˆÂ̇ËÒÚ. –Ó‰ËÎÒˇ 7 ‡‚„ÛÒÚ‡
1972 „Ó‰‡ ‚ ÃÓÒÍ‚Â. ŒÍÓ̘ËÎ Ù‡ÍÛθÚÂÚ
ÔÒËıÓÎÓ„ËË Ã√” (1995). œÓÒΠÓÍÓ̘‡Ìˡ
ÛÌË‚ÂÒËÚÂÚ‡ Á‡ÌËχÎÒˇ ÔÂ‚ӉÓÏ. —
¡ÓËÒÓÏ ’ηÌËÍÓ‚˚Ï ÒÌˇÎ
ÍÓÓÚÍÓÏÂÚ‡ÊÌ˚ ÙËθÏ˚ ´ÃËÏÓıÓ‰ª
(1997, ‰ÓÍ.) Ë ´’ËÚ‡ˇ Ρ„ۯ͇ª (2000,
Ë„Ó‚ÓÈ). —ÎÂ‰Û˛˘‡ˇ Ëı ÒÓ‚ÏÂÒÚ̇ˇ
35
ÔÓÎÌÓÏÂÚ‡Ê̇ˇ ͇ÚË̇ ´üÓÍÚ·Âθª
(2003) Òڇ· Ó‰ÌÓÈ ËÁ Ò‡Ï˚ı ÙÂÒÚË‚‡Î¸Ì˚ı
͇ÚËÌ „Ó‰‡ (´—Â·ˇÌ˚È √ÂÓ„ËȪ ‚
ÃÓÒÍ‚Â, ´«ÓÎÓÚ‡ˇ ÎËÎˡª ‚ ¬ËÒ·‡‰ÂÌÂ).
´œÓÒÚ˚ ‚Â˘Ëª ñ Ò‡ÏÓÒÚÓˇÚÂθÌ˚È
ÔÓÎÌÓÏÂÚ‡ÊÌ˚È ‰Â·˛Ú ÛÊ ËÁ‚ÂÒÚÌÓ„Ó
ÂÊËÒÒÂ‡.
Alexei Popogrebsky
Film director, scriptwriter. Born on 7 August
1972 in Moscow. Graduated from the faculty
of psychology of Moscow State University
(1995). After university he worked as
translator. Together with Boris Khebnikov he
made the short films ìPassing Byî (1997,
doc.) and ìThe Tricky Frogî (2000). Their
following joint full-length film ìRoads to
Koktebelî (2003) became the festival hit of
the year (ìSilver Georgeî in Moscow, ìGolden
Lilyî in Wiesbaden). ìSimple Thingsî is the
independent full-length debut film of this
already well-known director.
œÒËıÓÎӄ˘ÂÒ͇ˇ ‰‡Ï‡.
Õ‡‰ÂˇÒ¸ ÔÓÔ‡‚ËÚ¸ χÚÂˇθÌÓ ÔÓÎÓÊÂÌË ҂ÓÂÈ ÒÂϸË, ÊË‚Û˘ÂÈ ‚
ÍÓÏÏÛ̇ÎÍÂ, ‚‡˜-‡ÌÂÒÚÂÁËÓÎÓ„ —Â„ÂÈ Ã‡ÒÎÓ‚ ̇ÌËχÂÚÒˇ Ûı‡ÊË‚‡Ú¸ Á‡
¬Î‡‰ËÏËÓÏ ∆Û‡‚΂˚Ï, ÒÚ‡˚Ï ‡ÍÚÂÓÏ, ÌÂÍÓ„‰‡ Á̇ÏÂÌËÚ˚Ï, ‡ ÒÂȘ‡Ò
ÔÓ˜ÚË Á‡·˚Ú˚Ï. ∆Û‡‚΂ Ó·‡˘‡ÂÚÒˇ Í Ã‡ÒÎÓ‚Û Ò ÌÂÓ·˚˜ÌÓÈ ÔÓÒ¸·ÓÈ,
ÍÓÚÓ‡ˇ ÒÚ‡‚ËÚ —Â„¡ ÔÂ‰ ÌÂÔÓÒÚ˚Ï ‚˚·ÓÓÏ. œË‚˚ÍÌÛ‚ ‚Ó ‚ÒÂÏ
ËÁ·Â„‡Ú¸ ÒÎÓÊÌÓÒÚÂÈ, —Â„ÂÈ Ì‡˜Ë̇ÂÚ ‰ÂÈÒÚ‚Ó‚‡Ú¸ ñ Ë Ì ҇Ï˚Ï ÎÛ˜¯ËÏ
Ó·‡ÁÓÏ... ›ÚÓ ÙËÎ¸Ï Ó ÔÓÒÚ˚ı ‚¢‡ı, ÍÓÚÓ˚ β‰Ë ÌÓÓ‚ˇÚ Á‡ÔÛÚ‡Ú¸, ÌÓ
ÍÓÚÓ˚ ҇ÏË ‚ÒÚ‡˛Ú ̇ Ò‚ÓË ÏÂÒÚ‡, ÒÚÓËÚ Î˯¸ ‚Á„ΡÌÛÚ¸ ̇ ÌËı ÔÓ‰Û„ÓÏÛ.
Psychological drama.
Hoping to improve the financial situation of his family who live in a communal
apartment, the anaesthetist Sergei Maslov is hired to look after Vladimir
Zhuravlyov, an old actor who was once well-known and is now almost forgotten.
Zhuravlyov addresses Maslov with an unusual request, which puts Sergei before
an uneasy choice. Sergei, who is used to avoid complexities, takes action ñ
albeit not in the best way... This is a film about simple things, which people
muddle, but which fall into place if only you look at them in a different way.
ÍÓÌÍÛÒ
competition
–”—¿Àü¿
THE MERMAID
36
2007, –ÓÒÒˡ, 113 ÏËÌ., ˆ‚., 1:1.85, Dolby SRD
2007, Russia, 113 minutes, col., 1:1.85, Dolby SRD
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ ¿Ì̇ ÃÂÎË͡Ì
Scriptwriter and Director Anna Melikian
ŒÔÂ‡ÚÓ ŒÎ„ üË˘ÂÌÍÓ
Director of Photography Oleg Kirichenko
’Û‰ÓÊÌËÍ ”θˇÌ‡ –ˇ·Ó‚‡
Production Design Uliana Riabova
üÓÒÚ˛Ï˚ »Ë̇ √‡Ê‰‡ÌÍË̇
Costume Design Irina Grazhdankina
üÓÏÔÓÁËÚÓ »„Ó¸ ¬‰Ó‚ËÌ
Composer Igor Vdovin
«‚ÛÍ ƒÏËÚËÈ —ÏËÌÓ‚
Sound Dmitri Smirnov
¬ ÓΡı: Çˡ ÿ‡Î‡Â‚‡, ≈‚„ÂÌËÈ ÷˚„‡ÌÓ‚, Çˡ —ÓÍÓ‚‡,
Cast: Maria Shalaeva, Evgeni Tsyganov, Maria Sokova,
Õ‡ÒÚˇ ƒÓ̈ӂ‡, »Ë̇ —ÍËÌ˘ÂÌÍÓ, ¬ÂÓÌË͇ —ÍÛ„Ë̇
Nastia Dontsova, Irina Skrinichenko, Veronika Skugina
œÓ‰˛ÒÂ –Û·ÂÌ ƒË¯‰Ë¯ˇÌ
Producer Ruben Dishdishian
œÓËÁ‚Ó‰ÒÚ‚Ó ´Magnumª ÔÓ Á‡Í‡ÁÛ ´÷ÂÌÚ‡Î
Production ´Magnumª, commissioned by Central Partnership,
œ‡ÚÌÂ¯ËÔª, ÔË Û˜‡ÒÚËË ‘‰Â‡Î¸ÌÓ„Ó ‡„ÂÌÚÒÚ‚‡ ÔÓ
with participation of the Federal Agency of Culture and
ÍÛθÚÛÂ Ë ÍËÌÂχÚÓ„‡ÙËË
Cinematography
œÓÍ‡Ú ´÷ÂÌÚ‡Î œ‡ÚÌÂ¯ËÔª
Distribution Central Partnership
www.centpart.ru
ÍÓÌÍÛÒ
competition
¿Ì̇ ÃÂÎË͡Ì
–ÂÊËÒÒÂ Ë„Ó‚Ó„Ó Ë ‰ÓÍÛÏÂÌڇθÌÓ„Ó ÍËÌÓ,
ÒˆÂ̇ËÒÚ. œËÁÂ ÏÂʉÛ̇Ó‰Ì˚ı Ë
ÓÚ˜ÂÒÚ‚ÂÌÌ˚ı ÙÂÒÚË‚‡ÎÂÈ Ë ÒÚÛ‰Â̘ÂÒÍËı
ÍËÌÓÙÓÛÏÓ‚. –Ӊ˷Ҹ ‚ ¡‡ÍÛ, ‚˚ÓÒ· ‚
≈‚‡ÌÂ, ÊË‚ÂÚ ‚ ÃÓÒÍ‚Â. ŒÍÓ̘Ë·
ÂÊËÒÒÂÒÍËÈ Ù‡ÍÛθÚÂÚ ¬√»ü‡ (2002,
χÒÚÂÒ͇ˇ —.¿. —ÓÎÓ‚¸Â‚‡ Ë ¬.ƒ.
–Û·Ë̘Ë͇), ÒÚ‡ÊËÓ‚‡Î‡Ò¸ ‚
37
ÍËÌÓÍÓÏÔ‡Ìˡı-ÔÓÒÚÔÓ‰‡Í¯Ì √ÂχÌËË ÔÓ
„‡ÌÚÛ üËÌÓËÌÒÚËÚÛÚ‡ ËÏÂÌË √ÂÚÂ. ¬ 1998
„Ó‰Û ñ ÂÊËÒÒÂ-ÔÓÒÚ‡ÌÓ‚˘ËÍ ˆÂÂÏÓÌËÈ
ÓÚÍ˚Úˡ Ë Á‡Í˚Úˡ Ãü‘ ‚ ÃÓÒÍ‚Â
(ÔÂÁˉÂÌÚ ÙÂÒÚË‚‡Îˇ ñ —.¿. —ÓÎÓ‚¸Â‚), ‚
2002ñ2005 ñ ÂÊËÒÒÂ ˇ‰‡ ÚÂÎÂÔÓ„‡ÏÏ
̇ ˆÂÌÚ‡Î¸Ì˚ı ͇̇·ı.
‘ËθÏÓ„‡Ùˡ:
1997 ....Andante (Í/Ï, ۘ·̇ˇ)
1999 ....œÓÎÂÚÂÎË (Í/Ï, ÍÛÒÓ‚‡ˇ)
2000 ....ƒÓ ‚ÓÒÚ·ӂ‡Ìˡ (Í/Ï, ÍÛÒÓ‚‡ˇ)
2002 ....üÓÌÚ‡·‡Ò (Í/Ï, ‰ËÔÎÓÏ)
2003 ....flœœ» (ÙËÎ¸Ï ‰ÓÍ.ÔÓÂÍÚ‡
´ŒÚ‡ÊÂÌ˪, RenTV)
2004 ....ÇÒ
2005 ....œÓÍΡÚË Í·̇ ŒÌ‡ÒÒËÒÓ‚
(‰ÓÍ., –“–)
2005 ....¬Â˘Ë ‚ÓÈÌ˚ (‰ÓÍ., œÂ‚˚È Í‡Ì‡Î)
2007 ....–ÛÒ‡Î͇
Anna Melikian
ƒ‡Ï‡.
Director of feature and documentary films,
≈ Á‚‡ÎË ¿ÎËÒ‡, Ó̇ ÊË· Û ÏÓˇ. ≈ ÊËÁ̸ Ì˘ÂÏ Ì ÓÚ΢‡Î‡Ò¸ ÓÚ ‰Û„Ëı.
scriptwriter. Prizewinner at national and
ŒÌ‡ Ϙڇ· Ó ·‡ÎÂÚÂ, Ô· ‚ ‰ÂÚÒÍÓÏ ıÓÂ Ë Û˜Ë·Ҹ ‚ ¯ÍÓΠ‰Îˇ ‰Û‡ÍÓ‚.
international festivals, as well as student film
¬ ¯ÂÒÚ¸ ÎÂÚ Ó̇ ÔÂÂÒڇ· „Ó‚ÓËÚ¸. ¬ 17 ÔÂÂÂı‡Î‡ ‚ ÃÓÒÍ‚Û. –Ó‚ÌÓ ‚ 18
forums. Born in Baku and raised in Yerevan,
‚ÒÚÂÚË· ≈„ÓÖ Ë ËÒ˜ÂÁÎ‡Ö “‡ÍÓ ˜‡ÒÚÓ ÒÎÛ˜‡ÂÚÒˇ ‚ Ï„‡ÔÓÎËÒÂ.
she lives in Moscow. Graduated from the
directorís faculty at the Film Institute VGIK
Drama.
(2002, class of Sergei Soloviev and Valeri
She was called Alisa and lived by the sea. Her life differed in no way from that
Rubinchik), post-production training in
of others. She dreamt about ballet, sang in a childrenís choir and went to a
Germany with a grant from the Goethe
school for fools. At the age of six she ceased to speak. At the age of 17 she
Institute. In 1998 she directed the opening
moved to Moscow. At the age of 18 she met HimÖ and disappearedÖ Such
and closing ceremonies of the International
things frequently happens in a megapolis.
Film Festival in Moscow (president: Sergei
Soloviev); from 2002-2005 director of
television programs on the central channels.
Filmography:
1997 ....Andante (short, study)
1999 ....Letís Fly (short, course work)
2000 ....Poste Restante (short, course work)
2002 ....Contrabass (short, diploma)
2003 ....YaPPI
(doc. project ìReflectionî, RenTV)
2004 ....Mars
2005 ....The Curse of the Onassis Clan
(doc., RTR)
2005 ....Things of the War (doc., First Channel)
2007 ....The Mermaid
ÍÓÌÍÛÒ
competition
“»—ü»
VICE
38
2007, –ÓÒÒˡ, 126 ÏËÌ., ˆ‚., 1:2.35, Dolby Digital 5.1
2007, Russia, 126 min, col., 1:2.35, Dolby Digital 5.1
¿‚ÚÓ ÒˆÂ̇ˡ ŒÎ„ ÇÎӂ˘ÍÓ
Scriptwriter Oleg Malovichko
–ÂÊËÒÒÂ ¬‡ÎÂËÈ “Ó‰ÓÓ‚ÒÍËÈ
Director Valeri Todorovsky
ŒÔÂ‡ÚÓ –ÓÏ‡Ì ¬‡Ò¸ˇÌÓ‚
Director of Photography Roman Vasianov
’Û‰ÓÊÌËÍ ¬Î‡‰ËÏË √Û‰ËÎËÌ
Production Design Vladimir Gudilin
üÓÒÚ˛Ï˚ ¿ÎÂÍ҇̉ ŒÒËÔÓ‚
Costume Design Alexander Osipov
üÓÏÔÓÁËÚÓ˚ ¿ÎÂÍ҇̉ ¿Ì‰‚, ¬Î‡‰ËÏË ›„ÎËÚËÒ
Composers Alexander Andreev, Vladimir Eglitis
«‚ÛÍ —Â„ÂÈ ◊ÛÔÓ‚
Sound Sergei Tchuprov
ÃÓÌÚ‡Ê ¿Î· ”‡Á·‡Â‚‡
Editing Alla Urazbaeva
¬ ÓΡı: ÇÍÒËÏ Ã‡Ú‚Â‚, ‘‰Ó ¡Ó̉‡˜ÛÍ,
Cast: Maxim Matveev, Fedor Bondarchuk, Alexei Serebriakov,
¿ÎÂÍÒÂÈ —Â·ˇÍÓ‚, ≈‚„ÂÌˡ ’ËË‚Ò͇ˇ, ü‡Úˇ ¬ËÎÍÓ‚‡,
Evgenia Khirivskaya, Katia Vilkova, Anton Shagin,
¿ÌÚÓÌ ÿ‡„ËÌ, »„Ó¸ ¬ÓÈ̇Ó‚ÒÍËÈ, —Â„ÂÈ œËÌˇÍ,
Igor Voinarovsky, Sergei Pirniak, Denis Balandin, Denis Yasik
ƒÂÌËÒ ¡‡Î‡Ì‰ËÌ, ƒÂÌËÒ flÒËÍ
Producers Vadim Goriaynov, Leonid Lebedev,
œÓ‰˛ÒÂ˚ ¬‡‰ËÏ √ÓˇËÌÓ‚, ÀÂÓÌˉ À·‰‚,
Valeri Todorovsky, Leonid Yarmolnik
¬‡ÎÂËÈ “Ó‰ÓÓ‚ÒÍËÈ, ÀÂÓÌˉ flÏÓθÌËÍ
Production Rekun Cinema
œÓËÁ‚Ó‰ÒÚ‚Ó ´–ÂÍÛÌ-—ËÌÂχª
Rights Red Arrow
œ‡‚‡ ´ü‡Ò̇ˇ —Ú·ª
www.tiskifilm.ru
ÍÓÌÍÛÒ
competition
¬‡ÎÂËÈ “Ó‰ÓÓ‚ÒÍËÈ
üËÌÓÂÊËÒÒÂ, ‰‡Ï‡ÚÛ„, ÔÓ‰˛ÒÂ. —Ó‚ÂÚÌËÍ
„ÂÌÂ‡Î¸ÌÓ„Ó ‰ËÂÍÚÓ‡ ÚÂÎÂ͇̇· ´–ÓÒÒˡª
ÔÓ ÍËÌÓÔÓËÁ‚Ó‰ÒÚ‚Û. À‡Û‡Ú
ÔÓÙÂÒÒËÓ̇θÌ˚ı ÍËÌÓÔÂÏËÈ, ÔËÁÂ
ÏÂʉÛ̇Ó‰Ì˚ı Ë ÓÒÒËÈÒÍËı ÍËÌÓÙÂÒÚË‚‡ÎÂÈ.
–Ó‰ËÎÒˇ 8 χˇ 1962 „Ó‰‡ ‚ Œ‰ÂÒÒÂ. ŒÍÓ̘ËÎ
ÒˆÂ̇ÌÓ ÓÚ‰ÂÎÂÌË ҈Â̇ÌÓ-ÍËÌӂ‰˜ÂÒÍÓ„Ó
Ù‡ÍÛθÚÂÚ‡ ¬√»ü‡ (1984). ¬ ÍËÌÓ ‰Â·˛ÚËÓ‚‡Î
Í‡Í ÒˆÂ̇ËÒÚ: ´ƒ‚ÓÈÌËͪ (1986, Ò ¿.
üÓηÂ„ÒÓÏ), ´◊ÂÎÓ‚ÂÍ Ò‚ËÚ˚ª (1987),
´√‡Ï·ËÌÛÒª (1990), ´ÃÓÒÍÓÈ ‚ÓÎͪ (1990),
´ŒÚ‰Û¯Ë̇ª, ´÷ËÌËÍ˪, ´À˛·Ó‚¸ª (1991),
´Õ‡‰ ÚÂÏÌÓÈ ‚Ó‰ÓȪ (1993) Ë ‰.
39
‘ËθÏÓ„‡Ùˡ ÂÊËÒÒÂ‡:
1990 ....ü‡Ú‡Ù‡ÎÍ
1991 ....À˛·Ó‚¸
1994 ....œÓ‰ÏÓÒÍÓ‚Ì˚ ‚˜Â‡
1998 ....—Ú‡Ì‡ „ÎÛıËı
2002 ....À˛·Ó‚ÌËÍ
2004 ....ÃÓÈ Ò‚Ó‰Ì˚È ·‡Ú ‘‡ÌÍÂ̯ÚÂÈÌ
2007 ....“ËÒÍË
Valeri Todorovsky
Film director, scriptwriter, producer. Adviser
to the General Director of the television
channel ´Russiaª on film production; winner
of professional film awards, prize winner of
international and Russian film festivals. Born
on 8 May 1962 in Odessa. Graduated from the
scriptwriting and film history department of
the Film Institute VGIK (1984). Debut in
cinema as scriptwriter: ìThe Doubleî (1986,
with Andris Kolbergs), ìThe Man of
ƒÂÌËÒ ŒÎÓ‚ ñ ÏÓÎÓ‰ÓÈ ‡Ï·ËˆËÓÁÌ˚È ‰Ë‰ÊÂÈ ‚ ÌÓ˜ÌÓÏ ÍÎÛ·Â ÍÛÔÌÓ„Ó
Followingî (1987), ìGambrinusî (1990), ìThe
˛ÊÌÓ„Ó „ÓÓ‰‡. ” ÌÂ„Ó ÂÒÚ¸ ‚Ò ñ ڇ·ÌÚ, β·Ó‚¸, ‰ÛÁ¸ˇ. ŒÌ ϘڇÂÚ ÒÚ‡Ú¸
Sea Wolfî (1990), ìA Ventî, ìThe Cynicsî,
ÔÓÙÂÒÒËÓ̇θÌ˚Ï ÏÛÁ˚͇ÌÚÓÏ Ë ÒÏÂÌËÚ¸ ÔÎÓ˘‡‰ÍÛ Ò Ú‡ÌˆÔÓ· ̇
ìLoveî (1991), ìOver Dark Waterî (1993), etc.
ÒÚ‡‰ËÓÌ˚ Ë ÍÓ̈ÂÚÌ˚ Á‡Î˚. ∆ËÁ̸ ƒÂÌËÒ‡ ñ ‰ÓÓ„‡ ‚ÔÂ‰, ÒÛΡ˘‡ˇ
ÏÌÓÊÂÒÚ‚Ó Ò˛ÔËÁÓ‚. ÕÓ Ì ‚Ò„‰‡ ÔˡÚÌ˚ı. ◊ÚÓ·˚ ÒÓ˜ÌÓ ‡Á‰Ó·˚Ú¸
Filmography:
1990 ....The Funeral Hearse
1991 ....Love
1994 ....Katia Ismailova
1998 ....The Land of the Deaf
2002 ....The Lover
2004 ....My Stepbrother Frankenstein
2007 ....Vice
‰ÂÌ„, ƒÂÌËÒ Òӄ·¯‡ÂÚÒˇ ̇ Ó‰ÌÛ ñ ‚ÒÂ„Ó Î˯¸ Ó‰ÌÛ ñ Ò‰ÂÎÍÛ ÔÓ ÔÓ‰‡ÊÂ
΄ÍËı ̇ÍÓÚËÍÓ‚. ÕÓ ËÏÂÌÌÓ Ì‡ ˝ÚÓÈ Ò‰ÂÎÍ ƒÂÌËÒ ÔÂÂıÓ‰ËÚ ‰ÓÓ„Û
‡ÈÓÌÌÓÏÛ ÍËÏË̇θÌÓÏÛ ‡‚ÚÓËÚÂÚÛ ¬ÂÌÂÛ. ƒÂÌËÒ‡ Ë Â„Ó ‰ÛÁÂÈ ÒÚ‡‚ˇÚ
ÔÂ‰ ‚˚·ÓÓÏ ñ ËÎË ´ÓÚ‡·ÓÚ͇ „ÂıÓ‚ª ‚ ÒÚÛÍÚÛ ¬ÂÌÂ‡, ËÎË
·ÂÁ˚ÏˇÌ̇ˇ ÏÓ„Ë· ̇ ÔÛÒÚ˚ Á‡ „ÓÓ‰ÓÏÖ
Denis Orlov is a young and arrogant DJ in a nightclub in a large southern
city. He has everything: talent, love, friends. He dreams of becoming a
professional musician and of exchanging the dance floor for stadiums and
concert halls. Denisís life strives towards the future, with a promising set of
surprises ñ but not always pleasant. In order to make quick money Denis
agrees to deal drugs once, just once. But during this one deal Denis crosses the
path of the regional criminal authority, Verner. Denis and his friends face a
choice: to ìworking off their sinsî for Verner, or an anonymous grave on the
wasteland behind the cityÖ
ÍÓÌÍÛÒ
competition
fl–
THE HOLLOW
40
2007, –ÓÒÒˡ, 103 ÏËÌ., ˆ‚.., 1:1.66, Dolby SR
2007, Russia, 103 min., col., 1:1.66, Dolby SR
¿‚ÚÓ˚ ÒˆÂ̇ˡ œ‡‚ÂÎ ‘ËÌÌ, Àˉˡ ¡Ó·Ó‚‡,
Scriptwriters Pavel Finn, Lydia Bobrova,
ÔË Û˜‡ÒÚËË Ã‡ËÌ˚ –‡Á·ÂÊÍËÌÓÈ
with Marina Razbezhkina
–ÂÊËÒÒÂ ÇË̇ –‡Á·ÂÊÍË̇
Director Marina Razbezhkina
ŒÔÂ‡ÚÓ »Ë̇ ”‡Î¸Ò͇ˇ
Director of Photography Irina Uralskaya
’Û‰ÓÊÌËÍË —Â„ÂÈ –‡ÍÛÚÓ‚, —Â„ÂÈ ÕËÍÓθÒÍËÈ
Production Design Sergei Rakutov, Sergei Nikolsky
’Û‰ÓÊÌËÍË ÔÓ ÍÓÒÚ˛Ï‡Ï “‡Ï‡‡ —ÂÙÂˇÌ
Costume Design Tamara Seferian
üÓÏÔÓÁËÚÓ ¿ÌÚÓÌ —Ë·‚
Composer Anton Silayev
«‚ÛÍÓÂÊËÒÒÂ »„Ó¸ “ÂÂıÓ‚
Sound Igor Terekhov
ÃÓÌÚ‡Ê fiËÈ √‰ÂÚ
Editing Yuri Gedert
¬ ÓΡı: ÃËı‡ËÎ ≈‚·ÌÓ‚, œÓÎË̇ ‘ËÎÓÌÂÌÍÓ, —Â„ÂÈ √‡ÏÓ‚
Cast: Mikhail Evlanov, Polina Filonenko, Sergei Gamov
œÓ‰˛ÒÂ ŒÎ¸„‡ ¿„‡ÙÂÌË̇
Producer Olga Agrafenina
œÓËÁ‚Ó‰ÒÚ‚Ó ´üËÌÓÏÂθÌˈ‡ª, ´ÀÂÌÙËθϪ,
Production ìLenfilmî, ìKino-Melnitsaî (Film-Mill),
ÔË ÔÓ‰‰ÂÊÍ ‘‰Â‡Î¸ÌÓ„Ó ‡„ÂÌÚÒÚ‚‡ ÔÓ ÍÛθÚÛÂ
with support from the Federal Agency of Culture
Ë ÍËÌÂχÚÓ„‡ÙËË
and Cinematography
www.lenfilm.ru
ÍÓÌÍÛÒ
competition
ÇË̇ –‡Á·ÂÊÍË̇
–ÂÊËÒÒÂ Ë„Ó‚Ó„Ó Ë ‰ÓÍÛÏÂÌڇθÌÓ„Ó ÍËÌÓ,
ÒˆÂ̇ËÒÚ. œËÁÂ ÏÂʉÛ̇Ó‰Ì˚ı Ë
ÓÚ˜ÂÒÚ‚ÂÌÌ˚ı ÍËÌÓÙÂÒÚË‚‡ÎÂÈ. –Ӊ˷Ҹ ‚
ÃÓÒÍ‚Â 17 ˲Ρ 1948 „Ó‰‡. ŒÍÓ̘Ë·
ÙËÎÓÎӄ˘ÂÒÍËÈ Ù‡ÍÛθÚÂÚ ü‡Á‡ÌÒÍÓ„Ó
ÛÌË‚ÂÒËÚÂÚ‡ (1971). ¿‚ÚÓ-ÂÊËÒÒÂ ·ÓÎÂÂ
30 ‰ÓÍÛÏÂÌڇθÌ˚ı ÙËθÏÓ‚, ÒÌˇÚ˚ı ‰Îˇ
ü‡Á‡ÌÒÍÓÈ ÒÚÛ‰ËË ÍËÌÓıÓÌËÍË,
41
ÍËÌӂˉËÓÒÚÛ‰ËÈ ´ÃËÁ„ÂΪ (ü‡Á‡Ì¸),
´—Ó‚ÂÏÂÌÌËͪ, Õ›÷ü» ËÏÂÌË —‡‚‚˚
üÛÎ˯‡, ´–ËÒͪ, œÂ‚Ó„Ó Í‡Ì‡Î‡ Ë
ÚÂÎÂ͇̇· ´üÛθÚÛ‡ª. –ÛÍÓ‚Ó‰ËÚ
ÂÊËÒÒÂÒÍÓÈ Ï‡ÒÚÂÒÍÓÈ ‚ ÕÂÁ‡‚ËÒËÏÓÈ
¯ÍÓΠÍËÌÓ Ë ÚÂ΂ˉÂÌˡ ´Internewsª. ¬
2004 „Ó‰Û ‰Â·˛ÚËÓ‚‡Î‡ Ë„Ó‚˚Ï ÙËθÏÓÏ
´¬ÂÏˇ ʇڂ˚ª, ÍÓÚÓ˚È ÒڇΠ҇Ï˚Ï
ÛÒÔ¯Ì˚Ï ‰Â·˛ÚÓÏ „Ó‰‡. ´flª ñ ‚ÚÓÓÈ
Ë„Ó‚ÓÈ ÙËθÏ.
Marina Razbezhkina
Director of narrative and documentary
cinema, scriptwriter. Prize-winner of
international and national film festivals.
Born in Moscow on 17 July 1948. Graduated
from the faculty of philology of Kazan
University (1971). Author and director of
over 30 documentary films made for the
Kazan Studio of Film Chronicles, the film
video studios ìMizgelî (Kazan),
ìSovremennikî (Contemporary), NETsKI
ƒ‡Ï‡Ú˘ÂÒ͇ˇ ÔËÚ˜‡ ÔÓ Ó‰ÌÓËÏÂÌÌÓÈ ÔÓ‚ÂÒÚË —Â„¡ ≈ÒÂÌË̇.
ìSavva Kulishî, ìRiskî, First Channel and
fl ñ ˝ÚÓ ÏÂÒÚÓ, ÍÓÚÓÓ β‰ÂÈ ‰ÂÊËÚ Ë Ò ÍÓÚÓ˚Ï ÓÌË Ì ÏÓ„ÛÚ
the television channel ìKulturaî. Runs a
‡ÒÒÚ‡Ú¸Òˇ. ≈ÒÎË ÛȉÛÚ ñ ÔÓ„Ë·ÌÛÚ. ≈‰ËÌÒÚ‚ÂÌÌ˚È, ÍÚÓ ıÓ˜ÂÚ ‚˚‚‡Ú¸Òˇ ËÁ
directorís workshop at the Independent School
fl‡, ñ ˝ÚÓ „·‚Ì˚È „ÂÓÈ ü‡‚. ÕÓ, ÛıÓ‰ˇ ËÁ fl‡, ÓÌ ÚÂÏ Ò‡Ï˚Ï ÔÓ˚‚‡ÂÚ
of Cinema and Television ìInternewsî.. In
ÒÓ ‚ÒÂÏË Ú‡‰ËˆËÓÌÌ˚ÏË ˆÂÌÌÓÒÚˇÏË Ë Ì‚ÓθÌÓ ÒÚ‡ÌÓ‚ËÚÒˇ Ô˘ËÌÓÈ
2004 debuted with a fiction film ìHarvest
„Ë·ÂÎË ‰ÓÓ„Ëı ÂÏÛ Î˛‰ÂÈ.
Timeî, which became the most successful
debut of the year. ìThe Hollowî is her second
Dramatic parable based on Sergei Eseninís story of the same title.
feature film.
ëHollowí is a place that keeps people in, and that they cannot leave. If they
leave they will perish. The only one who wants to escape from ëHollowí is the
main hero, Karev. But leaving ëHollowí he breaks off with all traditional
values, and involuntarily causes the destruction of those dear to him.
42
ÍËÌÓÚ‡‚
ÍÓÓÚÍËÈ ÏÂÚ
kinotavr
shorts
∆fi–» / JURY
À˛·Ó‚¸ ¿ÍÛÒ Ô‰Ò‰‡ÚÂθ Ê˛Ë
ÍËÌӂ‰, „·‚Ì˚È ‰‡ÍÚÓ ËÁ‰‡ÚÂθÒÚ‚‡ "—‡ÌÒ"
Liubov Arkus
(jury chairwoman)
Film scholar, chief editor of the publishing house "Seans"
¡‡Ú¸ˇ
œÂÒÌˇÍÓ‚˚
‰‡Ï‡ÚÛ„Ë
¬ˇ˜ÂÒ·‚
“ÂθÌÓ‚
ÔÓ‰˛ÒÂ
Presnyakov
Brothers
playwrights
Viacheslav
Telnov
producer
¿ÎÂ̇
ÿÛχÍÓ‚‡
ÙÂÒÚË‚‡Î¸Ì˚È
ÍÓÌÒÛθڇÌÚ Ãü‘
‚ ¬Â̈ËË,
ÔÓ‰˛ÒÂ
Alena
Shumakova
Festival consultant
for the IFF Venice,
producer
9:00 ÔÓˆÂÎÛÈ
KISS ME O-NINE HUNDRED
14 02
14 02
„‡ÎÓÔÓÏ ÔÓ Â‚ÓÔ‡Ï
GALLOP ACROSS EUROPE
„Â·‡ËÈ
HERBARIUM
‰Â‚Ә͇ ‰Û‡
THE SILLY GIRL
‰Â̸ Á̇ÌËÈ
DAY OF KNOWLEDGE
‰ÂÚË ‡‰‡Ï‡
CHILDREN OF ADAM
‰Á˝Ì-‰‡È‚
ZEN DRIVE
‰Û„‡ˇ ÏÓÒÍ‚‡
THE OTHER MOSCOW
Á‚ÓÌÓÍ
THE CALL
ˉËÓÚ
IDIOT
ÍÓÁ‡
GOAT
ÍÓÎÓ·ÓÍ
KOLOBOK
ÍÓÎ˚·Âθ̇ˇ
LULLABY
Í˚ÒÍË Ë ÍÌË„‡
RATS AND THE BOOK
β‰Ë ËÁ ͇ÏÌˇ
STONE PEOPLE
χÚ 1943 „Ó‰‡
MARCH 1943
ÏÓÒÍ‚‡
MOSCOW
Ó‰ËÌ
ALONE
ÔˇÚ¸ ÏËÌÛÚ
FIVE MINUTES
Ò͇Á͇, ‡ÒÒ͇Á‡Ì̇ˇ ̇ ÌÓ˜¸
A TALE TOLD BY NIGHT
ÒÍËÔ‡˜
THE VIOLINIST
ÛÂı‡Î
HEíS GONE
¯ÂÎÓÍ ıÓÎÏÒ Ë ‰ÓÍÚÓ ‚‡ÚÒÓÌ
SHERLOCK HOLMES AND DOCTOR WATSON
˝ÒÔÂÒÒÓ
ESPRESSO
˛ËÈ ‡‡·Ó‚. ÏÂı‡ÌË͇ ÒÛ‰¸·˚
YURI ARABOV. MECHANICS OF FATE
43
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
ÀÛ˜¯Â ÏÂ̸¯Â ‰‡ ÎÛ˜¯Â
√Ó‰ ̇Á‡‰ ˇ Ò͇Á‡Î‡, ˜ÚÓ ÎÛ˜¯Â ·˚ ̇ ´üËÌÓÚ‡‚ª Ì ·˚ÎÓ ÍÓÌÍÛÒ‡
ÍÓÓÚÍÓÏÂÚ‡ÊÌ˚ı ÙËθÏÓ‚, ˜ÂÏ Ô‰ÒÚ‡‚Ρڸ ÒÚÓθ ÛÌ˚Î˚È Ì‡·Ó ͇ÚËÌ.
—Û‰¸·‡ ‚ Îˈ ‡Ú-‰ËÂÍÚÓ‡ ÙÂÒÚË‚‡Îˇ —ËÚÓ˚ ¿ÎË‚ÓÈ ·˚ÒÚÓ ÔËÁ‚‡Î‡ ÏÂÌˇ Í
ÓÚ‚ÂÚÛ. » Ô‰ÓÒÚ‡‚Ë· ÏÌ ‚ÓÁÏÓÊÌÓÒÚ¸ ÛÁ̇ڸ ÓÚ·ÓÓ˜ÌÛ˛ ÍÛıÌ˛ ‚Ó ‚ÒÂÏ ÂÂ
·ÎÂÒÍÂ Ë ÌˢÂÚÂ.
¡ÎÂÒÍ ñ „·‚ÌÓ ‰ÓÒÚÓËÌÒÚ‚Ó ÍÓÓÚÍÓ„Ó ÏÂÚ‡. œË ÛÒÎÓ‚ËË, ÍÓ̘ÌÓ, ˜ÚÓ
Í‡ÚÍÓÒÚ¸ ñ ÒÂÒÚ‡ ڇ·ÌÚ‡. “Ó„‰‡ ˝ÚÓ ÛÊ Ì ÔÓÒÚÓ ÍËÌÓÔÓ·‡ ÔÂ‡, ‡ ÓÒÓ·˚È
ÒÚËθ ‡ÒÒ͇Á‡, ÍÓÚÓ˚È Ì‡‰Ó ÛÎÓÊËÚ¸ ‚ ÔÓÍÛÒÚÓ‚Ó ÎÓÊ ӉÌÓÈ-ÔˇÚË ˜‡ÒÚÂÈ.
ÇÎÂ̸ÍËÈ ·˛‰ÊÂÚ Ë ‡ÁÏÂ ÔÓÁ‚ÓΡÂÚ ‡‚ÚÓ‡Ï Ú‡ÍËı ÙËθÏÓ‚ ·˚Ú¸ ·ÓÎÂÂ
Ò‚Ó·Ó‰Ì˚ÏË, ˜ÂÏ ‚ ÔÓÎÌÓÏ ÏÂÚÂ.
ÕˢÂÚ‡ ñ ·Ë˜ ÍÓÓÚÍÓ„Ó ÏÂÚ‡. ƒÂÎÓ, ÂÒÚÂÒÚ‚ÂÌÌÓ, Ì ‚ ‰Â̸„‡ı, ‡ ‚ ˉ¡ı.
Œ·Ë‰ÌÓ, ˜ÚÓ ÔÓ˜ÚË ÌËÍÚÓ ËÁ ÒÚÛ‰ÂÌÚÓ‚ ¬√»ü‡ Ë ¬ü—– Ì ıÓ˜ÂÚ ËÁÓ·ÂÚ‡Ú¸
‚ÂÎÓÒËÔ‰. ü‡Í Ë ÌÂÒÍÓθÍÓ ÎÂÚ Ì‡Á‡‰, ÍÓ„‰‡ ˇ ̇˜‡Î‡ ÔËÒڇθÌÓ ‡Á„Ρ‰˚‚‡Ú¸
˝ÚÓ ´ÏÂÎÍÓª ÍËÌÓ, ·Óθ¯ËÌÒÚ‚Ó ‚˚ÔÛÒÍÌËÍÓ‚ ÍËÌÓ¯ÍÓÎ Ô‰ÔÓ˜ËÚ‡˛Ú ¯Ú‡ÏÔ˚.
—Î˯ÍÓÏ ıÓÓ¯Ó Á‡ÏÂÚÌ˚ Ë ÔÓ·ÂÎ˚ ‚ ÍËÌÓÓ·‡ÁÓ‚‡ÌËË: Ú‡ÍÓ ‚Ô˜‡ÚÎÂÌËÂ, ˜ÚÓ
ÔÓ˜ÚË ÌËÍÚÓ ËÁ ÒÚÛ‰ÂÌÚÓ‚ ¬√»ü‡ Ì ˜Û‚ÒÚ‚ÛÂÚ ÒÓ‚ÂÏÂÌÌÓ„Ó ÍËÌÓ, ÓÒÚ‡‚‡ˇÒ¸ „‰ÂÚÓ Ì‡ ÛÓ‚Ì 60ñ70-ı „Ó‰Ó‚. œÓ˝ÚÓÏÛ Ú ‡·ÓÚ˚, „‰Â ÂÒÚ¸ ıÓÚˇ ·˚ ˝ıÓ ‡ÍÚۇθÌ˚ı
44
ÚÂÏ Ë ‚˚‡ÁËÚÂθÌ˚ı Ò‰ÒÚ‚, ÒÏÓÚˇÚÒˇ ÔÓ˜ÚË ¯Â‰Â‚‡ÏË. ü ÚÓÏÛ ÊÂ
ÚÂ΂ˉÂÌË Ò˚„‡ÎÓ ÁÎÛ˛ ¯ÛÚÍÛ, Ô‰ÒÚ‡‚Ë‚ Ò·ˇ ÔÓÎÌÓÏÓ˜Ì˚Ï Ô‰ÒÚ‡‚ËÚÂÎÂÏ
ÍËÌÓ. ¬ÓθÌÓ ËÎË Ì‚ÓθÌÓ, ·Óθ¯ËÌÒÚ‚Ó ÂÊËÒÒÂÓ‚, ÓÒÓ·ÂÌÌÓ ‰ÓÍÛÏÂÌÚ‡ÎËÒÚÓ‚,
ÓËÂÌÚËÛ˛ÚÒˇ ̇ ÚÂÎÂÒÚËÎËÒÚËÍÛ, Á‡„Ûʇˇ ÙËθÏ˚ ´„Ó‚Óˇ˘ËÏË „ÓÎÓ‚‡Ï˪ Ë
ÔÓ˜ËÏË ÔËÏÂÚ‡ÏË ´ÙÓχڇª.
¬ÔÓ˜ÂÏ, ‰‡Ê ÍÓ„‰‡ ÒÏÓÚ˯¸ Ò·ÓÌËÍ ÍÓÓÚÍÓÏÂÚ‡ÊÂÍ Ï˝ÚÓ‚ ÏËÓ‚Ó„Ó
ÍËÌÂχÚÓ„‡Ù‡, ‚Ӊ ÙËθχ ´œ‡ËÊ, ˇ Ú·ˇ β·Î˛ª, ÔÓÌËχ¯¸, ˜ÚÓ Ì ‚ÒÂÏ
‰‡ÂÚÒˇ ˝ÚÓÚ ÍÓ‚‡Ì˚È ‡ÁÏÂ. —Â„Ó‰Ìˇ¯ÌËÈ ÍÓÓÚÍËÈ ÏÂÚ ñ ˝ÚÓ ÍËÌÓ Ì‡ ‚˚ÓÒÚ,
̇¯Â Á‡‚Ú‡¯Ì ·Óθ¯Ó ÍËÌÓ ‚ ÔÂÒÔÂÍÚË‚Â. Õ‡ ÏÓÈ ‚Á„Ρ‰, ÔÂÒÔÂÍÚË‚‡
‚ÔÓÎÌ ӷ̇‰ÂÊË‚‡˛˘‡ˇ: ÂÒÚ¸ ‡‚ÚÓ˚, ÍÓÚÓ˚ ÒÔÓÒÓ·Ì˚ ̇ÈÚË ËÌÚÂÂÒÌ˚ı
„ÂÓ‚ ‚ Ò‡Ï˚ı ÌÂÓÊˉ‡ÌÌ˚ı ÏÂÒÚ‡ı, ÂÒÚ¸ ‚˚‰ÛÏ˘ËÍË, ÙÓχÎËÒÚ˚, ‡ÚËÒÚ˚ Ë
‰‡Ê ˛ÏÓËÒÚ˚, ˜ÚÓ ·Óθ¯‡ˇ ‰ÍÓÒÚ¸. ŒÒÚ‡ÂÚÒˇ Ëı ÚÓθÍÓ Á‡ÏÂÚËÚ¸.
»Ë̇ À˛·‡Ò͇ˇ,
ÍÛ‡ÚÓ ÔÓ„‡ÏÏ˚
Better less and better
A year ago I said that it would be better not to have a competition of short films at ìKinotavrî than to screen such a sad range
of films. Fate, in the form of the festivalís art-director Sitora Alieva, quickly took me to task and gave me the opportunity of
finding out a lot about selection with all its glorious shine and poverty.
The glorious shine: the advantage of shorts. Under the condition, of course, that brevity is the sister of talent. That it is not
just the first attempt at writing, but a special style of story-telling placed in a Procrustean bed of a fifth of the normal size.
The small budget and size allow the authors of such films to be freer than in full-length narrative films.
Poverty: the scourge of short films. Not in terms of money, but ideas. It is a shame that almost none of the students of the Film
Institute and the Higher Courses for Directors and Scriptwriters wants to invent a bicycle. As several years ago, when I began
to scrupulously examine this ìsmallî cinema, the majority of graduates from film schools prefer cliches. The gaps in film
education are only too obvious: almost none of the students of VGIK appears to have a feel for modern cinema; instead they
remain somewhere on the level of the cinema of the 1960s-70s. Therefore those works, which at least contain an echo of topical
themes and expressive means, come across almost like masterpieces. Besides, television has played a bad joke, presenting itself
as a plenipotentiary of cinema. Nolens volens the majority of directors, especially documentary filmmakers, are guided by
television stylistics, loading their films with ìtalking headsî and other signs of ìformatî.
However, even when you watch an almanac of shorts by masters of world cinema, like the film ìParis, je tíaimeî, you
understand that this artsy format does not come easy to everybody. Todayís shorts is the cinema that grows; they are
tomorrowís big cinema in perspective. In my opinion, this prospect is quite encouraging: there are authors who are capable of
finding interesting heroes in the most unexpected places; there are inventors, formalists, artists and even humorists, which is
quite rare. You just need to notice them.
Irina Liubarskaya,
Programme Curator
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
9:00 œŒ÷≈À”…
KISS ME O-NINE HUNDRED
45
2007, ÿ‚ÂˆËˇñ–ÓÒÒˡ, 11 ÏËÌ., ˆ‚.,
2007, Sweden/Russia, 11 min., col.,
HDV/ Betacam SP Stereo
HDV/Betacam SP Stereo
¬√»ü (χÒÚÂÒ͇ˇ ¬.». ’ÓÚËÌÂÌÍÓ,
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ
Scriptwriter and Director
¬.¿. ‘Â̘ÂÌÍÓ, ».œ. ¬Î‡ÒÓ‚‡). ƒÓ
‘ËÎËÔÔ üÓ¯ÛÌÓ‚
Filipp Korshunov
ÔÓÒÚÛÔÎÂÌˡ ‚Ó ¬√»ü ‡·ÓÚ‡Î
ŒÔÂ‡ÚÓ ‘‡ÌÒÛ ÕÊËÂ
Director of Photography Fansu Njie
ÍÓÂÒÔÓ̉ÂÌÚÓÏ, ÂÊËÒÒÂÓÏ
ÃÛÁ˚͇ ¡¸∏Ì À˛Ì‰ÒÚÂÏ
Music Bjorn Lindstrom
ÏÓÌڇʇ, ËÒÔÓÎÌËÚÂθÌ˚Ï ÔÓ‰˛ÒÂÓÏ
¬ ÓΡı: ¿ÌÌÂÎË √Âη‡‰,
Cast: Anneli Gelbard, Robert Bolin,
‚ –ÓÒÒËË Ë ÿ‚ˆËË. ‘ËθÏ˚:
Ó·Â ¡ÓÎËÌ, »Ì„‡ ÕÛ‰Â,
Inga Norder, Sige Dahlquist, Elena
´–Óχ¯Í˪ (2006, ‰ËÔÎÓÏ ´«‡
—Ë„Â ƒ‡Î¸Í‚ËÒÚ, ≈ÎÂ̇ flÍӂ΂‡,
Yakovleva, Bjorn Lindstrom
·ÍÓÌËÁÏ Ë ÒÓ‚ÂÏÂÌÌÓÒÚ¸
¡¸∏Ì À˛Ì‰ÒÚÂÏ
Sound Yaroslav Sapozhnikov
ÂÊËÒÒÂÒÍÓ„Ó ‚Á„Ρ‰‡ ̇ Ë„Ó‚ÓÂ
«‚ÛÍ flÓÒ·‚ —‡ÔÓÊÌËÍÓ‚
Production VGIK
ÍËÌÓª, Œ–ü‘ ´üËÌÓÚ‡‚ª, 2006),
œÓËÁ‚Ó‰ÒÚ‚Ó ¬√»ü
‘ËÎËÔÔ üÓ¯ÛÌÓ‚
–Ó‰ËÎÒˇ ‚ 1973 „Ó‰Û. —ÚÛ‰ÂÌÚ 3ñ„Ó
ÍÛÒ‡ ÂÊËÒÒÂÒÍÓ„Ó Ù‡ÍÛθÚÂÚ‡
´œÓˆÂÎÛȪ ñ ۘ·̇ˇ ‡·ÓÚ‡.
Filipp Korshunov
Born in 1973. Student of the 3rd course
at the faculty of directing of the Film
Institute VGIK (workshop V.
Khotinenko, V. Fenchenko, I. Vlasov).
Before enrolling at VGIK he worked as
correspondent, editing director, and
executive producer, both in Russia and
in Sweden. Films: ìCamomilesî (2006,
diploma ìFor laconism and
contemporaneity of a directorís view on
cinemaî, ORFF Kinotavr, 2006), ìKissî
is coursework.
≈ʉ̂ÌÓ Ó̇ ‚ÒÚ‡ÂÚ Ò ÛÚ‡ ÔÓ‡Ì¸¯Â
Every day she gets up early in the
Ë ÒÔ¯ËÚ Ì‡ Ò‚Ó˛ ·ÓÍÂÒÍÛ˛ ‡·ÓÚÛ.
morning and rushes to her job as a
œÓÒÚÂÔÂÌÌÓ ‚ÒÂ, ÍÓÏ ·ËÊ‚˚ı
broker. Gradually everything, except for
Ò‚Ó‰ÓÍ, ÔÂÂÒÚ‡ÂÚ ‰Îˇ ÌÂÂ
the stock exchange reports, fades away
ÒÛ˘ÂÒÚ‚Ó‚‡Ú¸, ÔÓÒÚ˚ ˜ÂÎӂ˜ÂÒÍËÂ
from her life: simple human pleasures
‡‰ÓÒÚË Â ÛÊ Ì ËÌÚÂÂÒÛ˛Ú. ÃÓÊÂÚ
do not interest her any more. Can one
ÎË Ó‰ËÌ ÔÓˆÂÎÛÈ ËÁÏÂÌËÚ¸  ÊËÁ̸?
kiss change her life? Or death? She has
»ÎËÖ. ÒÏÂÚ¸? ≈È Ô‰ÓÒÚ‡‚ΡÂÚÒˇ
the chance to make the right decisionÖ
¯‡ÌÒ Ì‡ÈÚË ‚ÂÌÓ ¯ÂÌËÂÖ
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
14 02
46
2006, –ÓÒÒˡ, 14 ÏËÌ., 1:1.65,
2006, Russia, 14 min., 1:1.65,
ÒÚÂÂÓ, 35 ÏÏ
stereo, 35 mm
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ
Scriptwriter and Director
üÓÌÒÚ‡ÌÚËÌ —Ú‡ÚÒÍËÈ
Konstantin Statsky
ŒÔÂ‡ÚÓ ¿ÚÂÏ œÓÎÓÒ‡Ú˚È
Director of Photography
üÓÏÔÓÁËÚÓ —‚ˇÚÓÒ·‚ üÛ‡¯Ó‚
Artem Polosaty
’Û‰ÓÊÌËÍË Ã‡¯‡ √Ë̸,
Composer Sviatoslav Kurashov
¬‡ÎÂ‡ œ‡ıÓÎÓÍ
Production Design Masha Grin,
¬ ÓΡı: üËËÎÎ ¿ÊÏˇÍÓ‚,
Valera Pakholok
—ÂÌˇ À‡ıÚËÍÓ‚
Cast: Kirill Azhmiakov,
œÓ‰˛ÒÂ üÓÌÒÚ‡ÌÚËÌ —Ú‡ÚÒÍËÈ
Senya Lakhtikov
üÓÌÒÚ‡ÌÚËÌ —Ú‡ÚÒÍËÈ
–Ó‰ËÎÒˇ ‚ ÀÂÌËÌ„‡‰Â 29 χˇ 1978
„Ó‰‡. œÓ Ô˘ËÌ ÒÎÛÊ·˚ ÓÚˆ‡ ‚
Producer Konstantin Statsky
ÔÓ‰‚Ó‰ÌÓÏ ÙÎÓÚ ———– ‚Ò ‰ÂÚÒÚ‚Ó
ÔÓ‚ÂΠ̇ ü‡ÈÌÂÏ Ò‚ÂÂ. ŒÍÓ̘ËÎ
—‡ÌÍÚ-œÂÚÂ·Û„ÒÍËÈ „ÓÒÛ‰‡ÒÚ‚ÂÌÌ˚È
ÛÌË‚ÂÒËÚÂÚ ˝ÍÓÌÓÏËÍË Ë ÙË̇ÌÒÓ‚
(2000), ÔÓÒΠ˜Â„Ó ‡·ÓڇΠÍÓ̈ÂÚÌ˚Ï
ÔÓ‰˛ÒÂÓÏ ÏÛÁ˚͇θÌÓ„Ó Í‡Ì‡Î‡. ¬
2002-Ï ÔÓÎÛ˜ËÎ ‰ÓÎÊÌÓÒÚ¸ „·‚ÌÓ„Ó
ÍÓÔË‡ÈÚÂ‡ ´–ÛÒÒÍÓ ‡‰ËÓª Ë
´–ÛÒÒÍÓ ‡‰ËÓ-2ª (—‡ÌÍÚ-œÂÚÂ·Û„).
¬ ̇ÒÚÓˇ˘Â ‚ÂÏˇ ñ ÒÚÛ‰ÂÌÚ ÔˇÚÓ„Ó
ÍÛÒ‡ ¬√»ü‡.
√‰Â ·˚ Ú˚ ÌË ·˚Î, Ú˚ ñ ‚Ò„‰‡ „Ó
Wherever you are, you are always his
ˆÂθ. ¡Â„Ë-Ì ·Â„Ë, Ú˚ ñ Â„Ó ÊÂÚ‚‡.
target. Whether you run or not, you are
–‡ÌÓ ËÎË ÔÓÁ‰ÌÓ ÓÌ Ì‡È‰ÂÚ Ú·ˇ. »Ïˇ
his victim. Sooner or later he will find
ÂÏÛ ñ üÛÔˉÓÌÖ
you. His name is Cupidon.
Konstantin Statsky
Born in Leningrad on 29 May 1978.
Due to his fatherís service in the
USSRís submarine fleet, he spent his
childhood in the Far North. Graduated
from St. Petersburg State University
for Economy and Finance (2000), then
worked as concert producer of a music
channel. In 2002 received a post as
chief copywriter for ìRussian Radioî
and ìRussian Radio 2î (St Petersburg).
At present he is a fifth-year student at
the Film Institute VGIK.
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
√¿ÀŒœŒÃ œŒ ≈¬–Œœ¿Ã
GALLOP ACROSS EUROPE
47
2007, –ÓÒÒˡ, 26 ÏËÌ., ˆ‚., 4:3,
2007, Russia, 26 min., col, 4:3, stereo,
ÒÚÂÂÓ, Betacam SP, ‰ÓÍ.
Betacam SP, doc.
ÔÓÒÚÛÔËÎ ‚ ´ÿÍÓÎÛ ÍËÌÓ, ÚÂ΂ˉÂÌˡ
¿‚ÚÓ ÒˆÂ̇ˡ, ÂÊËÒÒÂ, ÓÔÂ‡ÚÓ
Scriptwriter, Director, Photography
Ë ÂÍ·Ï˚ª, ÔÓ ÓÍÓ̘‡ÌËË ÍÓÚÓÓÈ
Ë Á‚ÛÍÓÂÊËÒÒÂ »„Ó¸ ÃÓÓÁÓ‚
and Sound Igor Morozov
‡·ÓڇΠ‡ÒÒËÒÚÂÌÚÓÏ ÂÊËÒÒÂ‡ ÔÓ
üÓÏÔÓÁËÚÓ˚ —‡¯‡ “Ó,
Composers Sasha Torr,
ÏÓÌÚ‡ÊÛ, ÔËÌËχΠۘ‡ÒÚË ‚ ·ÓΠ20
ŒÎ„ “ÓˇÌÓ‚ÒÍËÈ
Oleg Troyanovsky
ÔÓÒÚ‡ÌÓ‚Ó˜Ì˚ı ÓÎË͇ı Ë ‚ˉÂÓÍÎËÔ‡ı,
œÓ‰˛ÒÂ »„Ó¸ ÃÓÓÁÓ‚
Producer Igor Morozov
ËÒÔÓÎÌˇÎ Ó·ˇÁ‡ÌÌÓÒÚË ‚ÚÓÓ„Ó
œÓËÁ‚Ó‰ÒÚ‚Ó ´Goramo Filmsª
Production ìGoramo Filmsî
” ÔÓ‰ÌÓʸˇ ”‡Î¸ÒÍËı „Ó ·ÂÁ χÎÓ„Ó
At the foot of the Ural mountains, no
200 ÎÂÚ Í‡Í ÒÓ‰ÌË·Ҹ Ò ÛÒÒÍÓÈ
less than 200 years ago the Russian soil
ÁÂÏÎÂÈ ´Ï‡ÎÂ̸͇ˇ ≈‚ÓÔ‡ª: œ‡ËÊ,
was linked with the ìlittle Europeî:
¡ÂÎËÌ, ÀÂÈԈ˄, ¬‡̇ Ë ‰Û„ËÂ
Paris, Berlin, Leipzig, Varna and other
‰Â‚ÌË, ÔÓÒÂÎÍË Ë Ò·. ü‡Í‡ˇ Ú˚,
villages and settlements. What are you,
´ÛÒÒ͇ˇ ≈‚ÓÔ‡ª?..
ìRussian Europeî?..
»„Ó¸ ÃÓÓÁÓ‚
–Ó‰ËÎÒˇ ‚ „ÓӉ Ç„ÌËÚÓ„ÓÒÍ 11
ÒÂÌÚˇ·ˇ 1968 „Ó‰‡. ¬ 1998 „Ó‰Û
ÂÊËÒÒÂ‡. — 2002 „Ó‰‡ ñ ÏÓÌÚ‡ÊÂ Ë
‚ˉÂÓ‰ËÁ‡ÈÌÂ (·ÓΠ30
‰ÓÍÛÏÂÌڇθÌ˚ı ÙËθÏÓ‚ Ë
ÚÂÎÂÒÂˇÎÓ‚). ´√‡ÎÓÔÓÏ ÔÓ ≈‚ÓԇϪ ñ
ÂÊËÒÒÂÒÍËÈ ‰Â·˛Ú.
Igor Morozov
Born in Magnitogorsk on 11 September
1968. In 1998 enrolled at the ìSchool of
Cinema, Television and Advertisingî;
after graduation worked as assistant
director on editing; took part in more
than 20 clips and video clips as second
director. Since 2002 editor and video
designer (more than 30 documentary
films and television serials). ìGallop
across Europeî is his directorís debut.
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
√≈–¡¿–»…
HERBARIUM
48
2007, –ÓÒÒˡ, 57 ÏËÌ., ˆ‚., 4:3, ÏÓÌÓ,
2007, Russia, 57 min., col., 4:3, mono,
MiniDV, ‰ÓÍ.
MiniDV, doc.
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ
Scriptwriter and Director Natalia
Õ‡Ú‡Îˡ â‡ÌËÌÓ‚‡
Meshchaninova
ŒÔÂ‡ÚÓ˚ Õ‡Ú‡Îˡ â‡ÌËÌÓ‚‡,
Directors of Photography
ÃËı‡ËÎ —Ú‡Ó‚ÓÈÚÓ‚
Natalia Meshchaninova,
œÓ‰˛ÒÂ ÃËı‡ËÎ —ËÌ‚
Mikhail Starovoitov
œÓËÁ‚Ó‰ÒÚ‚Ó ´üËÌÓÚ‡Ú.DOCª,
Producer Mikhail Sinev
´œ‡ÒÒ‡ÊËª
Production ìKinoteatr.DOCî,
œÓÍ‡Ú ´üËÌÓÚ‡Ú.DOCª
ìPassengerî
Õ‡Ú‡Îˡ
â‡ÌËÌÓ‚‡
–Ӊ˷Ҹ ‚ ü‡ÒÌÓ‰‡ ‚ 1982 „Ó‰Û.
Distribution ìKinoteatr.DOCî
www.kinoteatrdoc.ru
ÛÌË‚ÂÒËÚÂÚ ÍÛθÚÛ˚ Ë ËÒÍÛÒÒÚ‚
(2005, ÒÔˆˇθÌÓÒÚ¸ ñ ´ÍËÌÓ- Ë
ÚÂÎÂÂÊËÒÒÛ‡ª), ÿÍÓÎÛ
‰ÓÍÛÏÂÌڇθÌÓ„Ó ÍËÌÓ ´–‡θÌÓÂ
‚ÂÏˇ-2ª ÔË ¿ÕŒ ´Internewsª
(χÒÚÂÒ͇ˇ ÇËÌ˚ –‡Á·ÂÊÍËÌÓÈ Ë
ÕËÍÓ·ˇ »Á‚ÓÎÓ‚‡). ¬Ó ‚ÂÏˇ ۘ·˚
ÒÌˇÎ‡ ‰ÓÍÛÏÂÌڇθÌ˚È ÙËÎ¸Ï ´ÃÓÈ
ÏËª (2006), ¯Ë· ‚ÒÂ¸ÂÁ Á‡ÌˇÚ¸Òˇ
www.kinoteatrdoc.ru
ƒÓÍÛÏÂÌڇθ̇ˇ Ú‡„ËÍÓωˡ.
Documentary tragicomedy.
üÓÌÍÛÒ Í‡ÒÓÚ˚ ‚ ‰ÓÏ ÔÂÒÚ‡ÂÎ˚ı?
Beauty competitions at a home for the
´∆ÛÚ¸! ñ Ò͇ÊÂÚ ‚˚ ñ ŒÌË Ê ڇÏ
old? ìWhat horror!î, you will say; ìthey
ÂΠ‰˚¯‡Ú!ª. ¿ ‚ÓÚ Ë ÌÂÚ! üÚÓ Ò͇Á‡Î,
can hardly breathe!î No, not here! Who
˜ÚÓ ÊÂÌÒÚ‚ÂÌÌÓÒÚ¸, Í‡ÒÓÚ‡ Ë
said that femininity, beauty and
‡Á‡ÚÌ˚È ·ÎÂÒÍ ‚ „·Á‡ı ÛÏË‡˛Ú
hazardous shine in the eyes perish
‡Ì¸¯Â Ëı ӷ·‰‡ÚÂθÌˈ? ¬ÒÂ
earlier their owners? Everyone thinks:
‰Ûχ˛Ú: Ëı ‰ËÌÒÚ‚ÂÌÌÓ ÛÚ¯ÂÌË ñ
their unique consolation is shelves with
˝ÚÓ ÔÓÎÍË Ò ÎÂ͇ÒÚ‚‡ÏË. ÕÓ
medicines. But it appears that on these
Ó͇Á˚‚‡ÂÚÒˇ, ̇ ˝ÚËı ÔÓÎ͇ı Ò‰Ë
shelves, among the tablets, an age-old
Ú‡·ÎÂÚÓÍ Ôˇ˜ÂÚÒˇ ÌÂËÁÏÂÌÌÓ ‚Ó ‚ÒÂ
female weapon has been hidden away.
‚Â͇ ÊÂÌÒÍÓ ÓÛÊËÂ. » ÒÚ‡ÛıË Ò
And the old women use it with success.
ÛÒÔÂıÓÏ ˝ÚËÏ ÓÛÊËÂÏ ÔÓθÁÛ˛ÚÒˇ.
ŒÍÓ̘Ë· üÛ·‡ÌÒÍËÈ „ÓÒÛ‰‡ÒÚ‚ÂÌÌ˚È
ÍËÌÓ Ë ·ÓÒËÚ¸ ‡·ÓÚÛ Ì‡ “¬.
Natalia
Meshchaninova
Born in Krasnodar in 1982. Graduated
from Kuban State University of Culture
and Arts (2005, specializing in cinema
and television directing), School of
Documentary Cinema ìReal Time 2î at
ìInternewsî (workshop Marina
Razbezhkina and Nikolai Izvolov).
During her study made the documentary
film ìMy Worldî (2006); decided to
become a professional cinematographer
and give up working for television.
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
ƒ≈¬Œ◊ü¿ ƒ”–¿
THE SILLY GIRL
49
2006, –ÓÒÒˡ, 6í3î, ˆ‚., ‡ÌËχˆËˇ,
2006, Russia, 6 min. 3 sec., col.,
ÍÓÏÔ¸˛ÚÂ̇ˇ „‡ÙË͇
animation, computer graphics
—œ·√”üË“. ≈˘Â ÒÚÛ‰ÂÌÚÍÓÈ Ô˯·
¿‚ÚÓ ÒˆÂ̇ˡ, ÂÊËÒÒÂ, ıÛ‰ÓÊÌËÍ
Scriptwriter, Director, Production
̇ —‚Â‰ÎÓ‚ÒÍÛ˛ ÍËÌÓÒÚÛ‰Ë˛. ¡˚·
«Óˇ üË‚‡
Design Zoya Kireeva
ÓÔÂ‡ÚÓÓÏ Ì‡ ‡ÌËχˆËÓÌÌ˚ı ÙËθχı
œÓ‰˛ÒÂ ¬‡ÎÂÌÚË̇ ’ËÊÌˇÍÓ‚‡
Producer Valentina Khizhniakova
¿Ì‰¡ «ÓÎÓÚÛıË, —Â„¡ —Â„Ë̇,
œÓËÁ‚Ó‰ÒÚ‚Ó ´¿-ÙËθϪ
Production ìA-Filmî
»ÒÚÓˡ Ó·˚ÍÌÓ‚ÂÌÌÓÈ Î˛·‚Ë
The story of the ordinary love of an
ÌÂÓ·˚˜ÌÓÈ ‰Â‚Ó˜ÍË.
unusual girl.
«Óˇ üË‚‡
ŒÍÓ̘Ë· —‡ÌÍÚ-œÂÚÂ·Û„ÒÍËÈ
ÛÌË‚ÂÒËÚÂÚ ÍËÌÓ Ë ÚÂ΂ˉÂÌˡ ñ
ƒÏËÚˡ √ÂÎÎÂ‡, ¬‡ÎÂÌÚË̇
ŒÎ¸¯‚‡Ì„‡, ŒÍÒ‡Ì˚ ◊Â͇ÒÓ‚ÓÈ.
–ÂÊËÒÒÂ ÏÌÓÊÂÒÚ‚‡ ‡ÌËχˆËÓÌÌ˚ı Ë
Ë„Ó‚˚ı ÂÍ·ÏÌ˚ı ÓÎËÍÓ‚ Ë
‚ˉÂÓËÌÒÚ‡ÎΡˆËÈ. ´ƒÂ‚Ә͇ ‰Û‡ª ñ
‰Â·˛Ú ÂÊËÒÒÂ‡.
Zoya Kireeva
Graduated from the St. Petersburg
Institute of Cinema and Television
(SPbKiT). While still a student, she
worked at the Sverdlovsk film studio.
Director of Photography on the
animation films of Andrei Zolotukhin,
Sergei Seryogin, Dmitri Geller, Valentin
Olshvang, Oksana Cherkasova. Director
of several animation and live-action
advertising clips and video installations.
ìThe Silly Girlî is her debut as director.
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
ƒ≈Õ‹ «Õ¿Õ»…
DAY OF KNOWLEDGE
50
2006, –ÓÒÒˡ, 13 ÏËÌ., ˆ‚.,
2006, Russia, 13 min., col.,
ˆËÙÓ‚Ó ‚ˉÂÓ
digital video
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ
ÃËı‡ËÎ “ÓÙËÏÂÌÍÓ
ŒÔÂ‡ÚÓ ¿Ì‰ÂÈ œËÚËÌÓ‚
’Û‰ÓÊÌËÍ ¬Â‡ —‚¯ÌËÍÓ‚‡
üÓÏÔÓÁËÚÓ ≈‚„ÂÌËÈ ü‡‰ËÏÒÍËÈ
«‚ÛÍ ≈‚„ÂÌËÈ ü‡‰ËÏÒÍËÈ
ÃÓÌÚ‡Ê ÃËı‡ËÎ “ÓÙËÏÂÌÍÓ,
œ‡‚ÂÎ —ÚÂθÌËÍÓ‚
¬ ÓΡı: œÂÚ —ÚÛÔËÌ,
fiËÈ ¿ÌÔËÎÓ„Ó‚, “‡Ú¸ˇÌ‡ ÃÛıË̇,
»‚‡Ì √‡È‰ËÌ
œÓ‰˛ÒÂ ƒÏËÚËÈ ƒÓ·ÛÊËÌÒÍËÈ
œÓËÁ‚Ó‰ÒÚ‚Ó ´Art Chanceª, ÔË
ÔÓ‰‰ÂÊÍ ´Park Productionª
Scriptwriter and Director
Mikhail Trofimenko
Director of Photography Andrei Pitinov
Production Design Vera Sveshnikova
Composer Evgeni Kadimsky
Sound Evgeni Kadimsky
Editing Mikhail Trofimenko,
Pavel Strelnikov
Cast : Peter Stupin, Yuri Anpilogov,
Tatiana Mukhina, Ivan Gaidin
Producer Dmitri Dobuzhinsky
Production ìArt Chanceî with support
from ìPark Productionî
–Ó‰ËÎÒˇ ‚ –ÓÒÚÓ‚Â-̇-ƒÓÌÛ ‚ 1972
„Ó‰Û. ŒÍÓ̘ËÎ Û˜ËÎˢ ŒÎËÏÔËÈÒÍÓ„Ó
ÂÁÂ‚‡ (1990), ÒˆÂ̇Ì˚È Ù‡ÍÛθÚÂÚ
¬√»ü‡ (2000, χÒÚÂÒ͇ˇ fi.Õ.
¿‡·Ó‚‡). ¿‚ÚÓ ÒˆÂ̇Ë‚ Í
ÍÓÓÚÍÓÏÂÚ‡ÊÌ˚Ï ÙËθχÏ: ´∆ËÎË·˚ÎË ÏÛÊËÍ˪, ´œÓÚÂÚª,
´Õ‡Í‡ÌÛ̪, ÒÓ‡‚ÚÓ ÒˆÂ̇ˡ
´üÛÊÂÌË ‚ Ô‰Â·ı ÍÓθˆÂ‚ÓȪ
(2006, ÂÊËÒÒÂ –‡ÏËθ
—‡Î‡ıÛÚ‰ËÌÓ‚), ‡‚ÚÓ Ô¸ÂÒ˚ ´ÕË‚‡Ì‡ª
(ÂÊËÒÒÂ fiËÈ √˚ÏÓ‚). –ÂÊËÒÒÂ
ÙËθÏÓ‚ (Í/Ï): ´ü‡ÒÌ˚ ˚·˚ª
(2001), ´Musica strictaª (2002, Ò
œ‡‚ÎÓÏ —ÚÂθÌËÍÓ‚˚Ï), ´¿‰ÏË‡Î Ë
¿ÍÚËÒ‡ª (2003, Ò œ‡‚ÎÓÏ
—ÚÂθÌËÍÓ‚˚Ï), ´ƒÂ̸ Á̇ÌËȪ (2006).
ü‡Í ‚Ò„‰‡ ‚ ÔÓÎÛ˜ÍÛ ü‡ÌÓ‚˘ËÍ Ë
As always on the payday a crane
¡ÂÚÓÌ˘ËÍ Ë‰ÛÚ Ò̇˜‡Î‡ ‚ χ„‡ÁËÌ,
operator and the concrete worker go
Mikhail Trofimenko
ÔÓÚÓÏ Í ÔÂÒÓ˜ÌˈÂÖ
first to the shop, then to the sandboxÖ
ÃËı‡ËÎ “ÓÙËÏÂÌÍÓ
www.artchance.ru
Born in Rostov-on-Don in 1972.
Graduated from the School of the
Olympic Reserve (1990), and from the
scriptwriting faculty of the Film
Institute VGIK (2000, workshop Yuri
Arabov). Author of scripts for short
films: ìThey were Muzhiksî, ìPortraitî,
ìOn the Eveî, co-author of the script
ìSpinning inside the Ring Roadî (2006,
dir. Ramil Salakhutdinov), author of
the play ìNirvanaî (dir. Yuri Grymov).
Director of short films: ìRed Fishî
(2001), ìMusica strictaî (2002, with
Pavel Strelnikov), ìThe Admiral and the
Actressî (2003, with Pavel Strelnikov),
ìDay of Knowledgeî (2006).
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
ƒ≈“» ¿ƒ¿Ã¿
CHILDREN OF ADAM
51
2007, –ÓÒÒˡ, 50 ÏËÌ., ˆ‚., ÏÓÌÓ,
2007, Russia, 50 min., col., mono,
miniDV/ Betacam SP
miniDV/Betacam SP
¿‚ÚÓ ÒˆÂ̇ˡ √ÂÓ„ËÈ œ‡‡‰Ê‡ÌÓ‚
Scriptwriter Georgi Paradzhanov,
ÔË Û˜‡ÒÚËË ƒ‡¸Ë ’ÎÂÒÚÍËÌÓÈ
with participation of Daria Khlestkina
–ÂÊËÒÒÂ √ÂÓ„ËÈ œ‡‡‰Ê‡ÌÓ‚
Director Georgi Paradzhanov
ŒÔÂ‡ÚÓ˚ ¿Ú‡Í Ã‡„‡ˇÌ,
Directors of Photography
¿ÚÓ ’‡˜‡ÚÛˇÌ, √ÂÓ„ËÈ œ‡‡‰Ê‡ÌÓ‚
Artak Marganian, Arto Khachaturian,
œÓ‰˛ÒÂ˚ ≈͇ÚÂË̇ ‘ËÎËÔÔÓ‚‡,
Georgi Paradzhanov
Çω ¡‡·‡Â‚
Producers Ekaterina Filippova,
œÓËÁ‚Ó‰ÒÚ‚Ó ´¿Ú·ÌÚËͪ, ÔË
Mamed Babayev
ÔÓ‰‰ÂÊÍ ‘‰Â‡Î¸ÌÓ„Ó ‡„ÂÌÚÒÚ‚‡ ÔÓ
Production ìAtlanticî, with support of
ÍÛθÚÛÂ Ë ÍËÌÂχÚÓ„‡ÙËË
the Federal Agency of Culture and
œÓÍ‡Ú ´¿Ú·ÌÚËͪ
Cinematography
»ÏÔÂÒÒËÓÌËÒÚÒÍËÈ ÍÓÎÎ‡Ê ËÁ ÊËÁÌË
Impressionistic collage from the life of
ÍÛ‰Ó‚-ÂÁˉӂ ¿ÏÂÌËË.
Yazidi Kurds in Armenia.
´ƒÂÚË ¿‰‡Ï‡ª ñ ÙËÎ¸Ï Ó· Ó˜Â̸
ìChildren of Adamî is a film about a
‰‚ÌÂÈ Ì‡ˆËË, ÍÓÚÓ‡ˇ ÛÏÛ‰Ë·Ҹ
very ancient people, who managed to
Georgi Paradzhanov
ÒÓı‡ÌËÚ¸ Ò‚Ó˛ ÍÛθÚÛÛ, Ò‚ÓË Ó·ˇ‰˚
preserve their culture, rituals and
Director, scriptwriter. Prizewinner of
the IFF in Locarno (1993) and other
international and Russian film festivals,
participant of the competition
programme of the IFF in Venice (2005).
Born in Tbilisi on 9 August 1963.
Graduated from the Tbilisi Theatre
Institute (1983), in parallel studied
literature at the Pushkin Institute. As
scriptwriter, graduated from the
directorís faculty of the Film Institute
VGIK (1994, Vladimir Naumovís
workshop), training at the Rome Film
Academy.
Ë Ó·˚˜‡Ë, ¬ ÒÂ„Ó‰Ìˇ¯ÌÂÈ ¿ÏÂÌËË
customs. In todayís Armenia these
β‰Ë ÊË‚ÛÚ, Í‡Í ÊËÎË Ëı Ô‰ÍË,
people live like their ancestors did ñ
ÏÓÊÂÚ ·˚Ú¸, 1000 ÎÂÚ Ì‡Á‡‰. fl ıÓÚÂÎ
maybe 1000 years ago. I wanted to
ÒÓÁ‰‡Ú¸ Ó·‡Á ‡·ÒÓβÚÌÓ Ò‡ÏÓ·˚ÚÌÓÈ
create a portrait of this absolutely
̇ˆËË, ÍÓÚÓÓÈ ÔË ˝ÚÓÏ, ÂÒÚÂÒÚ‚ÂÌÌÓ,
original nation, which, however, is also
Ì ˜Ûʉ˚ ÌË ÃÂÒ‰ÂÒ˚, ÌË ‰ÊËÌÒ˚.
familiar with Mercedes and jeans. They
ŒÌË ÔÓÔËÚ‡Ì˚ ÒÓÎ̈ÂÏ Ë Î˛·Ó‚¸˛ Í
are impregnated with the sun and a love
ÊËÁÌË. ¬ ÃÓÒÍ‚Â ÓÌË ‰Û„ËÂ, Í‡Í Ë
of life. In Moscow they are different, as
‚ÒÂ, ÍÓÚÓ˚ ÔËÂı‡ÎË Ò˛‰‡. “ÛÚ ‚
everybody else who comes here. Here in
ÃÓÒÍ‚Â, „‰Â ˜ÂÎÓ‚ÂÍ ÓÚÓ‚‡Ì ÓÚ Ò‚ÓËı
Moscow, where man is torn from his
‡θÌ˚ı ÍÓÌÂÈ, ‚Ò ˝ÚÓ ÒÚ‡ÌÓ‚ËÚÒˇ
roots, everything becomes a little bit
ÌÂÏÌÓÊÍÓ ÌÂ̇ÒÚÓˇ˘ËϪ ñ √ÂÓ„ËÈ
artificial (Georgi Paradzhanov).
Filmography:
1991 ....Funeral Season (short)
1993 ....Djado (short)
2000 ....I am a Seagull! (doc)
2003 ....Russia... Belief... Army...
People (doc. serial)
2004 ....I Died in Childhood (doc).
2004 ....Cinemaphonia of Shostakovichís
Seventh Symphony
2005 .... Our Days will be Long
œ‡‡‰Ê‡ÌÓ‚.
√ÂÓ„ËÈ œ‡‡‰Ê‡ÌÓ‚
–ÂÊËÒÒÂ, ÒˆÂ̇ËÒÚ. œËÁÂ Ãü‘ ‚
ÀÓ͇ÌÓ (1993) Ë ‰Û„Ëı
ÏÂʉÛ̇Ó‰Ì˚ı Ë ÓÒÒËÈÒÍËı
ÍËÌÓÙÂÒÚË‚‡ÎÂÈ, Û˜‡ÒÚÌËÍ ÍÓÌÍÛÒÌÓÈ
ÔÓ„‡ÏÏ˚ Ãü‘ ‚ ¬Â̈ËË (2005).
–Ó‰ËÎÒˇ ‚ “·ËÎËÒË 9 ‡‚„ÛÒÚ‡ 1963
„Ó‰‡. ŒÍÓ̘ËÎ “·ËÎËÒÒÍËÈ
Ú‡Ú‡Î¸Ì˚È ËÌÒÚËÚÛÚ (1983),
Ô‡‡ÎÎÂθÌÓ ËÁÛ˜‡Î ÎËÚÂ‡ÚÛÛ ‚
»ÌÒÚËÚÛÚ ËÏÂÌË ¿.—. œÛ¯ÍË̇.
¡Û‰Û˜Ë ÒˆÂ̇ËÒÚÓÏ, ÓÍÓ̘ËÎ
ÂÊËÒÒÂÒÍËÈ Ù‡ÍÛθÚÂÚ ¬√»ü‡
(1994, χÒÚÂÒ͇ˇ ¬Î‡‰ËÏË‡
Õ‡ÛÏÓ‚‡), ÒÚ‡ÊËÓ‚‡ÎÒˇ ‚ –ËÏÒÍÓÈ
ÍËÌӇ͇‰ÂÏËË.
‘ËθÏÓ„‡Ùˡ:
1991 ....—ÂÁÓÌ ÔÓıÓÓÌ (Í/Ï)
1993 ....ƒÊ‡‰Ó (Í/Ï)
2000 ....fl ñ ˜‡È͇! (‰ÓÍ.)
2003 ....–ÓÒÒˡ... ¬Â‡... ¿Ïˡ...
Õ‡Ó‰ (‰ÓÍ. ÒÂˇÎ)
2004 ....fl ÛÏÂ ‚ ‰ÂÚÒÚ‚Â (‰ÓÍ.)
2004 ....—ËÌÂχÙÓÌˡ 7-È ÒËÏÙÓÌËË
ƒ.ƒ.ÿÓÒÚ‡Íӂ˘‡
2005 ....ƒ‡ ·Û‰ÛÚ ‰ÌË Ì‡¯Ë ‰ÎËÌÌ˚ÏË
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
ƒ«›Õ-ƒ–¿…¬
ZEN DRIVE
52
2006, –ÓÒÒˡ, ˆ‚., 20 ÏËÌ., 16:9,
2006, Russia, col., 20 min., 16:9,
ÒÚÂÂÓ, DVD
stereo, DVD
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ
Scriptwriter and Director
¬ˇ˜ÂÒ·‚ À‡‚Ó‚
Viacheslav Lavrov
ŒÔÂ‡ÚÓ œ‡‚ÂÎ ≈ÏÂÎËÌ
Director of Photography Pavel Emelin
«‚ÛÍ ÃËı‡ËÎ ∆ÛÍÓ‚
Sound Mikhail Zhukov
¬ ÓΡı: ‘‰Ó —ÂθÍËÌ,
Cast: Fedor Selkin, Dmitri Sutyrin,
ƒÏËÚËÈ —ÛÚ˚ËÌ, —Â„ÂÈ Ã‡‰‡¸,
Sergei Mardar, Andrei Mokeev,
¿Ì‰ÂÈ ÃÓÍ‚, œ‡‚ÂÎ —Â„ËÂÌÍÓ,
Pavel Sergienko, Vladimir Rylov,
¬Î‡‰ËÏË –˚ÎÓ‚, ¬ËÚ‡ÎËÈ »Ò‡ÍÓ‚
Vitali Isakov
œÓ‰˛ÒÂ ¬ˇ˜ÂÒ·‚ À‡‚Ó‚
Producer Viacheslav Lavrov
œÓËÁ‚Ó‰ÒÚ‚Ó ´—·‚ÙËθϪ
Production ìSlavfilmî
¬ˇ˜ÂÒ·‚ À‡‚Ó‚
–Ó‰ËÎÒˇ ‚ ÀÂÌËÌ„‡‰Â 23 ÓÍÚˇ·ˇ
1976 „Ó‰‡. ŒÍÓ̘ËÎ ‡ÍÚÂÒÍËÈ
Ù‡ÍÛθÚÂÚ —œ·√¿“» (1999) Ë ·˚Î
ÔËÌˇÚ ‚ ÚÛÔÔÛ ¿ÎÂÍ҇̉ËÌÒÍÓ„Ó
Ú‡Ú‡. ¬ —‡ÌÍÚ-œÂÚÂ·Û„ÒÍÓÏ
ÛÌË‚ÂÒËÚÂÚ ÍËÌÓ Ë ÚÂ΂ˉÂÌˡ
ÓÍÓ̘ËÎ ÍÛÒ ÂÊËÒÒÛ˚ (χÒÚÂÒ͇ˇ
¬.√. √‡ÒËÎÓ‚‡). –ÂÊËÒÒÂ
ÍÓÓÚÍÓÏÂÚ‡ÊÌ˚ı ÙËθÏÓ‚ ´–Ó̉Ӫ
(2003), ´fl ÚÓÊ Ú·ˇ β·Î˛ª (2003),
´¿ ˇ  ‚Ò ‡‚ÌÓ Î˛·Î˛ª (2004),
´ƒÁ˝Ì-‰‡È‚ª (2006) Ë ÒÂˇ·
´√Ó̘˪ (2007).
» ‰‡È‚ Ë ‰Á˝Ì ÔÓ˜ÚË
Drive and zen of an almost non-
ÌÂÙ‡ÌÚ‡ÒÚ˘ÂÒÍÓÈ ËÒÚÓËË,
fantastic story following a nocturnal
ÔÓÒΉӂ‡‚¯ÂÈ Á‡ ÌÓ˜Ì˚Ï Á‚ÓÌÍÓÏ
call after another day of everyday life
ÔÓÒΠӘÂ‰ÌÓ„Ó ‰Ìˇ ÔË‚˚˜ÌÓ
has gone by.
ÔÓÊËÚÓÈ ÊËÁÌË.
Viacheslav Lavrov
Born in Leningrad on 23 October 1976.
Graduated from the actorsí faculty of
the St Petersburg State Academy of
Theatre Arts (SPbGATI, 1999) and was
accepted into the troupe of the
Alexandrinsky Theatre. Graduated from
the St. Petersburg University of Cinema
and Television from a course in
directing (workshop V. Gasilov).
Director of short films ìRondoî (2003),
ìI too, love youî (2003), ìAnd I love
her all the sameî (2004), ìZen-Driveî
(2006) and the serial ìBeaglesî (2007).
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
ƒ–”√¿fl ÃŒ—ü¬¿
THE OTHER MOSCOW
53
2006, –ÓÒÒˡ, 6 ÏËÌ., ˆ‚., 4:3,
2006, Russia, 6 min., col., 4:3,
ÒÚÂÂÓ, DVD
stereo, DVD
√ÂˆÂ̇ ‚ —‡ÌÍÚ-œÂÚÂ·Û„ (1994),
¿‚ÚÓ-ÂÊËÒÒÂ, ÓÔÂ‡ÚÓ,
Director, Director of Photography,
Ӊ̇ÍÓ ‚ÏÂÒÚÓ ‡·ÓÚ˚ ÔÓ
Á‚ÛÍÓÂÊËÒÒÂ, ÔÓ‰˛ÒÂ
Sound, Producer Omari Zverkov
ÒÔˆˇθÌÓÒÚË ÔÂÔÓ‰‡‚‡ÚÂΡ ËÒÚÓËË
ŒÏ‡Ë «‚ÂÍÓ‚
Music Bjork
ÒڇΠÁ‡ÌËÏ‡Ú¸Òˇ ÔÓÙÂÒÒËÓ̇θÌÓÈ
ÃÛÁ˚͇ Bjork
Production Higher Courses for
ÙÓÚÓ„‡ÙËÂÈ, ‚ ÚÓÏ ˜ËÒÎÂ Ë Ì‡
œÓËÁ‚Ó‰ÒÚ‚Ó ¬ü—–
Scriptwriters and Directors
Urban centres level all men: in the
¡Óθ¯ÓÈ „ÓÓ‰ ÌË‚ÂÎËÛÂÚ ˜ÂÎÓ‚Â͇: ‚
crowd man is a small insect, and all
ÚÓÎÔ ÓÌ ·Û͇¯Í‡, Ë ‚Ò ‰Û„Ë ‰Îˇ
others are alien insects that are taking
ÌÂ„Ó ˜ÛÊÂÓ‰Ì˚ ̇ÒÂÍÓÏ˚Â,
away vital space from him. But there
ÓÚÌËχ˛˘Ë ÊËÁÌÂÌÌÓ ÔÓÒÚ‡ÌÒÚ‚Ó.
are strange creatures in the millions of
ÕÓ ÂÒÚ¸ ÒÚ‡ÌÌ˚ ÒÛ˘ÂÒÚ‚‡ ‚
footsteps of the anthill megapolis,
ÒÓÚˇÒ‡ÂÏÓÏ ÚÓÔÓÚÓÏ ÏËÎÎËÓÌÓ‚ ÌÓ„
creatures who hear the sounds of the
Ï„‡ÔÓÎËÒÂ-ÏÛ‡‚ÂÈÌËÍÂ, ÍÓÚÓ˚Â
sea waves in the street noise. They
ÒÎ˚¯‡Ú Á‚ÛÍË ÏÓÒÍÓ„Ó ÔË·Óˇ ‚
nestle among each other not in the
Û΢ÌÓÏ ¯ÛÏÂ. ŒÌË ÔËÊËχ˛ÚÒˇ
transport system: capable of seeing and
‰Û„ Í ‰Û„Û Ì ‚ Ú‡ÌÒÔÓÚÌÓÈ ‰‡‚ÍÂ
feeling those close by, they miss each
ñ ËÏ, ÒÔÓÒÓ·Ì˚Ï ‚ˉÂÚ¸ Ë ˜Û‚ÒÚ‚Ó‚‡Ú¸
otherÖ
·ÎËÊÌÂ„Ó Ò‚Ó„Ó, Ì ı‚‡Ú‡ÂÚ ‰Û„
ŒÏ‡Ë «‚ÂÍÓ‚
–Ó‰ËÎÒˇ ‚ ¡‡ÍÛ ‚ 1971 „Ó‰Û. ŒÍÓ̘ËÎ
œÂ‰‡„ӄ˘ÂÒÍËÈ ÛÌË‚ÂÒËÚÂÚ ËÏÂÌË
ÍËÌÓÒÚÛ‰ËË ´ÀÂÌÙËθϪ. ¬ 2005-Ï
ÔÓÒÚÛÔËΠ̇ ¬˚үˠÍÛÒ˚
ÒˆÂ̇ËÒÚÓ‚ Ë ÂÊËÒÒÂÓ‚ ‚ ÃÓÒÍ‚Â, ‚
χÒÚÂÒÍÛ˛ ».ü‚ËË͇‰Á Ë
¿.ƒÓ·Ó‚ÓθÒÍÓ„Ó.
Omari Zverkov
Born in Baku in 1971. Graduated from
the Herzen Pedagogical University in St
Petersburg (1994); however, instead of
working in his specialism as history
teacher, began to work in professional
photography, among others at Lenfilm
studio. In 2005 enrolled on the Higher
Courses for Scriptwriters and Directors
in Moscow, class of I. Kvirikadze and
A. Dobrovolsky.
‰Û„‡Ö
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
«¬ŒÕŒü
THE CALL
54
2007, –ÓÒÒˡ, 33 ÏËÌ., ˆ‚., 1:1.66,
2007, Russia, 33 min., col., 1:1.66,
ÒÚÂÂÓ, 35 ÏÏ
stereo, 35 mm
¿‚ÚÓ˚ ÒˆÂ̇ˡ »Ë̇ üÓʇÌ,
Scriptwriters Irina Korzhan,
üÓÌÒÚ‡ÌÚËÌ —˚Ì„‡Â‚ÒÍËÈ
Konstantin Syngaevsky
–ÂÊËÒÒÂ »Ë̇ üÓʇÌ
Director Irina Korzhan
ŒÔÂ‡ÚÓ˚ »‚‡Ì üÛÔˆÓ‚,
Directors of Photography
ÕËÍÓÎ‡È —ÏËÌÓ‚
Ivan Kuptsov, Nikolai Smirnov
’Û‰ÓÊÌËÍ ¬‡ÎÂËÈ —ÓÓÍÓÛÏÓ‚
Production Design Valeri Sorokoumov
üÓÏÔÓÁËÚÓ ¬ˇ˜ÂÒ·‚ ŒÒ¸ÏËÌËÌ
Composer Viacheslav Osminin
«‚ÛÍ ŒÒ͇ “˚̘ÂÓ‚
Sound Oskar Tyncherov
¬ „·‚Ì˚ı ÓΡı: “‡Ú¸ˇÌ‡ ƒ۷˘,
Production ìProbaî
¿Ì‰ÂÈ ¡‡ËÎÓ
Principal Cast: Tatiana Drubich,
œÓ‰˛ÒÂ ÕËÍÓÎ‡È √‡Ó
Andrei Barilo
œÓËÁ‚Ó‰ÒÚ‚Ó ´œÓ·‡ª
Producer Nikolai Garo
»Ë̇ üÓʇÌ
–Ӊ˷Ҹ ‚ üË‚ (”Í‡Ë̇) 17
‰Â͇·ˇ 1972. ŒÍÓ̘Ë· ÙËÎÓÒÓÙÒÍËÈ
Ù‡ÍÛθÚÂÚ Ã√” ËÏÂÌË Ã.¬.
ÀÓÏÓÌÓÒÓ‚‡ (1998), ¬˚үˠÍÛÒ˚
ÒˆÂ̇ËÒÚÓ‚ Ë ÂÊËÒÒÂÓ‚ (2004,
χÒÚÂÒ͇ˇ ¬.». ’ÓÚËÌÂÌÍÓ, œ.ü.
‘ËÌ̇, ¬.¿. ‘Â̘ÂÌÍÓ). ”˜Â·Ì˚È
ÙËÎ¸Ï ´ƒÂÏÓª (Í/Ï) ÔÓÎÛ˜ËÎ ÔËÁ˚ ̇
ÒÚÛ‰Â̘ÂÒÍËı ÙÓÛχı. —ÌˇÎ‡ ˇ‰
‰ÓÍÛÏÂÌڇθÌ˚ı ÚÂÎÂÙËθÏÓ‚:
´ÃÓÒÍÓ‚ÒÍË ÔÓ„ÛÎÍË Ò ŒÎ„ÓÏ
“‡·‡ÍÓ‚˚Ϫ, ´›ÎË̇ ¡˚ÒÚˈ͇ˇª,
´ÃÓÒÍ‚‡-850ª (“¬÷), ´–‡Á‚‰͇, Ó
ÍÓÚÓÓÈ Á̇ÎË ÌÂÏÌӄ˪ (͇̇Î
´üÛθÚÛ‡ª), ÌÂÒÍÓθÍÓ ÂÍ·ÏÌ˚ı
ÓÎËÍÓ‚ Ë ÍÎËÔÓ‚. ´«‚ÓÌÓͪ ñ ‚ÚÓÓÈ
Ë„Ó‚ÓÈ ÙËθÏ.
Production ìProbaî
»ÒÚÓˡ ÍÓÓÚÍÓÈ ‚ÒÚÂ˜Ë Ï‡ÚÂË Ë
The story of a short meeting of mother
Ò˚̇ ‚ ˝ÏË„‡ˆËË, ‚ Ì·Óθ¯ÓÏ
and son in emigration, in a small
ÌÂψÍÓÏ „ÓӉ͠ÔÓÒΠ‰ÂÒˇÚË ÎÂÚ
German town, after ten years of
‡ÁÎÛÍË. ŒÌË ‡ÒÒÚ‡ÎËÒ¸ ‚ 1916 „Ó‰Û
separation. They parted in 1916 on
̇ ÕËÍÓ·‚ÒÍÓÏ ‚ÓÍÁ‡ÎÂ, ÍÓ„‰‡ Ó̇
Nikolaevsk station, when she saw him
ÔÓ‚Óʇ· Â„Ó Ì‡ ÙÓÌÚ. «‡ÚÂÏ ·˚·
off to the front. Then there was the
‚ÓβˆËˇ Ë √‡Ê‰‡ÌÒ͇ˇ ‚ÓÈ̇.
Revolution and the Civil War. Burnt by
»ÒÔÂÔÂÎÂÌÌ˚ ÊËÁ̸˛, ÚÂÔÂ¸
life, everyone tries to survive in their
͇ʉ˚È Ô˚Ú‡ÂÚÒˇ ‚˚ÊËÚ¸ ÔÓ-Ò‚ÓÂÏÛÖ
own wayÖ
Irina Korzhan
Born in Kiev, Ukraine, on 17 December
1972. Graduated from the faculty of
philosophy at Lomonosov Moscow State
University (1998), Higher Courses of
Scriptwriters and Directors (2004,
workshop V. Khotinenko, P. Finn, V.
Fenchenko). Her coursework film
ìDemoî (short) received prizes at
studentís forums. Made a number of
documentary television films: ìMoscow
Walks with Oleg Tabakovî, ìElina
Bystritskayaî, ìMoscow 850î (TVC),
ìAn Investigation about which few
knewî (channel Kultura), some
advertising clips. ìThe Callî is her
second fiction film.
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
»ƒ»Œ“
IDIOT
fiÎˡ œ‡Ì‡ÒÂÌÍÓ
–Ӊ˷Ҹ ‚ ¿Îχ-¿Ú ‚ 1979 „Ó‰Û.
ŒÍÓ̘Ë· ¬Î‡‰ËÏËÒÍËÈ ÛÌË‚ÂÒËÚÂÚ
ÔÓ ÒÔˆˇθÌÓÒÚË ´ÚÂÎÂÊÛ̇ÎËÒÚË͇ª,
Ù‡ÍÛθÚÂÚ ‰ÓÔÓÎÌËÚÂθÌÓ„Ó
ÔÓÙÂÒÒËÓ̇θÌÓ„Ó Ó·‡ÁÓ‚‡Ìˡ
55
(‘ƒœŒ) ¬√»ü‡ (2004, χÒÚÂÒ͇ˇ
“ÂÌ„ËÁ‡ —ÂÏÂÌÓ‚‡) ÔÓ ÒÔˆˇθÌÓÒÚË
´ÂÊËÒÒÂ ÌÂË„Ó‚Ó„Ó ÍËÌÓª. ‘ËθÏ˚
(‰ÓÍ., Í/Ï): ´◊Û͇ª (2006), ´◊ËÒÚÓª
2007, –ÓÒÒˡ, 58 ÏËÌ., ˆ‚., 4:3, ÏÓÌÓ,
2007, Russia, 58 min., col., 4:3, mono,
(2007), ´»‰ËÓÚª (2007).
miniDV, ‰ÓÍ.
miniDV, doc.
Yulia Panasenko
¿‚ÚÓ˚ ÒˆÂ̇ˡ, ÂÊËÒÒÂ˚,
Scriptwriters, Directors, Directors of
Born in Alma-Ata in 1979. Graduated
ÓÔÂ‡ÚÓ˚ fiÎˡ œ‡Ì‡ÒÂÌÍÓ,
Photography Yulia Panasenko,
from Vladimir University in television
—‚ÂÚ·̇ —ÚÂθÌËÍÓ‚‡
Svetlana Strelnikova
journalism; later, faculty of additional
œÓ‰˛ÒÂ ÃËı‡ËÎ —ËÌ‚
Producer Mikhail Sinev
vocational training of the Film Institute
œÓËÁ‚Ó‰ÒÚ‚Ó Ë ÔÓ͇Ú
Production and Distribution
VGIK (2004, workshop of Tengiz
ü»ÕŒ“≈¿“–.DOC
üINOTEATR.DOC
Semenov) specializing as director of
documentary cinema. Films,
www.kinoteatrdoc.ru
documentaries and shorts: ìBlockî
(2006), ìThe Pureî (2007), ìIdiotî (2007).
—‚ÂÚ·̇
—ÚÂθÌËÍÓ‚‡
–Ӊ˷Ҹ ‚ ÃÓÒÍ‚Â ‚ 1981 „Ó‰Û.
ŒÍÓ̘Ë· ˝ÍÓÌÓÏ˘ÂÒÍËÈ Ù‡ÍÛθÚÂÚ
Ã√” ËÏÂÌË Ã.¬. ÀÓÏÓÌÓÒÓ‚‡ (2002), ‚
2004-Ï ÔÓÒÚÛÔË· ̇ ‘ƒœŒ ¬√»ü‡
(χÒÚÂÒ͇ˇ “ÂÌ„ËÁ‡ —ÂÏÂÌÓ‚‡),
ۘ˷Ҹ Ó‰ËÌ ÒÂÏÂÒÚ. ´»‰ËÓÚª ñ
‰Â·˛Ú̇ˇ ͇ÚË̇.
Svetlana Strelnikova
Born in Moscow in 1981. Graduated
from the economic faculty of Lomonosov
Moscow State University (2002), and in
2004 enrolled in the faculty of
additional vocational training of the
Film Institute VGIK (workshop Tengiz
Semenov), where she studied for one
semester. ìIdiotî is her debut.
ÕÂÌÛÊÌ˚È, Î˯ÌËÈ, ˉËÓÚÒÍËÈ ñ Ú‡Í
Unnecessary, superfluous, idiotic ñ in
ÌÂÎÂÒÚÌÓ ¿Ì‰ÂÈ ÓÚÁ˚‚‡ÂÚÒˇ Ó Ò·Â.
these unflattering terms Andrei speaks
Œ‰Ì‡ÍÓ ‚Ò Úˉˆ‡Ú¸ ÎÂÚ Â„Ó ÊËÁÌË
about himself. However, the entire
ÏÓ„ÎË ·˚ ÒÚ‡Ú¸ ÒˆÂ̇ËÂÏ Ë„Ó‚Ó„Ó
thirty years of his life could become the
ÙËθχ. —·Âʇ‚ ËÁ ÔÒËıÛ¯ÍË, ‚
script for a feature film. Having run
ÍÓÚÓÛ˛ ÓÌ ·˚Î ÓÔ‰ÂÎÂÌ Ò
away from a psychiatric clinic, where he
ÔÓÊËÁÌÂÌÌ˚Ï ‰Ë‡„ÌÓÁÓÏ
had been diagnosed with a lifelong
´Ì‰ÂÂÒÔÓÒÓ·ÌÓÒÚ¸ª, ÓÌ Ó͇Á˚‚‡ÂÚÒˇ ‚
disability, he turns up in the capital.
ÒÚÓÎˈÂ. ¡ÂÁ ‰ÓÍÛÏÂÌÚÓ‚ Ë Í˚¯Ë ̇‰
Without documents or a roof over his
„ÓÎÓ‚ÓÈ ¿Ì‰ÂÈ Ë˘ÂÚ ÒÔÓÒÓ·˚ ‚ÂÌÛÚ¸
head, Andrei searches for ways of
Ò· Ô‡‚Ó Ì‡ Ò‚Ó·Ó‰ÌÛ˛ ÊËÁ̸. ÕÓ
retrieving his right to a free life. But
‚ËÁËÚ˚ Í ˜ËÌÓ‚ÌËÍ‡Ï Ë ·ÂÒÍÓ̘Ì˚Â
visits to officials and endless psychiatric
ÔÒËıˇÚ˘ÂÒÍË ˝ÍÒÔÂÚËÁ˚ Ì ‰‡˛Ú
examinations bring no results: and the
ÌË͇ÍËı ÂÁÛθڇÚÓ‚: ÒÛ‰, ÍÓÚÓ˚È
court that has to reach a verdict is
‰ÓÎÊÂÌ ‚˚ÌÂÒÚË ¯ÂÌËÂ, ‚Ò ‚ÂÏˇ
delayed time and again...
ÓÚÍ·‰˚‚‡ÂÚÒˇ...
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
üŒ«¿
GOAT
56
2007, –ÓÒÒˡ, 10 ÏËÌ., ˆ‚., 1:1.85,
2007, Russia, 10 min., col., 1:1.85,
ÒÚÂÂÓ
stereo
¿‚ÚÓ˚ ÒˆÂ̇ˡ »„Ó¸ ¬ÓÎÓ¯ËÌ,
Scriptwriters Igor Voloshin,
¿ÎÂÍÒÂÈ ÿËÔÂÌÍÓ
Alexei Shipenko
–ÂÊËÒÒÂ »„Ó¸ ¬ÓÎÓ¯ËÌ
Director Igor Voloshin
ŒÔÂ‡ÚÓ ¿Ì‰ÂÈ Õ‡È‰ÂÌÓ‚
Director of Photography
’Û‰ÓÊÌËÍ ∆‡Ì̇ œ‡ıÓÏÓ‚‡
Andrei Naidenov
«‚ÛÍ ¿ÎÂÍ҇̉ üÓÔÂÈÍËÌ
Production Design Zhanna Pakhomova
¬ ÓΡı: ÃËı‡ËÎ ≈‚·ÌÓ‚,
Sound Alexander Kopeikin
¬Î‡‰ËÏË —ÓÓÍÓÎËÚ‡,
Cast: Mikhail Evlanov,
¿Ì‰ÂÈ ’‡·‡Ó‚
Vladimir Sorokolita, Andrei Khabarov
œÓ‰˛ÒÂ˚ ¿Ì̇ ÃËı‡ÎÍÓ‚‡,
Producers Anna Mikhalkova,
ÇÍÒËÏ üÓÓ΂
Maxim Korolev
œÓËÁ‚Ó‰ÒÚ‚Ó Ë Ô‡‚‡
Production Russian Fund of Culture
»„Ó¸ ¬ÓÎÓ¯ËÌ
üËÌÓÂÊËÒÒÂ, ·ÛÂ‡Ú Ì‡ˆËÓ̇θÌÓÈ
ÔÂÏËË ´“ËÛÏÙª, ÔËÁÂ
ÏÂʉÛ̇Ó‰Ì˚ı Ë ÓÚ˜ÂÒÚ‚ÂÌÌ˚ı
ÍËÌÓÙÂÒÚË‚‡ÎÂÈ Ë ÙÓÛÏÓ‚ ÌÂË„Ó‚Ó„Ó
ÍËÌÓ. –Ó‰ËÎÒˇ ‚ —‚‡ÒÚÓÔÓΠ‚ 1974
„Ó‰Û. — 1992 ñ ‡ÍÚÂ ÃÓÎÓ‰ÂÊÌÓ„Ó
‰‡Ï‡Ú˘ÂÒÍÓ„Ó ´“‡Ú‡ ̇ ¡Óθ¯ÓÈ
ÃÓÒÍÓȪ Ô/ ¬.¿. Œ¯‡ÌÒÍÓ„Ó,
Û˜ËÎÒˇ ‚ Ò‚‡ÒÚÓÔÓθÒÍÓÏ ÙËΡÎÂ
flÓÒ·‚ÒÍÓ„Ó Ú‡Ú‡Î¸ÌÓ„Ó Û˜ËÎˢ‡.
¬ 1998-Ï ÔÓÒÚÛÔËÎ ‚Ó ¬√»ü
(Ù‡ÍÛθÚÂÚ ‰ÓÔÓÎÌËÚÂθÌÓ„Ó
ÔÓÙÂÒÒËÓ̇θÌÓ„Ó Ó·‡ÁÓ‚‡Ìˡ) ‚
χÒÚÂÒÍÛ˛ ‰‡Ï‡ÚÛ„ËË ¬.ü.
◊ÂÌ˚ı‡ Ë À.¿. ◊ÂÌ˚ı, ÓÍÓ̘ËÎ
χÒÚÂÒÍÛ˛ ÂÊËÒÒÛ˚ ‡‚ÚÓÒÍÓ„Ó
ÙËθχ ¬.¿. Ç̇ (2000).
–ÓÒÒËÈÒÍËÈ ‘Ó̉ ÍÛθÚÛ˚
´üÓÁ‡ª ñ ‡‰ËÓÔÓÁ˚‚ÌÓÈ Ò˄̇Î
ìGoatî is the radio signal of a lost
ÔÓ„Ë·¯Â„Ó ‚Á‚Ó‰‡ ÒÔˆ̇Á‡ ̇
platoon of special troops in the Chechen
˜Â˜ÂÌÒÍÓÈ ‚ÓÈÌÂÖ
warÖ
‘ËθÏÓ„‡Ùˡ:
2000 ....ÃÂÒË‚Ó
2001 ....—Û͇
2003 ....ŒıÓÚ‡ ̇ Á‡ÈˆÂ‚
2005 ....√Û·˚
2007 ....üÓÁ‡
Igor Voloshin
Film director, winner of the national
prize ìTriumphî, prize-winner of
international and national film festivals
and forums of documentary cinema.
Born in Sevastopol in 1974. Since 1992
actor of the Youth Drama Theatre on
Bolshaya Morskaya Street under V.
Orshansky, studied at the Sevastopol
branch of the Yaroslavl Theatre School.
In 1998 enrolled at the Film Institute
VGIK (faculty of additional vocational
training) in the workshop of dramatic
art of V. and L. Chernykh, graduated
from V. Manís workshop of direction of
auteur films (2000).
Filmography:
2000 ....Medley
2001 ....The Bitch
2003 ....Hare Hunting
2005 ....Lips
2007 ....Goat
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
üŒÀŒ¡Œü
KOLOBOK
¬Î‡‰ ¡‡·˝
–ÂÊËÒÒÂ ‡ÌËχˆËÓÌÌÓ„Ó ÍËÌÓ,
ıÛ‰ÓÊÌËÍ, ÔÓ‰˛ÒÂ. À‡Û‡Ú
ÏÂʉÛ̇Ó‰Ì˚ı Ë ÓÒÒËÈÒÍËı
ÔÓÙÂÒÒËÓ̇θÌ˚ı ÔÂÏËÈ. –Ó‰ËÎÒˇ 8
χÚ‡ 1960 „Ó‰‡. ŒÍÓ̘ËÎ ¬ü—–
(1981). –‡·ÓڇΠ̇ ÍËÌÓÒÚÛ‰ËË
´ÃÓΉӂ‡-ÙËÎϪ, ‚ “œŒ ´›Í‡Ìª, ̇
ÒÚÛ‰ËË ´œËÎÓÚª. — 1991 ñ
„ÂÌÂ‡Î¸Ì˚È ‰ËÂÍÚÓ Ë ÂÊËÒÒÂ
‡ÌËχˆËÓÌÌÓÈ ÒÚÛ‰ËË ´ü·ÒÒË͇ª.
»Á·‡Ì̇ˇ ÙËθÏÓ„‡Ùˡ ÂÊËÒÒÂ‡:
1977 ....≈ÒÎË ‚ÂËÚ¸ ‚ Ò͇ÁÍÛ
(ËÒÓ‚‡ÌÌ˚È)
1978 ....¿ËÒÚÂÌÓÍ ‚ ÍÎÂÚÓ˜ÍÛ
(ËÒÓ‚‡ÌÌ˚È)
1982 ....ÕӂӄӉ̠ÔÛÚ¯ÂÒÚ‚ËÂ
(ËÒÓ‚‡ÌÌ˚È)
1982 ....ŒÒÚ‡ÌÓ‚ËÎÒˇ ÔÓÂÁ‰ (ËÒÓ‚‡ÌÌ˚È)
1986 ....√ÓÏ Ì „ˇÌÂÚ (ËÒÓ‚‡ÌÌ˚È)
1987 ....–ÓÍÓ‚‡ˇ β·Ó‚¸ (ÍÛÍÎ˚)
1989 ....–ÓÍÓ‚‡ˇ β·Ó‚¸, ËÎË ¡Â‰ÌˇÊ͇
ÀÛÎÛ (ÍÛÍÎ˚)
199-91 ..üÛ·ËÍ –Û·ËÍ ÍÎÓÛ̇‰‡
(ÒÂˇÎ, ËÒÓ‚‡ÌÌ˚È)
1992 ....—ÌÂÊ̇ˇ ÍÓÓ΂‡ (ËÒÓ‚‡ÌÌ˚È)
1994 ....ƒËÍË ÎÂ·Â‰Ë (ËÒÓ‚‡ÌÌ˚È)
1995 ....People (3D, ËÒÓ‚‡ÌÌ˚È)
1996 ....—͇ÁÍË ÌÓ‚ÓÈ –ÓÒÒËË
(Ò˛ÊÂÚ˚ ÒÂˇ·)
57
2006, –ÓÒÒˡ, 20 ÏËÌ., ˆ‚., 1:1.66,
Dolby Digital 5.1, 35 ÏÏ, 3D-‡ÌËχˆËˇ
2006, Russia, 20 min., col., 1:1.66,
Dolby Digital 5.1, 35 mm., 3D-animation
¿‚ÚÓ˚ ÒˆÂ̇ˡ ¬‡ÎÂËÈ œÛ„‡¯ÍËÌ,
¬Î‡‰ ¡‡·˝
–ÂÊËÒÒÂ ¬Î‡‰ ¡‡·˝
’Û‰ÓÊÌËÍ ¬‡ÎÂËÈ ◊ÛËÍ
üÓÏÔÓÁËÚÓ ¬Î‡‰ËÒ·‚ ÿ‡Ú‡ÎËÌ
«‚ÛÍ ¬‡‰ËÏ üÛ„ÎÓ‚,
¿ÎÂÍ҇̉ ¡‡Ú˚‚
¿ÍÚÂ˚ ÓÁ‚Û˜‡Ìˡ:
›‰Û‡‰ –‡‰Á˛Í‚˘,
‘‰Ó Ë ¬ËÍÚÓ ƒÓ·ÓÌ‡‚Ó‚˚
œÓ‰˛ÒÂ˚ √‡ÎË̇ ƒ‡ÌÂÎˡ,
¬ËÍÚÓ ‘‰ÓÚÓ‚, –ÓÏ‡Ì üÓÎÚÛÌÓ‚
œÓËÁ‚Ó‰ÒÚ‚Ó ´ü·ÒÒË͇ª, ÔÓ Á‡Í‡ÁÛ
‘‰Â‡Î¸ÌÓ„Ó ‡„ÂÌÚÒÚ‚‡ ÔÓ ÍÛθÚÛ Ë
ÍËÌÂχÚÓ„‡ÙËË
Scriptwriters Valeri Pugashkin,
Vlad Barbe
Director Vlad Barbe
Production Design Valeri Churik
Composer Vladislav Shatalin
Sound Vadim Kruglov,
Alexander Batyrev
Voices: Eduard Radziukevich,
Fedor and Viktor Dobronravov
Producers Galina Danelia,
Viktor Fedotov, Roman Koltunov
Production: ìKlassikaî, commissioned
by the Federal Agency of Culture and
Cinematography
ւ‰¸ ‚Ò ‰ÓÎÊÌÓ ·˚ÎÓ ÒÎÓÊËÚ¸Òˇ
͇Í-ÚÓ ÔÓ-‰Û„ÓÏÛ,
͇Í-ÚÓ ÔÓ‚ÓÁ‚˚¯ÂÌÌÂÂ, ˜ÚÓ ÎË
Ì ÔÓÒÚÓ Ú‡Í ˜ÚÓ·˚: Ë‰Û Ò· ñ Ë Ë‰Û
‚‰¸ Ë ‰ÛÁ¸ˇ ·˚ÎË Ë ‚‡„Ë ·˚ÎË
Ë ÒÌ˚ ‰Û‡ˆÍË ÔÓ ÌÓ˜‡Ï Ì ÏÛ˜ËÎË
ÊËÎ ÒÂ·Â Ë ‰ÛχÎ, ˜ÚÓ ‚ Ú‚ÓÂÈ ÊËÁÌË
ÂÒÚ¸ ·Óθ¯ÓÈ ÒÏ˚ÒÎÖ ‡, ·‰ÌÓ.
√ÛÒÚ̇ˇ ËÒÚÓˡ (ÔÓ ÏÓÚË‚‡Ï ÛÒÒÍÓÈ
̇Ó‰ÌÓÈ Ò͇ÁÍË).
Öin fact everything should have
happened somehow differently,
Somehow in an elevating way,
Not simply: I am going, so I go,
Because there were both friends and
enemies
And foolish dreams at night did not
torment
I lived to myself and thought that in
your life there is meaningÖ oh, all
right.
A sad story (on the motives of a popular
Russian fairy tale).
Vlad Barbe
Director, animator, producer. Winner of
international and Russian professional
awards. Born on 8 March 1960.
Graduated from the Higher Courses for
Scriptwriters and Directors (1981).
Worked at the film studio ìMoldova
Filmî, for company ìScreenî, at the
studio ìPilotî. Since 1991 he is general
director and artistic director of the
animation studio ìKlassikaî.
Select Filmography:
1977 ....Believing in a Fairy Tale
(drawn)
1978 ....The Little Stork in a Cage
(drawn)
1982 ....New Yearís Journey (drawn)
1982 ....The Train Stopped (drawn)
1986 ....The Thunder will not thunder
(drawn)
1987 ....Fatal Love (puppet)
1989 ....Fatal Love, or Poor Lulu
(puppet)
1990-91....Rubikís Cube Clownerie
(serial, drawn)
1992 ....The Snow Queen (drawn)
1994 ....Wild Swans (drawn)
1995 ....People (3D, drawn)
1996 ....Fairy Tales of the New Russia
(parts of a serial)
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
üŒÀ¤¡≈À‹Õ¿fl
LULLABY
58
2006, –ÓÒÒˡ, 26 ÏËÌ., ˆ‚., 1:1.66,
ÒÚÂÂÓ, Super 16 ÏÏ/ Betacam SP
2006, Russia, 26 min., col., 1:1.66,
stereo, Super 16 mm / Betacam SP
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ
üÒÂÌˡ œÂÂÚÛıË̇
ŒÔÂ‡ÚÓ »Î¸ˇ Œ‚ÒÂÌ‚
’Û‰ÓÊÌËÍË flÍÓ‚ ü‡Ê‰‡Ì,
¿ÎÂÍÒÂÈ ÀÓ·‡ÌÓ‚
ÃÛÁ˚͇ ≈‚„ÂÌËÈ ü‡‰ËÏÒÍËÈ,
–ÓÏ‡Ì ƒÛ·ËÌÌËÍÓ‚
«‚ÛÍ ¬ËÍÚÓ “ËϯËÌ
¬ ÓΡı: ≈ÎÂ̇ À‡ÒÍÓ‚‡ˇ,
ÇË̇ ÃÓÒÍ‚Ë̇, ¿Ì‡ÒÚ‡Òˡ “ËÚӂˆ,
¿Ì̇ “ËÚӂˆ, Õ‡‰Âʉ‡ ’ÂÌÍÓ‚‡
œÓ‰˛ÒÂ ¬‡ÒËÎËÈ —ÂËÍÓ‚
œÓËÁ‚Ó‰ÒÚ‚Ó ´»ÎβÁËÓ̪, ÔË
ÔÓ‰‰ÂÊÍ ‘‰Â‡Î¸ÌÓ„Ó ‡„ÂÌÚÒÚ‚‡ ÔÓ
ÍÛθÚÛÂ Ë ÍËÌÂχÚÓ„‡ÙËË
Scriptwriter and Director
Ksenia Peretrukhina
Director of Photography Ilya Ovsenev
Production Design Yakov Kazhdan,
Alexei Lobanov
Composers Evgeni Kadimsky, Roman
Dubinnikov
Sound Viktor Timshin
Cast: Elena Laskovaya, Marina
Moskvina, Anastasia Titovets, Anna
Titovets, Nadezhda Khrenkova
Producer Vasili Serikov
Production ìIllusionî with support
from the Federal Agency of Culture and
Cinematography
–ËÏÂÈÍ Ó‰ÌÓËÏÂÌÌÓ„Ó ÙËθχ ƒÁË„Ë
¬ÂÚÓ‚‡ (1937) Ó Ò˜‡ÒÚÎË‚ÓÈ ÒÛ‰¸·Â
ÒÓ‚ÂÚÒÍÓÈ ÊÂÌ˘ËÌ˚. —ÓÁ‰‡ÚÂÎË ÌÓ‚ÓÈ
‚ÂÒËË ´üÓÎ˚·ÂθÌÓȪ ‚ÒÚÛÔ‡˛Ú ‚
ÙËÎÓÒÓÙÒÍËÈ Ë ˝ÒÚÂÚ˘ÂÒÍËÈ ‰Ë‡ÎÓ„ Ò
¬ÂÚÓ‚˚Ï, ÔËÏÂˇˇ Â„Ó ÙÓÏÛÎ˚
Ò˜‡ÒÚ¸ˇ Í ÒÂ„Ó‰Ìˇ¯ÌËÏ „ÂÓËÌˇÏ Ë
ÒÓ‚ÂÏÂÌÌÓÈ ‡θÌÓÒÚË.
Remake of the film of the same title by
Dziga Vertov (1937) about the happy
destiny of the Soviet woman. The
creators of the new version of ´Lullabyª
enter a philosophical and aesthetic
dialogue with Vertov, testing his
formulae of happiness against todayís
women and modern reality.
üÒÂÌˡ œÂÂÚÛıË̇
ŒÍÓ̘Ë· ÍËÌӂ‰˜ÂÒÍËÈ Ù‡ÍÛθÚÂÚ
¬√»ü‡, ÿÍÓÎÛ ÒÓ‚ÂÏÂÌÌÓ„Ó
ËÒÍÛÒÒÚ‚‡ ÔË –√√”, ÿÍÓÎÛ
ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡ ÔË ‘Ó̉Â
ƒÊ.—ÓÓÒ‡. ¬ ̇ÒÚÓˇ˘ËÈ ÏÓÏÂÌÚ
Û˜ËÚÒˇ ‚ ‡ÒÔË‡ÌÚÛ ¬√»ü‡. — 2002
„Ó‰‡ ñ ‡Ú-‰ËÂÍÚÓ Û΢ÌÓ„Ó
ÙÂÒÚË‚‡Îˇ ‚ˉÂÓ‡Ú‡ ´œ”—“Œª. ü‡Í
ıÛ‰ÓÊÌËÍ Û˜‡ÒÚ‚ÛÂÚ ‚ ‚˚ÒÚ‡‚Ó˜Ì˚ı
ÔÓÂÍÚ‡ı, ‚ ÒÔÂÍÚ‡ÍΡı Ú‡ÚÓ‚
´œ‡ÍÚË͇ª Ë ´“‡Ú.docª, ÷ÂÌÚ‡
‰‡Ï‡ÚÛ„ËË Ë ÂÊËÒÒÛ˚ Ô/
¿.ü‡Á‡ÌˆÂ‚‡ Ë Ã.–Ó˘Ë̇.
´üÓÎ˚·Âθ̇ˇª ñ ÂÊËÒÒÂÒÍËÈ
‰Â·˛Ú.
Ksenia Peretrukhina
Graduated from the faculty of film
studies of the Film Institute VGIK, the
School of Modern Art at RGGU, the
School of Modern Art at the Soros
Foundation. Currently postgraduate
study at VGIK. Since 2002 art-director
of the street festival of video-art
ìEMPTYî. As artist participated in
exhibition projects and performances of
the theatres ìPraktikaî and ìTeatr docî,
the Centre of Drama and Directing of
A. Kazantsev and M.Roshchin.
´Lullabyª is the directorís debut.
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
ü–¤—ü» » üÕ»√¿
RATS AND THE BOOK
59
2006, –ÓÒÒˡ, 4í30î, ˆ‚., 4:3, ÒÚÂÂÓ,
2006, Russia, 4min. 30 sec., col., 4:3,
Betacam SP, ‡ÌËχˆËˇ
stereo, Betacam SP, animation
„Ó ‡·ÓÚ‡ÂÚ ‡ÌËχÚÓÓÏ, Á‡ÌËχ·Ҹ
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ
Scriptwriter and Director
‡Á‡·ÓÚÍÓÈ ÍÓÏÔ¸˛ÚÂÌ˚ı Ë„,
Շڇθˇ ÕËÎÓ‚‡
Natalia Nilova
ÔË҇· ÒˆÂ̇ËË. ¬ ̇ÒÚÓˇ˘Â ‚ÂÏˇ
’Û‰ÓÊÂÒÚ‚ÂÌÌ˚ ÛÍÓ‚Ó‰ËÚÂÎË
Art Directors Andrei Khrzhanovsky,
Á‡‚Â¯‡ÂÚ Ó·‡ÁÓ‚‡ÌË ̇
¿Ì‰ÂÈ ’ʇÌÓ‚ÒÍËÈ, ¬Î‡‰ ¡‡·˝
Vlad Barbe
ÂÊËÒÒÂÒÍÓÏ Ù‡ÍÛθÚÂÚ ¬√»ü‡ ÔÓ
’Û‰ÓÊÌËÍË Õ‡Ú‡Î¸ˇ ÕËÎÓ‚‡,
Artists Natalia Nilova,
ÒÔˆˇθÌÓÒÚË ´ÂÊËÒÒÂ
ÀÓËÒ —ÚÛÔÂ̸ÍÓ‚‡
Loris Stupenkova
‡ÌËχˆËÓÌÌÓ„Ó ÙËθχª, χÒÚÂÒ͇ˇ
«‚ÛÍ ´ŒÂΪ
Sound ìOrelî
¿.fi. ’ʇÌÓ‚ÒÍÓ„Ó. ‘ËθÏ˚ (Í/Ï,
œÓËÁ‚Ó‰ÒÚ‚Ó ´ü·ÒÒË͇ª, ¬√»ü
Production ìKlassikaî, VGIK
√ÓÎÓ‰Ì˚ ÔÓ‰ ‰ÓʉÂÏ, ÒÎÛ˜‡ÈÌÓ ÔÓÔ‡‚
Hungry and in the rain, some rats that
‚ ·Ë·ÎËÓÚÂÍÛ, Í˚Ò˚ ËÒ͇ÎË Â‰˚. ŒÌË
have accidentally got into the library
„ÓÚÓ‚˚ ·˚ÎË „˚ÁÚ¸ ÍÌË„Ë Ì‡ ÔÓÎ͇ı,
begin to search for food. They are ready
‡ ̇¯ÎË Î‡ÒÍÛ Ë ÒÓÒÚ‡‰‡ÌËÂ
to nibble at the books on the shelves,
—Ô‡ÒËÚÂΡ, ÔÓ‰Ìˇ‚¯Â„ÓÒˇ ËÁ ‚ÂÎËÍÓÈ
when they find care and compassion
üÌË„Ë. ¬Ò ÊË‚˚ ÒÛ˘ÂÒÚ‚‡ ̇ ÁÂÏÎÂ
from the Savior who has risen from the
‡‚Ì˚ ñ ljÓÌ̇ Ò Ï·‰Â̈ÂÏ ËÎË
Great Book. All living beings on earth
Í˚Ò‡ Ò Í˚ÒÂÌÍÓÏ, ‚Ò ÌÛʉ‡˛ÚÒˇ ‚
are equal: the Madonna with the infant
Á‡˘ËÚÂ Ë ‰ÓÒÚÓÈÌ˚ ıÓÓ¯ÂÈ ÊËÁÌË, Ë
and the rat with a baby rat, everyone
̇ ‚ÒÂı ÔÓÒÚË‡ÂÚÒˇ β·Ó‚¸ Ë ‰Ó·ÓÚ‡
needs protection and is worthy of a
—Ô‡ÒËÚÂΡ. üÓ„‰‡-ÚÓ Ì‡ÍÓÏË‚¯ËÈ
good life. The love and kindness of the
Ú˚Òˇ˜Ë β‰ÂÈ ÒÂϸ˛ ıη‡ÏË, ÓÌ
Savior reaches everybody. Once feeding
̇¯ÂÎ ‰Îˇ Í˚ÒÓÍ ÌÂÒÍÓθÍÓ
thousands of people with bread, he has
ÁÂÌ˚¯ÂÍ Ë ÔËʇΠÍ˚ÒÛ-χÏÛ Ò
found some kernels for the rats and
Í˚ÒÂÌÍÓÏ Í Ò‚ÓÂÈ „Û‰Ë.
holds the mother rat with the baby in
Շڇθˇ ÕËÎÓ‚‡
–Ӊ˷Ҹ 1 ‡‚„ÛÒÚ‡ 1971 „Ó‰‡ ‚
œÓ‰ÓθÒÍ (ÃÓÒÍÓ‚Ò͇ˇ Ó·Î.). — 1991-
‡ÌËχˆËˇ): ´ŒÒÚ‡Ìӂ͇ ‚ ÔÛÒÚ˚̪
(2004), ´ü˚ÒÍË Ë ÍÌË„‡ª (2006).
Natalia Nilova
Born on 1 August 1971 in Podolsk
(Moscow Region). Since 1991 works as
animator; development of computer
games; scriptwriter. Currently is
completing her education at the faculty
of directing of the Film Institute VGIK
as director of animation film, class of
A. Khrzhanovsky. Films (shorts,
animation): ìStop in the Desertî (2004),
ìRats and the Bookî (2006).
his arm.
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
Àfiƒ» »« ü¿ÃÕfl
STONE PEOPLE
60
2007, –ÓÒÒˡ, 19 ÏËÌ., ˆ‚., 1:1.66,
2007, Russia, 19 min., col., 1:1.66,
ÒÚÂÂÓ, 35 ÏÏ
stereo, 35 mm
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ
Scriptwriter and Director Leonid
ÀÂÓÌˉ –˚·‡ÍÓ‚
Rybakov
ŒÔÂ‡ÚÓ ¿ÚÂÏ œÓÎÓÒ‡Ú˚È
Director of Photography Artem Polosaty
’Û‰ÓÊÌËÍ ∆‡Ì̇ œ‡ıÓÏÓ‚‡
Production Design Zhanna Pakhomova
üÓÏÔÓÁËÚÓ ¿ÎÂÍ҇̉ œ‡ÌÚ˚ÍËÌ
Composer Alexander Pantykin
«‚ÛÍ ƒÏËÚËÈ —Â„‚
Sound Dmitri Sergeev
ÀÂÓÌˉ –˚·‡ÍÓ‚
—ˆÂ̇ËÒÚ, ÂÊËÒÒÂ. ŒÍÓ̘ËÎ ¬√»ü
(1991, χÒÚÂÒ͇ˇ ¬.Õ. Õ‡ÛÏÓ‚‡).
¬ ÓΡı: ¬ËÍÚÓ üÂÒÚÓ‚,
Cast: Viktor Krestov, Vladimir Volkov,
¬Î‡‰ËÏË ¬ÓÎÍÓ‚, ¬Î‡‰ËÏË
Vladimir Tashlykov, Iwo Freimanis
“‡¯Î˚ÍÓ‚, »‚Ó ‘ÂÈχÌËÒ
Producers Anna Mikhalkova,
œÓ‰˛ÒÂ˚ ¿Ì̇ ÃËı‡ÎÍÓ‚‡,
Maxim Korolev
ÇÍÒËÏ üÓÓ΂
Production and Distribution Russian
œÓËÁ‚Ó‰ÒÚ‚Ó Ë ÔÓÍ‡Ú –ÓÒÒËÈÒÍËÈ
Fund of Culture
‘ËθÏÓ„‡Ùˡ:
1990 ....Ç‡ÍÛÚ‡ (Í/Ï)
2004 ....œÓıËÚËÚÂÎË ÍÌË„
2004 ....À˛‰Ë ËÁ ͇ÏÌˇ (Í/Ï)
‘Ó̉ ÍÛθÚÛ˚
19-ÏËÌÛÚ̇ˇ ´˜Â̇ˇª
A black pseudo (quasi) documentary
ÔÒ‚‰Ó(Í‚‡ÁË)‰ÓÍÛÏÂÌڇθ̇ˇ
ultra-comedy about our cloudless life.
ÛθÚ‡ÍÓωˡ ÔÓ Ì‡¯Û ·ÂÁӷ·˜ÌÛ˛
ÊËÁ̸.
Leonid Rybakov
Scriptwriter, director. Graduated from
the Film Institute VGIK (1991, class of
Vladimir Naumov).
Filmography:
1990 ....Marakuta (short)
2004 ....Book Thieves
2004 ....Stone People (short)
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
ÿ–“ 1943 √Œƒ¿
MARCH 1943
61
2006, –ÓÒÒˡ, 13 ÏËÌ., ˜/·, 35 ÏÏ
2006, Russia, 13 min., b/w, 35 mm
„Ó‰‡. — 2003 ñ ÒÚÛ‰ÂÌÚ ÂÊËÒÒÂÒÍÓ„Ó
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ
Scriptwriter and Director
Ù‡ÍÛθÚÂÚ‡ ¬√»ü‡ (χÒÚÂÒ͇ˇ ¬.fi.
¬ˇ˜ÂÒ·‚ ü΂ˆÓ‚
Viacheslav Klevtsov
¿·‰‡‡¯ËÚÓ‚‡). ´Ã‡Ú 1943 „Ó‰‡ª ñ
ŒÔÂ‡ÚÓ »‚‡Ì ¡Û·ÍÓ‚
Director of Photography Ivan Burlakov
ۘ·̇ˇ ‡·ÓÚ‡.
’Û‰ÓÊÌËÍË ≈ÎÂ̇ “‡ÔÂÁÌËÍÓ‚‡,
Production Design Elena Trapeznikova,
≈͇ÚÂË̇ ¬˚ıÓ‰ˆÂ‚‡
Ekaterina Vykhodtseva
«‚ÛÍ ƒÏËÚËÈ üÓÏËÒÒ‡Ó‚
Sound Dmitri Komissarov
¬ ÓΡı: À‡ËÒ‡ ÿ‡ı‚ÓÓÒÚÓ‚‡,
Cast: Larissa Shakhvorostova,
¿Ì‰ÂÈ ‘ËÓÌÓ‚, ¿Ì‡ÒÚ‡Òˡ ‘ÛÌË̇
Andrei Fironov, Anastasia Funina
œÓËÁ‚Ó‰ÒÚ‚Ó ¬√»ü
Production VGIK
ÇÚ 1943 „Ó‰‡. √ÂÓË ÔÓÎÛ˜‡˛Ú
March 1943. The heroes gain a new
ÌÓ‚˚È Ì‡‚ÒÚ‚ÂÌÌ˚È ÓÔ˚Ú, ¢ ӉÌÓ
moral experience, another test of
ËÒÔ˚Ú‡ÌË ̇ ˜ÂÎӂ˜ÌÓÒÚ¸ ‚ ‚ÓÂÌÌÓÂ
humanity in wartime.
¬ˇ˜ÂÒ·‚ ü΂ˆÓ‚
–Ó‰ËÎÒˇ ‚ ÃÓÒÍ‚Â 8 ÓÍÚˇ·ˇ 1969
Viacheslav Klevtsov
Born in Moscow on 8 October 1969.
Since 2003 student of the faculty of
directing at the Film Institute VGIK
(workshop V. Abdrashitov). ìMarch,
1943î is his coursework film.
‚ÂÏˇ.
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
ÃŒ—ü¬¿
MOSCOW
¡‡ÍÛ ¡‡ÍÛ‡‰ÁÂ
–Ó‰ËÎÒˇ ‚ “·ËÎËÒË 16 χÚ‡ 1969
„Ó‰‡. ŒÍÓ̘ËÎ ÃÓÒÍÓ‚ÒÍËÈ
‡‚ÚÓ‰ÓÓÊÌ˚È ËÌÒÚËÚÛÚ (1993),
ÂÊËÒÒÂÒÍËÈ Ù‡ÍÛθÚÂÚ ¬√»ü‡
(1998, χÒÚÂÒ͇ˇ ÇÎÂ̇ ’ۈ˂‡).
‘ËθÏÓ„‡Ùˡ:
1998 ....¡ÂÁ ‰ÂÌ„ (Í/Ï)
2001 ....÷ÂÌÓÈ Ò‚ÓÂÈ ÊËÁÌË (‰ÓÍ.)
2002 ....¬ÂÏˇ ÃËÌÙË̇ (‰ÓÍ.)
2002 ....¬ˇ˜ÂÒ·‚ œËÎËÔÂÌÍÓ (‰ÓÍ.)
2003 ....üÛ„Ó‚˚ ‰‚ËÊÂÌˡ ¬.Œ. Ë
ÓÊˉ‡Ìˡ Œ.≈. (Í/Ï)
2005 ....¿ÎχÁÌ˚È ÔÛÚ¸ (‰ÓÍ.)
2007 ....ÃÓÒÍ‚‡ (Í/Ï)
Bakur Bakuradze
62
2007, –ÓÒÒˡ, 35 ÏËÌ., ˆ‚., 16:9,
ÒÚÂÂÓ, DV
2007, Russia, 35 min., col., 16:9,
stereo, DV
¿‚ÚÓ˚ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ˚
¡‡ÍÛ ¡‡ÍÛ‡‰ÁÂ, ƒÏËÚËÈ Ã‡ÏÛÎˡ
ŒÔÂ‡ÚÓ ÕËÍÓÎ‡È ¬‡‚ËÎÓ‚
’Û‰ÓÊÌËÍ üËËÎÎ ÿÛ‚‡ÎÓ‚
’Û‰ÓÊÌËÍ ÔÓ ÍÓÒÚ˛Ï‡Ï
»Ë̇ √‡Ê‰‡ÌÍË̇
«‚ÛÍ ≈‚„ÂÌËÈ √ÓˇËÌÓ‚,
¬Ò‚ÓÎÓ‰ √˜ÂÌ‚, ¿ÒÂÌËÈ “ÓˈÍËÈ
¬ ÓΡı: ÃÛı‡··‡Ú –‡ıËÏÓ‚‡,
ü˚ˇÎ·ÂÍ, ∆ÂÌ˯·ÂÍ, ÿ‡ËË,
¿Ò‡Ú·ÂÍ, –Óχ
œÓ‰˛ÒÂ fiÎˡ Ã˯ÍËÌÂÌÂ
œÓËÁ‚Ó‰ÒÚ‚Ó ´ÀÂÏÓÌ-ÙËÎÏÁª,
´—‡Î¸‚‡‰Ó ƒª
œÓÍ‡Ú ü»ÕŒ“≈¿“–.DOC
Scriptwriters and Directors
Bakur Bakuradze, Dmitri Mamuliya
Director of Photography
Nikolai Vavilov
Production Design Kirill Shuvalov
Costume Design Irina Grazhdankina
Sound Evgeni Goriaynov,
Vsevolod Grechenev, Arseni Troitsky
Cast: Mukhabbat Rakhimov, Kyialbek,
Zhenishbek, Shairi, Asatbek, Roma
Producer Yulia Mishkinene
Production Lemonfilms Studio,
ìEl Salvador Dî
Distribution KINOTEATR.DOC
Filmography:
1998 ....Without Money (short)
2001 ....For the Price of Life (doc)
2002 ....The Time of the Finance
Ministry (doc)
2002 ....Viacheslav Pilipenko (doc)
2003 ....Circular Movements V.O. and
Expectations Œ.≈. (short)
2005 ....The Diamond Way (doc)
2007 ....Moscow (short)
ƒÏËÚËÈ Ã‡ÏÛÎˡ
www.kinoteatrdoc.ru
œÒ‚‰Ó‰ÓÍÛÏÂÌڇθ̇ˇ ‰‡Ï‡.
ÕÂÒÍÓθÍÓ ‰ÌÂÈ ËÁ ÊËÁÌË ÍË„ËÁÒÍÓÈ
ÒÂϸË, ÔÓÊË‚‡˛˘ÂÈ ‚ ÃÓÒÍ‚Â. ÕÛËÍ
‡·ÓÚ‡ÂÚ Ì‡ ÒÚÓÈÍ ‡ÁÌÓ‡·Ó˜ËÏ. ≈„Ó
ÒÚ‡¯ËÈ ·‡Ú ÇÌÒÛ ñ ·ÂÁ ‡·ÓÚ˚.
Çڸ, ÃÛı‡··‡Ú, Ô˚Ú‡ÂÚÒˇ ÔÓÏÓ˜¸
Ò˚ÌÓ‚¸ˇÏ ¯ËÚ¸ Ëı ÔÓ·ÎÂÏ˚.
Born in Tbilisi on 16 March 1969.
Graduated from the Moscow Road
Institute (1993), then faculty of
directing at the Film Institute VGIK
(1998, workshop Marlen Khutsiev).
Pseudo-documentary drama.
A few days from the life of a Kyrgyz
family in Moscow. Nurik works on a
construction site as handyman. His
elder brother Mansur is without work.
The mother, Mukhabbat, tries to help
her sons solve their problems.
–Ó‰ËÎÒˇ ‚ “·ËÎËÒË 10 ‡ÔÂΡ 1969
„Ó‰‡. ŒÍÓ̘ËÎ ÙËÎÓÒÓÙÒÍËÈ Ù‡ÍÛθÚÂÚ
“·ËÎËÒÒÍÓ„Ó ÛÌË‚ÂÒËÚÂÚ‡ (1993). ¬
1994ñ98 ñ „·‚Ì˚È ‰‡ÍÚÓ
ÎËÚÂ‡ÚÛÌÓ-ÙËÎÓÒÓÙÒÍÓ„Ó ‡Î¸Ï‡Ì‡ı‡
´ÀÓ„ÓÒª, Á‡ÌËχÎÒˇ ÔÂÔÓ‰‡‚‡ÚÂθÒÍÓÈ
‰ÂˇÚÂθÌÓÒÚ¸˛, ÔÛ·ÎËÍÓ‚‡ÎÒˇ ‚ –ÓÒÒËË
Ë flÔÓÌËË. ¬ 1999-Ï ÔÓÎÛ˜ËÎ ÔÂ‚˚È
ÔËÁ ̇ ÍÓÌÍÛÒ ÍËÌÓÒˆÂ̇Ë‚,
ÔÓ‚Ó‰ËÏÓÏ ‚ “·ËÎËÒË ÍËÌÓÒÚÛ‰ËÂÈ
´¿‰‡Ï Ë ≈‚‡ª. ¿‚ÚÓ Ò·ÓÌËÍÓ‚
´¿Ì‡Î¸Ì˚ ÓÁ˚ª (ÒÂÚ‚ÓÈ ÊÛ̇Î
TextOnly.ru), ´œÚˈ‡ ‚ÌÛÚ˪ (2006).
— 2005 ñ ÒÎÛ¯‡ÚÂθ ¬ü—–
(ÂÊËÒÒÂÒ͇ˇ χÒÚÂÒ͇ˇ
».ü‚ËË͇‰ÁÂ Ë ¿.ƒÓ·Ó‚ÓθÒÍÓ„Ó).
‘ËθÏÓ„‡Ùˡ:
2006 ....ÕÂÓÔËÒÛÂÏÓ ÒÓÓ·˘ÂÒÚ‚Ó (Í/Ï)
2006 ....ÃÓΘ‡ÌË ÒËÂÌ (Í/Ï)
2007 ....ÃÓÒÍ‚‡ (Í/Ï)
Dmitri Mamuliya
Born in Tbilisi on 10 April 1969.
Graduated from the faculty of
philosophy at Tbilisi University (1993).
From 1994-98 editor-in-chief of the
literary-philosophical almanac ìLogosî,
engaged in teaching, published in
Russia and Japan. In 1999 received the
first prize in a competition of film
scripts conducted by the Tbilisi film
studio ìAdam and Eveî. Author of
collections ìAnal Rosesî (internet
journal TextOnly.ru), ìThe Bird Insideî
(2006). Since 2005 student on the
Higher Courses for Scriptwriters and
Directors (class in directing of I.
Kvirikadze and A. Dobrovolsky).
Filmography:
2006 ....Indescribable Community (short)
2006 ....Silence of Sirens (short)
2007 ....Moscow (short)
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
Œƒ»Õ
ALONE
63
2006, –ÓÒÒˡ, 19 ÏËÌ., ˆ‚., 16:9,
2006, Russia, 19 min., col., 16:9,
ÒÚÂÂÓ, miniDV
stereo, miniDV
¿‚ÚÓ ÒˆÂ̇ˡ, ÂÊËÒÒÂ,
Scriptwriter, Director, Producer,
ÔÓ‰˛ÒÂ, ÂÊËÒÒÂ ÏÓÌڇʇ
Editing Alexander Reutsky
¿ÎÂÍ҇̉ –ÂÛˆÍËÈ
Director of Photography Pavel Emelin
ŒÔÂ‡ÚÓ œ‡‚ÂÎ ≈ÏÂÎËÌ
Sound Yaroslav Novoseltsev
«‚ÛÍ flÓÒ·‚ ÕÓ‚ÓÒÂθˆÂ‚
Composer Alexander Smirnov
üÓÏÔÓÁËÚÓ ¿ÎÂÍ҇̉ —ÏËÌÓ‚
Cast: Vadim Bochanov, Boris Aronov,
¬ ÓΡı: ¬‡‰ËÏ ¡Ó˜‡ÌÓ‚,
Nikolai Yakovlev, Alexander Mayorov,
¡ÓËÒ ¿ÓÌÓ‚, ÕËÍÓÎ‡È flÍӂ΂,
Igor Miletsky, Marina Koniushko
‘ËθÏÓ„‡Ùˡ:
¿ÎÂÍ҇̉ ÇÈÓÓ‚, »„Ó¸ ÃËΈÍËÈ,
Production ì¿RPvisionî
2003 ....¬ Ô‡ÏˇÚË (Í/Ï)
ÇË̇ üÓÌ˛¯ÍÓ
2005 ....üÛÍ· (Í/Ï)
œÓËÁ‚Ó‰ÒÚ‚Ó ´¿–œvisionª
¿ÎÂÍ҇̉ –ÂÛˆÍËÈ
–Ó‰ËÎÒˇ ‚ „ÓӉ —·‚ˇÌÒÍ ‚ 1980
„Ó‰Û. ¬ 1997ñ2002 Û˜ËÎÒˇ ̇
ÓÚ‰ÂÎÂÌËË ÍËÌÓËÌÊÂÌÂÓ‚ ‚ —‡ÌÍÚœÂÚÂ·Û„ÒÍÓÏ ÛÌË‚ÂÒËÚÂÚ ÍËÌÓ Ë
ÚÂ΂ˉÂÌˡ, Ô‡‡ÎÎÂθÌÓ ñ ̇
ÓÚ‰ÂÎÂÌËË ÂÊËÒÒÛ˚ ÍËÌÓ Ë “¬
(1998ñ2001, χÒÚÂÒ͇ˇ ¬.√‡ÒËÎÓ‚‡ Ë
ƒ.ü‡‡ÒË͇) Ë Ì‡ ‡ÍÚÂ‡ ‚ ÒÚÛ‰ËË
´“‡Ú‡ ‰ÓʉÂȪ (1999ñ2000). —ÌËχÎ
‚ˉÂÓÙËθÏ˚, ÓÎËÍË Ë Ò˛ÊÂÚ˚ ͇Í
‡‚ÚÓ-ÂÊËÒÒÂ, ÓÔÂ‡ÚÓ, ÏÓÌÚ‡ÊÂ.
2006 ....Œ‰ËÌ (Í/Ï)
Alexander Reutsky
Born in Slavyansk in 1980. From
1997ñ2002 studied at the department of
film-engineers at the St. Petersburg
University of Cinema and Television, in
parallel in the department directing for
cinema and television (1998ñ2001, class
of V. Gasilov and D. Karasik), and as
actor in the theatre studio ´Rainª
(1999ñ2000). He made video films and
clips as director, cameraman, and
editor.
Filmography:
2003 ....In memoriam (short)
2005 ....Doll (short)
2006 ....Alone (short)
” ÃËı‡Ë· ÛÏÂ Ò˚Ì, Ë ÂÏÛ ÌÂ Ò ÍÂÏ
Michaelís son has died, and he has
ÔÓ‰ÂÎËÚ¸Òˇ Ò‚ÓÂÈ Ô˜‡Î¸˛. À˯¸ Ó‰ÌÓ
nobody with whom he can share his
ÒÛ˘ÂÒÚ‚Ó „ÓÚÓ‚Ó ‚˚ÒÎÛ¯‡Ú¸ „ÓÖ
grief. Only one creature is ready to
listen to himÖ
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
œfl“‹ ûՔ“
FIVE MINUTES
64
2006, –ÓÒÒˡ, 5 ÏËÌ., ˆ‚., miniDV
2006, Russia, 5 min., col., miniDV
¿‚ÚÓ˚ ÒˆÂ̇ˡ
Scriptwriters Nikolai Letunovsky,
ÕËÍÓÎ‡È ÀÂÚÛÌÓ‚ÒÍËÈ,
Mikhail Mareskin, Konstantin Ivanov
ÃËı‡ËΠÇÂÒÍËÌ,
Director, Director of Photography
üÓÌÒÚ‡ÌÚËÌ »‚‡ÌÓ‚
Konstantin Ivanov
–ÂÊËÒÒÂ, ÓÔÂ‡ÚÓ
Production Design Maria Yakovleva
üÓÌÒÚ‡ÌÚËÌ »‚‡ÌÓ‚
Sound Grigori Dolbiev
’Û‰ÓÊÌËÍ Ã‡ˡ flÍӂ΂‡
Cast: Nikolai Letunovsky,
«‚ÛÍ √Ë„ÓËÈ ƒÓηË‚
Peter Amelin, Leonid Pliaskin,
¬ ÓΡı: ÕËÍÓÎ‡È ÀÂÚÛÌÓ‚ÒÍËÈ,
Anastasia Chistiakova,
œÂÚ ¿ÏÂÎËÌ, ÀÂÓÌˉ œÎˇÒÍËÌ,
Anastasia Novikova, Evgenia Sivtseva
¿Ì‡ÒÚ‡Òˡ ◊ËÒÚˇÍÓ‚‡, ¿Ì‡ÒÚ‡Òˡ
Production SPbGUKiT (St Petersburg
ÕÓ‚ËÍÓ‚‡, ≈‚„ÂÌˡ —Ë‚ˆÂ‚‡
State University for Film and
œÓËÁ‚Ó‰ÒÚ‚Ó —œ·√”üË“
Television)
‘ÂÂ˘ÂÒ͇ˇ ÍÓωˡ ‚ ÔˇÚË
Fairy-comedy in five acts.
üÓÌÒÚ‡ÌÚËÌ »‚‡ÌÓ‚
–Ó‰ËÎÒˇ ‚ ‡‚„ÛÒÚ 1981 ‚ ÀÂÌËÌ„‡‰Â.
‰ÂÈÒڂˡı.
”˜ËÎÒˇ ‚ Û˜ËÎˢ ËÏÂÌË
‘.›.ƒÁÂÊËÌÒÍÓ„Ó, ‚ 2003 ÔÓÒÚÛÔËÎ ‚
χÒÚÂÒÍÛ˛ ›‰Û‡‰‡ –ÓÁÓ‚ÒÍÓ„Ó Ë
—Â„¡ ¿ÒÚ‡ıÓ‚‡ —‡ÌÍÚ-œÂÚÂ·Û„ÒÍÓ„Ó
„ÓÒÛ‰‡ÒÚ‚ÂÌÌÓ„Ó ÛÌË‚ÂÒËÚÂÚ‡ ÍËÌÓ Ë
ÚÂ΂ˉÂÌˡ. ¡˚Î ÚËʉ˚ ÓÚ˜ËÒÎÂÌ,
‰‚‡Ê‰˚ ‚ÓÒÒÚ‡ÌÓ‚ÎÂÌ. — 2004
Û˜‡ÒÚ‚Ó‚‡Î ‚ Ò˙ÂÏ͇ı ‰ÂÒˇÚË
ÍÓÓÚÍÓÏÂÚ‡ÊÂÍ Í‡Í ÂÊËÒÒÂ,
ÓÔÂ‡ÚÓ Ë Á‚ÛÍÓÂÊËÒÒÂ. ´œˇÚ¸
ÏËÌÛÚª ñ ÔÂ‚‡ˇ Ë„Ó‚‡ˇ.
Konstantin Ivanov
Born in August 1981 in Leningrad.
Studied at the Dzerzhinsky School, and
in 2003 enrolled at the workshop of
Eduard Rozovsky and Sergei Astakhov
of the St Petersburg State University of
Cinema and Television. Thrice expelled,
her has been re-admitted twice. Since
2004 has participated in the making of
ten shorts as director, cameraman and
sound editor. ìFive Minutesî is his first
live-action film.
A TALE TOLD BY NIGHT
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
—ü¿«ü¿, –¿——ü¿«¿ÕÕ¿fl Õ¿ ÕŒ◊‹
65
ŒÎ¸„‡ √ÓӉˆ͇ˇ
–Ӊ˷Ҹ ‚ ÃÓÒÍ‚Â 9 Ù‚‡Îˇ 1983
„Ó‰‡. ŒÍÓ̘Ë· ÕÓ‚˚È „ÛχÌËÚ‡Ì˚È
ÛÌË‚ÂÒËÚÂÚ ÔÓ ÒÔˆˇθÌÓÒÚË
ÂÊËÒÒÂ ÍËÌÓ Ë ÚÂ΂ˉÂÌˡ (2005).
«‡ „Ó‰˚ ۘ·˚ ÒÌˇÎ‡ ÚË
ÍÓÓÚÍÓÏÂÚ‡ÊÌ˚ı ÙËθχ, ‡·Óڇ·
‚ÚÓ˚Ï ÂÊËÒÒÂÓÏ ÒÂˇ· ´ÕÂ
Ó‰ËÒ¸ Í‡ÒË‚ÓȪ Ë ÙËθχ ´45 ÒϪ
(ÂÊËÒÒÂ —.¿Ì‰Â‡ÒˇÌ), ÂÊËÒÒÂÔÓÒÚ‡ÌÓ‚˘ËÍ ‰‚Ûı ÍÎËÔÓ‚ „ÛÔÔ˚
´üÓÏχ̉‡ GUª. ¬ ̇ÒÚÓˇ˘Â ‚ÂÏˇ ñ
ÍÓÓ‰Ë̇ÚÓ ‚ËÁۇθÌ˚ı ˝ÙÙÂÍÚÓ‚
ÒÚÛ‰ËË ÍÓÏÔ¸˛ÚÂÌÓÈ „‡ÙËÍË
GRROM. ‘Ë̇ÎËÒÚ͇ ÎËÚÂ‡ÚÛÌÓ„Ó
ÍÓÌÍÛÒ‡ ´ƒÂ·˛Úª (2006, ÍËÌÓÔÓ‚ÂÒÚ¸
´”Á̇‚¯Â„Ó ÙÓÚÓ„‡Ù˲, ÔÓÒ¸·‡ ÌÂ
·ÂÒÔÓÍÓËÚ¸Òˇª).
Olga Gorodetskaya
Born on 9 February 1983 in Moscow.
Graduated from the New Humanities
University as director of cinema and
television (2005). During her study
made three short films, worked as
assistant director on the serial ìNot
Born Beautifulî and on the film ì45
cmî (director S. Andreasian); director of
two clips of the group ìCommando GUî.
Currently she is coordinator of visual
effects at the studio of computer
graphics GRROM. Finalist of the
literary competition ìDebutî (2006,
film-story ìWhen you recognize the
photo, please do not worryî).
2006, –ÓÒÒˡ, 10 ÏËÌ., ˆ‚., miniDV
2006, Russia, 10 min., col., miniDV
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ -
Scriptwriter and Director
ŒÎ¸„‡ √ÓӉˆ͇ˇ
Olga Gorodetskaya
ŒÔÂ‡ÚÓ —Â„ÂÈ œÓÎËÚËÍ
Director of Photography Sergei Politik
¬ ÓΡı: ƒÏËÚËÈ œÂÒËÌ,
Cast: Dmitri Persin, Vladimir Dolinsky,
¬Î‡‰ËÏË ƒÓÎËÌÒÍËÈ,
Natalia Lukeicheva
Շڇθˇ ÀÛÍ¢‚‡
Producer Dmitri Dobuzhinsky
œÓ‰˛ÒÂ ƒÏËÚËÈ ƒÓ·ÛÊËÌÒÍËÈ
Production ìArt Chanceî, with support
œÓËÁ‚Ó‰ÒÚ‚Ó ´Art Chanceª,
from ìPark Productionî
ÔË ÔÓ‰‰ÂÊÍ ´Park Productionª
www.artchance.ru
“ËÎÎÂ.
Thriller.
’ËÊË̇. –˚·‡Í ÒÓ·Ë‡ÂÚÒˇ „ÓÚÓ‚ËÚ¸
A hut. A fisherman is going to make
Ò· ӷ‰, ‚Íβ˜‡ÂÚ ÚÂ΂ËÁÓ,
himself dinner, switches on the
̇ıÓ‰ËÚ ÍÛÎË̇ÌÛ˛ ÔÂ‰‡˜Û Ë
television, finds a culinary programme
ÒΉÛÂÚ Â ˆÂÔÚÛ...
and follows its recipe...
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
—ü–»œ¿◊
THE VIOLINIST
66
2007, –ÂÒÔÛ·ÎË͇ “‡Ú‡ÒÚ‡Ì (–‘),
2007, Republic Tatarstan (Russian
26 ÏËÌ., ˆ‚., Betacam
Federation), 26 min., col., Betacam
¿‚ÚÓ˚ ÒˆÂ̇ˡ —Â„ÂÈ ÀËÚӂˆ,
Scriptwriters Sergei Litovets,
ÀËÎˡ ¡Ó·Ó‚Ò͇ˇ
Lily Bobrovskaya
–ÂÊËÒÒÂ Ë ÓÔÂ‡ÚÓ —Â„ÂÈ ÀËÚӂˆ
Director and Photography
üÓÏÔÓÁËÚÓ Ë Á‚ÛÍÓÂÊËÒÒÂ
Sergei Litovets
“‡Ú¸ˇÌ‡ ÀËÚӂˆ
Composer and Sound Tatyana Litovets
ÃÓÌÚ‡Ê œ‡‚ÂÎ —ÓÍÓÎÓ‚ÒÍËÈ
Editing Pavel Sokolovsky
œÓ‰˛ÒÂ ŒÎ„ —ÛÓ‚
Producer Oleg Surov
œÓËÁ‚Ó‰ÒÚ‚Ó ´–„ËÓÌ-—ÚÛ‰Ëˇª
Production ìRegion Studioî
¬ „ÎÛıÓÈ Û‰ÏÛÚÒÍÓÈ ‰Â‚ۯÍ ü‡ÂÍ-
In the remote Udmurt village Karek-
—Âχ ÊËÎ-·˚Î ÒÚ‡ËÍ, Ë ·˚· Û Ì„Ó
Serma there lived an old man who had a
Ϙڇ ñ ÍÛÔËÚ¸ ÒÍËÔÍÛ Ë Ì‡Û˜ËÚ¸Òˇ
dream: to buy a violin and learn how to
Ë„‡Ú¸. ƒÂÌ„ ÓÌ Ì ̇ÍÓÔËÎ, ‡ ÔÓÚÓÏÛ
play it. He never saved up any money,
҉·ΠÒÍËÔÍÛ Ò‡ÏÖ
and therefore he made a violin himselfÖ
—Â„ÂÈ ÀËÚӂˆ
üËÌÓÓÔÂ‡ÚÓ, ÂÊËÒÒÂ. œËÁÂ
ÏÂʉÛ̇Ó‰Ì˚ı Ë ÓÒÒËÈÒÍËı
ÍËÌÓÙÂÒÚË‚‡ÎÂÈ. –Ó‰ËÎÒˇ ‚ ü‡Á‡ÌË 25
ÌÓˇ·ˇ 1961 „Ó‰‡. ŒÍÓ̘ËÎ
ÓÔÂ‡ÚÓÒÍËÈ Ù‡ÍÛθÚÂÚ ¬√»ü‡ (1989,
χÒÚÂÒ͇ˇ ¬.fiÒÓ‚‡, Õ.¬‡ÒËθÍÓ‚‡). ¬
1988ñ2004 ‡·ÓڇΠÍËÌÓÓÔÂ‡ÚÓÓÏ Ì‡
ü‡Á‡ÌÒÍÓÈ ÍËÌÓÒÚÛ‰ËË Ë ÒÚÛ‰Ëˇı
–ÓÒÒËË (ÒÌˇÎ ·ÓΠ60 ÙËθÏÓ‚).
‘ËθÏÓ„‡Ùˡ ÂÊËÒÒÂ‡:
2003 ....ƒË‡ÎÓ„Ë ‚ ˝ÎÂÍÚ˘Í (‰ÓÍ.)
2004 ....œ‡ÓÏ˘ËÍ (‰ÓÍ.)
2005 ....‘‰Â‡Î¸Ì˚ ÓÍÛ„‡ –ÓÒÒËË:
‰Â̸ Á‡ ‰ÌÂÏ (‰ÓÍ., ‡Î¸Ï‡Ì‡ı)
2005 ....ü‡Á‡ÌÒÍË ˝Ú˛‰˚ (‰ÓÍ.)
2006 ....¬ ÒÎÓχÌÌ˚È ÏËÍÓÒÍÓÔ Ï˚
ۂˉËÏ ü‡Á‡Ì¸ (Ë„Ó‚ÓÈ, Í/Ï)
2006 ....»„Û¯ÍË ËÏÔÂ‡ÚÓÓ‚:
œÂÚ œÂ‚˚È (‰ÓÍ.)
2007 ....—ÍËÔ‡˜
2007 ....¿ÍÓÔ ñ Ô‡ÚËÁ‡Ì (‰ÓÍ.)
2007 ....¿·‡ÚÒÍË χθ˜ËÍË
(‰ÓÍ. ÒÂˇÎ, ͇̇Î
´üÛθÚÛ‡ª)
Sergei Litovets
Director of photography, director. Prizewinner of international and Russian film
festivals. Born in Kazan on 25 November
1961. Graduated from the faculty of
photography of the Film Institute VGIK
(1989, class of V. Yusov, N. Vasilkov).
From 1988ñ2004 worked as cameraman
at the Kazan film studio and at Russian
film studios (shot more than 60 films).
Filmography:
2003 ....Dialogues on a Train (doc)
2004 ....The Ferryman (doc)
2005 ....Federal Districts of Russia: Day
after Day (doc., almanac)
2005 ....Kazan Etudes (doc)
2006 ....Kazan through a Broken
Microscope (short)
2006 ....Toys of the Emperors:
Peter the Great (doc)
2007 ....The Violinist
2007 ....Akop the Guerrilla (doc)
2007 ....Arbat Boys
(doc. serial, channel ìKulturaî)
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
”≈’¿À
HEíS GONE
¡ÓËÒ ’ηÌËÍÓ‚
–ÂÊËÒÒÂ, ÒˆÂ̇ËÒÚ. œËÁÂ
ÏÂʉÛ̇Ó‰Ì˚ı Ë ÓÒÒËÈÒÍËı
ÍËÌÓÙÂÒÚË‚‡ÎÂÈ. –Ó‰ËÎÒˇ ‚ ÃÓÒÍ‚Â 28
‡‚„ÛÒÚ‡ 1972 „Ó‰‡. ŒÍÓ̘ËÎ ÒˆÂ̇ÌÓÍËÌӂ‰˜ÂÒÍËÈ Ù‡ÍÛθÚÂÚ ¬√»ü‡
(1998, χÒÚÂÒ͇ˇ Ã.œ.¬Î‡ÒÓ‚‡).
‘ËθÏÓ„‡Ùˡ:
1994 ....ÃËÏÓıÓ‰ (Í/Ï, Ò ¿ÎÂÍÒÂÂÏ
œÓÔÓ„·ÒÍËÏ)
2001 ....’ËÚ‡ˇ Ρ„ۯ͇ (Í/Ï)
2002 ....ÃËı‡ËÎ ¡Û΄‡ÍÓ‚. ◊ÂÌ˚È
ÒÌ„ (‰ÓÍ., ÒÂˇÎ)
2004 ....œ‰·„‡ÂÏ˚ ӷÒÚÓˇÚÂθÒÚ‚‡
(‰ÓÍ., ÒÂˇÎ)
2003 ....üÓÍÚ·Âθ (Ò ¿ÎÂÍÒÂÂÏ
œÓÔÓ„·ÒÍËÏ)
2006 ....—‚Ó·Ó‰ÌÓ Ô·‚‡ÌËÂ
Boris Khlebnikov
Director, scriptwriter. Prize-winner of
international and Russian film festivals.
Born in Moscow on 28 August 1972.
Graduated in scriptwriting and film
history from the Film Institute VGIK
(1998, class of M. Vlasov).
Filmography:
1994 ....Passer-by (with Alexei
Popogrebsky)
2001 ....Tricky Frog (short)
2002 ....Mikhail Bulgakov. Black Snow
(doc., serial)
2004 ....Suggested Circumstances
(doc., serial)
2003 ....Roads to Koktebel
(with Alexei Popogrebsky)
2006 ....Free Floating
67
2007, –ÓÒÒˡ, 44 ÏËÌ., ˆ‚., ÏÓÌÓ,
2007, Russia, 44 min., col., mono,
miniDV/ Betacam Digital
miniDV/Betacam Digital
¿‚ÚÓ˚ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ˚
Scriptwriters and Directors
¡ÓËÒ ’ηÌËÍÓ‚,
Boris Khlebnikov,
¬‡ÎÂˡ-√‡È √ÂχÌË͇
Valeria-Gai Germanika
ŒÔÂ‡ÚÓ ¬‡ÎÂˡ-√‡È √ÂχÌË͇
Director of Photography
œÓ‰˛ÒÂ ≈͇ÚÂË̇ ‘ËÎËÔÔÓ‚‡
Valeria-Gai Germanika
œÓËÁ‚Ó‰ÒÚ‚Ó ´¿Ú·ÌÚËͪ,
Producer Ekaterina Filippova
ÔË ÔÓ‰‰ÂÊÍ ‘‰Â‡Î¸ÌÓ„Ó
Production ìAtlanticî, with support
‡„ÂÌÚÒÚ‚‡ ÔÓ ÍÛθÚÛ Ë
from the Federal Agency of Culture and
ÍËÌÂχÚÓ„‡ÙËË
Cinematography
œÓÍ‡Ú ´¿Ú·ÌÚËͪ
Distribution ìAtlanticî
ŒÎ„ ÊË‚ÂÚ ‚ Ì·Óθ¯ÓÈ ·ÂÎÓÛÒÒÍÓÈ
‰Â‚ÌÂ Ò ÊÂÌÓÈ, ÚÂÏˇ ‰ÂÚ¸ÏË, Ú¢ÂÈ
Ë ÚÂÒÚÂÏ. ŒÌ ÒÏÂÌËÎ Ì ӉÌÛ
ÔÓÙÂÒÒ˲: Ô‡ÔÓ˘ËÍ, Ú‡ÍÚÓËÒÚ,
ÚÂıÌËÍ ‚ ÏÂÒÚÌÓÈ ¯ÍÓÎÂ... ¬ ͇ÍÓÈ-ÚÓ
ÏÓÏÂÌÚ ÓÌ ¯‡ÂÚ ÛÂı‡Ú¸ ‚ ÃÓÒÍ‚Û Ì‡
Á‡‡·ÓÚÍË ñ ÊËÁ̸ ÏÌÓ„Ëı ‚˚ÌÛʉ‡ÂÚ
̇ Ú‡ÍÓÈ ÔÓÒÚÛÔÓÍ (Ú‡Ï ÎÛ˜¯Â, „‰Â ̇Ò
ÌÂÚ). » ‚Ò ÊÂ, ͇͇ˇ Ô˘Ë̇ ËÏÂÌÌÓ
Û ŒÎ„‡? ¡ÓΠ·ÎËÁÍÓ Á̇ÍÓÏÒÚ‚Ó Ò
ÚÓÈ ÊËÁ̸˛, ÍÓÚÓ‡ˇ ÓÒڇ·Ҹ Û ÌÂ„Ó ‚
¡Â·ÛÒË, ‰‡ÂÚ ÌÂÓÊˉ‡ÌÌ˚ ÓÚ‚ÂÚ˚
̇ ˝ÚÓÚ ‚ÓÔÓÒ.
Oleg lives in a small Belarusian village
with his wife, three children, and his
in-laws. He has practiced more than one
trade: ensign, tractor driver, technician
at a local school... Then he decides to
leave for Moscow to earn extra money:
the life of many people compels them to
do this (it is always better where we are
not). Yet, what reason has Oleg? A
closer acquaintance with the life that
remains behind in Belarus provides an
unexpected answer to this question.
Valeria-Gai Germanika
¬‡ÎÂˡ-√‡È √ÂχÌË͇
Director, scriptwriter, cinematographer.
Prize-winner of Russian film festivals.
Born in Moscow on 1 March 1984.
Graduated from the film and television
school ìInternewsî (2005,workshop of
Marina Razbezhkina). She made her
first film at the age of 19. Currently
makes a documentary film about people
of the porno-industry and prepares her
full-length feature debut.
–ÂÊËÒÒÂ, ÒˆÂ̇ËÒÚ, ÓÔÂ‡ÚÓ.
œËÁÂ ÓÒÒËÈÒÍËı ÍËÌÓÙÂÒÚË‚‡ÎÂÈ.
–Ӊ˷Ҹ ‚ ÃÓÒÍ‚Â 1 χÚ‡ 1984 „Ó‰‡.
ŒÍÓ̘Ë· ÿÍÓÎÛ ÍËÌÓ Ë ÚÂ΂ˉÂÌˡ
´»ÌÚÂ̸˛Òª (2005, ÛÍÓ‚Ó‰ËÚÂθ
ÇË̇ –‡Á·ÂÊÍË̇). —‚ÓÈ ÔÂ‚˚È
ÙËÎ¸Ï ÒÌˇÎ‡ ‚ 19 ÎÂÚ. ¬ ̇ÒÚÓˇ˘ËÈ
ÏÓÏÂÌÚ ÒÌËχÂÚ ‰ÓÍÛÏÂÌڇθÌ˚È
ÙËÎ¸Ï Ó Î˛‰ˇı ÔÓÌÓ-Ë̉ÛÒÚËË Ë
„ÓÚÓ‚ËÚÒˇ Í ÔÓÎÌÓÏÂÚ‡ÊÌÓÏÛ
Ë„Ó‚ÓÏÛ ‰Â·˛ÚÛ.
Filmography (doc):
2005 ....Girls
2005 ....Sisters
2006 ....Boys
2007 ....He's Gone
(with Boris Khlebnikov)
2007 ....Infante's Birthday
(feature film debut)
‘ËθÏÓ„‡Ùˡ (‰ÓÍ.):
2005 ....ƒÂ‚Ó˜ÍË
2005 ....—ÂÒÚ˚
2006 ....Çθ˜ËÍË
2007 ....”Âı‡Î
(Ò ¡ÓËÒÓÏ ’ηÌËÍÓ‚˚Ï)
2007 ....ƒÂ̸ ÓʉÂÌˡ »ÌÙ‡ÌÚ˚
(Ë„Ó‚ÓÈ ÔÓÎÌÓÏÂÚ‡ÊÌ˚È ‰Â·˛Ú)
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
ÿ≈–ÀŒü ’ŒÀ× » ƒŒü“Œ– ¬¿“—ŒÕ
SHERLOCK HOLMES AND DOCTOR WATSON
68
2005, –ÓÒÒˡ, 18í30íí, ˆ‚., DVD/
2005, Russia, 18 min. 30 sec., col.,
Betacam SP, ‡ÌËχˆËˇ
DVD/Betacam SP, animation
¿‚ÚÓ ÒˆÂ̇ˡ, ÂÊËÒÒÂ,
Scriptwriter, Director, Artist,
ıÛ‰ÓÊÌËÍ, ‡ÌËχÚÓ
Animator Alexander Bubnov
¿ÎÂÍ҇̉ ¡Û·ÌÓ‚
Production ìGuberniyaî, with support
œÓ‰˛ÒÂ ¿ÎÂÍ҇̉ √Â‡ÒËÏÓ‚
from the Federal Agency of Culture and
œÓËÁ‚Ó‰ÒÚ‚Ó ´√Û·ÂÌˡª,
Cinematography
ÔË ÔÓ‰‰ÂÊÍ ‘‰Â‡Î¸ÌÓ„Ó
‡„ÂÌÚÒÚ‚‡ ÔÓ ÍÛθÚÛ Ë
ÍËÌÂχÚÓ„‡ÙËË
¿ÎÂÍ҇̉ ¡Û·ÌÓ‚
’Û‰ÓÊÌËÍ Ë ÂÊËÒÒÂ ‡ÌËχˆËÓÌÌÓ„Ó
ÍËÌÓ, ÔËÁÂ ÏÂʉÛ̇Ó‰Ì˚ı
ÙÂÒÚË‚‡ÎÂÈ. –Ó‰ËÎÒˇ ‚ 1959 „Ó‰Û.
ŒÍÓ̘ËÎ üË‚ÒÍËÈ ËÌÊÂÌÂÌÓÒÚÓËÚÂθÌ˚È ËÌÒÚËÚÛÚ, ÍÛÒ˚
ıÛ‰ÓÊÌËÍÓ‚-ÏÛθÚËÔÎË͇ÚÓÓ‚ ÔË
üË‚ÒÍÓÈ ÒÚÛ‰ËË Ì‡Û˜ÌÓ-ÔÓÔÛΡÌ˚ı
ÙËθÏÓ‚ (1989, χÒÚÂÒ͇ˇ
≈‚„. —Ë‚ÓÍÓÌˇ), Ò 1989-„Ó ñ ıÛ‰ÓÊÌËÍÏÛθÚËÔÎË͇ÚÓ ˝ÚÓÈ ÒÚÛ‰ËË. ¬ 1992-Ï
ÓÍÓ̘ËÎ ¬ü—– (χÒÚÂÒ͇ˇ ‘.’ËÚÛ͇
Ë ›.Õ‡Á‡Ó‚‡). — 2002ñ2004 ñ
‡ÌËχÚÓ, ‡Á‡·ÓÚ˜ËÍ „‡Ù˘ÂÒÍÓÈ
ÍÓ̈ÂÔˆËË Ë ÒÓÁ‰‡ÚÂθ ÔÂÒÓ̇ÊÂÈ Ì‡
ÒÚÛ‰Ëˇı ‘‡ÌˆËË.
‘ËθÏÓ„‡Ùˡ ÂÊËÒÒÂ‡
(‡ÌËχˆËˇ, Í/Ï):
1993 ....üÎËÌË͇
1996 ....œÓÒÎÂ‰Ìˇˇ ÊÂ̇
—ËÌÂÈ ¡ÓÓ‰˚
ÿÂÎÓÍ ’ÓÎÏÒ Ë ‰ÓÍÚÓ ¬‡ÚÒÓÌ
Sherlock Holmes and Doctor Watson
‡ÒÒÎÂ‰Û˛Ú Û·ËÈÒÚ‚Ó ÎÓ‰‡
investigate the murder of Lord
”ÓÚÂ·Û͇. ¬ ıӉ ÒΉÒڂˡ
Waterbrook. During the investigation
‚ÓÁÌË͇˛Ú ‚Ò ÌÓ‚˚Â Ë ÌÓ‚˚ ‚ÂÒËËÖ
there are new versionsÖ
2005 ....ÿÂÎÓÍ ’ÓÎÏÒ
Ë ‰ÓÍÚÓ ¬‡ÚÒÓÌ
Alexander Bubnov
Artist and director of animation,
prizewinner of international festivals.
Born in 1959. Graduated from the Kiev
Construction Institute, courses of
animation at the Kiev studio of
educational films (1989, workshop
E. Sivokon); since 1989 artist and
animator at this studio. In 1992
graduated from the Higher Courses of
Scriptwriters and Directors (class of
F. Khitruk and E. Nazarov). From
2002ñ2004 animator, developer of
graphic concepts and character creator
at French studios.
Filmography:
1993 ....Clinic
1996 ....The Last Wife of Bluebeard
2005 ....Sherlock Holmes
and Doctor Watson
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
›—œ–≈——Œ
ESPRESSO
69
2006, –ÓÒÒˡ, 13 ÏËÌ., ˆ‚., DVD
2006, Russia, 13 min., col., DVD
Ó·Î.) 26 Ù‚‡Î 1978 „Ó‰‡. ŒÍÓ̘Ë·
¿‚ÚÓ˚ ÒˆÂ̇ˡ ≈‚„ÂÌËÈ ü‡Á‡˜ÍÓ‚,
Scriptwriters Evgeni Kazachkov,
√ÛχÌËÚ‡Ì˚È ËÌÒÚËÚÛÚ ÚÂ΂ˉÂÌˡ Ë
Õ‡Ú‡Îˡ ¬ÓÎÍÓ‚‡
Natalia Volkova
‡‰Ëӂ¢‡Ìˡ ËÏÂÌË Ã.¿.ÀËÚÓ‚˜Ë̇
–ÂÊËÒÒÂ Õ‡Ú‡Îˡ ¬ÓÎÍÓ‚‡
Director Natalia Volkova
ÔÓ ÒÔˆˇθÌÓÒÚË ´ÂÊËÒÒÂ
ŒÔÂ‡ÚÓ ƒÏËÚËÈ ÿÎ˚ÍÓ‚
Director of Photography
ÚÂ΂ˉÂÌˡª (2000). –‡·Óڇ· ‚
üÓÏÔÓÁËÚÓ ¿Ì‰ÂÈ üÓÏËÒÒ‡Ó‚
Dmitri Shlykov
͇˜ÂÒÚ‚Â ‡‰ÏËÌËÒÚ‡ÚÓ‡, ‡ÒÒËÒÚÂÌÚ‡
«‚ÛÍ ≈„Ó ‘‡ÒÚӂˆ, »Î¸ˇ —ÂÎËıÓ‚
Composer Andrei Komissarov
ÂÊËÒÒÂ‡, ÂÊËÒÒÂ‡, ÏÓÌÚ‡ÊÂ‡,
¬ ÓΡı: ÕË̇ √Ó„‡Â‚‡,
Sound Egor Fastovets, Ilya Selikhov
ÙÓÚÓ‰‡ÍÚÓ‡ (´ÃÓÒÙËθϪ, ÊÛ̇Î
¿ÎÂÍ҇̉ üÓÊÓ‚
Cast: Nina Gogaeva, Alexander Korzhov
´À˘Ì˚È ‰ÓÍÚÓª, ËÁ‰‡ÚÂθÒÚ‚Ó
œÓ‰˛ÒÂ ƒÏËÚËÈ ƒÓ·ÛÊËÌÒÍËÈ
Producer Dmitri Dobuzhinsky
´“Â‡ª, ´œÂ‚˚È Í‡Ì‡Îª, ´—“¬ª),
œÓËÁ‚Ó‰ÒÚ‚Ó ´Art Chanceª,
Production ìArt Chanceî,
ÂÊËÒÒÂ ‰‚Ûı ‡‰ËÓÔÓÒÚ‡ÌÓ‚ÓÍ.
ÔË ÔÓ‰‰ÂÊÍ ´Park Productionª
with support of ìPark Productionî
Õ‡Ú‡Îˡ ¬ÓÎÍÓ‚‡
–Ӊ˷Ҹ ‚ ∆ÛÍÓ‚ÒÍÓÏ (ÃÓÒÍÓ‚Ò͇ˇ
‘ËθÏ˚ (Í/Ï): ´ÿ‡ÎÓÚÚ‡ª (2000,
‰ËÔÎÓÏ), ´›ÒÔÂÒÒÓª (2006).
www.artchance.ru
Natalia Volkova
»„‡ ÒÓ ÁËÚÂÎÂÏ ‚
A game, with the spectator, in
ÍËÌÂχÚÓ„‡Ù˘ÂÒÍË Ë
cinematic and psychological stereotypes
ÔÒËıÓÎӄ˘ÂÒÍË ÒÚÂÂÓÚËÔ˚
of perception, on the basis of a real
‚ÓÒÔˡÚˡ ̇ ÓÒÌÓ‚Â ÌÂÁ‡Ï˚ÒÎÓ‚‡ÚÓÈ
event that once happened in a cafe.
Born in Zhukovsk (Moscow Region) on
26 February 1978. Graduated from the
Litovchin Humanities Institute of
Television and Broadcasting,
specializing as director of television
(2000). Worked as manager, assistant
director, director, editor, photo editor
(ìMosfilmî, magazine ìPersonal
Doctorî, publishing house ìTerraî,
ìFirst Channelî, ìC“¬î), director of two
radio productions. Films (shorts):
ìCharlotteî (2000, diploma), ìEspressoî
(2006).
ËÒÚÓËË, Ӊ̇ʉ˚ ÒÎۘ˂¯ÂÈÒˇ ‚ ͇ÙÂ.
ÍËÌÓÚ‡‚. ÍÓÓÚÍËÈ ÏÂÚ
kinotavr. shorts
fi–»… ¿–¿¡Œ¬. Ã≈’¿Õ»ü¿ —”ƒ‹¡¤
YURI ARABOV. MECHANICS OF FATE
¿͇‰ËÈ üÓ„‡Ì
70
2007, –ÓÒÒˡ, 52 ÏËÌ.,
2007, Russia, 52 min., col., digital
ˆ‚., ˆËÙÓ‚Ó ‚ˉÂÓ, ‰ÓÍ.
video, doc.
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ
Scriptwriter and Director
¿͇‰ËÈ üÓ„‡Ì
Arkadi Kogan
ŒÔÂ‡ÚÓ˚ ¿͇‰ËÈ üÓ„‡Ì,
Director of Photography
ÇÚ˚̸¯ œÛ̇ÌÒ
Arkadi Kogan, Martyns Pounance
üÓÏÔÓÁËÚÓ ÃËı‡ËÎ üÓ„‡Ì
Composer Michael Kogan
«‚ÛÍ ¬ËÍÚÓ ¡ÛÒ
Sound Viktor Brus
œÓ‰˛ÒÂ Õ‡Ú‡Îˡ √Û„Û‚‡
Producer Natalia Gugueva
œÓËÁ‚Ó‰ÒÚ‚Ó ´¬ÒÚ˜‡ª
Production ìVstrechaî
√·‚Ì˚È ÂÊËÒÒÂ ‰ËÂ͈ËË Ì‡Û˜ÌÓÔÓÔÛΡÌ˚ı ÔÓ„‡ÏÏ ´œÂ‚Ó„Ó
͇̇·ª. À‡ÛÂ‡Ú ÔÂÏËË √Ëθ‰ËË
ÌÂË„Ó‚Ó„Ó ÍËÌÓ Ë ÚÂ΂ˉÂÌˡ
´À‡‚Ó‚‡ˇ ‚ÂÚ‚¸ª (2001, 2004), ÔËÁÂ
ÏÂʉÛ̇Ó‰Ì˚ı Ë ÓÚ˜ÂÒÚ‚ÂÌÌ˚ı
ÙÂÒÚË‚‡ÎÂÈ. –Ó‰ËÎÒˇ ‚ ÕÓ‚ÓÒË·ËÒÍ ‚
1957 „Ó‰Û. ŒÍÓ̘ËÎ ‡ıËÚÂÍÚÛÌ˚È
Ù‡ÍÛθÚÂÚ ¿Í‡‰ÂÏËË ıÛ‰ÓÊÂÒÚ‚ ‚
ÀÂÌËÌ„‡‰Â (1982) Ë ÂÊËÒÒÂÒÍËÈ
Ù‡ÍÛθÚÂÚ ¬√»ü‡ (1993).
‘ËθÏÓ„‡Ùˡ (‰ÓÍ.):
1990 ....¬Â‡
1991 ....›‰ÂÌË, ËÎË ÒÓÍӂˢ »ÒËÌ„Ë
1991 ....fl ·Ó˛Ò¸!
1993 ....≈‚„‡Ù
1996 ....∆ËÚ¸ ‰ÓÎ„Ó Ë ÛÏÂÂÚ¸
ÏÓÎÓ‰˚Ï. ÃËı‡ËÎ ∆‚‡ÌˆÍËÈ
1997 ....”Î˚·Í‡ üÌˇÊËÌÒÍÓ„Ó
1997 ....œÛÚ¯ÂÒÚ‚Ë ‚ ÇÎËÌ
1998 ....«‚ÂÁ‰‡ ƒ‡‚ˉ‡
2000 ....ƒÂ̸ ÓʉÂÌˡ
2001 ....ÃÂÒÚÓ
2003 ....ƒÓ·Ó ÛÚÓ, ¬¸ÂÚ̇Ï
2004 ....üÓÒÚˇ ÷Á˛. ¡˚Ú¸ ÔÂ‚˚Ï!
(Ò Õ‡Ú‡ÎËÂÈ √Û„Û‚ÓÈ)
2004 ....ÇÚ‡ (Ò Õ‡Ú‡ÎËÂÈ √Û„Û‚ÓÈ)
2005 ....¬Ò ‰ÂÚË Óʉ‡˛ÚÒˇ Áˇ˜ËÏË
Arkadi Kogan
´—Û‰¸·Û ˜ÂÎÓ‚Â͇ ÏÓÊÌÓ Ì ÚÓθÍÓ
Ó·˙ˇÒÌËÚ¸, ÌÓ Ë Ô‰Ò͇Á‡Ú¸,
ÔÓθÁÛˇÒ¸ ÚÂÏË Ê Á‡ÍÓ̇ÏË, ÔÓ
ÍÓÚÓ˚Ï ÒÚÓËÚÒˇ ÍËÌÓÒˆÂ̇ËȪ ñ
Ú‡Í Ò˜ËÚ‡ÂÚ ËÁ‚ÂÒÚÌ˚È ÓÒÒËÈÒÍËÈ
ÒˆÂ̇ËÒÚ, ·ÛÂ‡Ú ü‡ÌÌÒÍÓ„Ó
ÍËÌÓÙÂÒÚË‚‡Îˇ fiËÈ ¿‡·Ó‚.
Œ‰Ì‡Ê‰˚ ‚ ÒÛ‰¸·Â Ò‡ÏÓ„Ó ¿‡·Ó‚‡
ÔÓËÁÓ¯ÎÓ ÌÂÓ·˙ˇÒÌËÏÓÂ, ̇ ÔÂ‚˚È
‚Á„Ρ‰, ÒÓ·˚ÚËÂ. ≈ÏÛ ÔÓÁ‚ÓÌËÎ
˜ÂÎÓ‚ÂÍ, ÛÚ‚Âʉ‡‚¯ËÈ, ˜ÚÓ ÓÌ ñ „Ó
ÓÚˆ, ۯ‰¯ËÈ ÓÚ ÌÂ„Ó Ò Ï‡ÚÂ¸˛ 40
ÎÂÚ Ì‡Á‡‰, Ë ÍÓÚÓÓ„Ó Ò‡Ï ¿‡·Ó‚
‰‡‚ÌÓ Ò˜ËڇΠÛÏÂ¯ËÏÖ
ìThe fate of a man can not only be
explained, but also predicted, using the
same laws according to which a film
script is built: thus reckons the wellknown Russian scriptwriter, winner of
the Cannes film festival, Yury Arabov.
Once in Arabovís life something
happened that was at first sight
inexplicable. He was called by a person
who asserted that he was his father,
and who had parted with his mother 40
years ago, and whom Arabov himself
had for a long time considered deadÖ
Chief director of the Management Board
of popular scientific programmes at
ìFirst Channelî. Winner of the prize of
the Guild of Documentary and
Television Film ìLaurelî (2001, 2004),
prize-winner of international and
national festivals. Born in Novosibirsk
in 1957. Graduated from the faculty of
architecture of the Academy of Arts in
Leningrad (1982) and the faculty of
directing at the Film Institute VGIK
(1993).
Filmography (doc):
1990 ....Vera
1991 ....Erdeni, or the Treasure of Isinga
1991 ....I am afraid!
1993 ....Evgraf
1996 ....Live Long and Die Young.
Michael Zhvanetsky
1997 ....Knyazhinskyís Smile
1997 ....Travel to Malines
1998 ....Davidís Star
2000 ....Birthday
2001 ....The Place
2003 ....Good Morning, Vietnam
2004 ....Kostia Tsyu. Be the first!
(with Natalia Gugueva)
2004 ....March (with Natalia Gugueva)
2005 ....All Children can see when they
are born
www.kinotavr.ru
72
ÀÂÚÌˇˇ
˝ÈÙÓˡ
Summer
Euphoria
´üËÌÓÚ‡‚ª ÔÓıÓ‰ËÚ ÎÂÚÓÏ Ì‡ ÏÓÂ:
ìKinotavrî takes place in the summer
‚ÂÏˇ Ë ÏÂÒÚÓ ‡ÒÔÓ·„‡˛Ú Í ÚÓÏÛ, ˜ÚÓ·˚
by the sea: time and place indicate
‡ÒÒ··ËÚ¸Òˇ Ë ÔÓÎÛ˜‡Ú¸ Û‰Ó‚ÓθÒÚ‚ËÂ.
relaxation and pleasure. But you have
ÕÓ ‚˚ ÔÓÔ‡ÎË Ì‡ ÙÂÒÚË‚‡Î¸, ÍÓÚÓ˚È
come to a festival that calls itself a
̇Á˚‚‡ÂÚ Ò·ˇ ··Ó‡ÚÓËÂÈ ÔÓ
research laboratory of national
ËÒÒΉӂ‡Ì˲ ̇ˆËÓ̇θÌÓ„Ó
cinematic processes. Donít be afraid:
ÍËÌÓÔÓˆÂÒÒ‡. Õ ÔÛ„‡ÈÚÂÒ¸: Á‰ÂÒ¸ ÂÒÚ¸
here is an opportunity to simply watch
‚ÓÁÏÓÊÌÓÒÚ¸ ÔÓÒÚÓ ÔÓÒÏÓÚÂÚ¸ ÍËÌÓ.
cinema. The programme ìSummer
œÓ„‡Ïχ ´ÀÂÚÌˇˇ ˝ÈÙÓˡª ÒÓ·‡Î‡
Euphoriaî gathers films which, directly
ÙËθÏ˚, ‚ ÍÓÚÓ˚ı ÚÓÊÂ, ÔˇÏÓ ÎË·Ó
or indirectly, reflect serious problems
ÍÓÒ‚ÂÌÌÓ, ÓÚ‡ÊÂÌ˚ ÒÂ¸ÂÁÌ˚ ÔÓ·ÎÂÏ˚
and links to reality. But ñ each of these
Ë Ò‚ˇÁË Ò ‡θÌÓÒÚ¸˛. ÕÓ Í‡Ê‰˚È ËÁ
five films is also pure imagination,
˝ÚËı ÔˇÚË ÙËθÏÓ‚ ñ ˝ÚÓ Â˘Â Ë ˜ËÒÚ‡ˇ
dream, a waking dream. By its nature
Ù‡ÌÚ‡Áˡ, Ϙڇ, ÒÓÌ Ì‡ˇ‚Û. üËÌÓ ÔÓ
cinema reminds us of a dream, and
Ò‚ÓÂÈ ÔËӉ ̇ÔÓÏË̇ÂÚ ÒÓÌ, ‡ ̇
during a festival can successfully
ÙÂÒÚË‚‡Î ÛÒÔ¯ÌÓ Á‡ÏÂÌˇÂÚ Â„Ó.
replace it.
—̇˜‡Î‡ Ï˚ ıÓÚÂÎË Ì‡Á‚‡Ú¸ ÔÓ„‡ÏÏÛ
First we wanted to call the programme
´–ÛÒÒ͇ˇ ˝ÈÙÓˡª, Í‡Í ˝ÚÓ ·˚ÎÓ ‚
ìRussian Euphoriaî, as last year. But
ÔÓ¯ÎÓÏ „Ó‰Û. ÕÓ ÙËθÏ˚, ÍÓÚÓ˚Â
the films that came together were far
ÒÚ‡ÎË ÔÓ‰·Ë‡Ú¸Òˇ, ‰‡ÎÂÍÓ Ì ‚ÒÂ
from being purely Russian, though they
˜ËÒÚÓ ÛÒÒÍËÂ, ıÓÚˇ Ë ÒÌˇÚ˚ ̇
are made in the Russian language ñ but
ÛÒÒÍÓÏ ˇÁ˚Í ÂÊËÒÒÂ‡ÏË ‡ÁÌ˚ı
by directors of different nationalities,
̇ˆËÓ̇θÌÓÒÚÂÈ ñ ÓÚ ÓÒÂÚË̇ ‰Ó
from Ossetian to Hungarian.
‚ÂÌ„‡. ¿ÁÂ·‡È‰Ê‡Ì, ŒÒÂÚˡ,
Azerbaijan, Ossetia, Kazakhstan, Asia
ü‡Á‡ıÒÚ‡Ì, ¿Áˡ Ë —Ë·Ë¸ Ò ‰ÛıÓÏ
and Siberia, with the spirit of
¯‡Ï‡ÌÒÚ‚‡ Ë ı‡ÌÚ˚-χÌÒËÈÒÍËı
shamanism and the tribes of Khanty-
ÔÎÂÏÂÌ ñ ‚ÓÚ „‡Ìˈ˚ ÚÓ„Ó ˇÁ˚ÍÓ‚Ó„Ó
Mansiisk, form the borders of that
Ë ÍÛθÚÛÌÓ„Ó ‡‡·, ‚ ÍÓÚÓÓÏ
linguistic and cultural area in which
‚ËÚ‡ÂÚ ´ÀÂÚÌˇˇ ˝ÈÙÓˡª.
ìSummer Euphoriaî grows. Russian-
–ÛÒÒÍÓˇÁ˚˜ÌÓ ÍËÌÓ ñ ÔÓÌˇÚË ·ÓÎÂÂ
language cinema is a wider concept than
¯ËÓÍÓ ‚ Ò‡‚ÌÂÌËË Ò ÍËÌÓ ÛÒÒÍËÏ,
Russian cinema, and it is not yet
Ë Â˘Â Ì ÛÒÚ‡ÌÓ‚Ë‚¯ÂÂÒˇ.
established.
¬ Ó‰ÌÓÏ ËÁ ÙËθÏÓ‚ ̇¯ÂÈ ÔÓ„‡ÏÏ˚ ñ
One of the films of our programme,
´À‡ÒÚÓ˜ÍË ÔËÎÂÚÂÎ˪ ¿Ò·̇ √‡Î‡ÁÓ‚‡
ìThe Swallows have Arrivedî by Aslan
ñ ˜¸ ˉÂÚ Ó ‰‡Ï ̇ÍÓχÌËË.
Galazov, deals with the issue of drugs.
»ÒÔÓθÁÛˇ „Óη̉ÒÍËÈ ÓÔ˚Ú, Ï˚
Drawing on the Dutch experience, we
ÔËÁ˚‚‡ÂÏ ·ÓÓÚ¸Òˇ Ò ÚˇÊÂÎ˚ÏË
appeal to fight heavy drugs by means of
̇ÍÓÚË͇ÏË ÔÓÒ‰ÒÚ‚ÓÏ Î„ÍËı.
light ones. Cinemania is also a light
üËÌÓχÌˡ ñ ˝ÚÓ Ë ÂÒÚ¸ Ú‡ ΄͇ˇ
form of narcotic euphoria, which allows
ÙÓχ ̇ÍÓÚ˘ÂÒÍÓÈ ˝ÈÙÓËË, ÍÓÚÓ‡ˇ
ñ without destroying the psyche and
ÔÓÁ‚ÓΡÂÚ, Ì ‡ÁÛ¯‡ˇ ÔÒËıËÍÛ Ë ÌÂ
without spending much on distant
Ú‡ÚˇÒ¸ ̇ ‰ÓÓ„Ë ÔÛÚ¯ÂÒڂˡ,
travel ñ to test out new sensations, to
ËÒÔ˚Ú‡Ú¸ ÌÓ‚˚Â Ó˘Û˘ÂÌˡ, ÔÓÁ̇ڸ
learn about other worlds and to discover
‰Û„Ë ÏË˚ Ë ‰‡Ê ÓÚÍ˚Ú¸ ´‰Û„Ó„Óª
new worlds, and ìanotherî self: and this
Ò·ˇ, ˜Â„Ó Ï˚ ‚‡Ï ËÒÍÂÌÌ Ê·ÂÏ.
is what we sincerely wish you.
üÛ‡ÚÓ ÔÓ„‡ÏÏ˚
Programme Curator,
¿Ì‰ÂÈ œÎ‡ıÓ‚,
Andrei Plakhov,
ÔÂÁˉÂÌÚ ‘»œ–≈——»
President of FIPRESCI
— ËÒÚÓËÂÈ Ë ‡ÍÚۇθÌ˚ÏË ÌÓ‚ÓÒÚˇÏË
You can familiarize yourself with the
ÔÓ„‡ÏÏ˚ ´›ÈÙÓˡª ÏÓÊÌÓ
history and current news of the
ÓÁ̇ÍÓÏËÚ¸Òˇ ̇ Ò‡ÈÚÂ
programme ìEuphoriaî on the site
www.plakhov.com
www.plakhov.com
ÎÂÚÌˇˇ ˝ÈÙÓˡ
summer euphoria
‚ÓÎÍ
WOLF
·ÒÚÓ˜ÍË ÔËÎÂÚÂÎË
THE SWALLOWS HAVE ARRIVED
Ô‡‰ÂÌË ‚ Ì·ÂÒ‡
FALLING INTO HEAVEN
ÔÓ˘‡È, ˛ÊÌ˚È „ÓÓ‰
GOOD BYE, SOUTHERN CITY
˜ÂÎÓ‚ÂÍ-‚ÂÚÂ
WIND-MAN
73
ÎÂÚÌˇˇ ˝ÈÙÓˡ
summer euphoria
¬ŒÀü/ FARKAS
WOLF
74
2006, –ÓÒÒˡ/ ¬ÂÌ„ˡ, 70 ÏËÌ., ˆ‚.
2006, Russia / Hungary, 70 min., col.
¿‚ÚÓ˚ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ˚ “‡Ï‡¯ “ÓÚ,
Scriptwriters and Directors Tam‡s Toth, Alexander Bashirov
¿ÎÂÍ҇̉ ¡‡¯ËÓ‚
Director of Photography Vladimir Bryliakov
ŒÔÂ‡ÚÓ ¬Î‡‰ËÏË ¡˚ΡÍÓ‚
Production Design Tam‡s Toth
’Û‰ÓÊÌËÍ “‡Ï‡¯ “ÓÚ
Composer Zoltan Krulik
üÓÏÔÓÁËÚÓ «ÓÎÚ‡Ì üÛÎËÍ
Cast Alexander Bashirov, Vladimir Mirov
¬ „·‚Ì˚ı ÓΡı: ¿ÎÂÍ҇̉ ¡‡¯ËÓ‚, ¬Î‡‰ËÏË ÃËÓ‚
Producers Oleg Urushev, Tam‡s Toth
œÓ‰˛ÒÂ˚ ŒÎ„ ”ۯ‚, “‡Ï‡¯ “ÓÚ
Production ìYurgaî, Tomart Studio (Hungary), ìSolivsî
œÓËÁ‚Ó‰ÒÚ‚Ó ´fi„‡ª, Tomart Studio (¬ÂÌ„ˡ), ´Solivsª
www.ugra-tv.ru
www.tomartstudio.hu
ÎÂÚÌˇˇ ˝ÈÙÓˡ
summer euphoria
¿ÎÂÍ҇̉ ¡‡¯ËÓ‚
‡ÍÚÂ, ÂÊËÒÒÂ-ÔÓÒÚ‡ÌÓ‚˘ËÍ:
1998
∆ÂÎÂÁ̇ˇ ÔˇÚ‡ ÓÎË„‡ıËË
1999
¡Â΄‡‰, ¡Â΄‡‰ (‰ÓÍ.)
2003
”‰‡˜Ë Ú·Â, Ò˚˘ËÍ (ÒÂˇÎ)
2007
¬ÓÎÍ (Ò “‡Ï‡¯ÂÏ “ÓÚÓÏ)
Alexander Bashirov
1998 ....The Iron Heel of Oligarchy
75
1999 ....Belgrade, Belgrade (doc)
2003 ....Success to You, Investigator (serial)
2007 ....Wolf (with Tam·s TÛth)
“‡Ï‡¯ “ÓÚ
(¬ÂÌ„ˡ)
ÂÊËÒÒÂ-ÔÓÒÚ‡ÌÓ‚˘ËÍ:
1990 ....—Ûχү‰¯ËÈ Ë ¿Ì„ÂÎ
(Í/Ï, ‰ËÔÎÓÏ ¬√»ü‡)
1993 ....ƒÂÚË ˜Û„ÛÌÌ˚ı ·Ó„Ó‚ (–ÓÒÒˡ)
1995 ....«‡Í‡Ú ü√¡/ The Fall of the KGB
(‰ÓÍ., Ú‚)
1995 ....¬ÓÊ‰Ë ËÏÔÂËË (‰ÓÍ., Ú‚)
üËÌÓ·‡Î·‰‡/ ›ÚÌÓ„‡Ù˘ÂÒÍËÈ ÚËÎÎÂ.
1996 ....œÓÒ·ÌÌËÍË ËÏÔÂËË (‰ÓÍ.)
¬ Ì·Óθ¯ÓÏ Ò‚ÂÌÓÏ ÔÓÒÂÎÍ ‡ÒÔÓÒÚ‡Ìˇ˛ÚÒˇ ÒÎÛıË, ˜ÚÓ ‚ÓÎÍË
1997 ....Õ‡Ú‡¯‡ (–ÓÒÒˡ/ ¬ÂÌ„ˡ)
Ô‚‡ÚËÎËÒ¸ ‚ ‚‡ÏÔËÓ‚. ŒÌË Ì‡Ô‡‰‡˛Ú ̇ Ò‚ÓË ÊÂÚ‚˚, ÌÓ Ì ۷˂‡˛Ú Ëı,
1999 ....ÕÓÊ (ÍÏ)
‡ ÚÓθÍÓ ‚˚Ò‡Ò˚‚‡˛Ú ÍÓ‚¸. —‡Ï˚ ·Óθ¯Ë ÔÓÚÂË ‚‡ÏÔË˚ ̇ÌÓÒˇÚ
2001 ....¿Ì‡ıËÒÚ˚
‚·‰Âθˆ‡Ï ÒÚ‡‰. ŒÎÂÌ‚Ӊ˚ ‚˚Á˚‚‡˛Ú ˜ÂÎÓ‚Â͇ ËÁ ‰‡ÎÂÍÓ„Ó „ÓÓ‰‡,
2003 ....–Ë̇θ‰Ó
ÍÓÚÓ˚È ÛÏÂÂÚ „Ó‚ÓËÚ¸ ̇ ˇÁ˚Í ÊË‚ÓÚÌ˚ı. ÕËÍÓÎ‡È —Â„‚˘
2004 ....üÓÌÂθ (Í/Ï)
ÔËÂÁʇÂÚ, ÌÓ ÓÌ Ó͇Á˚‚‡ÂÚÒˇ ÒÓ‚ÒÂÏ Ì ڇÍËÏ, ͇ÍËÏ Â„Ó Á‰ÂÒ¸
2006 ....ìCaddillac Driveî (‰ÓÍ., ÒÂˇÎ)
Ô‰ÒÚ‡‚ΡÎË, Ë ÚÂÏ Ì ÏÂÌ ÓÌ ¯‡ÂÚ ÔÓ·ÎÂÏÛ. ŒÌ ÒÓ‚Â¯‡ÂÚ
2007 ....¬ÓÎÍ (Ò ¿ÎÂÍ҇̉ÓÏ ¡‡¯ËÓ‚˚Ï)
Ò‚ÓÂÓ·‡ÁÌ˚È ËÚۇΠÊÂÚ‚ÓÔËÌÓ¯ÂÌˡ, Ë ÁÎÓ ÔÓÍˉ‡ÂÚ ˝ÚÓÚ Í‡È.
Tamas Toth
Film-Ballad/ Ethnographic Thriller
(Hungary)
1990 .... The Fool and the Angel (short,
diploma VGIK)
In a small northern settlement rumours are spreading that the wolves have
turned into vampires. They attack their victims, but do not kill them: they
1993 .... Children of Iron Gods (Russia)
only suck out the blood. The owners of herds experience the greatest losses.
1995 ....The Fall of the KGB (doc., TV)
Reindeer breeders call on a man from a distant city, who is able to speak the
1995 ....Leaders of the Empire (doc., TV)
language of animals. Nikolai Sergeevich arrives, but he is completely unlike
1996 ....Envoys of the Empires (doc)
what people expected; nevertheless he solves the problem. He performs an
1997 ....Natasha (Russia/Hungary)
original ritual of sacrifice, and the evil forces leave the area.
1999 ....The Knife (short)
2001 ....Anarchists
2003 ....Rinaldo
2004 ....Kornal (short)
2006 ....ìCadillac Driveî (doc., serial)
2007 ....Wolf (with Alexander Bashirov)
ÎÂÚÌˇˇ ˝ÈÙÓˡ
summer euphoria
À¿—“Œ◊ü» œ–»À≈“≈À»
THE SWALLOWS HAVE ARRIVED
76
2006, —‚Â̇ˇ ŒÒÂÚˡ, 91 ÏËÌ., ˆ‚., Dolby SRD
2006, Northern Ossetia, 91 min., col., Dolby SRD
¿‚ÚÓ˚ ÒˆÂ̇ˡ »Î‡Ì ’Û„‡Â‚, ¿ÒÎ‡Ì √‡Î‡ÁÓ‚
Scriptwriters Irlan Khugaev, Aslan Galazov
–ÂÊËÒÒÂ ¿ÒÎ‡Ì √‡Î‡ÁÓ‚
Director Aslan Galazov
ŒÔÂ‡ÚÓ˚ ÀÂÓÌˉ ƒÂˇ„ËÌ, ¿Ì̇ «‡·ÎÛ‰Ó‚Ò͇ˇ
Director of Photography Leonid Deriagin, Anna Zabludovskaya
’Û‰ÓÊÌËÍ “Ë„‡Ì ü‡ÈÚχÁÓ‚
Production Design Tigran Kaitmazov
üÓÏÔÓÁËÚÓ ÿË‚‡ÌË ◊‡Î‡Â‚
Composer Shirvani Chalaev
«‚ÛÍ ¿ÎÂÍ҇̉ ü‡Ï‡Î‰ËÌÓ‚
Sound Alexander Kamaldinov
ÃÓÌÚ‡Ê ¬ËÚ‡ÎËÈ «ËıÎËÌÒÍËÈ
Editing Vitali Zikhlinsky
¬ ÓΡı: »Î‡Ì ’Û„‡Â‚, ¿ÚÛ ’‡Ú‡„Ó‚, ¬ˇ˜ÂÒ·‚ √ÛË‚,
Cast: Irlan Khugaev, Arthur Khatagov, Viacheslav Guriev,
—ÓÒÎ‡Ì ÷‡Î·„Ó‚, Ç‡Ú ƒÁ‡„ÛÓ‚, ›ÎË̇ «‡ı‡Ó‚‡,
Soslan Tsallagov, Marat Dzagurov, Elina Zakharova,
“Ë„‡Ì ü‡ÈÚχÁÓ‚, ÀÂÈ· “·ÎÓ‚‡, «ÂÏÙË‡ √‡Î‡ÁÓ‚‡,
Tigran Kaitmazov, Leila Tebloeva, Zemfira Galazova,
¬ˇ˜ÂÒ·‚ ¬Â¯ËÌËÌ
Viacheslav Vershinin
œÓ‰˛ÒÂ ¿Î‡Ì √‡Î‡ÁÓ‚
Producer Alan Galazov
œÓËÁ‚Ó‰ÒÚ‚Ó Narti movies studio
Production Narti Movies Studio
www.narti-movies.ru
ÎÂÚÌˇˇ ˝ÈÙÓˡ
summer euphoria
¿ÒÎ‡Ì √‡Î‡ÁÓ‚
ÂÊËÒÒÂ-ÔÓÒÚ‡ÌÓ‚˘ËÍ:
2003 ....¬ÓÒıÓʉÂÌË (Í/Ï)
2003 ....¬ÒÔÓÏË̇ˇ –‡ÒÛ· (‰ÓÍ.)
2004 ....∆ÂÌ˘ËÌ˚ ü‡‚͇Á‡ ‚ ÙÓÚÓ„‡Ùˡı,
ÊË‚ÓÔËÒË, ÒÍÛθÔÚÛÂ, „‡ÙËÍ (‰ÓÍ.)
2005 ....¬ÂÓÌË͇ ƒÛ‰‡Ó‚‡ (‰ÓÍ.)
2005 ....œˇÚ̇‰ˆ‡Ú¸ ÎÂÚ (Í/Ï)
2006 ....À‡ÒÚÓ˜ÍË ÔËÎÂÚÂÎË
77
Aslan Galazov
film director:
2003 ....Ascension (short)
2003 ....Remembering Rasula (doc)
2004 ....Women of the Caucasus in
Photographs, Painting, Sculpture,
and Graphics (doc)
2005 ....Veronika Dudarova (doc)
2005 ....Fifteen Years (short)
2006 ....The Swallows have Arrived
œÒËıÓÎӄ˘ÂÒ͇ˇ ‰‡Ï‡.
—ÓÓ͇ÎÂÚÌËÈ ÙËÎÓÎÓ„ üÓÌÒÚ‡ÌÚËÌ —Â„‚˘ ÔÓ ÔÓÁ‚Ë˘Û œËÍ, Ô‰‡„Ó„
ËÌÒÚËÚÛÚ‡ „ÓÓ‰‡ ¬Î‡‰Ë͇‚͇Á‡, Ó˜Â̸ Ë Ó˜Â̸ ·ÓÎÂÌ. ≈„Ó ÛÊ ÌË˜Â„Ó ÌÂ
‚ÓÎÌÛÂÚ, ÓÌ ÌË˜Â„Ó Ì ıÓ˜ÂÚ, ÌÓ ÓÌ Â˘Â Ì ÒÏËËÎÒˇ Ò ÚÂÏ, ˜ÚÓ Â„Ó ·ÎËÁÍËÂ,
‚Íβ˜‡ˇ ÒÓÒÚ‡Ë‚¯ËıÒˇ Ó‰ËÚÂÎÂÈ, Á̇˛Ú Ó ÚÓÏ, ˜ÚÓ ÓÌ ´ÔÓ‰ÒÂΠ̇ Ë„ÎÛª.
- √‡Ì-ÔË "«ÓÎÓÚ‡ˇ ڇȄ‡" - Ãü‘ ‰Â·˛ÚÓ‚ "ƒÛı Ó„Ìˇ",
’‡ÌÚ˚-ÇÌÒËÈÒÍ, 2007.
Psychological drama.
The forty-year old philologist Konstantin Sergeevich, by the nickname of Peak,
is a teacher at the Vladikavkaz Institute; he is very ill. For a long time nothing
has worried him; he wants nothing. But he has not been reconciled with the fact
that people, including his old parents, know that he was an addict.
- Grand Prize "Golden taiga" - IFF of debuts "Spirit of fire",
Khanty-Mansiysk, 2007.
ÎÂÚÌˇˇ ˝ÈÙÓˡ
summer euphoria
œ¿ƒ≈Õ»≈ ¬ Õ≈¡≈—¿
FALLING INTO HEAVEN
78
2005, –ÓÒÒˡ, 82 ÏËÌ., ˜/·
2005, Russia, 82 min, b/w
¿‚ÚÓ˚ ÒˆÂ̇ˡ Շڇθˇ ÃËÚÓ¯Ë̇, “‡Ï‡‡ fi¯Ï‡ÌÓ‚‡,
Scriptwriters Natalia Mitroshina, Tamara Yushmanova,
ŒÎ¸„‡ «‡‚‡Á‡Î¸Ò͇ˇ
Olga Zavazalskaya
–ÂÊËÒÒÂ Շڇθˇ ÃËÚÓ¯Ë̇
Director Natalia Mitroshina
ŒÔÂ‡ÚÓ˚ —Â„ÂÈ —ÓÎÓ‚¸Â‚, –ÓÏ‡Ì ÀÂÓÌÓ‚
Directors of Photography Sergei Soloviev, Roman Leonov
’Û‰ÓÊÌËÍ Õ‡Ú‡Îˡ ü˚ʇÌÓ‚Ò͇ˇ
Production Design Natalia Kryzhanovskaya
üÓÒÚ˛Ï˚ ŒÎ¸„‡ üÓθˆÓ‚‡, »Ë̇ «ÓÁÛΡ
Costume Design Olga Koltsova, Irina Zozulia
üÓÏÔÓÁËÚÓ üÓÌÒÚ‡ÌÚËÌ ÿÏ˚‚
Composer Konstantin Shmyrev
»ÒÔÓθÁÛÂχˇ ÏÛÁ˚͇ ≈‚„ÂÌËÈ —··ËÍÓ‚
Music by Evgeni Slabikov
ÃÛÁ˚͇ ÔÂÒÂÌ ÀÂÓÌˉ ƒÂÒˇÚÌËÍÓ‚
Songs by Leonid Desiatnikov
“ÂÍÒÚ ÔÂÒÂÌ ƒ‡ÌËËÎ ’‡ÏÒ
Lyrics by Daniil Kharms
«‚ÛÍ ≈‚„ÂÌËÈ ü‡‰ËÏÒÍËÈ, üÓÌÒÚ‡ÌÚËÌ ÿÏ˚‚
Sound Evgeni Kadimsky, Konstantin Shmyrev
¬ ÓΡı: ¿ÎÂÍ҇̉ –‡ıχÌËÌ, ¡ÓËÒ ü‡Á‡ÍÓ‚,
Cast Alexander Rakhmanin, Boris Kazakov, Leonid Soloviev,
ÀÂÓÌˉ —ÓÎÓ‚¸Â‚, Ç„‡ËÚ‡ ¡ÓËÒÓ‚‡, ÃËı‡ËÎ ¡Û·ÍÓ‚,
Margarita Borisova, Mikhail Burlakov, Alexander Goriainov,
¿ÎÂÍ҇̉ √ÓˇËÌÓ‚, ¿Ì‰ÂÈ ü‡Á‡ÍÓ‚, fiÎˡ ¡ÂıÓ‚‡,
Andrei Kazakov, Yulia Brekhova, Ilya Sergeev
»Î¸ˇ —Â„‚
Producer Tatiana Ilyina
œÓ‰˛ÒÂ “‡Ú¸ˇÌ‡ »Î¸Ë̇
Production Commonwealth of Women in Cinema
œÓËÁ‚Ó‰ÒÚ‚Ó —Ó‰ÛÊÂÒÚ‚Ó ÊÂÌ˘ËÌ ÍËÌÓ
ÎÂÚÌˇˇ ˝ÈÙÓˡ
summer euphoria
Շڇθˇ ÃËÚÓ¯Ë̇
ÂÊËÒÒÂ-ÔÓÒÚ‡ÌÓ‚˘ËÍ:
1991 ....¡ÂÁʇÎÓÒÚÌÓ ÌÂ·Ó (Í/Ï)
1996 ....üËÌÓ (Í/Ï)
1999 ....œÓËÒ¯ÂÒÚ‚Ë (Í/Ï)
2001 ....ƒÓ·˚È ‚˜Â, ÍÓÌÒÚÛÍÚÓ (Í/Ï)
2005 ....œ‡‰ÂÌË ‚ Ì·ÂÒ‡
(ÔÓÎÌÓÏÂÚ‡ÊÌ˚È ‰Â·˛Ú)
79
Natalia Mitroshina
Film director:
1991 ....The Ruthless Sky (short)
1996 ....Cinema (short)
1999 ....The Incident (short)
2001 ....Good Evening, Designer (short)
2005 ....Falling into Heaven
(full-length debut)
“‡„ËÍÓÏ˘ÂÒ͇ˇ ‰‡Ï‡ ÔÓ ÔÓËÁ‚‰ÂÌËˇÏ ƒ‡ÌËË· ’‡ÏÒ‡.
ƒÂ‚ˇÚ¸ Ò ÔÓÎÓ‚ËÌÓÈ ˜ÂÌÓ-·ÂÎ˚ı ‰ÌÂÈ (ËÏÂÌÌÓ ÒÚÓθÍÓ ‚ÂÏÂÌË ÎÂÚËÚ ‰Û¯‡
Ò ÁÂÏÎË Ì‡ Ì·ÂÒ‡) ËÁ ÊËÁÌË ‚β·ÎÂÌÌÓ„Ó ˝ÎÂÍÚÓÏÓÌÚÂ‡ (´ˇ ÏÂÎ͇ˇ
ÔÚ‡¯Í‡, Á‡ÎÂÚ‚¯‡ˇ ‚ ÍÎÂÚÍÛ Í ·Óθ¯ËÏ ÌÂÔˡÚÌ˚Ï ÔÚˈ‡Ïª) ‚
ÔËÒÛÚÒÚ‚ËË ’‡ÏÒ‡, ÍÓÚÓÓÏÛ Ë ÔÓÒ‚ˇ˘ÂÌ ˝ÚÓÚ ÙËθÏ.
Tragicomic drama based on Daniil Kharms.
Nine-and-a-half black-and-white days (the time it takes the soul to fly from the
earth into heaven) from the life of an enamoured electric engineer (ìI am a
little bird that has flown into a cage with big unpleasant birdsî) in the
presence of Kharms, to whom this film is devoted.
ÎÂÚÌˇˇ ˝ÈÙÓˡ
summer euphoria
œ–ŒŸ¿…, fi∆Õ¤… √Œ–Œƒ
GOOD BYE, SOUTHERN CITY
80
2006, –ÓÒÒˡ/ ¿ÁÂ·‡È‰Ê‡Ì, 90 ÏËÌ., ˆ‚., 1:1.37
2006, Russia/Azerbaijan, 90 min., col., 1:1.37
¿‚ÚÓ ÒˆÂ̇ˡ –ÛÒÚ‡Ï »·‡„ËÏ·ÂÍÓ‚
Scriptwriter Rustan Ibragimbekov
–ÂÊËÒÒÂ ŒÎ„ —‡Ù‡‡ÎË‚
Director Oleg Safaraliev
ŒÔÂ‡ÚÓ ÃÛ‡Ú ¿ÎË‚
Director of Photography Murat Aliev
’Û‰ÓÊÌËÍ Ã‡ËÒ ¿„‡·ÂÍÓ‚
Production Design Mais Agabekov
üÓÒÚ˛Ï˚ Ç·ı‡Ú √ÛÏ·‡ÚÓ‚‡
Costume Design Malakhat Gumbatova
üÓÏÔÓÁËÚÓ —ˡ‚Û¯ üÂËÏÎË
Composer Siyavush Kerimli
«‚ÛÍ ¿Ò‡‰ ¿Ò‡‰Ó‚
Sound Asad Asadov
ÃÓÌÚ‡Ê √˛Î¸¯‡Ì —‡ÎËÏÓ‚‡
Editing Gulshan Salimova
¬ ÓΡı: “ËÏÛ ¡‡‰‡Î·ÂÈÎË, ‘Û‡‰ œÓ·‰Ó‚,
Cast: Timur Badalbeili, Fuad Poladov, Farkhatdin Manafov,
‘‡ı‡Ú‰ËÌ Ã‡Ì‡ÙÓ‚, ÃÂıË·‡Ì «‡ÍË, —‡‰˚Í ¿ıωӂ,
Mekhriban Zaki, Sadyk Ahmedov, Kiamal Khudaverdyev,
üˇÏ‡Î ’Û‰‡‚Â‰˚‚, —‡ÌÛ·‡ »ÒÍẨ‡ÎË,
Sanubar Iskendarli, Gadzhi Ismailov, Elmira Shabanova,
√‡‰ÊË »ÒχËÎÓ‚, ›Î¸ÏË‡ ÿ‡·‡ÌÓ‚‡, –‡ÙËÍ ¿ÎË‚,
Rafik Aliev, Alexandra Anikushina, Tofik Mirzoev
¿ÎÂÍ҇̉‡ ¿ÌËÍÛ¯Ë̇, “ÓÙËÍ ÃËÁÓ‚
Producers Rustam Ibragimbekov, Adyl Guliamov
œÓ‰˛ÒÂ˚ –ÛÒÚ‡Ï »·‡„ËÏ·ÂÍÓ‚, ¿‰˚Î √ÛΡÏÓ‚
Production Azerbaijanfilm, Ibrus
œÓËÁ‚Ó‰ÒÚ‚Ó ´¿ÁÂ·‡È‰Ê‡ÌÙËθϪ, ´»·ÛÒª
Distribution Nikola Film
œÓÍ‡Ú ´ÕËÍÓ· ÙËθϪ
ÎÂÚÌˇˇ ˝ÈÙÓˡ
summer euphoria
ŒÎ„ —‡Ù‡‡ÎË‚
ÂÊËÒÒÂ-ÔÓÒÚ‡ÌÓ‚˘ËÍ:
1986 ....ŒÔ˚Ú˚ χ„ÌËÚ˘ÂÒÍÓ„Ó ÔËÚˇÊÂÌˡ
(Í/Ï, ÍÛÒÓ‚‡ˇ)
1987 ....ÃÛ‡‰-—‡‰ (Í/Ï, ‰ËÔÎÓÏ)
1989 ....œˇÏ‡ˇ Ú‡ÌÒΡˆËˇ
1993 ....◊ÂÎÓ‚ÂÍ, ÍÓÚÓ˚È ÒÚ‡‡ÎÒˇ (Ò
–ÛÒÚ‡ÏÓÏ »·‡„ËÏ·ÂÍÓ‚˚Ï)
2006 ....œÓ˘‡È, ˛ÊÌ˚È „ÓÓ‰
81
Oleg Safaraliev
film director:
1986 ....Experiences of Magnetic Attractions
(short, coursework)
1987 ....Murat-Sade (short, diploma)
1989 ....Direct Translation
1993 ....The Man who Tried (with Rustam
Ibragimbekov)
2006 ....Good-Bye, Southern City
ÀË˘ÂÒ͇ˇ ‰‡Ï‡ Ó ÔÂÂÎÓÏÌÓÏ ÏÓÏÂÌÚ ‚ ËÒÚÓËË ¡‡ÍÛ, ÍÓ„‰‡ ÓÌ ÔÂÂÒÚ‡Î
·˚Ú¸ ÒÓ‚ÂÚÒÍËÏ „ÓÓ‰ÓÏ, Ë Ì‡‰Ó ·˚ÎÓ Û˜ËÚ¸Òˇ ÊËÚ¸ Ò˚ÁÌÓ‚‡. ü‡Í Ë ‚Ò ‰‚Ó˚
˝ÚÓ„Ó ˛ÊÌÓ„Ó ËÌÚÂ̇ˆËÓ̇θÌÓ„Ó „ÓÓ‰‡, χÎÂ̸ÍËÈ ‰‚ÓËÍ ÍÓ„‰‡-ÚÓ ·˚Î
ÒÓ‚ÒÂÏ ‰Û„ËÏ. «‰ÂÒ¸ ÊËÎË Ò‡Ï˚ ‡ÁÌ˚ β‰Ë: ÛÒÒÍËÂ, ‡ÁÂ·‡È‰Ê‡Ìˆ˚,
‡ÏˇÌÂ, ‚ÂË ñ ·‡ÍË̈˚. ∆ËÎË Ì ÚÓ ˜ÚÓ·˚ Ó˜Â̸ ıÓÓ¯Ó, ÌÓ Ë Ì ÔÎÓıÓ.
œËÎË, ÔÂÎË, ÒÒÓËÎËÒ¸, ÏËËÎËÒ¸, β·ËÎË, ÓʇÎË Ë ıÓÓÌËÎË. ∆ËÎË ÌÂ
ÒÂϸˇÏË, ‡ ‰ËÌ˚Ï ‰‚ÓÓÏ ñ ÔÓ Ò‚ÓËÏ Ê·ÌËˇÏ Ë ‚ÓÁÏÓÊÌÓÒÚˇÏ. ¿ Á‡ÚÂÏ
ÔÓˇ‚ËÎÒˇ ‚Ó ‰‚Ó ˜ÛÊ‡Í Ë ÒڇΠÛÚ‚Âʉ‡Ú¸ Ò‚ÓË Á‡ÍÓÌ˚ Ó·˘ÂÊËÚˡÖ
ñ Õ‡ˆËÓ̇θÌ˚ ÍËÌÓÔÂÏËË ¿ÁÂ·‡È‰Ê‡Ì‡ ´«ÓÎÓÚÓÈ Ò‚ÂÚËθÌËͪ/
´√˚Á˚Î ◊Ë‡„ª (2006) ñ Á‡ ÎÛ˜¯ËÈ ÙËθÏ, ÎÛ˜¯ËÈ ÒˆÂ̇ËÈ, ÎÛ˜¯Û˛
ÏÛÊÒÍÛ˛ Óθ (“ËÏÛ ¡‡‰‡Î·ÂÈÎË);
ñ œËÁ ´«‡ Ò‡ÏÛ˛ ÏÛÊÂÒÚ‚ÂÌÌÛ˛ Óθª (“ËÏÛ ¡‡‰‡Î·ÂÈÎË) ñ Ãü‘
´¬ÓÒÚÓÍ-«‡Ô‡‰ª, ¡‡ÍÛ, 2006;
ñ Ãü‘ ‚ ¡ÂÎËÌÂ: ´œ‡ÌÓ‡Ï‡ª, 2007.
Lyrical drama about the turning-point in the history of Azerbaijan, when Baku
ceased to be a Soviet city and people had to learn how to live once more. As all
the courtyards of this southern international city, these small courtyards were
once completely different. The most different people lived there: Russian,
Azeri, Armenians, Jews ñ citizens of Baku. They lived not well, but also not
bad. They drank, sang, quarreled, made peace, loved, gave birth and buried.
They lived not in families, but by courtyards ñ according to their wishes and
abilities. Then a stranger appeared in the courtyard and began to assert new
laws of living togetherÖ
ñ National Film Prize of Azerbaijan ìGolden Lightî (Gyzyl Chigar), 2006 for
best film, best script, best actor (Timur Badalbeili);
ñ Prize ìFor the most courageous roleî (Timur Badalbeili) ñ IFF ´East-Westª,
Baku, 2006;
ñ IFF in Berlin: ìPanoramaì, 2007.
ÎÂÚÌˇˇ ˝ÈÙÓˡ
summer euphoria
◊≈ÀŒ¬≈ü-¬≈“≈–
WIND-MAN
82
2007, –ÓÒÒˡ, 95 ÏËÌ., ˆ‚., Dolby Digital
2007, Russia, 95 min, col., Dolby Digital
¿‚ÚÓ˚ ÒˆÂ̇ˡ Œ‰Âθ¯‡ ¿„˯‚, ’Û‡Ú ¿ıÏÂÚÓ‚
Scriptwriters Odelsha Agishev, Khuat Akhmetov
–ÂÊËÒÒÂ ’Û‡Ú ¿ıÏÂÚÓ‚
Director Khuat Akhmetov
ŒÔÂ‡ÚÓ –ËÙÍ‡Ú »·‡„ËÏÓ‚
Director of Photography Rifkat Ibragimov
’Û‰ÓÊÌËÍ ÕË„Ï‡Ú ƒÊÛ‡Â‚
Production Design Nigmat Dzhuraev
üÓÒÚ˛Ï˚ «Â·Ó Õ‡Ò˚Ó‚‡
Costume Design Zebo Nasyrova
«‚ÛÍ ¿Ì‰ÂÈ ÃÓΘ‡ÌÓ‚
Sound Andrei Molchanov
¬ ÓΡı: »„Ó¸ flÒÛÎӂ˘, üۇ̉˚Í ü˚ÒÚ˚Í·‡Â‚,
Cast: Igor Yasulovich, Kuandyk Kystykbaev,
¿ˇÌ‡ ≈Òχ„‡Ï·ÂÚÓ‚‡, ‘‡ıÓ‰ ¿·‰Ûη‚,
Aiana Esmagambetova, Farkhod Abdullaev,
√Ûθ̇‡ ƒÛÒχÚÓ‚‡, ‘‡ı‡Ú ¿·‰‡ËÏÓ‚
Gulnara Dusmatova, Farkhat Abdraimov
œÓ‰˛ÒÂ˚ –‡ÛÙ ¿Ú‡Ï‡ÎË·ÂÍÓ‚, —Ú‡ÌËÒ·‚ ≈¯Ó‚
Producers Rauf Atamalikekov, Stanislav Ershov
œÓËÁ‚Ó‰ÒÚ‚Ó United Multimedia Projects, üËÌÓÒÚÛ‰Ëˇ
Production United Multimedia Projects, Gorky Film Studio
ËÏÂÌË Ã.√Ó¸ÍÓ„Ó
www.umpstudio.com
ÎÂÚÌˇˇ ˝ÈÙÓˡ
summer euphoria
’Û‡Ú ¿ıÏÂÚÓ‚
ÂÊËÒÒÂ-ÔÓÒÚ‡ÌÓ‚˘ËÍ:
1992 ....√‡Ô (Í/Ï, ÍÛÒÓ‚‡ˇ)
1996 ....üÎÛ·Ì˘͇ (ÙËθÏ˚ ÒÂˇ·)
2002 ....Œ·Ì‡ÊÂÌ̇ˇ ̇ÚÛ‡
2003 ....œ‡ÒÒ‡ÊË ·ÂÁ ·‡„‡Ê‡ (“¬)
2007 ....◊ÂÎÓ‚ÂÍ-‚ÂÚÂ
Khuat Akhmetov
83
film director:
1992 ....Gap (short, coursework)
1996 ....Strawberry (films of a serial)
2002 ....Naked Nature
2003 ....A Passenger without Luggage (TV)
2007 ....Wind-man
œÓ˝Ú˘ÂÒ͇ˇ ÔËÚ˜‡.
¬ ÍÓıÓÚÌ˚È ‡ÛÎ, Á‡ÚÂˇÌÌ˚È ‚ ÒÚÂÔË, ‚Ó ‚ÂÏˇ „ÓÁ˚ Ô‡‰‡ÂÚ ÒÚ‡ÌÌÓÂ
ÒÛ˘ÂÒÚ‚Ó ñ ÒÚ‡˚È ˜ÂÎÓ‚ÂÍ ÒÓ ÒÎÓχÌÌ˚ÏË ‚ ·Û ·Óθ¯ËÏË Í˚θˇÏË.
Õ‡ÔÛ„‡ÌÌ˚ β‰Ë ÒÓ·Ë‡˛ÚÒˇ Û·ËÚ¸ ˝ÚÓ ÒÛ˘ÂÒÚ‚Ó, Ӊ̇ÍÓ ÔÓÌÂÏÌÓ„Û
ÔË‚˚͇˛Ú Í ÌÂÏÛ Ë ÓÒÚ‡‚Ρ˛Ú Â„Ó ‚ ÔÓÍÓÂ, Ô‡‚‰‡, Ú‡Í Ë Ì ̇ȉˇ ÂÏÛ
ÔËÏÂÌÂÌˡ. » ÚÓθÍÓ Ó‰ËÌ Ï‡ÎÂ̸ÍËÈ Ï‡Î¸˜ËÍ Ì‡¯ÂÎ ‚ ÌÂÏ Ì‡ÒÚÓˇ˘Â„Ó
‰Û„‡. Œ‰Ì‡Ê‰˚, ÒÔ‡Ò‡ˇ ÊËÁ̸ χθ˜Ë͇, ÒÚ‡˚È ˜ÂÎÓ‚ÂÍ Ò Í˚θˇÏË
ÔÓ„Ë·‡ÂÚ, ‡ χθ˜ËÍ ÓÒÚ‡ÂÚÒˇ ÊËÚ¸ Ë Ï˜ڇڸ Ó ÚÓÏ, ˜ÚÓ ÍÓ„‰‡-ÌË·Û‰¸ Ë Û
ÌÂ„Ó ‚˚‡ÒÚÛÚ Í˚θˇ, Ë ÓÌ ‚ÁÎÂÚËÚ ‚ Ì·Ó, ÍÛ‰‡ Ú‡Í ÒÚÂÏËÎÒˇ Â„Ó ÎÛ˜¯ËÈ
‰Û„ ñ —Ú‡˚È ¿Ì„ÂÎ.
Poetic parable
In a tiny aul, forgotten in the steppe, a strange creature ñ an old man with
huge broken wings broken ñ crashes during a thunderstorm. The people are
scared and want to kill this creature, but gradually they get used to the man
and leave him alone, even if they donít quite take to him. Only a little boy
finds a true friend in him. Once, when saving the boyís life, the old winged
man perishes and the boy lives with the dream that, sometime, he will grow
wings and fly up into the sky to his best friend, the Old Angel.
84
www.kinotavr.ru
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
‚ ÓÊˉ‡ÌËË ˜Û‰‡
AWAITING THE MIRACLE
‚ÌÛÍ „‡„‡Ë̇
GAGARIN'S GRANDSON
85
‚ÓÎÍÓ‰‡‚ ËÁ Ó‰‡ ÒÂ˚ı ÔÒÓ‚
WOLFHOUND
‰ÂÁÍË ‰ÌË
DARING DAYS
ʇ‡
HEAT
ÊËÁ̸ ‚‡ÒÔÎÓı
LIFE BY SURPRISE
ÎÓ‚Ë ‚ÓÎÌÛ
SURF'S UP
β·Ó‚¸-ÏÓÍÓ‚¸
LOVEY-DOVEY
Ì‚‡Îˇ¯Í‡
NEVALYASHKA ("TUMBLER TOY")
Ӊ̇ β·Ó‚¸ ̇ ÏËÎÎËÓÌ
ONE LOVE IN A MILLION
Ô‡‡„‡Ù 78. ÙËÎ¸Ï ÔÂ‚˚È
Ô‡‡„‡Ù 78. ÙËÎ¸Ï ‚ÚÓÓÈ
PARAGRAPH 78
ÔË‡Ú˚ ͇Ë·ÒÍÓ„Ó ÏÓˇ: ̇ Í‡˛ Ò‚ÂÚ‡
PIRATES OF THE CARIBBEAN: AT WORLD'S END
ÔÓ‚Ó‰˚¸
THE GUIDE-DOG
ˇ ÓÒÚ‡˛Ò¸
I STAY
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
¬ Œ∆»ƒ¿Õ»» ◊”ƒ¿
AWAITING THE MIRACLE
86
93 ÏËÌ., ˆ‚., 1:2.35, Dolby Digital 5.1
93 min., col., 1:2.35, Dolby Digital 5.1
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ ≈‚„ÂÌËÈ ¡Â‰‡‚
Scriptwriter and Director Evgeni Bedarev
ŒÔÂ‡ÚÓ ÇÍÒËÏ ÿËÌÍÓÂÌÍÓ
Director of Photography Maxim Shinkorenko
’Û‰ÓÊÌËÍË “‡Ú¸ˇÌ‡ ”χ̈, »ÌÂÒÒ‡ “Ûı‚‡ÚÛÎË̇
Production Design Tatiana Umanets, Inessa Tukhvatulina
üÓÒÚ˛Ï˚ ŒÎ¸„‡ ¬‡ÒË̇
Costume Design Olga Vasina
œÂÒÌË ËÒÔÓÎÌˇ˛Ú ¿ˇ, fiÎˡ —‡‚˘‚‡, ¬ËÍÚÓˡ ƒ‡ÈÌÂÍÓ
Songs performed by Aya, Yulia Savicheva, Viktoria Daineko
¬ ÓΡı: ≈͇ÚÂË̇ üÓÔ‡ÌÓ‚‡, ¬Î‡‰ËÏË ü˚ÎÓ‚,
Cast: Ekaterina Kopanova, Vladimir Krylov,
“‡Ú¸ˇÌ‡ ¬‡ÒË肇, ÕË̇ –ÛÒ·ÌÓ‚‡, ŒÎÂÒˇ —Û‰ÁËÎÓ‚Ò͇ˇ,
Tatiana Vasilieva, Nina Ruslanova, Olessia Sudzilovskaya,
ÃËı‡ËÎ ’ËÏ˘‚, —Ú‡ÌËÒ·‚ ¡Ó̉‡ÂÌÍÓ, ÀËÎˡ üÓ̉Ó‚‡,
Mikhail Khimichev, Stanislav Bondarenko, Lilya Kondrova,
¿ÌÚÓÌ Ã‡Í‡ÒÍËÈ, Çˡ ¿ÓÌÓ‚‡, ¬Î‡‰ËÏË ƒÓÎËÌÒÍËÈ,
Anton Makarsky, Maria Aronova, Vladimir Dolinsky,
»‚‡Ì üÓÍÓËÌ
Ivan Kokorin
œÓ‰˛ÒÂ˚ ÃËı‡˝Î¸ ÿÎËıÚ, œÓÎ ’ÂÚ, —Â„ÂÈ √Ë·ÍÓ‚
Producers Michael Schlicht, Paul Heth, Sergei Gribkov
—‡Û̉-ÔÓ‰˛ÒÂ ¿Ì‰ÂÈ ÀÛÍËÌÓ‚
Sound Producer Andrei Lukinov
œÓËÁ‚Ó‰ÒÚ‚Ó Monumental Pictures
Production Monumental Pictures
œÓÍ‡Ú ´20-È ‚ÂÍ ‘ÓÍÒ —Õ√ª
Distribution 20th Century Fox CIS
www.chudo-film.ru
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
≈‚„ÂÌËÈ ¡Â‰‡‚
ÂÊËÒÒÂ-ÔÓÒÚ‡ÌÓ‚˘ËÍ:
2004 ....fl β·ËÚ¸ Ú·ˇ ·Û‰Û ‚˜ÌÓ (Í/Ï)
2007 ....¬ ÓÊˉ‡ÌËË ˜Û‰‡
Evgeni Bedarev
film director:
2004 ....I shall Love you Forever (short)
2007 ....Awaiting the Miracle
87
–ÓχÌÚ˘ÂÒ͇ˇ ÍÓωˡ.
ÇÈ 23 „Ó‰‡. ŒÌ‡ ‡·ÓÚ‡ÂÚ ‚ ÂÍ·ÏÌÓÏ ‡„ÂÌÚÒÚ‚Â, ÍÓÎÎÂ„Ë ÔÓ ‡·ÓÚÂ
‚ÓÛ˛Ú Â ˉÂË, ÏÓÎÓ‰˚ β‰Ë Ó·ıÓ‰ˇÚ  ÒÚÓÓÌÓÈ, ÌÂÏÌÓ„Ó˜ËÒÎÂÌÌ˚Â
‰ÛÁ¸ˇ Ò˜ËÚ‡˛Ú  ÒÚ‡ÌÌÓÈ. ÕÓ Ó‰Ì‡Ê‰˚ ‚ ÊËÁÌË ÌÂÎÂÔÓÈ ‰Â‚˜ÓÌÍË ‚ÒÂ
ËÁÏÂÌËÚÒˇ, Ë Ò‡Ï˚È ÎÛ˜¯ËÈ Ô‡Â̸ ̇ ÁÂÏΠÔ‚‡ÚËÚ Â ÊËÁ̸ ‚ Ò͇ÁÍÛ...
Romantic comedy.
Maya is 23 years old. She works in an advertising agency; her colleagues steal
her ideas; young men ignore her; her few friends reckon she is rather strange.
But once in life everything will change for this ridiculous little girl, and the
best guy on earth will transform her life into a fairy tale...
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
¬Õ”ü √¿√¿–»Õ¿
GAGARINíS GRANDSON
88
2007, –ÓÒÒˡ, 85 ÏËÌ., ˆ‚. 1:1.85, Dolby Digital 51
2007, Russia, 85 min., col. 1:1.85, Dolby Digital 51
¿‚ÚÓ ÒˆÂ̇ˡ Õ‡Ú‡Îˡ Õ‡Á‡Ó‚‡
Scriptwriter Natalia Nazarova
–ÂÊËÒÒÂ˚ ¿Ì‰ÂÈ œ‡ÌËÌ, “‡Ï‡‡ ¬Î‡‰ËÏËˆÂ‚‡
Directors Andrei Panin, Tamara Vladimirtseva
ŒÔÂ‡ÚÓ ¿ÚÛ √ËÏÔÂθ
Director of Photography Arthur Gimpel
’Û‰ÓÊÌËÍË ¬Î‡‰ËÏË ¿ÓÌËÌ, ¬‡ÎÂËÈ —ÂÏÂÌÓ‚
Production Design Vladimir Aronin, Valeri Semenov
üÓÒÚ˛Ï˚ ¿ÎË̇ ¡Û‰ÌËÍÓ‚‡
Costume Design Alina Budnikova
üÓÏÔÓÁËÚÓ »„Ó¸ «Û·ÍÓ‚
Composer Igor Zubkov
«‚ÛÍ ¬ˇ˜ÂÒ·‚ ü‡‡Ò‚
Sound Viacheslav Karasev
ÃÓÌÚ‡Ê »„Ó¸ ÀËÚÓÌËÌÒÍËÈ
Editing Igor Litoninsky
¬ ÓΡı: √ÂÌ̇‰ËÈ Õ‡Á‡Ó‚, ƒ‡Ì˝ ÀÛÍÛÏ·Ó, ¿Ì‰ÂÈ œ‡ÌËÌ,
Cast: Gennadi Nazarov, Dane Lukumbo, Andrei Panin,
Շڇθˇ –Ó„ÓÊÍË̇, —Â„ÂÈ ”„˛ÏÓ‚, ÀË̉‡ “‡·‡„‡Ë,
Natalia Rogozhkina, Sergei Ugriumov, Linda Tabagari,
¿Ì‰ÂÈ ¡ÓÌÌËÍÓ‚
Andrei Bronnikov
œÓ‰˛ÒÂ˚ –Û·ÂÌ ƒË¯‰Ë¯ˇÌ, ¡‡ıÚˡ ’Û‰ÓÈ̇Á‡Ó‚,
Producers Ruben Dishdishian, Bakhtier Khudoinazarov,
√ÂÌ̇‰ËÈ ŒÒÚÓ‚ÒÍËÈ, —Â„ÂÈ ƒ‡ÌËÂΡÌ, fiËÈ ÃÓÓÁ,
Gennadi Ostrovsky, Sergei Danielian, Yuri Moroz,
¿‡Ï ÃÓ‚ÒÂÒˇÌ
Aram Movsesian
œÓËÁ‚Ó‰ÒÚ‚Ó ´¬‚˚Ò¸ª ÔÓ Á‡Í‡ÁÛ ´÷ÂÌÚ‡Î œ‡ÚÌÂ¯ËÔª,
Production ìVvysî commissioned by ìCentral Partnershipî,
ÔË 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 ´÷ÂÌÚ‡Î œ‡ÚÌÂ¯ËÔª
Distribution ìCentral Partnershipî
www.centpart.ru
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
¿Ì‰ÂÈ œ‡ÌËÌ
‡ÍÚÂ, ÂÊËÒÒÂ-ÔÓÒÚ‡ÌÓ‚˘ËÍ:
2004 ....œÓÎÌ˚È ‚ÔÂ‰! (ÒÂˇÎ)
2007 ....¬ÌÛÍ √‡„‡Ë̇
Andrei Panin
actor, director:
2004 ....Forward! (serial)
2007 ....Gagarinís Grandson
89
“‡Ï‡‡ ¬Î‡‰ËÏËˆÂ‚‡
ÂÊËÒÒÂ-ÔÓÒÚ‡ÌÓ‚˘ËÍ:
‘ËθÏÓ„‡Ùˡ ÂÊËÒÒÂ‡:
2004 ....œÓÎÌ˚È ‚ÔÂ‰! (ÒÂˇÎ)
2007 ....¬ÌÛÍ √‡„‡Ë̇
Tamara Vladimirtseva
film director:
2004 ....Forward! (serial)
2007 ....Gagarinís Grandson
ƒ‡Ï‡.
‘‰Ó ÌÂÓÊˉ‡ÌÌÓ ÛÁ̇ÂÚ, ˜ÚÓ Û ÌÂ„Ó ÂÒÚ¸ Ó‰ÌÓÈ ·‡Ú, ÍÓÚÓ˚È ÊË‚ÂÚ ‚
‰ÂÚÒÍÓÏ ‰ÓÏÂ, ÌÓ ÓÌ ÌËÍ‡Í Ì ÓÊˉ‡Î ۂˉÂÚ¸ ÚÂÏÌÓÍÓÊÂ„Ó ·ÂÌ͇, Ò
ÔÓÎÌ˚Ï ·ÛÍÂÚÓÏ ‰ÛÌ˚ı ÔË‚˚˜ÂÍ Ë Û΢Ì˚ı Ô‰ÒÚ‡‚ÎÂÌËÈ Ó ÊËÁÌË.
«‡·‡‚ √ÂÌÛ ËÁ ‰ÂÚ‰Óχ, ‘‰Ó Ó·Â͇ÂÚ Ò·ˇ ̇ ·Ó¸·Û Ì ÚÓθÍÓ ÒÓ ‚ÒÂÏ
ÓÍÛʇ˛˘ËÏ ÏËÓÏ, Ì „ÓÚÓ‚˚Ï ÔËÌˇÚ¸ ÌÂÒڇ̉‡ÚÌÓ„Ó ·ÂÌ͇, ÌÓ Ë Ò
β‰¸ÏË, ÍÓÚÓ˚ı ‰Ó ÔÓˇ‚ÎÂÌˡ √ÂÌ˚ ÓÌ Ò˜ËڇΠ҇Ï˚ÏË ·ÎËÁÍËÏË Ì‡ Ò‚ÂÚÂ.
¡‡Ú¸ˇÏ ÔÓ ÍÓ‚Ë Ô‰ÒÚÓËÚ ÔÓÈÚË ÌÂ΄ÍËÈ ÔÛÚ¸, ÔÂʉ ˜ÂÏ ÓÌË
̇ۘ‡ÚÒˇ ÔÓÌËχڸ ‰Û„ ‰Û„‡.
Drama.
Fedor discovers unexpectedly that he has a brother who lives in an orphanage;
but no way did he expect to find a dark-skinned child with the full bouquet of
bad habits and street wisdom. Having fetched Gena from the orphanage, Fedor
finds himself struggling not only against the world around him, which is not
prepared to accept his non-standard-looking brother, but also with those people
who before Genaís appearance were his closest friends. The brothers by birth
have to pass a hard test before they learn to understand each other.
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
¬ŒÀüŒƒ¿¬ »« –Œƒ¿ —≈–¤’ œ—Œ¬
WOLFHOUND
90
2006, –ÓÒÒˡ, 136 ÏËÌ., ˆ‚., Dolby Stereo 5.1+7.8 Prologic
2006, Russia, 136 min., col., Dolby Stereo 5.1+7.8 Prologic
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ ÕËÍÓÎ‡È À·‰‚
Scriptwriter and Director Nikolai Lebedev
ŒÔÂ‡ÚÓ˚ ¬‡ÎÂËÈ Ã‡Ú˚ÌÓ‚, »ÂÍ ’‡Úӂ˘
Directors of Photography Valeri Martynov, Irek Hartowicz
’Û‰ÓÊÌËÍ À˛‰ÏË· üÛÒ‡ÍÓ‚‡
Production Design Liudmila Kusakova
¿Ú-‰ËÂÍÚÓ Ç‡Ú üËÏ
Art Direction Marat Kim
üÓÒÚ˛Ï˚ —‚ÂÚ·̇ “ËÚÓ‚‡
Costume Design Svetlana Titova
üÓÏÔÓÁËÚÓ ¿ÎÂÍÒÂÈ –˚·ÌËÍÓ‚
Composer Alexei Rybnikov
“ÂÍÒÚ ÔÂÒÂÌ Ã‡ˡ —ÂÏÂÌÓ‚‡
Lyrics by Maria Semenova
»ÒÔÓÎÌÂÌË ÔÂÒÂÌ: œÂ·„¡, »Ë̇ ¡‡Á„ӂ͇,
Songs performed by Pelageya, Irina Brazgovka,
ÀËÎˡ ≈ÓıË̇
Lilia Yerokhina
«‚ÛÍ ¿ÎÂÍ҇̉ œÓ„ÓÒˇÌ
Sound Alexander Pogosian
¬ ÓΡı: ¿ÎÂÍ҇̉ ¡Ûı‡Ó‚, ŒÍ҇̇ ¿ÍË̸¯Ë̇,
Cast: Alexander Bukharov, Oksana Akinshina, Igor Petrenko,
»„Ó¸ œÂÚÂÌÍÓ, ¿ÎÂÍ҇̉ ƒÓÏÓ„‡Ó‚, ¿Ì‡ÚÓÎËÈ ¡ÂÎ˚È,
Alexander Domogarov, Anatoli Bely, Rezo Esadze, Natalia
–ÂÁÓ ›Ò‡‰ÁÂ, Շڇθˇ ¬‡ÎÂÈ, fiÓÁ‡Ò ¡Û‰‡ÈÚËÒ,
Varlei, Juozas Budraitis, Andrei Rudensky, Evgeniya
¿Ì‰ÂÈ –Û‰ÂÌÒÍËÈ, ≈‚„ÂÌˡ —‚Ëˉӂ‡, ¿ÚÂÏ —ÂχÍËÌ,
Sviridova, Artem Semakin, Nina Usatova, Tatiana Liutaeva,
ÕË̇ ”Ò‡ÚÓ‚‡, “‡Ú¸ˇÌ‡ À˛Ú‡Â‚‡, ÀÂÓÌˉ üÛ·„ËÌ,
Leonid Kulagin, Gennadi Makeev, Petr Zaichenko
√ÂÌ̇‰ËÈ Ã‡Í‚, œÂÚ «‡È˜ÂÌÍÓ
Producers Ruben Dishdishian, Sergei Danelian, Yuri Moroz
œÓ‰˛ÒÂ˚ –Û·ÂÌ ƒË¯‰Ë¯ˇÌ, —Â„ÂÈ ƒ‡ÌËÂΡÌ,
Production Central Partnership, with participation from the
fiËÈ ÃÓÓÁ
Federal Agency of Culture and Cinematography
œÓËÁ‚Ó‰ÒÚ‚Ó ´÷ÂÌÚ‡Î œ‡ÚÌÂ¯ËÔª, ÔË Û˜‡ÒÚËË
Distribution Central Partnership
‘‰Â‡Î¸ÌÓ„Ó ‡„ÂÌÚÒÚ‚‡ ÔÓ ÍÛθÚÛÂ Ë ÍËÌÂχÚÓ„‡ÙËË
œÓÍ‡Ú ´÷ÂÌÚ‡Î œ‡ÚÌÂ¯ËÔª
www.volkodaw.ru
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
ÕËÍÓÎ‡È À·‰‚
ÂÊËÒÒÂ-ÔÓÒÚ‡ÌÓ‚˘ËÍ:
1991 ....ÕӘ΄. œˇÚÌˈ‡ (Í/Ï)
1997 ....«ÏÂËÌ˚È ËÒÚÓ˜ÌËÍ
1999 ....œÓÍÎÓÌÌËÍ
2002 ....«‚ÂÁ‰‡
2003 ....»Á„̇ÌÌËÍ/ ›ÙÙÂÍÚ »ËÒ‡ (—ÿ¿)
2006 ....¬ÓÎÍÓ‰‡‚ ËÁ Ó‰‡ ÒÂ˚ı ÔÒÓ‚
91
Nikolai Lebedev
film director:
1991 ....Night Stand. Friday (short)
1997 ....The Snake Spring
1999 ....The Admirer
2002 ....The Star
2003 ....ExLife/ The Iris Effect (USA)
2006 ....Wolfhound
Fantasy/ –ÓχÌÚ˘ÂÒÍËÈ ·Ó‚ËÍ ÔÓ Ó‰ÌÓËÏÂÌÌÓÏÛ ÓχÌÛ Ã‡ËË —ÂÏÂÌÓ‚ÓÈ.
ŒÚ‚‡ÊÌ˚È Ë ·Î‡„ÓÓ‰Ì˚È ¬ÓÎÍÓ‰‡‚, ÔÓÒΉÌËÈ ‚ÓËÌ ËÁ Ó‰‡ —ÂÓ„Ó œÒ‡
ÔÎÂÏÂÌË ‚ÂÌÌÓ‚, Ë Â„Ó ‚ÂÌ˚È ‰Û„ ÕÂÎÂÚÛ˜ËÈ Ã˚¯ ÒÔ‡Ò‡˛Ú ÏÛ‰ˆ‡
“ËÎÓ̇ Ë ‡·˚Ì˛ ÕËËÎËÚ ÓÚ Á‡ÍΡÚÓ„Ó ‚‡„‡ À˛‰Ó‰‡, ÛÌ˘ÚÓÊË‚¯Â„Ó
‰ÂÂ‚Ì˛ —Â˚ı œÒÓ‚, Ë ‰ÂÊ‡Ú ÔÛÚ¸ ̇ ÔÂÂÊË‚‡˛˘ËÈ ÒÏÛÚÌ˚ ‚ÂÏÂ̇
„ÓÓ‰ √‡ÎË‡‰. ◊ÚÓ·˚ ÒÔ‡ÒÚË „ÓÓ‰ ÓÚ ‡ÁÓÂÌˡ, üÌÂÒ √‡ÎË‡‰‡ Ò‚‡Ú‡ÂÚ
Ò‚Ó˛ ‰Ó˜¸ ≈ÎÂ̸ Á‡ ÏÓÎÓ‰Ó„Ó ‚ÓË̇ ¬ËÌËÚ‡‡, ӷ¢‡˛˘Â„Ó Á‡˘ËÚÛ
√‡ÎË‡‰Û. fiÌÓÈ ÍÌÂÒËÌÍ Ô‰ÒÚÓËÚ ‰‡Î¸Ìˇˇ ‰ÓÓ„‡ ‚ ÁÂÏÎË ·Û‰Û˘Â„Ó
ÏÛʇ. ŒÌ‡ ÔÓÒËÚ ¬ÓÎÍÓ‰‡‚‡ ÒÚ‡Ú¸  ÚÂÎÓı‡ÌËÚÂÎÂÏ ‚ ÓÔ‡ÒÌÓÏ
ÔÛÚ¯ÂÒÚ‚ËË. —ӄ·ÒË‚¯ËÒ¸ ÒÎÛÊËÚ¸ ÍÌÂÒËÌÍÂ, ¬ÓÎÍÓ‰‡‚ Ó͇Á˚‚‡ÂÚÒˇ
‚ÚˇÌÛÚ˚Ï ‚ ‚Ó‰Ó‚ÓÓÚ Ú‡ËÌÒÚ‚ÂÌÌ˚ı ÒÓ·˚ÚËÈ, ÔÓÎË‚‡˛˘Ëı Ò‚ÂÚ Ì‡
ËÒÚËÌÌÛ˛ ˆÂθ ÔÓÂÁ‰ÍË...
Fantasy/Romantic action movie based on Maria Semenovaís novel of the same title.
The brave and noble Wolfhound, the last warrior of the tribe of the Grey Hounds,
and his true friend ëNeletuchaya myshí (a bat that cannot fly), rescue the wise
Tillorn and the slave Neelith from their sworn enemy, the Cannibal, who has
destroyed village of the Grey Hounds. They head for the city of Galirad, which is
living through troubled times. To rescue city from ruin, the Prince of Galirad has
promised his daughter Helena to the young warrior Vinitar in marriage, who
guarantees the protection of Galirad. The young princess has to make a long
journey to reach the land of her future husband. She asks Wolfhound to become
her bodyguard on the dangerous journey. Having agreed to serve the princess,
Wolfhound is drawn into a whirlpool of mysterious events, which ultimately cast
light on the genuine purpose of the journey...
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
ƒ≈–«ü»≈ ƒÕ»
DARING DAYS
92
2007, –ÓÒÒˡ, 90 ÏËÌ., ˆ‚., 1:2.35, Dolby SR
2007, Russia, 90 min., col., 1:2.35, Dolby SR
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ –ÛÒÎ‡Ì ¡‡Î¸ÚˆÂ
Scriptwriter and Director Ruslan Baltser
ŒÔÂ‡ÚÓ ¿ÎÂÍÒÂÈ À‡Ï‡ı
Director of Photography Alexei Lamakh
’Û‰ÓÊÌËÍ ›‰Û‡‰ √ËÁ‡ÚÚÛÎÎËÌ
Production Design Eduard Gizattullin
üÓÒÚ˛Ï˚ ¿ÎÂÍ҇̉‡ ¡Óθ¯‡ÍÓ‚‡
Costume Design Alexandra Bolshakova
ÃÛÁ˚͇ ´¡Ó̘-¡Û-¡Ó̘ª, ÇÍÒ ¡‡Ì‰Ú
Music ìBonch-Bru-Bonchî, Max Brandt
«‚ÛÍ ¿ÎÂÍÒÂÈ —‡ÏÓ‰ÂÎÍÓ
Sound Alexei Samodelko
ÃÓÌÚ‡Ê Ã‡ÒÂθ ÿ‡Ï¯ÛÎËÌ
Editing Marcel Shamshulin
¬ ÓΡı: –ÛÒÚ‡Ï ’‡ÁË‚, ÇË̇ »„̇ÚÓ‚‡,
Cast: Rustam Khaziev, Marina Ignatova, Andrei Dementiev,
¿Ì‰ÂÈ ƒÂÏÂÌڸ‚, ÇڂÂÈ «Û·‡Î‚˘, √Ó¯‡ üÛˆÂÌÍÓ,
Matvei Zubalevich, Gosha Kutsenko, Viktor Sukhorukov,
¬ËÍÚÓ —ÛıÓÛÍÓ‚, ÀÂ‡ ÕÓ‚ËÍÓ‚‡, »‚‡Ì “ËÙÓÌÓ‚,
Lera Novikova, Ivan Trifonov, Tatiana Zolotorevskaya,
“‡Ú¸ˇÌ‡ «ÓÎÓÚÓ‚Ò͇ˇ, ≈ÎËÁ‡‚ÂÚ‡ «‡‰ÓË̇,
Elizaveta Zadorina, Ksenia Klimova, Maxim Kan,
üÒÂÌˡ üÎËÏÓ‚‡, ÇÍÒËÏ ü‡Ì, ¿ÎÂÍ҇̉ –Ó·‡Í,
Alexander Robak, Dmitri Groisman
ƒÏËÚËÈ √ÓÈÒχÌ
Producers Gevorg Nersisian, Maxim Lagashkin,
œÓ‰˛ÒÂ˚ √‚Ó„ ÕÂÒËÒˇÌ, ÇÍÒËÏ À‡„‡¯ÍËÌ,
Alexander Robak
¿ÎÂÍ҇̉ –Ó·‡Í
Production ìFor Cinema Productionî, Producersí Centre
œÓËÁ‚Ó‰ÒÚ‚Ó ´‘Ó —ËÌÂχ œÓ‰‡Í¯Ìª,
ìParadiseî
´œÓ‰˛ÒÂÒÍËÈ ˆÂÌÚ ´œ‡‡‰ËÁª
Distribution ìParadiseî
œÓÍ‡Ú ´œ‡‡‰ËÁª
www.derzkiedni.com
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
–ÛÒÎ‡Ì ¡‡Î¸ÚˆÂ
ÂÊËÒÒÂ-ÔÓÒÚ‡ÌÓ‚˘ËÍ:
2003 ....ƒ‡Ê Ì ‰ÛχÈ!
2004 ....ƒ‡Ê Ì ‰ÛχÈ!! “Â̸ ÌÂÁ‡‚ËÒËÏÓÒÚË
2006 ....ÕÂ̇Ò˚ÚÌ˚Â
2007 ....ƒÂÁÍË ‰ÌË
Ruslan Baltser
film director:
93
2003 ....Donít Even Think!
2004 ....Donít Even Think!
The Shadow of Independence
2006 ....Insatiable
2007 ....Daring Days
–ÓχÌÚ˘ÂÒ͇ˇ ˝ÍÒÚËÏ-ÍÓωˡ.
üÛÓÚÌ˚È „ÓÓ‰ ̇ ◊ÂÌÓÏ ÏÓÂ, Á‰ÂÒ¸ ͇ʉ˚È ‚ÂÒÂÎËÚÒˇ, Í‡Í ÛÏÂÂÚ.
—ÍÂÈÚ·Ó‰ËÌ„, ÏÓÚÓÙËÒÚ‡ÈÎ, Ô‡ÍÛ Ë, ÍÓ̘ÌÓ, β·Ó‚¸. ü‡Í-ÚÓ Ê‡ÍËÏ
ÎÂÚÌËÏ ‰ÌÂÏ ‚Ó ‚ÂÏˇ Ô‡ÍÛÓ‚ÒÍÓÈ ‚˚·ÁÍË »„Ì‡Ú Á̇ÍÓÏËÚÒˇ Ò
̇˜Ë̇˛˘ÂÈ Ô‚ˈÂÈ ÀËÌÓÈ. ŒÌË ‚ÒÚ˜‡˛ÚÒˇ Ë ‚β·Îˇ˛ÚÒˇ. ¬Ò ·˚
ıÓÓ¯Ó, ÌÓ Ó‰Ì‡Ê‰˚ ÀË̇ ÒÚ‡ÌÓ‚ËÚÒˇ ҂ˉÂÚÂθÌˈÂÈ ÔÂÒÚÛÔÎÂÌˡ Ë
Ó͇Á˚‚‡ÂÚÒˇ Á‡ÎÓÊÌˈÂÈ ·‡Ì‰ËÚÓ‚. Õ‡ ÔÓÏÓ˘¸ ÏÓÊÂÚ ÔËÈÚË ÚÓθÍÓ »„̇Ú.
–‡‰Ë ÀËÌ˚ ÓÌ „ÓÚÓ‚ ÔÓÈÚË Ì‡ ‚ÒÂ, ‰‡Ê ̇ ÌÂÒÎ˚ı‡ÌÌÛ˛ ‡ÙÂÛ...
œÓÂÍÚ Ì ËÏÂÂÚ ‡Ì‡ÎÓ„Ó‚ ‚ ÏËÓ‚ÓÏ ÍËÌÂχÚÓ„‡Ù ñ 10 Û˜‡ÒÚÌËÍÓ‚ ·˚ÎË
ÓÚÓ·‡Ì˚ ‚ ıӉ ‚ÒÂÓÒÒËÈÒÍÓ„Ó Í‡ÒÚËÌ„‡ ´“˚ ñ ÍËÌÓÁ‚ÂÁ‰‡!ª.
Romantic Extreme-Comedy.
A holiday resort on the Black Sea, where everyone has fun in his own way:
Skateboarding, motor-freestyle, parkour and, of course, love. On a hot
afternoon Ignat runs into the upcoming singer Lina during parkour. They meet
and fall in love. All is well, but one day Lina witnesses a crime and is
kidnapped by the gangsters. Only Ignat can help her. For the sake of Lina he is
ready to risk everything, even an unprecedented swindle...
The project has no analogies in world cinema: 10 participants were selected
during the all-Russian casting session ìYou are a movie star!î
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
∆¿–¿
HEAT
94
2006, –ÓÒÒˡ, 97 ÏËÌ., ˆ‚., 1:2.35, Dolby Digital 5.1
2006, Russia, 97 min., col., 1:2.35, Dolby Digital 5.1
¿‚ÚÓ ˉÂË Ë ÂÊËÒÒÂ –ÂÁÓ √Ë„ËÌÂȯ‚ËÎË
Scriptwriter and Director Rezo Gigineishvili
ŒÔÂ‡ÚÓ ÇÍÒËÏ ŒÒ‡‰˜ËÈ
Director of Photography Maxim Osadchy
’Û‰ÓÊÌËÍ ¿ÎÂÍ҇̉ üËÏ
Production Design Alexander Kim
üÓÒÚ˛Ï˚ —‚ÂÚ·̇ ¡Ó̉‡˜ÛÍ, “‡Ú¸ˇÌ‡ ”·ÂÈ‚ÓÎÍ,
Costume Design Svetlana Bondarchuk, Tatiana Ubeivolk,
¿Î· üË‚‡
Alla Kireeva
üÓÏÔÓÁËÚÓ˚ ÕËÌÓ ü‡Ú‡Ï‡‰ÁÂ, ƒ‡ÚÓ ≈‚„ÂÌˉÁÂ
Composers Nino Katamadze, Dato Evgenidze
—‡Û̉ÚÂÍ ´“ÓÍËÓª, ü‡Ë̇ üÓÍÒ, ¬‡Î¸ÚÂ&ƒËχ, “ËχÚË
Soundtrack ìTokyoî, Karina Koks, Walter & Dimar, Timati
«‚ÛÍ üËËÎÎ ¬‡ÒËÎÂÌÍÓ, ÇÍÒËÏ «‡‰Óˇ,
Sound Kirill Vasilenko, Maxim Zadoya, Vladimir Shcherbinin
¬Î‡‰ËÏË ŸÂ·ËÌËÌ
Cast: Alexei Chadov, Artur Smolianinov, Konstantin Kriukov,
¬ ÓΡı: ¿ÎÂÍÒÂÈ ◊‡‰Ó‚, ¿ÚÛ —ÏÓθˇÌËÌÓ‚,
Timati, Anastasia Kochetkova, Agniya Ditkovskite,
üÓÌÒÚ‡ÌÚËÌ ü˛ÍÓ‚, “ËχÚË, ¿Ì‡ÒÚ‡Òˡ üÓ˜ÂÚÍÓ‚‡,
Deni Danayev, Alexander Rappoport, Irina Rakhmanova,
¿„Ìˡ ƒËÚÍÓ‚ÒÍËÚÂ, ƒ˝ÌË ƒ‡‰‡Â‚, ¿ÎÂÍ҇̉ –‡ÔÓÔÓÚ,
Tatiana Liutaeva, Viktor Rudnichenko, Igor Lysov,
»Ë̇ –‡ıχÌÓ‚‡, “‡Ú¸ˇÌ‡ À˛Ú‡Â‚‡, ¬ËÍÚÓ –Û‰Ì˘ÂÌÍÓ,
Olga Bolbukh, Mikhail Vladimirov, Alexander Golubev, Sergei
»„Ó¸ À˚ÒÓ‚, ŒÎ¸„‡ ¡Óθ·Ûı, ÃËı‡ËÎ ¬Î‡‰ËÏËÓ‚,
Kozik, Sergei Serov, Tatiana Orlova, Leonid Gromov,
¿ÎÂÍ҇̉ √ÓÎ۷‚, —Â„ÂÈ üÓÁËÍ, —Â„ÂÈ —ÂÓ‚,
Dmitri Mukhamadeev
“‡Ú¸ˇÌ‡ ŒÎÓ‚‡, ÀÂÓÌˉ √ÓÏÓ‚, ƒÏËÚËÈ ÃÛı‡Ï‡‰Â‚
Producers Fedor Bondarchuk, Alexander Rodniansky,
œÓ‰˛ÒÂ˚ ‘‰Ó ¡Ó̉‡˜ÛÍ, ¿ÎÂÍ҇̉ –Ó‰ÌˇÌÒÍËÈ,
Dmitri Rudovsky
ƒÏËÚËÈ –Û‰Ó‚ÒÍËÈ
Production Art Pictures Group, Federal Agency of Culture
œÓËÁ‚Ó‰ÒÚ‚Ó Art Pictures Group, ‘‰Â‡Î¸ÌÓ ‡„ÂÌÚÒÚ‚Ó
and Cinematography
ÔÓ ÍÛθÚÛÂ Ë ÍËÌÂχÚÓ„‡ÙËË
Commissioned by —“—
œÓ Á‡Í‡ÁÛ —“—
Distribution Twentieth-Century Fox CIS, Gemini Film
œÓÍ‡Ú ´ƒ‚‡‰ˆ‡Ú˚È ‚ÂÍ ‘ÓÍÒ —Õ√ª/ ´√ÂÏËÌË ÙËθϪ
www.zharafilm.ru
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
–ÂÁÓ √Ë„ËÌÂȯ‚ËÎË
ÂÊËÒÒÂ-ÔÓÒÚ‡ÌÓ‚˘ËÍ:
2006 ....9 ÏÂÒˇˆÂ‚ (ÒÂˇÎ)
2006 ....∆‡‡ (‰Â·˛Ú ‚ ÍËÌÓ)
Rezo Gigineishvili
film director:
2006 ....Nine Months (serial)
2006 ....Heat (cinema debut)
95
ÀË˘ÂÒ͇ˇ ÍÓωˡ/ √ÓÓ‰Ò͇ˇ Ò͇Á͇.
...ÀÂÚÓ 2006 „Ó‰‡. ∆‡‡. ◊ÂÚ‚ÂÓ ¯ÍÓθÌ˚ı ‰ÛÁÂÈ ‚ÒÚ˜‡˛ÚÒˇ ‚ ͇ÙÂ
ÔÓÒΠ‰Ó΄ÓÈ ‡ÁÎÛÍË. ¿ÎÂÍÒÂÈ ÓÚÒÎÛÊËΠ̇ ÙÎÓÚÂ. ¿ÚÛ, ̇˜Ë̇˛˘ËÈ
‡ÚËÒÚ, ÔÓ‚Ó‰ËÚ ÎÂÚÓ ‚ ·ÂÁÂÁÛθڇÚÌ˚ı ÔÓËÒ͇ı ‡·ÓÚ˚. “ËχÚË ‰Â·ÂÚ
ÛÒÔ¯ÌÛ˛ ͇¸ÂÛ ˝Ô-ÏÛÁ˚͇ÌÚ‡. ¿ üÓÒÚˇ, Ò˚Ì ÒÓÒÚÓˇÚÂθÌÓ„Ó ˜ÂÎÓ‚Â͇,
Ì ÓÍÓ̘˂ Û˜Â·Û ‚ ÀÓ̉ÓÌÂ, ¯‡ÂÚ ‚ÂÌÛÚ¸Òˇ ‰ÓÏÓÈ. ›ÚÓÚ Ê‡ÍËÈ ‰Â̸
ÒÚ‡ÌÓ‚ËÚÒˇ ÒÛ‰¸·ÓÌÓÒÌ˚Ï ‰Îˇ ‰ÛÁÂÈ. ¬ Ú˜ÂÌË 24 ˜‡ÒÓ‚ ͇ʉ˚È ËÁ „ÂÓ‚
̇ıÓ‰ËÚ ÚÓ, ‚ ˜ÂÏ ÓÌ ÌÛʉ‡ÎÒˇ ·Óθ¯Â ‚Ò„ÓÖ
Lyrical comedy/Urban Fairytale.
The summer of 2006. Heat. After years of separation four school friends meet
in a cafe. Alexei has served in the navy. Artur, a beginning actor, spends the
summer in futile search of work. Timati has a successful career as rapper. And
Kostya, the son of a rich man, has returned home without completing his
study in London. This hot day becomes decisive for the four friends. Within 24
hours each of our heroes finds what he most wanted.
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
∆»«Õ‹ ¬–¿—œÀŒ’
LIFE BY SURPRISE
96
2006, –ÓÒÒˡ, 87 ÏËÌ., ˆ‚., 1:1.85, Dolby Digital 5.1
2006, Russia, 87 min., col., 1:1.85, Dolby Digital 5.1
¿‚ÚÓ˚ ÒˆÂ̇ˡ ¿ÎÂÍ҇̉ ¡Û̸ÍÓ‚ÒÍËÈ,
Scriptwriters Alexander Brunkovsky, Anna Yarovenko
¿Ì̇ flÓ‚ÂÌÍÓ
Director Alexander Brunkovsky
–ÂÊËÒÒÂ ¿ÎÂÍ҇̉ ¡Û̸ÍÓ‚ÒÍËÈ
Director of Photography Dmitri Uliukaev
ŒÔÂ‡ÚÓ ƒÏËÚËÈ ”β͇‚
Production Design Alexander Brunkovsky
’Û‰ÓÊÌËÍ ¿ÎÂÍ҇̉ ¡Û̸ÍÓ‚ÒÍËÈ
Costume Design Alexandra Andreeva
üÓÒÚ˛Ï˚ ¿ÎÂÍ҇̉‡ ¿Ì‰‚‡
Composer Ruslan Kvinta
üÓÏÔÓÁËÚÓ –ÛÒÎ‡Ì ü‚ËÌÚ‡
Sound Leonid Veitkov
«‚ÛÍ ÀÂÓÌˉ ¬ÂÈÚÍÓ‚
Cast: Alexandra Prokofieva, Markus Kunze, Natalia Nozdrina,
¬ ÓΡı: ¿ÎÂÍ҇̉‡ œÓÍÓٸ‚‡, ÇÍÛÒ üÛ̈Â,
Marina Yakovleva, Sergei Batalov, Mika Newton, Tatiana
Շڇθˇ ÕÓÁ‰Ë̇, ÇË̇ flÍӂ΂‡, —Â„ÂÈ ¡‡Ú‡ÎÓ‚,
Lavrentieva, Vsevolod Shilovsky, Galina Averianova,
ÃË͇ Õ¸˛ÚÓÌ, “‡Ú¸ˇÌ‡ À‡‚ÂÌڸ‚‡, ¬Ò‚ÓÎÓ‰ ÿËÎÓ‚ÒÍËÈ,
Dmitri Kubasov, Dmitri Kozlov, Alexander Shpagin,
√‡ÎË̇ ¿‚Â¸ˇÌÓ‚‡, ƒÏËÚËÈ üÛ·‡ÒÓ‚, ƒÏËÚËÈ üÓÁÎÓ‚,
Andriusha Brunkovsky, Alexander Brunkovsky
¿ÎÂÍ҇̉ ÿÔ‡„ËÌ, ¿Ì‰˛¯‡ ¡Û̸ÍÓ‚ÒÍËÈ,
Producers Yuri Obukhov, Stanislav Ershov
¿ÎÂÍ҇̉ ¡Û̸ÍÓ‚ÒÍËÈ
Production ìKinoprobaî, ìAmadeus Filmî, with support from
œÓ‰˛ÒÂ˚ fiËÈ Œ·ÛıÓ‚, —Ú‡ÌËÒ·‚ ≈¯Ó‚
the Federal Agency of Culture and Cinematography
œÓËÁ‚Ó‰ÒÚ‚Ó ´üËÌÓÔÓ·‡ª, ´¿Ï‡‰ÂÛÒ-‘ËθϪ,
Distribution ìGemini Filmî, ì20th Century Fox CISî
ÔË ÔÓ‰‰ÂÊÍ ‘‰Â‡Î¸ÌÓ„Ó ‡„ÂÌÚÒÚ‚‡ ÔÓ ÍÛθÚÛÂ
Ë ÍËÌÂχÚÓ„‡ÙËË
œÓÍ‡Ú ´√ÂÏËÌË ÙËθϪ, ´20-È ‚ÂÍ ‘ÓÍÒ —Õ√ª
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
¿ÎÂÍ҇̉
¡Û̸ÍÓ‚ÒÍËÈ
ÂÊËÒÒÂ-ÔÓÒÚ‡ÌÓ‚˘ËÍ:
1994 ....¬ÓÁ‚‡˘ÂÌË ¡Û‰‰˚ (‰ËÔÎÓÏ)
1998 ....¬Óί·Ì˚È Á‡ÏÓÍ (‰ÓÍ.)
97
1999 ....◊ÂÌÓ-·ÂÎ˚È œÛ¯ÍËÌ (‰ÓÍ.)
2001 ....»ÒÚÓˡ ÇËÌ˚ (‰ÓÍ.)
2002 ....»Ë̇ —ÍÓ·ˆÂ‚‡. ∆ËÁ̸ ƒÂÁ‰ÂÏÓÌ˚
(‰ÓÍ.)
2003 ....∆ÂÌËÚ¸·‡ ÔÓ-ËڇθˇÌÒÍË (‰ÓÍ.)
2003 ....Ç¯‡Î ÀÂÎËÍ “‡·‡ÍÓ‚ (‰ÓÍ.)
2005 ....ƒÓÔÓÎÌËÚÂθÌÓ ‚ÂÏˇ
2006 ....∆ËÁ̸ ‚‡ÒÔÎÓı
Alexander
Brunkovsky
film director:
1994 ....The Return of the Buddha (diploma)
1998 ....The Magic Castle (doc)
1999 ....Black-and-white Pushkin (doc)
2001 ....Marinaís Story (doc)
2002 ....Irina Skobtseva. Desdemonaís Life
(doc)
2003 ....An Italian Marriage (doc)
2003 ....Marshal Lolik Tabakov (doc)
2005 ....Extra Time
2006 ....Life by Surprise
ÃÂÎÓ‰‡Ï‡.
œÂ‰ ˛ÌÓÈ ‰Â‚Û¯ÍÓÈ, Û˜‡ÒÚÌˈÂÈ ÚÂ΂ËÁËÓÌÌÓ„Ó ‡ÎËÚË-¯ÓÛ, ‚ÒÚ‡˛Ú
ÒÂ¸ÂÁÌ˚ Ì‡‚ÒÚ‚ÂÌÌ˚ ÔÓ·ÎÂÏ˚, ÓÚ ¯ÂÌˡ ÍÓÚÓ˚ı Á‡‚ËÒËÚ Â ÊËÁ̸...
Melodrama.
A young woman, who participates in a reality show on television, faces serious
problems: her life depends on their solution.
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
ÀŒ¬» ¬ŒÀÕ”
SURFíS UP
98
2007, —ÿ¿, 80 ÏËÌ., ˆ‚.
2007, USA, 80 min, col.
¿‚ÚÓ˚ ÒˆÂ̇ˡ ÀËÁ‡ ¿‰‰‡ËÓ, üËÒÚ¸ˇÌ ƒ‡ÂÌ,
Scriptwriters Lisa Addario, Christian Darren, Don Rhymer,
ƒÓÌ –‡ÈÏÂ, ƒÊÓ —‡È‡Í˛Á
Joe Syracuse
–ÂÊËÒÒÂ˚ ›¯ ¡˝ÌÌÓÌ, üËÒ ¡‡Í
Directors Ash Brannon, Chris Buck
ŒÔÂ‡ÚÓ ¿Ì‰ÂÒ Ã‡ÚËÌÂÁ
Director of Photography Andres Martinez
’Û‰ÓÊÌËÍ œÓθ À‡ÒÂ̸
Production Design by Paul Lasaine
üÓÏÔÓÁËÚÓ ÇÈÍÎ ƒ‡Ì̇
Music by Mychael Danna
–ÓÎË ‰Û·ÎËÛ˛Ú: “ËχÚË, œ‡‚ÂÎ ¬ÓΡ, ¿ÎÂÍ҇̉ ÷Â͇ÎÓ
Producer Chris Jenkins
œÓËÁ‚Ó‰ÒÚ‚Ó ìSony Pictures Animationî
Production ìSony Pictures Animationî
œÓÍ‡Ú ‚ –ÓÒÒËË Sony Pictures Releasing CIS
Distribution in Russia Sony Pictures Releasing CIS
www.sonypictures.com
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
99
¿ÌËχˆËÓÌ̇ˇ ÍÓωˡ.
ÕÓ‚˚‚È ÔÓÂÍÚ ÓÚ ÒÓÁ‰‡ÚÂÎÂÈ ´—ÂÁÓ̇ ÓıÓÚ˚ª. —‡Ï˚ ÔÓÔÛΡÌ˚Â
‡ÌËχˆËÓÌÌ˚ „ÂÓË - ÔËÌ„‚ËÌ˚ ñ ÒÌÓ‚‡ ‚ ‰ÂÎÂ. Õ‡ ÂÊ„ӉÌÓÏ
ÒÓ‚ÌÓ‚‡ÌËË ÔËÌ„Ë‚ÌÓ‚-ÒÂÙÂÓ‚, „‰Â ÍËÔˇÚ ‰‡ÎÂÍÓ Ì ÔËÌ„‚ËÌ¸Ë ÒÚ‡ÒÚË,
ÔÓˇ‚ΡÂÚÒˇ Ìӂ˘ÓÍ ñ ÚËÌÂȉÊÂ üÓ‰Ë. ŒÌ ϘڇÂÚ ÒÚ‡Ú¸ ‚Â΢‡È¯ËÏ
ÔÓÍÓËÚÂÎÂÏ ‚ÓÎÌ, Í‡Í Â„Ó ÍÛÏË ñ ΄Ẩ‡Ì˚È ÒÂÙÂ ¡Óθ¯ÓÈ «Ë. üÓ‰Ë
ϘڇÂÚ, ‚Ó ˜ÚÓ ·˚ ÚÓ ÌË ÒÚ‡ÎÓ, Á‡ÌˇÚ¸ ÔÂ‚Ó ÏÂÒÚÓ Ë Â˘Â Ì Á̇ÂÚ, ˜ÚÓ
ËÌÓ„‰‡ ‚ ÒÓ‚ÌÓ‚‡ÌËË Ò‡ÏÓ Û˜‡ÒÚË ñ ˝ÚÓ ÛÊ Ôӷ‰‡.
Animation comedy.
A new project from the creators of ìOpen Seasonî. The most popular animation
heroes, penguins, are once again in business. At the annual competition of
penguin-surfers, where penguin passions are far from on the boil, there is
newcomer: the teenager Cody. He dreams of becoming the greatest lord of the
waves, like his idol, the legendary surfer Big Z. Cody dreams of winning the
first place by all means, but he does not yet understand that sometimes in a
competition it is already a victory to participate in it.
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
Àfi¡Œ¬‹-ÃŒ–üŒ¬‹
LOVEY-DOVEY
100
2006, –ÓÒÒˡ, 104/109 ÏËÌ., ˆ‚., 1:2.35, Dolby Digital 5.1
2006, Russia, 104/109 min., col., 1:2.35, Dolby Digital 5.1
¿‚ÚÓ ÒˆÂ̇ˡ ¿Ì‰ÂÈ üÛÂȘËÍ, fiËÈ üÓÓÚÍÓ‚,
Scriptwriters Andrei Kureichik, Yuri Korotkov,
ÔË Û˜‡ÒÚËË –Â̇ڇ ƒ‡‚ÎÂÚ¸ˇÓ‚‡, ¿ÎÂÍ҇̉‡ —ÚËÊÂÌÓ‚‡,
with participation of Renat Davletiarov, Alexander
¿ÎÂÍ҇̉‡ ŒÎÂÈÌËÍÓ‚‡
Strizhenov, and Alexander Oleinikov
–ÂÊËÒÒÂ ¿ÎÂÍ҇̉ —ÚËÊÂÌÓ‚
Director Alexander Strizhenov
ŒÔÂ‡ÚÓ ¬ˇ˜ÂÒ·‚ À‡Á‡‚
Director of Photography Viacheslav Lazarev
’Û‰ÓÊÌËÍ ¿ÎÂÍÒÂÈ ¿ÍÒÂÌÓ‚
Production Design Alexei Aksenov
üÓÒÚ˛Ï˚ ¬ËÍÚÓˡ ¿Ì‰¡ÌÓ‚‡
Costume Design Viktoria Andreyanova
üÓÏÔÓÁËÚÓ ¿͇‰ËÈ ”ÍÛÔÌËÍ
Composer Arkadi Ukupnik
œÂÒÌË ËÒÔÓÎÌˇ˛Ú üËÒÚË̇ Œ·‡Í‡ÈÚÂ, À‡ËÒ‡ ƒÓÎË̇,
Songs performed by Kristina Orbakaite, Larisa Dolina,
Ã‡Èˇ üËÒÚ‡ÎËÌÒ͇ˇ, ŒÎ¸„‡ ŒÎÓ‚‡, ´—Â‰ˆ‡ªÖ
Maya Kristalinskaya, Olga Orlova, ìHeartsî (Serdtsa)Ö
«‚ÛÍ —Ú‡ÌËÒ·‚ ƒÏËÚË‚
Sound Stanislav Dmitriev
–ÂÊËÒÒÂ ÏÓÌڇʇ »„Ó¸ ŒÚ‰ÂθÌÓ‚
Editing Igor Otdelnov
¬ ÓΡı: üËÒÚË̇ Œ·‡Í‡ÈÚÂ, √Ó¯‡ üÛˆÂÌÍÓ,
Cast: Kristina Orbakaite, Gosha Kutsenko, Evgeni Stychkin,
≈‚„ÂÌËÈ —Ú˚˜ÍËÌ, ¿Ì‰ÂÈ ü‡ÒÍÓ, ≈͇ÚÂË̇ —ÚËÊÂÌÓ‚‡,
Andrei Krasko, Ekaterina Strizhenova, Mikhail Kozakov,
ÃËı‡ËÎ üÓÁ‡ÍÓ‚, ŒÎ¸„‡ ŒÎÓ‚‡, ¿Ì‰ÂÈ ”„‡ÌÚ,
Olga Orlova, Andrei Urgant, Alexander Strizhenov,
¿ÎÂÍ҇̉ —ÚËÊÂÌÓ‚, ƒ‡¸ˇ ƒÓÁ‰Ó‚Ò͇ˇ, üÒÂÌˡ üÌˇÁ‚‡,
Daria Drozdovskaya, Kseniya Kniazeva, Evklid Kiurdzidis,
›‚ÍÎˉ ü˛‰ÁˉËÒ, —Ú‡ÌËÒ·‚ ƒÛÊÌËÍÓ‚
Stanislav Duzhnikov
œÓ‰˛ÒÂ˚ –ÂÌ‡Ú ƒ‡‚ÎÂÚ¸ˇÓ‚, ¿ÎÂÍ҇̉ üÓÚÂ΂ÒÍËÈ,
Producers Renat Davletiarov, Alexander Kotelevsky,
¿ÎÂÍ҇̉ ŒÎÂÈÌËÍÓ‚
Alexander Oleinikov
œÓËÁ‚Ó‰ÒÚ‚Ó ´–‡Î-ƒ‡ÍÓÚ‡ª, ÔË Û˜‡ÒÚËË ‘‰Â‡Î¸ÌÓ„Ó
Production ìReal-Dakotaî, with participation of the Federal
‡„ÂÌÚÒÚ‚‡ ÔÓ ÍÛθÚÛÂ Ë ÍËÌÂχÚÓ„‡ÙËË
Agency of Culture and Cinematography
œÓÍ‡Ú ´ü‡ÓÔÓ͇ڪ, ´Õ‡¯Â ÍËÌÓª
Distribution Karo, Nashe Kino
www.lubovmorkov.ru
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
¿ÎÂÍ҇̉ —ÚËÊÂÌÓ‚
ÂÊËÒÒÂ-ÔÓÒÚ‡ÌÓ‚˘ËÍ:
2002 ....”Ô‡ÒÚ¸ ‚‚Âı
(Ò —Â„ÂÂÏ √ËÌÁ·Û„ÓÏ)
2005 ....ŒÚ 180 Ë ‚˚¯Â
2006 ....À˛·Ó‚¸-ÏÓÍÓ‚¸
Alexander Strizhenov
film director:
101
2002 ....Falling Up (with Sergei Ginzburg)
2005 ....From 180 and Taller
2006 ....Lovey-Dovey
ÀË˘ÂÒ͇ˇ ÍÓωˡ-fantasy.
Õ‡ Ò‚‡‰¸·Â ÒÛÔÛ„Ë √ÓÎ۷‚˚ (ÓÌ ñ ¿Ì‰ÂÈ, Ó̇ ñ ÇË̇) ÍΡÎËÒ¸ ‰Û„
‰Û„Û ‚ ‚˜ÌÓÈ Î˛·‚Ë. —Ó ‚ÂÏÂÌÂÏ ÒÚ‡ÒÚ¸ ۯ·, ‡  ÏÂÒÚÓ Á‡ÌˇÎË
͇¸Â‡, ·˚Ú, ‰ÛÁ¸ˇ Ë Î˘Ì˚ ۂΘÂÌˡ. ŒÌË ‚Ò ·Óθ¯Â Û„‡˛ÚÒˇ ÔÓ
ÔÛÒڡ͇Ï, ‚Ò ÏÂ̸¯Â ÔÓ‚Ó‰ˇÚ ‚ÂÏÂÌË ‚ÏÂÒÚÂ... œÂ‰ ÒÛÔÛ„‡ÏË
Á‡Ï‡ˇ˜Ë· ÔÂÒÔÂÍÚË‚‡ ‡Á‚Ó‰‡. œÓÒΉÌËÈ ¯‡ÌÒ ÒÔ‡ÒÚË ÒÂϸ˛ ñ
ÍÓÌÒÛθڇˆËˇ Û ÒÂÏÂÈÌÓ„Ó ÔÒËıÓÎÓ„‡ ‰ÓÍÚÓ‡ üÓ„‡Ì‡. ÕÓ ‰ÓÍÚÓ üÓ„‡Ì
ΘËÚ ÒÂÏÂÈÌ˚ ÓÚÌÓ¯ÂÌˡ Ì ‚ÔÓÎÌ Ú‡‰ËˆËÓÌÌ˚Ï ÏÂÚÓ‰ÓÏ: ÛÚÓÏ ÓÌË
ÔÓÒ˚Ô‡˛ÚÒˇ Û Ò·ˇ ‰Óχ, ÌÓ ÚÂÔÂ¸ ÓÌ ñ ÇË̇, ‡ Ó̇ ñ ¿Ì‰ÂÈ. »Ï
Ô‰ÒÚÓËÚ Ì‡Û˜ËÚ¸Òˇ ÔÓÌËχڸ Ê·Ìˡ ‰Û„ ‰Û„‡, Í‡Í Ò‚ÓË ÒÓ·ÒÚ‚ÂÌÌ˚Â...
Lyrical comedy, fantasy.
At their wedding Andrei and Marina Golubev vowed each other eternal love. In
due course their passion vanishes to make room for career, everyday life,
friends and personal hobbies. More and more they argue over trifles and spend
less and less time together...The prospect of divorce is looming. The last
chance to rescue the marriage lies in the consultation of the family
psychologist, Doctor Kogan. But Doctor Kogan treats family relations in a
rather untraditional way: in the morning the Golubevs wake up at home, but
now he is Marina and she is Andrei. They must learn to understand the desires
of the other like their own...
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
Õ≈¬¿Àflÿü¿
NEVALYASHKA (ìTumbler Toyî)
102
2007, –ÓÒÒˡ, 92 ÏËÌ., ˆ‚., 1:1.85, Dolby Digital 5.1
2007, Russia, 92 min., col., Dolby Digital
¿‚ÚÓ˚ ÒˆÂ̇ˡ ”θˇÌ‡ ÿËÎÍË̇,
Scriptwriters Uliana Shilkina. Grigori Konstantinopolsky,
√Ë„ÓËÈ üÓÌÒÚ‡ÌÚËÌÓÔÓθÒÍËÈ, ÔË Û˜‡ÒÚËË
with participation Maxim Kurochkin, Roman Kachanov
ÇÍÒËχ üÛÓ˜ÍË̇ Ë –Óχ̇ ü‡˜‡ÌÓ‚‡
Director Roman Kachanov
–ÂÊËÒÒÂ –ÓÏ‡Ì ü‡˜‡ÌÓ‚
Director of Photography Maxim Trapo
ŒÔÂ‡ÚÓ ÇÍÒËÏ “‡ÔÓ
Production Design Alexander Telin
’Û‰ÓÊÌËÍ ¿ÎÂÍ҇̉ “ÂÎËÌ
Musical Producer Oleg Nesterov
ÃÛÁ˚͇θÌ˚È ÔÓ‰˛ÒÂ ŒÎ„ ÕÂÒÚÂÓ‚
Cast: Pavel Derevianko, Sergei Makovetsky, Elena Nikolaeva,
¬ ÓΡı: œ‡‚ÂÎ ƒÂ‚ˇÌÍÓ, —Â„ÂÈ Ã‡ÍӂˆÍËÈ,
Alexei Panin, Artemi Troitsky, Noel Anderson,
≈ÎÂ̇ ÕËÍÓ·‚‡, ¿ÎÂÍÒÂÈ œ‡ÌËÌ, ¿ÚÂÏËÈ “ÓˈÍËÈ,
Linda Nigmatulina, Andrei Vasiliev, Viktoria Castro,
Õӽθ ¿Ì‰ÂÒÓÌ, ÀË̉‡ Õ˄χÚÛÎË̇, ¿Ì‰ÂÈ ¬‡ÒËθ‚,
Vitali Kachanovsky, Andrei Sviridov, Ivan Urgant,
¬ËÍÚÓˡ ü‡ÒÚÓ, ¬ËÚ‡ÎËÈ ü‡˜‡ÌÓ‚ÒÍËÈ, ¿Ì‰ÂÈ —‚Ëˉӂ,
Alexander Polovtsev, Yulia Sobolevskaya
»‚‡Ì ”„‡ÌÚ, ¿ÎÂÍ҇̉ œÓÎÓ‚ˆÂ‚, fiÎˡ —Ó·Ó΂Ò͇ˇ
Producer Viktor Glukhov
œÓ‰˛ÒÂ ¬ËÍÚÓ √ÎÛıÓ‚
Production Producerís Company ìSlovoî, with support from
œÓËÁ‚Ó‰ÒÚ‚Ó œÓ‰˛ÒÂÒ͇ˇ ÍÓÏÔ‡Ìˡ ´—ÎÓ‚Óª,
the Federal Agency of Culture and Cinematography
ÔË ÔÓ‰‰ÂÊÍ ‘‰Â‡Î¸ÌÓ„Ó ‡„ÂÌÚÒÚ‚‡ ÔÓ ÍÛθÚÛ Ë
Distribution ìGemini Filmî, ì20th-Century Fox CISî
ÍËÌÂχÚÓ„‡ÙËË
œÓÍ‡Ú ´√ÂÏËÌË ÙËθϪ/´20-È ‚ÂÍ ‘ÓÍÒ —Õ√ª
www.nevalyashka-film.ru
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
–ÓÏ‡Ì ü‡˜‡ÌÓ‚
ÂÊËÒÒÂ-ÔÓÒÚ‡ÌÓ‚˘ËÍ:
1991 ....Õ ÒÔ‡¯Ë‚‡È ÏÂÌˇ ÌË Ó ˜ÂÏ
(Ò »‚‡ÌÓÏ ¡Ë˛ÍÓ‚˚Ï)
1993 ....”Ó‰
1999 ....ÇÍÒËÏËΡÌ
2000 ....ƒÃ¡
2001 ....ƒ‡ÛÌ ’‡ÛÒ
2004 ....¿¸Â
103
2005 ....¬ÁˇÚ¸ “‡‡ÌÚËÌÛ
2007 ....Õ‚‡Îˇ¯Í‡
Roman Kachanov
film director:
1991 ....Donít Ask me about Anything
(with Ivan Biriukov)
1993 ....The Freak
1999 ....Maximilian
2000 ....Demobbed
2001 ....Down-House
2004 ....Arrier
2005 ....Taking Tarantino
2007 ....Nevalyashka
—ÔÓÚ˂̇ˇ ÍÓωˡ.
´Õ‚‡Îˇ¯Í‡ª ñ ÔÓÁ‚ˢ ÏÓÎÓ‰Ó„Ó ·ÓÍÒÂ‡, ‚˚ÒÚÛÔ‡˛˘Â„Ó ‚ ΄ÍÓÏ ‚ÂÒÂ.
—Â‰Ë Ò‚ÓËı ÒÓÔÂÌËÍÓ‚ ÓÌ ‚˚‰ÂΡÂÚÒˇ Ì‚ÂÓˇÚÌÓÈ ÊË‚ÓÒÚ¸˛ Ë
Ù‡ÌÚ‡ÒÚ˘ÂÒÍÓÈ ‚ÓÎÂÈ Í Ôӷ‰Â. ÕËÍÓÏÛ ËÁ Â„Ó ÒÓÔÂÌËÍÓ‚ Ì ۉ‡‚‡ÎÓÒ¸
ÓÚÔ‡‚ËÚ¸ Â„Ó ‚ ÌÓ͇ÛÚ, ÓÌ ‚Ò„‰‡ ÔÓ‰ÌËχÎÒˇ ̇ ÌÓ„Ë (ÓÚÒ˛‰‡ Ë ÔÓÁ‚ˢÂ).
ÕÓ Ò‡ÏÓÏÛ Õ‚‡Îˇ¯Í ÒÍÛ˜ÌÓ ÒÓ‚ÌÓ‚‡Ú¸Òˇ Ò ÛÒÚÛÔ‡˛˘ËÏË ÂÏÛ
ÒÓÔÂÌË͇ÏË. ŒÌ ϘڇÂÚ Ó ·Óθ¯ÂÏ!..
Sports comedy.
Nevalyashka (a tumbler toy) is the nickname of a young light-weight boxer. He
stands out from his competitors through incredible liveliness and a phenomenal
drive to win. None of his contenders can knock him out, he always gets back
on his feet (hence his nickname). But Nevalyashka himself is bored to compete
with contenders who concede to him. He dreams of something greater!..
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
ŒƒÕ¿ Àfi¡Œ¬‹ Õ¿ ûÀÀ»ŒÕ
ONE LOVE IN A MILLION
104
2007, –ÓÒÒˡ, 105 ÏËÌ., ˆ‚., 1:2.35, Dolby Digital 5.1
2007, Russia, 105 min., col., 1:2.35, Dolby Digital 5.1
¿‚ÚÓ˚ ÒˆÂ̇ˡ —Â„ÂÈ ŒÒËÔ¸ˇÌ, ÃËı‡ËÎ ÕÓ‚ËÍÓ‚,
Scriptwriters Sergey Osipian, Mikhail Novikov,
¬‡ÎÂÌÚËÌ —ÔËˉÓÌÓ‚, ¿ÎÂÍÒÂÈ «ÂÌÓ‚
Valentin Spiridonov, Alexei Zernov
–ÂÊËÒÒÂ ¬Î‡‰ËÏË ŸÂ„ÓθÍÓ‚
Director Vladimir Shchegolkov
ŒÔÂ‡ÚÓ œÂÚ ƒÛıÓ‚ÒÍÓÈ
Director of Photography Peter Dukhovskoy
’Û‰ÓÊÌËÍ ¬Î‡‰ËÏË “‡ÔÂÁÌËÍÓ‚
Production Design Vladimir Trapeznikov
üÓÒÚ˛Ï˚ ¿Ì̇ ¡‡ÚÛÎË, fl̇ œÓÎÂ
Costume Design Anna Bartuli, Yana Pole
«‚ÛÍ ¬Î‡‰ËÏË ÀËÚÓ‚ÌËÍ
Sound Vladimir Litrovnik
ÃÓÌÚ‡Ê ¿Î¸·Ë̇ ¿ÌÚËÔÂÌÍÓ
Editing Albina Antipenko
¬ ÓΡı: –ÛÒÎ‡Ì üÛËÍ, ÀË̇ ÃËËÏÒ͇ˇ,
Cast: Ruslan Kurik, Lina Mirimskaya, Dmitri Marianov,
ƒÏËÚËÈ Ã‡¸ˇÌÓ‚, ≈ÎÂ̇ ÃÓÓÁÓ‚‡, ¿Ì‰ÂÈ ü‡ÒÍÓ,
Elena Morozova, Andrei Krasko, Alexander Berda,
¿ÎÂÍ҇̉ ¡Â‰‡, ¿ÎÂÍ҇̉ ü‡‡ÏÌÓ‚, –ÛÒÚ‡Ï ”‡Á‡Â‚,
Alexander Karamnov, Rustam Urazaev, Yuri Safarov,
fiËÈ —‡Ù‡Ó‚, œ‡‚ÂÎ ü‡ÒÒËÌÒÍËÈ
Pavel Kassinsky
œÓ‰˛ÒÂ ≈‚„ÂÌËÈ √Ë̉ËÎËÒ
Producer Evgeni Gindilis
ÃÛÁ˚͇θÌ˚È ÔÓ‰˛ÒÂ ŒÎ„ ÕÂÒÚÂÓ‚
Musical Producer Oleg Nesterov
œÓËÁ‚Ó‰ÒÚ‚Ó ´“‚Ë̉˪
Production ìTvindieî
œÓÍ‡Ú ´÷ÂÌÚ‡Î œ‡ÚÌÂ¯ËÔª
Distribution ìCentral Partnershipî
www.onelovemovie.ru
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
¬Î‡‰ËÏË ŸÂ„ÓθÍÓ‚
ÂÊËÒÒÂ-ÔÓÒÚ‡ÌÓ‚˘ËÍ:
2001 ....— ‰ÌÂÏ ÓʉÂÌˡ, ÀÓ·!
2003 ....ÃÓÒÍ‚‡. ÷ÂÌÚ‡Î¸Ì˚È ÓÍÛ„
(ÒÂˇÎ)
2004 ....¬ËÓ· “‡‡Í‡ÌÓ‚‡. ¬ ÏËÂ
ÔÂÒÚÛÔÌ˚ı ÒÚ‡ÒÚÂÈ (ÒÂˇÎ)
2007 ....Œ‰Ì‡ β·Ó‚¸ ̇ ÏËÎÎËÓÌ
105
Vladimir Shchegolkov
film director:
2001 ....Happy Birthday, Lola!
2003 ....Moscow. Central District (serial)
2004 ....Viola Tarakanova. In the World of
Criminal Passions (serial)
2007 ....One Love in a Million
üËÏË̇θ̇ˇ ÏÂÎÓ‰‡Ï‡.
œÂÚÂ·Û„ ̇˜‡Î‡ ‰Â‚ˇÌÓÒÚ˚ı. ÃËÚˇÈ, ·ÂÒÍÓÏÔÓÏËÒÒÌ˚È Î˛·ËÚÂθ
ıÓÓ¯ÂÈ ÏÛÁ˚ÍË, ÚÓ„ÛÂÚ ‰ÍËÏË Á‡ÔËÒˇÏË Ì‡ ¿Ô‡ÍÒËÌÓÏ ‰‚ÓÂ. ¿Ìˇ
ϘڇÂÚ Ó ÎÛ˜¯ÂÈ ÊËÁÌË, ‡ ÔÓ͇ ÔÓ‰‡·‡Ú˚‚‡ÂÚ ÔÓÒÚËÚÛˆËÂÈ ‚ ´¿ÒÚÓË˪.
ŒÌË ÏÓ„ÎË ·˚ Ë Ì ‚ÒÚÂÚËÚ¸Òˇ, ÌÓ Ó‰Ì‡Ê‰˚ Òӄ·ÒËÎËÒ¸ ÔËÌˇÚ¸ Û˜‡ÒÚË ‚
ÒÓÏÌËÚÂθÌÓÈ ‡‚‡ÌÚ˛Â: ÓÌ ñ ˜ÚÓ·˚ ‚˚Û˜ËÚ¸ ‰Û„‡, Ó̇ ñ ˜ÚÓ·˚
Á‡‡·ÓÚ‡Ú¸. ¬ ËÚÓ„Â ˛Ì˚Ï „ÂÓˇÏ ÔËıÓ‰ËÚÒˇ ·Âʇڸ ‚ ÃÓÒÍ‚Û Ò ÏËÎÎËÓÌÓÏ
هθ¯Ë‚˚ı ‰ÓηÓ‚ ñ ˜ÚÓ·˚ ÔÓÌˇÚ¸, ˜ÚÓ Ëı ̇ÒÚ˄· ҇χˇ ̇ÒÚÓˇ˘‡ˇ
β·Ó‚¸Ö
Criminal melodrama.
Petersburg at the beginnings of the 1990s. Mitya, an uncompromising fan of
good music, trades with rare recordings on Apraksin Court. Anya dreams of a
better life, but for now she earns her living by prostitution in the hotel
ìAstoriaî. They could have never met, but one day they agree to take part in a
dubious adventure: he in order to help a friend; she in order to make money.
As a result, the young heroes have to run to Moscow with a million in false
dollars ñ in order to understand that they have found real loveÖ
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
œ¿–¿√–¿‘ 78. ‘ËÎ¸Ï ÔÂ‚˚È
œ¿–¿√–¿‘ 78. ‘ËÎ¸Ï ‚ÚÓÓÈ
PARAGRAPH 78
106
2007, –ÓÒÒˡ, (90+90) ÏËÌ., ˆ‚., 1:2.35, Dolby Digital 5.1
2007, Russia, (90+90) min., col., 1:2.35, Dolby Digital 5.1
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ ÃËı‡ËÎ ’ηÓÓ‰Ó‚
Scriptwriters and Director Mikhail Khleborodov
œÓ ÏÓÚË‚‡Ï ‡ÒÒ͇Á‡ »‚‡Ì‡ ŒıÎÓ·˚ÒÚË̇
Based on the motives of a story by Ivan Ohlobystin
ŒÔÂ‡ÚÓ —Â„ÂÈ üÓÁÎÓ‚
Director of Photography Sergei Kozlov
’Û‰ÓÊÌËÍË üÓÌÒÚ‡ÌÚËÌ ÃÂθÌËÍÓ‚, ÇÍÒËÏ ‘ÂÒ˛Ì
Production Design Konstantin Melnikov, Maxim Fesiun
üÓÒÚ˛Ï˚ ÇÍÒËÏ œ‡ÁËÎÓ‚, Õ‡‰Âʉ‡ ¡‡Î‡Ì‰Ë̇
Costume Design Maxim Pazilov, Nadezhda Balandina
«‚ÛÍ —Â„ÂÈ ü‡ÔÂÌÍÓ
Sound Sergei Karpenko
ÃÓÌÚ‡Ê ÃËı‡ËÎ ’ηÓÓ‰Ó‚, ¿ÎÂÍ҇̉ ¿Ì‰˛˘ÂÌÍÓ
Editing Mikhail Khleborodov, Alexander Andriushchenko
¬ ÓΡı: √Ó¯‡ üÛˆÂÌÍÓ, ¬Î‡‰ËÏË ¬‰Ó‚˘ÂÌÍÓ,
Cast: Gosha Kutsenko, Vladimir Vdovichenko,
¿Ì‡ÒÚ‡Òˡ —·Ì‚Ò͇ˇ, ¿ÁËÁ ¡ÂȯÂ̇ÎË‚,
Anastasia Slanevskaya, Aziz Beishenaliev, Grigori Siyatvinda,
√Ë„ÓËÈ —ˡڂË̉‡, —Ú‡ÌËÒ·‚ ƒÛÊÌËÍÓ‚,
Stanislav Duzhnikov, Anatoli Bely, Yusup Bakhshiev
¿Ì‡ÚÓÎËÈ ¡ÂÎ˚È, fiÒÛÔ ¡‡ı¯Ë‚
Producers Yusup Bakhshiev, Anatoli Danilitsky,
œÓ‰˛ÒÂ˚ fiÒÛÔ ¡‡ı¯Ë‚, ¿Ì‡ÚÓÎËÈ ƒ‡ÌËÎˈÍËÈ,
Viktor Taknov
¬ËÍÚÓ “‡ÍÌÓ‚
Musical Producer Andrei Samorukov
ÃÛÁ˚͇θÌ˚È ÔÓ‰˛ÒÂ ¿Ì‰ÂÈ —‡ÏÓÛÍÓ‚
Production ìMB Productionsî, ìStar Magicî,
œÓËÁ‚Ó‰ÒÚ‚Ó ´MB Productionsª, ´Star Magicª,
ìStimul M Productionî, ìWay Film Companyî
´Stimul M Productionª, ´Way Film Companyª
Distribution ìCentral Partnershipî
œÓÍ‡Ú ´÷ÂÌÚ‡Î œ‡ÚÌÂ¯ËÔª
www.p78.ru
www.mbpro.ru
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
ÃËı‡ËÎ ’ηÓÓ‰Ó‚
ñ ÒÓÁ‰‡ÚÂθ ÏÌÓÊÂÒÚ‚‡ ÓÚ˜ÂÒÚ‚ÂÌÌ˚ı
‚ˉÂÓÍÎËÔÓ‚ Ë ÂÍ·ÏÌ˚ı ÓÎËÍÓ‚.
´œ‡‡„‡Ù 78ª ñ ‰Â·˛Ú ‚ ÍËÌÓ.
Mikhail Khleborodov
is the maker of a series of video clips and
advertising clips. ìParagraph 78î is his debut
in cinema.
107
‘‡ÌÚ‡ÒÚ˘ÂÒÍËÈ ·Ó‚ËÍ.
√Û‰‚ËÌ, —ÍËÙ, À˛·‡, œ‡È, —Ô‡Ï, ‘ÂÒÚË‚‡Î¸, ÀËÒ‡... —Ó‚ÒÂÏ Ì‰‡‚ÌÓ ÓÌË
·˚ÎË ÎÛ˜¯ËÏ ÓÚˇ‰ÓÏ ÒÔˆˇθÌÓ„Ó Ì‡Á̇˜ÂÌˡ, ÌÂ‡ÁÎÛ˜Ì˚Â, Í‡Í ÔÛÎË ‚
Ó·ÓÈÏÂ, Ë ÒÔÓÒÓ·Ì˚ ‚˚ÔÓÎÌËÚ¸ β·Ó Á‡‰‡ÌËÂ. ÕÓ Ëı ÔÓÒÎÂ‰Ìˇˇ ÒÓ‚ÏÂÒÚ̇ˇ
ÏËÒÒˡ Ó·ÂÌÛ·Ҹ ÓÒÚ˚Ï ÍÓÌÙÎËÍÚÓÏ ‚ÌÛÚË „ÛÔÔ˚ ñ ·˚ÎÓ„Ó
‰ËÌÓ‰Û¯Ëˇ Í‡Í ÌË ·˚‚‡ÎÓ. Œ‰Ì‡ÍÓ Ò ÌÓ‚˚Ï ÓÒÓ·Ó ‚‡ÊÌ˚Ï Á‡‰‡ÌËÂÏ ÏÓ„ÛÚ
ÒÔ‡‚ËÚ¸Òˇ ÚÓθÍÓ ÓÌË ñ Ë ÚÓθÍÓ ‚ÏÂÒÚÂ. “‡Í ˜ÚÓ ·˚‚¯ËÈ ÍÓχ̉Ë ÓÚˇ‰‡
√Û‰‚ËÌ, ‰ËÌÒÚ‚ÂÌÌ˚È, ÍÚÓ ÒÓı‡ÌËÎ ÓÚÌÓ¯ÂÌˡ Ò ÒËÎÓ‚˚ÏË ÒÚÛÍÚÛ‡ÏË,
‚˚ÌÛʉÂÌ ñ Ì ·ÂÁ ÒÂ¸ÂÁÌ˚ı ÔÓ·ÎÂÏ ñ ÒÓ·‡Ú¸ Ò‚ÓËı Ó‰ÌÓÔÓΘ‡Ì. ◊ÚÓ-ÚÓ
Ó˜Â̸ ÒÂ¸ÂÁÌÓ ÒÎÛ˜ËÎÓÒ¸ ̇ ÒÂÍÂÚÌÓÈ ·‡ÁÂ, „‰Â ‡·ÓÚ‡ÎË Ì‡‰ ÒÓÁ‰‡ÌËÂÏ
ÌÓ‚Ó„Ó ·ÓÂ‚Ó„Ó ‚ËÛÒ‡Ö
Fantastic Thriller.
Goodwin, Scythian, Lyuba, Pie, Spam, Festival, Fox... Until recently they were
the best special force unit, inseparable like bullets in the charger, capable of
any task. But their last mission has created a sharp conflict in group and the
former unanimity has gone for good. However, a new and very important task
comes up, which only their unit can solve ñ and only together. The former
commander of the unit, Goodwin, the only one to have maintained relations
with the power structures, is forced ñ not without serious problems ñ to
assemble his colleagues. Something very serious has happened on a secret base
for the development of a new virus to be used in combatÖ
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
œ»–¿“¤ ü¿–»¡—üŒ√Œ ÃŒ–fl: Õ¿ ü–¿fi —¬≈“¿
PIRATES OF THE CARIBBEAN: AT WORLDíS END
108
2007, —ÿ¿, 155 ÏËÌ., ˆ‚., 1:2.35, Dolby Digital 5.1
2007, USA, 155 min, col., 1:2.35, Dolby Digital 5.1
¿‚ÚÓ˚ ÒˆÂ̇ˡ “˝‰ ›ÎËÓÚ, “ÂË –ÛÒÒÓ
Scriptwriters Ted Elliott, Terry Rossio
–ÂÊËÒÒÂ √Ó ¬Â·ËÌÒÍË
Director Gore Verbinski
ŒÔÂ‡ÚÓ ƒ‡ËÛÒ ¬ÓθÒÍËÈ
Director of Photography Dariusz Wolski
’Û‰ÓÊÌËÍ –ËÍ ’ÂÈÌËÍÒ
Production Design Rick Heinrichs
üÓÏÔÓÁËÚÓ ’‡ÌÒ ÷ËÏÂ
Composer Hans Zimmer
¬ ÓΡı: ƒÊÓÌÌË ƒÂÔÔ, ŒÎ‡Ì‰Ó ¡ÎÛÏ, üÂÈ‡ Õ‡ÈÚÎË,
Cast: Johnny Depp, Orlando Bloom, Keira Knightley,
ƒÊÂÙÙË –‡¯, ƒÊÓÌ‡Ú‡Ì œ‡ÈÒ, ¡ËÎÎ Õ‡ÈË, ◊ÓÛ-fiÌ-‘‡Ú,
Geoffrey Rush, Jonathan Pryce, Bill Nighy, Yun-Fat Chow,
“ÓÏ ’Óη̉Â, ü‚ËÌ Ã‡ÍÕÓÎÎË
Tom Hollander, Kevin McNally
œÓ‰˛ÒÂ˚ ƒÊÂË ¡ÛÍı˝ÈÏÂ, ¡˛Ò ’ẨËÍÒ
Producers Jerry Bruckheimer, Bruce Hendricks
œÓËÁ‚Ó‰ÒÚ‚Ó Jerry Bruckheimer Films,
Production Jerry Bruckheimer Films, Walt Disney Pictures
œÓÍ‡Ú ‚ –ÓÒÒËË ´”ÓÎÚ ƒËÒÌÂÈ üÓÏÔ‡ÌË —Õ√ª,
Distribution in Russia Walt Disney Company CIS,
´¡Û˝Ì‡ ¬ËÒÚ‡ —ÓÌË œË͘Âc –ÂÎËÁËÌ„ —Õ√ª
Sony Pictures Releasing CIS
www.disney.go.com
www.sonypictures.com
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
109
œËÍβ˜Â̘ÂÒÍËÈ ÙËθÏ/ Fantasy.
«ÓÎÓÚÓÈ ‚ÂÍ Í‡Ë·ÒÍËı ÔË‡ÚÓ‚ ̇ ËÒıӉ ñ ‡χ‰‡, ÔÓ‰˜ËÌˇ˛˘‡ˇÒˇ ŒÒڻ̉ËÈÒÍÓÈ ÍÓÏÔ‡ÌËË ‚Ó „·‚Â Ò ´ÀÂÚÛ˜ËÏ √Óη̉ˆÂϪ Ë Â„Ó ‰¸ˇ‚ÓθÒÍËÏ
͇ÔËÚ‡ÌÓÏ ƒ˝‚Ë ƒÊÓÌÒÓÏ, ·ÂÁ ÒÛ‰‡ Ë ÒΉÒڂˡ ÛÌ˘ÚÓʇÂÚ ‚ÓθÌ˚ı
‡Á·ÓÈÌËÍÓ‚ ̇ ÏÓÒÍËı ÔÓÒÚÓ‡ı ÓÚ ¡‡„‡Ï ‰Ó “ËÌˉ‡‰‡. ”ËÎÎ “ÂÌÂ,
›ÎËÁ‡·ÂÚ —‚‡Ì Ë Í‡ÔËÚ‡Ì ¡‡·ÓÒÒ‡ Ô‰ÔËÌËχ˛Ú ÓÚ˜‡ˇÌÌÓ ÔÛÚ¯ÂÒÚ‚Ë ‚
‰‡ÎÂÍËÈ —ËÌ„‡ÔÛ, ˜ÚÓ·˚ Ò‡ÁËÚ¸Òˇ Ò Ô‰‚Ó‰ËÚÂÎÂÏ ÍËÚ‡ÈÒÍËı ÔË‡ÚÓ‚ ñ
͇ÔËÚ‡ÌÓÏ —‡Ó ‘ÂÌ„ÓÏ, Á‡Û˜ËÚ¸Òˇ ÔÓ‰‰ÂÊÍÓÈ ÏÓ„Û˘ÂÒÚ‚ÂÌÌÓ„Ó ¡‡ÚÒÚ‚‡
‰Â‚ˇÚË ÎÓ‰Ó‚, ‚ÂÌÛÚ¸ ´◊ÂÌÛ˛ ÊÂϘÛÊËÌÛª ËÁ ÏÓÒÍÓÈ ÔÛ˜ËÌ˚ Ë
‚˚‚‡Ú¸ ƒÊÂ͇ ¬ÓÓ·¸ˇ ËÁ ÔÎÂ̇ ƒ˝‚Ë ƒÊÓÌÒ‡.
Adventure film / Fantasy.
The Golden Age of the Caribbean pirates is drawing to a close: the armada,
subordinated to the East Indian Trading Company led by the ìFlying
Dutchmanî and his devilish captain Davy Jones, destroys ñ without trial or
investigation ñ the free robbers on the sea between the Bahamas and Trinidad.
Will Turner, Elizabeth Swann and Captain Barbossa undertake a desperate
journey to the distant Singapore to fight the leader of the Chinese pirates,
Captain Sao Feng, to get support from the powerful Brotherhood of the Nine
Lords, to retrieve the ìBlack Pearlî from bottom of the sea, and to free Jack
Sparrow from Davy Jonesís captivity.
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
œŒ¬Œƒ¤–‹
THE GUIDE-DOG
110
2007, –ÓÒÒˡ, 99 ÏËÌ., ˆ‚., 1:1.85, Dolby Digital 5.1
2007, Russia, 90 min, col., 1:1.85 , Dolby Digital 5.1
¿‚ÚÓ ÒˆÂ̇ˡ ¿͇‰ËÈ ü‡ÒËθ˘ËÍÓ‚
Scriptwriter Arkadi Krasilshchikov
–ÂÊËÒÒÂ ¿ÎÂÍ҇̉ ’‚‡Ì
Director Alexander Khvan
ŒÔÂ‡ÚÓ »‚‡Ì ¡‡„‡Â‚
Director of Photography Ivan Bagayev
’Û‰ÓÊÌËÍ Õ‡Ú‡Îˡ üÓ˜Â„Ë̇
Production Design Natalia Kochergina
üÓÒÚ˛Ï˚ √‡ÎË̇ ¿ÌÚËÔË̇
Costume Design Galina Antipina
üÓÏÔÓÁËÚÓ ¬ËÚ‡ÎËÈ »ÒÚÓÏËÌ
Composer Vitali Istomin
«‚ÛÍ ¿ÎÂÍ҇̉ —˚ÒÓΡÚËÌ
Sound Alexander Sysoliatin
–ÂÊËÒÒÂ ÏÓÌڇʇ üÓÌÒÚ‡ÌÚËÌ ‘Ë‚˘
Editing Konstantin Firevich
¬ ÓΡı: »„Ó¸ ÀËÙ‡ÌÓ‚, ¬Î‡‰ËÏË √ÓÎÓ‚ËÌ,
Cast: Igor Lifanov, Vladimir Golovin, Larissa Malevannaya,
À‡ËÒ‡ Ç΂‡Ì̇ˇ, ≈‚„ÂÌËÈ ÃÂÍÛ¸Â‚, ŒÍ҇̇ ¡‡ÁË΂˘
Evgeni Merkuriev, Oksana Bazilevich
œÓ‰˛ÒÂ˚ ¿Ì‰ÂÈ —Ë„ÎÂ, ƒÏËÚËÈ —‚ÂÚÓÁ‡Ó‚
Producers Andrei Sigle, Dmitri Svetozarov
œÓËÁ‚Ó‰ÒÚ‚Ó ´¿—ƒ—ª
Production ìASDSî
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
¿ÎÂÍ҇̉ ’‚‡Ì
ÂÊËÒÒÂ-ÔÓÒÚ‡ÌÓ‚˘ËÍ:
1980 ....ÿÌÛ (‰ËÔÎÓÏ, Í/Ï)
1988 ....’ÓÁˇËÌ (Í/Ï)
1992 ....ƒ˛·‡-‰˛·‡
1995 ....—‚‡‰Â·Ì˚È Ï‡¯ (Í/Ï)
1998 ....ƒˇÌ¸ ıÓÓ¯‡ˇ, ‰ˇÌ¸ ÔÎÓı‡ˇ...
1999 ....”ÏË‡Ú¸ ΄ÍÓ
2000 ....¬Â‰¸Ï‡ (ÌÓ‚Âη ‚ ÒÂˇÎÂ
111
´◊Â̇ˇ ÍÓÏ̇ڇª)
2001 ....üÎÂÓÔ‡Ú‡ (ÌÓ‚Âη ‚ ÒÂˇÎÂ
´◊Â̇ˇ ÍÓÏ̇ڇª)
2002 ....ÿ‡ÚÛÌ (ÒÂˇÎ)
2003 ....ü‡ÏÂÌ
2005 ....–ËÂÎÚÓ (ÒÂˇÎ)
2006 ....—ÂÍÂÚÌ˚ ÔÓÛ˜ÂÌˡ (ÒÂˇÎ)
2007 ....œÓ‚Ó‰˚¸
Alexander Khvan
film director:
1980 ....The Cord (diploma, short)
1988 ....The Landlord (short)
1992 ....Diuba-Diuba
1995 ....Wedding March (short)
1998 ....Good Trash, Bad Trash...
1999 ....It is Easy to Die
2000 ....The Witch (novella in the serial
ìThe Black Roomî)
2001 ....Cleopatra (novella in the serial
ìThe Black Roomî)
2002 ....Rod (mini-serial)
ƒ‡Ï‡ ÔÓ ÔÓ‚ÂÒÚË ¿͇‰Ëˇ ü‡ÒËθ˘ËÍÓ‚‡ ´—Ó·‡Í‡ —ÎÂÔÓ„Óª.
2003 ....Carmen
œ‡‚ÂÎ ÿÌ˚‚ ñ ÔÓÙÂÒÒËÓ̇θÌ˚È ÍËÎÎÂ, Û ÌÂ„Ó ÏÌÓ„Ó ‚‡„Ó‚ Ë Ï‡ÒÒ‡
2005 ....The Realtor (serial)
ÔÓ·ÎÂÏ. ŒÚ χÚÂË œ‡‚ÂÎ ÛÁ̇ÂÚ, ˜ÚÓ Â„Ó ÓÚˆ ÊË‚. œ‡‚ÂΠ‰ÂÚ ‚ ‰‡ÎÂÍÛ˛
2006 ....Confidential Assignments (serial)
‰ÂÂ‚Ì˛ Ë Ì‡ıÓ‰ËÚ ÓÚˆ‡, ÍÓÚÓ˚È ‰‡‚ÌÓ ÓÒÎÂÔ Ë Ò ÍÓÚÓ˚Ï ‚Ò„‰‡ ˇ‰ÓÏ
2007 ....The Guide-Dog
‚ÂÌ˚È ÔÓÏÓ˘ÌËÍ ñ ÒÓ·‡Í‡-ÔÓ‚Ó‰˚¸. ƒÛ„‡ˇ ÊËÁ̸ ÓÚÍ˚‚‡ÂÚÒˇ œ‡‚ÎÛ ñ
‰Â‚ÂÌÒÍË ÊËÚÂÎË, Ëı ÔÓÒÚÓÈ ·˚Ú, Á‡·ÓÚ˚ ÓÚˆ‡. œ‡‚ÂÎ ÔËÌËχÂÚ
¯ÂÌË ͇‰Ë̇θÌÓ ËÁÏÂÌËÚ¸ Ò‚Ó˛ ÊËÁ̸. ¬ÒÍÓ ÔËÂÁʇÂÚ Ë Ï‡Ú¸.
œ‰˜Û‚ÒÚ‚Ûˇ ·Â‰Û, Ó̇ ıÓ˜ÂÚ Û‚ÂÁÚË Ë ÒÔˇÚ‡Ú¸ Ò˚̇. ÕÓ Ì ÛıÓ‰ËÚ œ‡‚ÂÎ
ÓÚ ÒÚ‡Ë͇ ñ ÚÂÔÂ¸ ‚Ò ·Û‰ÂÚ Ë̇˜ÂÖ
Drama based on Arkadi Krasilshchikovís story ìThe Guide Dogî.
Pavel Shnyrev is a professional killer with a number of enemies and a
multitude of problems. One day he learns from his mother that his father is
alive. Pavel goes to the remote village where he finds his father who has long
gone blind, but who has at his side a loyal helper ñ a guide dog. Another life
opens up to Pavel: the village people, their simple life, his fatherís troubles.
Pavel takes the decision to change his life in a cardinal way. Then his mother
arrives: with a presentiment of trouble ahead, she wants to take away and hide
Pavel. But Pavel does not leave his old man ñ now everything will be
differentÖ
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
fl Œ—“¿fi—‹
I STAY
112
2007, Poccˡ, 100 ÏËÌ., ˆ‚. 1:1.85, Dolby Digital 51
2007, Russia, 100 min., col. 1:1.85, Dolby Digital 51
¿‚ÚÓ˚ ÒˆÂ̇ˡ ƒÏËÚËÈ üÓÌÒÚ‡ÌÚËÌÓ‚, ¿ÎÂ̇ «‚‡ÌˆÓ‚‡
Scriptwriters Dmitri Konstantinov, Alena Zvantsova
–ÂÊËÒÒÂ ü‡ÂÌ Œ„‡ÌÂÒˇÌ
Director Karen Oganesian
ŒÔÂ‡ÚÓ ≈‚„ÂÌËÈ œË‚ËÌ
Director of Photography Evgeni Privin
’Û‰ÓÊÌËÍ —Â„ÂÈ ƒ‡ÌËÎÓ‚
Production Design Sergei Danilov
üÓÒÚ˛Ï˚ “‡Ú¸ˇÌ‡ ¡Ë˜Â‚Ò͇ˇ
Costume Design Tatiana Bichevskaya
üÓÏÔÓÁËÚÓ˚ ¿ÚÂÏ ≈ÁËÌ͡Ì, √‡ËÍ —‡Ë·Â͡Ì
Composers Artem Erzinkian, Garik Saribekian
«‚ÛÍ ¿Ì‰ÂÈ ¡ÎÛ‰Û¯ÍËÌ
Sound Andrei Bludushkin
¬ ÓΡı: ¿Ì‰ÂÈ ü‡ÒÍÓ, ÕÂÎÎË ”‚‡Ó‚‡,
Cast: Andrei Krasko, Nelli Uvarova, Fedor Bondarchuk,
‘‰Ó ¡Ó̉‡˜ÛÍ, ¿ÎÂ̇ ¡Ó̉‡˜ÛÍ, ≈ÎÂ̇ flÍӂ΂‡,
Alena Bondarchuk, Elena Yakovleva, Andrei Sokolov,
¿Ì‰ÂÈ —ÓÍÓÎÓ‚, ¬Î‡‰ËÏË ≈ÔËه̈‚, √‡ÎË̇ œÓθÒÍËı,
Vladimir Epifantsev, Galina Polskikh, Irina Grineva
»Ë̇ √ËÌ‚‡
General Producer Ruben Dishdishian
√ÂÌÂ‡Î¸Ì˚È ÔÓ‰˛ÒÂ –Û·ÂÌ ƒË¯‰Ë¯ˇÌ
Producers Sergei Danielian, Aram Movsesian, Yuri Moroz
œÓ‰˛ÒÂ˚ —Â„ÂÈ ƒ‡ÌËÂΡÌ, ¿‡Ï ÃÓ‚ÒÂÒˇÌ, fiËÈ ÃÓÓÁ
Production MG Media commissioned by ìCentral Partnershipî
œÓËÁ‚Ó‰ÒÚ‚Ó MG Media ÔÓ Á‡Í‡ÁÛ ´÷ÂÌÚ‡Î œ‡ÚÌÂ¯ËÔª
Distribution ìCentral Partnershipî
œÓÍ‡Ú ´÷ÂÌÚ‡Î œ‡ÚÌÂ¯ËÔª
www.centpart.ru
ÍËÌÓ Ì‡ ÔÎÓ˘‡‰Ë
cinema on the square
ü‡ÂÌ Œ„‡ÌÂÒˇÌ
ÂÊËÒÒÂ-ÔÓÒÚ‡ÌÓ‚˘ËÍ:
1999 ....ƒ‚ÂË ‚ Ò·ˇ (Í/Ï)
2007 ....fl ÓÒÚ‡˛Ò¸ (ÔÓÎÌÓÏÂÚ‡ÊÌ˚È ‰Â·˛Ú)
Karen Oganesian
film director:
1999 ....Doors to Oneself (short)
2007 ....I Stay (debut)
113
“‡„ËÍÓωˡ.
ÃÌÓ„Ë ÔÓ‰ÓÁ‚‡˛Ú, ˜ÚÓ ÔÓÒΠÒÏÂÚË ÊËÁ̸ Ì ÍÓ̘‡ÂÚÒˇ. ƒÓÍÚÓ “˚Ò‡,
˜ÂÎÓ‚ÂÍ Ô‡ÍÚ˘Ì˚È Ë ÒÍÂÔÚ˘ÂÒÍË Ì‡ÒÚÓÂÌÌ˚È ÔÓ ÓÚÌÓ¯ÂÌ˲ ÍÓ ‚ÒÂÏÛ, ‚
Ú‡ÍÛ˛ ÂÛÌ‰Û ÌËÍÓ„‰‡ Ì ‚ÂËÎ. œÓ͇ ÔÓ ‚ËÌ ÌÂÎÓ‚ÍÓ ·Ó¯ÂÌÌÓ„Ó ¯‡‡
‰Îˇ ·ÓÛÎËÌ„‡ Ì Ó͇Á‡ÎÒˇ ̇ ÔÛÒÚ˚ÌÌÓÈ ‡‚ÌËÌ ‚ÏÂÒÚÂ Ò Ú‡ÍËÏË ÊÂ, ͇Í
ÓÌ ñ β‰¸ÏË ÛÊ Ì ÔË̇‰ÎÂʇ˘ËÏË ˝ÚÓÏÛ ÏËÛ, ÌÓ Â˘Â Ë Ì ÔËÌˇÚ˚ÏË
‚ ÏË ËÌÓÈ. “ÛÚ-ÚÓ Ë ÔÓÌˇÎ ¬ËÍÚÓ œ‡Î˚˜ “˚Ò‡, ˜ÚÓ ÊËÁ̸, ÍÓÚÓÓÈ ÓÌ
ÊËÎ ‰Ó ÒËı ÔÓ ÌÂ Ú‡Í ÛÊ Ë ÔÎÓı‡, Ë Û ÌÂ„Ó ÂÒÚ¸ ÓÒÌÓ‚‡ÚÂθ̇ˇ Ô˘Ë̇,
˜ÚÓ·˚ ‚ÂÌÛÚ¸Òˇ ̇Á‡‰Ö
œ‡ÏˇÚË ¿Ì‰¡ ü‡ÒÍÓ ÔÓÒ‚ˇ˘‡ÂÚÒˇ.
Tragicomedy.
Many people suspect that life does not end after death. Doctor Tyrsa, a
generally practical and skeptical man, never believed in such nonsense. UntilÖ
because of an awkwardly thrown bowling ball he lands on a deserted plain
together with others like him: people who no longer belong to this world, but
who have not been let into the other world. Viktor Palych Tyrsa understands
that the life which he lived hitherto has not been so bad at all, and that he has
a sound reason to returnÖ
Dedicated to Andrei Kraskoís memory.
114
www.kinotavr.ru
ÔÓÚÂÚ Ì‡ÒÚÓˇ˘Â„Ó
portrait of the present
‡ÎÎÂ-ÓÔ!
ALLEZ-HOP!
‡ÚÂθ
ARTEL
‰Û„‡ˇ ÊËÁ̸
A DIFFERENT LIFE
‰Û„Ë ÛÒÒÍËÂ
THE OTHER RUSSIANS
ÊËÎ-·˚Î Û ‰Â‰Û¯ÍËÖ
PAYING GUEST
ÎÂÌËÌ ÍÓ̸ Ë ÎÂÌˇ
LYONYA'S HORSE AND LYONYA
ÓÚÒÚ‡‚ÌÓÈ Û˜ËÚÂθ
THE RETIRED TEACHER
ÔÓ̉ÂθÌËÍ
MONDAY
ÓχÌÒ Ì‡‰Ë‡
THE ROMANCE OF NADIR
ÓÒÒÓ¯¸Ö „ڇÈÏ
ROSSOSHÖ RAGTIMEÖ
Ú‡Ì„Ó ‰Îˇ "ÁÍ"
TANGO FOR A CONVICT
ˆÂÎÛÈ ÏÂÌˇ ÍÂÔ˜Â
BESAME MUCHO
ˇÔÚËÍ-ı˝ÒÂ
YAPTIK-HASSE
115
ÔÓÚÂÚ Ì‡ÒÚÓˇ˘Â„Ó
portrait of the present
œŒ–“–≈“ Õ¿—“ŒflŸ≈√Œ
¿ÀÀ≈-Œœ!
PORTRAIT OF THE
PRESENT
ALLEZ-HOP!
007, –ÓÒÒˡ, 25 ÏËÌ., ˆ‚., Beta SP
œ–Œ√–¿Ãÿ
–Œ——»…—ü»’
ƒŒü”Ã≈Õ“¿À‹Õ¤’
‘»À‹ÃŒ¬
PROGRAMME
OF RUSSIAN
DOCUMENTARY FILMS
116
¬ ÒÎÛ˜‡Â Ò Ë„Ó‚ÓÈ ÔÓ„‡ÏÏÓÈ ´üËÌÓÚ‡‚‡ª ÒÏ˚ÒÎÓ‚ÓÈ ‡ÍˆÂÌÚ
¿‚ÚÓ ÒˆÂ̇ˡ, ÂÊËÒÒÂ, Á‚ÛÍ, ÏÓÌÚ‡Ê —Â„ÂÈ «ËÌÓ‚¸Â‚
‚ Â„Ó ÒÎÓ„‡Ì ˇ‚ÌÓ ÒÚÓËÚ Ì‡ ÔÓÒΉÌÂÏ ÒÎÓ‚Â: ´Õ‡ÒÚÓˇ˘ÂÂ
ŒÔÂ‡ÚÓ fiËÈ ¡‡ÍÛÎËÌ
ÓÒÒËÈÒÍÓ ü»ÕŒª. ƒÎˇ ÔÓ„‡ÏÏ˚ ‰ÓÍÛÏÂÌڇθÌÓÈ
ÃÛÁ˚͇ ¿ÎÂÍÒ ÷Ë·Ë΂, »Ó„‡ÌÌ-—·‡ÒÚ¸ˇÌ ¡‡ı,
ÍËÌÓÚ‡‚Ó‚ÒÍËÈ ÒÎÓ„‡Ì ÒÚÓθ Ê ‡ÍÚÛ‡ÎÂÌ, ÌÓ ‡ÍˆÂÌÚ ˇ ·˚
›Î‚ËÒ œÂÒÎË (´Love Me Tenderª)
ÔÓÒÚ‡‚Ë· ̇ Â„Ó ÔÂ‚ÓÏ ÒÎÓ‚Â Õ¿—“ŒflŸ≈≈.
œÓ‰˛ÒÂ ƒ‡‚ˉ ¡Ó̉‡‚ÒÍËÈ
¬ ˝ÚÛ ÔÓ„‡ÏÏÛ ‚Ó¯ÎË ÙËθÏ˚, Ô‰ÒÚ‡‚Ρ˛˘Ë ̇¯Â,
œÓËÁ‚Ó‰ÒÚ‚Ó ´–ÂÔÓ‰ÛÍÚÓª
ÓÒÒËÈÒÍÓÂ, ̇ÒÚÓˇ˘ÂÂ.
¿‚ÚÓ˚ ÒÓÒ‰ÓÚÓ˜ÂÌ˚ ̇ ÒÂ„Ó‰Ìˇ¯ÌÂÏ ‰ÌÂ, ÒÌËχ˛Ú „Ó
ÕË̇ Ì ÔÓÒÚÓ ‚Ò˛ ÊËÁ̸ ÔÓ‡·Óڇ· ‚ ˆËÍ ÍÎÓÛÌÂÒÒÓÈ,
̇·Î˛‰‡˛˘ÂÈ Í‡ÏÂÓÈ, ÌÓ ‚Ó‚Ò Ì ·ÂÒÔËÒÚ‡ÒÚÌÓÈ Ëı ‚Á„Ρ‰
Ó̇ Ú‡Ï ÊË·. » ‰Û„ÓÈ ÒÂÏ¸Ë Û ÕËÌ˚ ÌÂÚ. ’ÓÚˇ Û ÌÂÂ
ÔËÒÚ‡ÒÚÂÌ, ÔˉË˜Ë‚, ËÌÓ„‰‡ ‚β·ÎÂÌ. ¬Ò ˝ÚË Í‡ÚËÌ˚
Ó˜Â̸, Ó˜Â̸ ·Óθ¯Ó ÒÂ‰ˆÂ. “ÓθÍÓ ‚ÓÚ Ò‡Ï‡ Ó̇
‚ÌˇÚÌ˚ ‡‚ÚÓÒÍË ‚˚Ò͇Á˚‚‡Ìˡ Ó ÒÚ‡ÌÂ, ÒÓÓÚ˜ÂÒÚ‚ÂÌÌË͇ı,
χÎÂ̸͇ˇ. ¿ ÏË ÓÌ Ó„ÓÏÂÌ. ÕÓ ‚ ÌÂÏ Ì ‚Ò„‰‡
‚ÂÏÂÌË. », ÂÒÚÂÒÚ‚ÂÌÌÓ ÌÓ ‰ÂÎË͇ÚÌÓ-ÓÔÓÒ‰ӂ‡ÌÌÓ Ó Ò·Â.
̇ıÓ‰ËÚÒˇ ÏÂÒÚÓ ‰Îˇ χÎÂ̸ÍËıÖ
ŒÌË Ò‰Â·Ì˚ ̇ ‡ÁÌ˚ı ÒÚÛ‰Ëˇı ‚ ÃÓÒÍ‚Â, —‡ÌÍÚ-œÂÚÂ·Û„Â,
ÕÓ‚ÓÒË·ËÒÍÂ, üËÓ‚Â, ¬Î‡‰Ë͇‚͇ÁÂ Ë ‰‡Ê ‚ ü˚ÏÛ. ŒÌË
ÒÌˇÚ˚ β‰¸ÏË ‡ÁÌ˚ı ÔÓÍÓÎÂÌËÈ. — „ÓÒÛ‰‡ÒÚ‚ÂÌÌÓÈ
ÙË̇ÌÒÓ‚ÓÈ ÔÓ‰‰ÂÊÍÓÈ Ë ·ÂÁ ÌÂÂ. »ÌÓ„‰‡ ÓÒÌÓ‚Ì˚Ï
ËÒÚÓ˜ÌËÍÓÏ ÙË̇ÌÒËÓ‚‡Ìˡ ÔÓÂÍÚ‡ Ó͇Á˚‚‡ÎÒˇ ͇Ï‡Ì Â„Ó
‡‚ÚÓ‡-ÔÓ‰‚ËÊÌËÍ‡Ö ÕÓ ‚Ó ‚ÒÂı ÂÒÚ¸ ̇ÒÚÓˇ˘Â ‚ Ó·ÓËı
ÒÏ˚Ò·ı ÒÎÓ‚‡ ‡ÍÚۇθÌÓÂ, ÚÂÍÛ˘Â (Ë ÔÂıÓ‰ˇ˘ÂÂ) Ë
ÔÓ‰ÎËÌÌÓÂ. —ÚŒˇ˘ÂÂ.
¬ËÍÚÓˡ ¡ÂÎÓÔÓθÒ͇ˇ,
ÍÛ‡ÚÓ ÔÓ„‡ÏÏ˚
In the feature film programme of ´Kinotavrª the accent in
2007, Russia, 25 minutes, col., Beta SP
the festivalís slogan lies clearly on last word: ìReal Russian
CINEMAî. For Kinotavrís documentary programme the slogan
Scriptwriter, Director, Sound, Editing Sergei Zinoviev
is equally valid, but I would put the stress on the first word:
Director of Photography Yuri Bakulin
REAL. This programme includes films representing Russian
Music Alex Tsibilev, Johann Sebastian Bach, Elvis Presley
reality.
(´Love Me Tenderª)
The authors focus on the present. Their camera is observing,
Producer David Bondarevsky
but not impartial: their view is biased, captivating, sometimes
Production ìReproducer Videoî
enamoured. All these films are distinct authorís statements
about the country, about their compatriots, about time; and of
Nina has not just worked all her life in the circus as a clown,
course, even if delicately mediated, about themselves. They
but she has lived in the circus. Nina has no other family.
were made at different studios: in Moscow, St Petersburg,
Although she has a big heart, she is herself very small. And
Novosibirsk, Kirov, Vladikavkaz and even in the Crimea. They
the world is huge. But there is not always a place in it for
were shot by people of different generations; with and without
the smallÖ
financial support from the State; sometimes the basic source
of a projectís finance was the authorís own money or of an
ardent supporterÖ But in all films there is an element of the
real: of the actual, present and original. Worthy being
presented.
Victoria Belopolskaya,
Programme Curator
ƒ–”√¿fl ∆»«Õ‹
ARTEL
A DIFFERENT LIFE
ÔÓÚÂÚ Ì‡ÒÚÓˇ˘Â„Ó
portrait of the present
¿–“≈À‹
117
2006, –ÓÒÒˡ, 30 ÏËÌ., ˜/·, 35 ÏÏ
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ —Â„ÂÈ ÀÓÁÌˈ‡
ŒÔÂ‡ÚÓ —Â„ÂÈ ÃËı‡Î¸˜ÛÍ
«‚ÛÍ ¬Î‡‰ËÏË √ÓÎÓ‚ÌˈÍËÈ
–ÂÊËÒÒÂ ÏÓÌڇʇ —Â„ÂÈ ÀÓÁÌˈ‡
œÓ‰˛ÒÂ ¬ˇ˜ÂÒ·‚ “ÂθÌÓ‚
œÓËÁ‚Ó‰ÒÚ‚Ó —ƒ‘ (—‡ÌÍÚ-œÂÚÂ·Û„Ò͇ˇ ÒÚÛ‰Ëˇ
‰ÓÍÛÏÂÌڇθÌ˚ı ÙËθÏÓ‚)
ŒÌË ‡ÚÂθ ˚·‡ÍÓ‚-ÔÓÏÓÓ‚. ÕÓ ‰Îˇ Ì‡Ò ÓÌË ˜ÂÌ˚Â
ÒËÎÛ˝Ú˚ ̇ ·ÂÎÓÏ ÒÌ„Û. Àˈ‡ ÌÂ‡Á΢ËÏ˚. œÓ‰ ÒÌ„ÓÏ Ë
θ‰ÓÏ Ëı ‰Ó·˚˜‡, ˚·‡. –˚·‡ÍË ÍÓÔÓ¯‡ÚÒˇ ̇ θ‰Û, Ëı
Á‡ÔÓ‡¯Ë‚‡ÂÚ ÒÌ„, ÓÌË ÔÓ‰ÓÎ„Û ÔÂ·Ë‡˛Ú ‰Â‰Ó‚ÒÍË ÒÂÚË,
ÒÚ‡ÌÓ‚ˇÚÒˇ ÚӘ͇ÏË ‚ ·ÂÒÍ‡ÈÌÂÈ ÓÒÒËÈÒÍÓÈ ·ÂÎËÁÌÂ. ≈ÒÎË
·˚ ‡ÚÂθ Ì ËÒÔÓθÁÓ‚‡Î‡ ˝ÎÂÍÚÓÔËÎÛ, ˜ÚÓ·˚ ‰Â·ڸ
ÓÚ‚ÂÒÚˡ ‚Ó Î¸‰Û, Ï˚ ÏÓ„ÎË ·˚ Ò˜ÂÒÚ¸, ˜ÚÓ ´¿ÚÂθª ÒÌˇÚ‡
100 ÎÂÚ Ì‡Á‡‰: ÔÓ ·Óθ¯ÓÏÛ Ò˜ÂÚÛ, ÊËÁ̸ Ú‡ÍËı β‰ÂÈ ‚
–ÓÒÒËË Ì ÏÂÌˇÎ‡Ò¸ ÒÚÓÎÂÚˡÏË. » ‚ÓÁÏÓÊÌÓ, Ô·ۉÂÚ
Ú‡ÍÓÈ ‚Ò„‰‡. ÕÓ Ó‰Ì‡Ê‰˚ Ή ÚÓ„‡ÂÚÒˇ.
‘ÂÒÚË‚‡ÎË:
ÃÂʉÛ̇Ó‰Ì˚È ÙÂÒÚË‚‡Î¸ ‰ÓÍÛÏÂÌڇθÌ˚ı ÙËθÏÓ‚ ‚
¿ÏÒÚÂ‰‡ÏÂ;
ÃÂʉÛ̇Ó‰Ì˚È ÍËÌÓÙÂÒÚË‚‡Î¸ ‚ Ç-‰Âθ-œÎ‡ÚÂ;
ÃÂʉÛ̇Ó‰Ì˚È ÙÂÒÚË‚‡Î¸ ‰ÓÍÛÏÂÌڇθÌ˚ı ÙËθÏÓ‚ ‚
«‡„· ZagrebDox;
ÃÂʉÛ̇Ó‰Ì˚È ÍËÌÓÙÂÒÚË‚‡Î¸ ‚ √ÂÌÚÂ;
ÃÂʉÛ̇Ó‰Ì˚È ÙÂÒÚË‚‡Î¸ ‰ÓÍÛÏÂÌڇθÌ˚ı ÙËθÏÓ‚ ‚
ljˉ DocumentaMadrid Ë ‰.
2006, Russia, 30 min., b/w, 35 mm
Scriptwriter and Director Sergei Loznitsa
Director of Photography Sergei Mikhalchuk
Sound Vladimir Golovnitsky
Editing Sergei Loznitsa
Producer Viacheslav Telnov
Production SDF (St. Petersburg Studio of Documentary Films)
They are an artel (workshop) of fishermen and coast-dwellers.
But for us they are black silhouettes against the white snow.
People are indiscernible. Under the snow and ice lies their
target: fish. The fishermen potter about on the ice, they are
covered in snow, they take long to pull in their old nets, used
already by their ancestors, they become dots in the boundless
Russian whiteness. If the artel would not use an electric saw
to make holes in the ice, we could think that ìArtelî was
filmed a hundred years ago: by and large, the life of these
people in Russia has not changed for centuries. And probably
it will always stay like that. But once the ice moves...
Festivals:
International Documentary Film Festival in Amsterdam;
Mar del Plata International Film Festival;
International Documentary Film Festival ZagrebDox;
International Film Festival Ghent;
International Documentary Film Festival of Madrid
DocumentaMadrid
2007, –ÓÒÒˡ, 26 ÏËÌ., ˆ‚., Beta SP
–ÂÊËÒÒÂ, ‡‚ÚÓ ÒˆÂ̇ˡ Ë ÔÓ‰˛ÒÂ ¬Î‡‰ËÏË ›ÈÒÌÂ
ŒÔÂ‡ÚÓ ≈‚„ÂÌËÈ üÓÁÛÌ
«‚ÛÍ ŒÎ„ ’ÓÌ
–ÂÊËÒÒÂ ÏÓÌڇʇ ¬Î‡‰ËÏË ›ÈÒÌÂ
œÓËÁ‚Ó‰ÒÚ‚Ó ´¿Áˡ-ÙËθϪ
´ƒÛ„‡ˇ ÊËÁ̸ª ÙËÎ¸Ï Ó· Ó‰ÌÓÈ ÒË·ËÒÍÓÈ ‰Â‚ÌÂ Ë Ó·Ó ‚ÒÂÈ
–ÓÒÒËË, ÎÂʇ˘ÂÈ Á‡ Ô‰Â·ÏË „ÓÓ‰Ó‚-ÏËÎÎËÓÌÌËÍÓ‚. «‰ÂÒ¸
ˉÂÚ ÒÓ‚ÒÂÏ ‰Û„‡ˇ ÊËÁ̸, ˜ÂÏ ‚ ´ˆÂÌÚ‡ı ˆË‚ËÎËÁ‡ˆË˪. »
˝Ú‡ ÊËÁ̸, ÔÓıÓÊÂ, ÓÚ‚Â„‡ÂÚ ÔËÌˇÚ˚ ´ˆË‚ËÎËÁÓ‚‡ÌÌ˚ª
ÌÓÏ˚. ’ÓÚˇ ·˚ ÔÓÚÓÏÛ, ˜ÚÓ ÚÂÚ¸ ÊËÚÂÎÂÈ ÓÒÒËÈÒÍÓ„Ó Ò·,
ÔÓ ÒÂ„Ó‰Ìˇ¯ÌÂÈ „Ó¸ÍÓÈ ÒÚ‡ÚËÒÚËÍ ‡ÎÍÓ„ÓÎËÍË. » ÔÓÚÓÏÛ,
˜ÚÓ, Í‡Í Ë ‚Â͇ ̇Á‡‰, ‚˚ÊË‚‡ÌË Á‰ÂÒ¸ Á‡‚ËÒËÚ Î˯¸ ÓÚ
ÍÓ΢ÂÒÚ‚‡ ‚˚‡˘ÂÌÌÓÈ Í‡ÚÓ¯ÍË. » ÔÓÚÓÏÛ, ˜ÚÓ
‰ËÌÒÚ‚ÂÌÌÓÈ ‡θÌÓÈ ‚·ÒÚ¸˛ ÒÚ‡ÌÓ‚ËÚÒˇ ÛÒÚ‡Î˚È
Û˜‡ÒÚÍÓ‚˚È ÏËÎˈËÓÌÂ: ÓÌ ÒÔ‡Ò‡ÂÚ ÓÚ ÔÓ·Ó‚ ‰ÂÚÂÈ Ë
ÒÚ‡ËÍÓ‚, ÓÌ Ô˚Ú‡ÂÚÒˇ Ó·‡ÁÛÏËÚ¸ ÒÔË‚¯ËıÒˇ, ÓÌ Ó‰ËÌ ÚˇÌÂÚ
̇ Ò· ‚ÂÒ¸ „ÛÁ „ÓÒÛ‰‡ÒÚ‚ÂÌÌ˚ı ÒӈˇθÌ˚ı Á‡‰‡˜Ö
‘ÂÒÚË‚‡ÎË:
ÃÂʉÛ̇Ó‰Ì˚È ÙÂÒÚË‚‡Î¸ ÍÓÓÚÍÓÏÂÚ‡ÊÌ˚ı ÙËθÏÓ‚
‚ ü‡ÍÓ‚Â
2007, Russia, 26 min., col., Beta SP
Director, Scriptwriter and Producer Vladimir Eisner
Director of Photography Evgeni Korzun
Sound Oleg Khon
Editing Vladimir Eisner
Production ìAsia-Filmî
ìA Different Lifeî is a film about a Siberian village and about the
Russia that lies beyond the large cities. Here life is completely
different than in the ìcentres of civilizationî. And this life, it
seems, rejects the accepted norms of civilization. Even if we just
consider that a third of the inhabitants of Russian villages,
according to todayís bitter statistics, are alcoholics. Because, like
centuries ago, survival here depends only on the quantity of the
home-grown potatoes. Because the only real authority remains the
tired militiaman on the beat: he saves the children and old men
from fights, he tries to reason with the drunkard, he shoulders
the burden of the stateís social tasksÖ
Festivals:
Krakow International Short Film Festival
ÔÓÚÂÚ Ì‡ÒÚÓˇ˘Â„Ó
portrait of the present
ƒ–”√»≈ –”——ü»≈
∆»À-¡¤À ” ƒ≈ƒ”ÿü»Ö
THE OTHER RUSSIANS
PAYING GUEST
2006, –ÓÒÒˡ, 52 ÏËÌ., ˆ‚., 4:3, ÏÓÌÓ
2007, –ÓÒÒˡ, 42 ÏËÌ., ˆ‚., Beta SP
¿‚ÚÓ˚ ÇÈ‡Ï fiÒÛÔÓ‚‡, ÇË̇ ÕÂÍ‡ÒÓ‚‡
¿‚ÚÓ ÒˆÂ̇ˡ »Ë̇ —Âχ¯ÍÓ
–ÂÊËÒÒÂ —Â„ÂÈ ¡ÓÒÂÌÍÓ
ŒÔÂ‡ÚÓ˚ »Ë̇ ”‡Î¸Ò͇ˇ, »‚‡Ì ¿ÎÙÂÓ‚
üÓÏÔÓÁËÚÓ ≈͇ÚÂË̇ ü‡ÏÂθÍÓ‚‡
«‚ÛÍ ‘ËÎËÔÔ –˚·‡, ÕËÍÓÎ‡È ”ÒÚËÏÂÌÍÓ,
¬‡ÒËÎËÈ √ÎË„ÓÎ˛Ì‡Ò, ¬ËÍÚÓ ¡˚Ò
ÃÓÌÚ‡Ê “ËÏÛ ¡ÂÎÓ‚, ¡ÓËÒ ¿Ì‰Ë‚ÒÍËÈ
œÓ‰˛ÒÂ Շڇθˇ ∆ÂÎÚÛıË̇
œÓËÁ‚Ó‰ÒÚ‚Ó üËÌӂˉÂÓÒÚÛ‰Ëˇ ´–ËÒͪ
118
ŒÔÂ‡ÚÓ˚ ÃËı‡ËÎ ®ÍËÌ, »Ë̇ ”‡Î¸Ò͇ˇ
œÓ‰˛ÒÂ ÇÈ‡Ï fiÒÛÔÓ‚‡
œÓËÁ‚Ó‰ÒÚ‚Ó ´¿‚„ÛÒÚª
–‡Á‚‡Î —Ó‚ÂÚÒÍÓ„Ó —Ó˛Á‡ ÔÓ‚ÎÂÍ Á‡ ÒÓ·ÓÈ ÏÌÓ„Ó˜ËÒÎÂÌÌ˚Â
Ú‡„‰ËË. Œ‰ÌÓÈ ËÁ Ò‡Ï˚ı ÚˇÊÂÎ˚ı ÒڇΠËÒıÓ‰
ÛÒÒÍÓˇÁ˚˜ÌÓ„Ó Ì‡ÒÂÎÂÌˡ ËÁ ÂÒÔÛ·ÎËÍ —‰ÌÂÈ ¿ÁËË.
»‚‡Ì ÕËÍËÚӂ˘ ÍÂÔÍËÈ ÒÂθÒÍËÈ ıÓÁˇËÌ. » ÍÓÁ˚ Û Ì„Ó
ÂÒÚ¸, Ë ‚ËÌÓ„‡‰ÌËÍ.
—ÂÂʇ ÒÚËıËÈ̇ˇ Ò·‚ˇÌÒ͇ˇ ‰Û¯‡. ÕË ÍÓ·, ÌË ‰‚Ó‡,
ÔÂÂ͇ÚË ÔÓÎÂ Ë ‡·ÓÚ‡ÂÚ ÚÓθÍÓ ÚÓ„‰‡, ÍÓ„‰‡ ÛÊ Ó˜Â̸ ÂÒÚ¸
ıÓ˜ÂÚÒˇ. ÕÓ ˝ÚËı ÒÚÓθ ‡ÁÌ˚ı β‰ÂÈ Ò‚ˇÁ˚‚‡˛Ú ÔÓ˜Ì˚Â
ÛÁ˚. ¬Ó-ÔÂ‚˚ı, ´ÓÚÌÓ¯ÂÌˡ ÚÛ‰‡ Ë Í‡ÔËڇ·ª: ÍÂÔÍËÈ
ıÓÁˇËÌ »‚‡Ì ÕËÍËÚӂ˘ ÌÛʉ‡ÂÚÒˇ ‚ ‡·ÓÚÌËÍÂ. ¬Ó-‚ÚÓ˚ı,
‚ÓÒÔËÚ‡ÚÂΡ Ë ‚ÓÒÔËÚÛÂÏÓ„Ó: ̇ ÍÓ„Ó, ÍÓÏ —ÂÂÊË, Ú‡ÚËÚ¸
·˚‚¯ÂÏÛ Û˜ËÚÂβ ÚÛ‰‡ Ò‚Ó˛ Ô‰‡„ӄ˘ÂÒÍÛ˛ ˝ÌÂ„˲?
ÕÓ‚˚ ‰Îˇ ̇¯ÂÈ ‰Â‚ÌË Í‡ÔËÚ‡ÎËÒÚ˘ÂÒÍË ÓÚÌÓ¯ÂÌˡ
ÓÍ‡¯ÂÌ˚ ‚ ÌÂÔÓ‚ÚÓËÏ˚ ÓÚ˜ÂÒÚ‚ÂÌÌ˚ ÚÓ̇. ÕË Û ÍÓ„Ó
ÚÛÚ ÌÂÚ Í·ÒÒÓ‚Ó„Ó ÒÓÁ̇Ìˡ, Á‡ÚÓ ÏÌÓ„Ó ˜Û‚ÒÚ‚.
2006, Russia, 52 min., col., 4:3, mono
2007, Russia, 42 min., col., Beta SP
Authors Mairam Yusupova, Marina Nekrasova
Scriptwriters Irina Semashko
Directors of Photography Mikhail Yorkin, Irina Uralskaya
Director Sergei Bosenko
Producer Mairam Yusupova
Director of Photography Irina Uralskaya, Ivan Alferov
Production ìAugustî
Composer Ekaterina Kamelkova
Sound Phillip Ryba, Nikolai Ustimenko, Vasili Gligoliunas,
The collapse of the Soviet Union caused numerous tragedies.
Viktor Brys
One of the most serious consequences is the exodus of the
Editing Timur Belov, Boris Andrievsky
Russian-speaking population from the republics of Central Asia.
Producer Natalia Zheltukhina
Production Film and Video Studio ìRiskî
Ivan Nikitovich is a strong farmer. He has goats and a
vineyard. Serezha is an uncontrolled Slavic soul. Neither house
nor home, he walks the fields and works only when he really
wants to. But there are strong bonds that connect these
different men. First, the ìrelations of work and the capitalî: the
landowner Ivan Nikitovich needs a worker. Second, the tutor
and the tutee: on whom, except Serezha, should the former
teacher release his pedagogical energy? Capitalist attitudes that
are new to village life are painted in unique tones. Nobody here
has any class-consciousness, but there are a lot of feelings.
LYONYAíS HORSE AND LYONYA
THE RETIRED TEACHER
ÔÓÚÂÚ Ì‡ÒÚÓˇ˘Â„Ó
portrait of the present
À®Õ»Õ üŒÕ‹ » À®Õfl Œ“—“¿¬ÕŒ… ”◊»“≈À‹
119
2007, –ÓÒÒˡ, 30 ÏËÌ., ˆ‚., 35 ÏÏ
2006, –ÓÒÒˡ, 43 ÏËÌ., ˆ‚., Beta SP
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ »ÓÒËÙ “‡ıÚÂÌ„Âˆ
–ÂÊËÒÒÂ ¬‡‰ËÏ ÷‡ÎËÍÓ‚
ŒÔÂ‡ÚÓ —Â„ÂÈ Ã‡ÍÒËÏÓ‚
ŒÔÂ‡ÚÓ ¬Î‡‰ËÏË œÓΡÌÒÍËÈ
üÓÏÔÓÁËÚÓ ÃËı‡ËÎ üÛίËÌ
üÓÏÔÓÁËÚÓ ÀÂÓÌˉ ü‡·‡ÌÓ‚
«‚ÛÍ ÀÂÓÌˉ ÀÂÌÂ, ¬Î‡‰ËÏË ÇËÌËÌ
«‚ÛÍ Õ‡Ì‡ “·Ë‚‡, ¬ËÍÚÓ ¡˚Ò
ÃÓÌÚ‡Ê À‡ËÒ‡ —ÓÎÓ‚ˆÓ‚‡
ÃÓÌÚ‡Ê »„Ó¸ ÿÂβÍ
œÓ‰˛ÒÂ ¬ˇ˜ÂÒ·‚ “ÂθÌÓ‚
üÓÌÒÛθڇÌÚ ‘‡ÚËχ ¿ÎËÍÓ‚‡
œÓËÁ‚Ó‰ÒÚ‚Ó —ƒ‘ (—‡ÌÍÚ-œÂÚÂ·Û„Ò͇ˇ ÒÚÛ‰Ëˇ
œÓ‰˛ÒÂ ÃËı‡ËÎ üÓÒ˚‚-ÕÂÒÚÂÓ‚
‰ÓÍÛÏÂÌڇθÌ˚ı ÙËθÏÓ‚)
œÓËÁ‚Ó‰ÒÚ‚Ó ´Ã-ÙËθϪ
ÀÂÌˇ ÊË‚ÂÚ Ó‰ËÌ. Œ‰ËÌ ‚‰ÂÚ ‰Â‚ÂÌÒÍÓ ıÓÁˇÈÒÚ‚Ó, Ó‰ËÌ Ë
«‡Û·ÂÍÛ ’‡ËÚÓÌÓ‚Ë˜Û √ÛÚËÂ‚Û Á‡ 80. ÕÓ ‚Ò ‡‚ÌÓ ÛÚÓÏ
ÒÂÂÚ, Ë Ô‡¯ÂÚ, Ë ÒÓ·Ë‡ÂÚ Ò‚ÓÈ Ì·Óθ¯ÓÈ ÛÓʇÈ. ÕÓ
1 ÒÂÌÚˇ·ˇ 2002 „Ó‰‡ ÓÌ ÔÓ Ú‡‰ËˆËË ÓÚÔ‡‚ΡÂÚÒˇ
ÌÂθÁˇ Ò͇Á‡Ú¸, ˜ÚÓ ÀÂÌˇ Ó‰ËÌÓÍ: Û ÌÂ„Ó ÂÒÚ¸ ÍÓ̸ Ë
Ô‡Á‰ÌÓ‚‡Ú¸ ƒÂ̸ Á̇ÌËÈ ‚ ¯ÍÓÎÛ, „‰Â ÔÓ‡·ÓڇΠ‚Ò˛
ÔÓÓÒÂÌÓÍ. ÀÂÌˇ β·ËÚ ÍÓÌˇ Ë ÔÓÓÒÂÌ͇, ÔÓÓÒÂÌÓÍ
ÊËÁ̸, ñ ‚ ¯ÍÓÎÛ π 1 „ÓÓ‰‡ ¡ÂÒ·̇. ¬ÏÂÒÚ ÒÓ Ò‚ÓËÏË
ÔË‚ˇÁ‡ÎÒˇ Í ÍÓÌ˛, ‡ ÍÓ̸ Óı‡ÌˇÂÚ ÔÓÓÒÂÌ͇. ÀÂÌˇ Ô‡¯ÂÚ
·˚‚¯ËÏË Û˜ÂÌË͇ÏË Ë ÍÓÎ΄‡ÏË ÓÌ ÔÂÂÊËÎ ÛʇÒ
̇ ÍÓÌÂ Ë ‚ÓÁËÚ Ì‡ ÌÂÏ ÔÓÍ·ÊÛ, ‡ ÔÓÓÒÂÌÓÍ Ëı ‚ÂÒÂÎËÚ.
Á‡ÎÓÊÌ˘ÂÒÚ‚‡. » ‚˚ÊËÎ, ˜ÚÓ·˚ ÚÂÔÂ¸ ҂ˉÂÚÂθÒÚ‚Ó‚‡Ú¸
›ÚË ÚÓ ÔË‚ˇÁ‡Ì˚ ‰Û„ Í ‰Û„Û Ë Á̇˛Ú ‰Û„ ÔÓ ‰Û„‡
ÓÚ Îˈ‡ ÊË‚˚ı Ë ÏÂÚ‚˚ı ÊÂÚ‚ ¡ÂÒ·̇.
‚ÒÂ. ¿ ÔÓÚÓÏÛ ÀÂÌˇ Û‰Ë‚ÎˇÂÚÒˇ, Í‡Í ˝ÚÓ ‚ ´’ÓÎÒÚÓÏÂª
“ÓÎÒÚÓÈ ÏÓ„ ËÁÓ·‡ÁËÚ¸ ´ÍÓÌˇ-Ò‡‰ÓχÁÓıËÒÚ‡ª, ‡ „Ó‚ÓˇÚ,
ıÓÓ¯ËÈ ÔËÒ‡ÚÂθ...
2007, Russia, 30 min., col., 35 mm
2006, Russia, 43 minutes, col., Beta SP
Scriptwriter and Director Iosif Trakhtengerts
Director Vadim Tsalikov
Director of Photography Sergei Maksimov
Director of Photography Vladimir Poliansky
Composer Mikhail Kuleshin
Composer Leonid Kabanov
Sound Leonid Lerner, Vladimir Marinin
Sound Nana Tebieva, Victor Brys
Editing Larissa Solovtsova
Editing Igor Sheliuk
Producer Viacheslav Telnov
Adviser Fatima Alikova
Production SDF (St. Petersburg Studio of Documentary Films)
Producer Michael Kosyrev-Nesterov
Production ìM-Filmî
Lyonya lives alone. Alone, he runs a farm; alone, he sows,
ploughs, and reaps the small harvest. But it is impossible to
Zaurbek Kharitonovich Gutiev is over 80 years old. All the
say that Lyonya is lonely: he has a horse and a piglet. Lyonya
same, on the morning of 1 September 2002 he sets off, as
loves the horse and the pig; the pig has got attached to the
usual, to celebrate the Day of Knowledge in the school where
horse, and the horse protects the pig. Lyonya ploughs and
he worked all his life: in the School No. 1 of Beslan. Together
carries loads on horseback and the pig amuses them both.
with his former pupils and colleagues he lived through the
These three are glued to each other and know everything
horror of captivity, and survived to testify on behalf of the
about each other. That is why Lyonya is surprised how
living and the dead victims of Beslan.
Tolstoy could portray a sadomasochistic horse in
ìKholstomerî (The Strider), whilst people say he is a good
writer...
ÔÓÚÂÚ Ì‡ÒÚÓˇ˘Â„Ó
portrait of the present
œŒÕ≈ƒ≈À‹Õ»ü
–ŒÃ¿Õ— Õ¿ƒ»–¿
MONDAY
THE ROMANCE OF NADIR
2006, –ÓÒÒˡ, 26 ÏËÌ., ˆ‚., ÏÓÌÓ, 4:3
2007, –ÓÒÒˡ, 19 ÏËÌ., ˆ‚., Beta SP
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ “‡Ú¸ˇÌ‡ —͇·‡‰
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ ¬‡ÎÂËÈ ¡‡Î‡ˇÌ
ŒÔÂ‡ÚÓ »Ë̇ ”‡Î¸Ò͇ˇ
ŒÔÂ‡ÚÓ ¬ˇ˜ÂÒ·‚ —‡˜ÍÓ‚
œÓ‰˛ÒÂ ÇÈ‡Ï fiÒÛÔÓ‚‡
«‚ÛÍ œ‡‚ÂÎ ƒÛ‰ËÌ
œÓËÁ‚Ó‰ÒÚ‚Ó ´¿‚„ÛÒÚª
ÃÓÌÚ‡Ê —Â„ÂÈ √‡͇‚Ë
120
ÃÛÁ˚͇ ¡ËÁÂ, ÿÛ·ÂÚ, ¬Ë‚‡Î¸‰Ë, ÿÛχÌ, ÃÓˆ‡Ú,
œÓ̉ÂθÌËÍ. œËÂÏÌÓ ÓÚ‰ÂÎÂÌË ÔÓ‰ ÕÓ‚˚È „Ó‰Ö
̇Ӊ̇ˇ ÏÛÁ˚͇
œÓ‰˛ÒÂ “‡Ú¸ˇÌ‡ Õ˜‡Â‚‡
œÓËÁ‚Ó‰ÒÚ‚Ó —ÚÛ‰Ëˇ ¬‡ÎÂˡ ¡‡Î‡ˇÌ‡
üÓ„‰‡-ÚÓ “‡Ú¸ˇÌ‡ fi¸Â‚‡ ·˚· ËÁ‚ÂÒÚÌ˚Ï ÏÛÁ˚͇ÌÚÓÏ.
“ÂÔÂ¸ Ê ÔÓÊË·ˇ ÒÍËÔ‡˜Í‡ Á‡‡·‡Ú˚‚‡ÂÚ Ì‡ ÊËÁ̸,
Ë„‡ˇ ̇ ˚ÌÍ ‚ Ì·Óθ¯ÓÏ Í˚ÏÒÍÓÏ „ÓÓ‰ÍÂ. ≈Â
ËÁ‚ÂÒÚÌÓÒÚ¸ ‰‡ Ë Ò‡Ï‡ ÊËÁ̸ ÛÊ ‚ ÔÓ¯ÎÓÏ. ÕÓ ÏÛÁ˚͇
ÔÓ-ÔÂÊÌÂÏÛ Ò ÌÂÈ.
‘ÂÒÚË‚‡ÎË: DocumentaMadrid ñ ÃÂʉÛ̇Ó‰Ì˚È
ÙÂÒÚË‚‡Î¸ ‰ÓÍÛÏÂÌڇθÌ˚ı ÙËθÏÓ‚ ‚ ljˉÂ
2006, Russia, 26 min., col., mono, 4:3
2007, Russia, 19 min., col., Beta SP
Scriptwriter and Director Tatiana Skabard
Scriptwriter and Director Valeri Balayan
Director of Photography Irina Uralskaya
Director of Photography Viacheslav Sachkov
Producer Mairam Yusupova
Sound Pavel Dudin
Production ìAugustî
Editing Sergei Garkavi
Music Bizet, Schubert, Vivaldi, Schumann, Mozart, folk music
Monday. A reception desk before the New YearÖ
Producer Tatiana Nechaeva
Production Valeri Balayan Studio
Some time ago Tatiana Yurieva was a well-known musician.
Now the elderly violinist earns a living by playing on the
market in a small Crimean town. Her popularity and her life
may lie in the past, but the music stays with her.
Festivals: DocumentaMadrid ñ International Documentary
Film Festival of Madrid.
ROSSOSHÖ RAGTIMEÖ
TANGO FOR A CONVICT
ÔÓÚÂÚ Ì‡ÒÚÓˇ˘Â„Ó
portrait of the present
–Œ——Œÿ‹Ö –≈√“¿…à “¿Õ√Œ ƒÀfl ´«üª
121
2006, –ÓÒÒˡ, 52 ÏËÌ., ˆ‚., Beta SP
2006, –ÓÒÒˡ, 30 ÏËÌ., ˆ‚., Beta SP
¿‚ÚÓ ÒˆÂ̇ˡ, ÂÊËÒÒÂ, Á‚ÛÍ, ÏÓÌÚ‡Ê œÛ·‰ ¿ıχÚÓ‚
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ –‡¯Ë‰ ƒ‡‚ÎÂÚ¯ËÌ
ŒÔÂ‡ÚÓ˚ —Â„ÂÈ üÎËÏÓ‚, —Â„ÂÈ œÓÒÍÛˇÍÓ‚,
–‡¯Ë‰ ƒ‡‚ÎÂÚ¯ËÌ
ÃÛÁ˚͇ √ÂÌ̇‰ËÈ ÿËӄ·ÁÓ‚
«‚ÛÍ √ÂÌ̇‰ËÈ ÿËӄ·ÁÓ‚
ÃÓÌÚ‡Ê —Â„ÂÈ œÓÒÍÛˇÍÓ‚
œÓ‰˛ÒÂ œ‡‚ÂÎ œÂ˜ÂÌÍËÌ
œÓËÁ‚Ó‰ÒÚ‚Ó ´ÕÓ‚˚È ÍÛÒª
ü‡ÏÂ‡ ÃËı‡ËÎ ÕÂÏ˚ÒÒÍËÈ
œÓ‰˛ÒÂ “ÂÏË̇ “ۇ‚‡
œÓËÁ‚Ó‰ÒÚ‚Ó ´Õ‡Ú-¿Úª
∆ËÁ̸ ‚ χÎÂ̸ÍÓÏ „ÓӉ͠–ÓÒÒÓ¯¸ ڇ͇ˇ ÊÂ, Í‡Í Ë ‚
ÓÒڇθÌÓÈ –ÓÒÒËË. –ÓÒÒÓ¯‡Ì ·Ó˛ÚÒˇ Á‡ ‚˚ÊË‚‡ÌËÂ,
‡‰Û˛ÚÒˇ Á‡‡·ÓÚ‡ÌÌÓÏÛ Û·Î˛, ʇÎÛ˛ÚÒˇ ̇ ÊËÚÂÈÒÍËÂ
Úˇ„ÓÚ˚. Õ‡ıÓ‰ˇÚ ËÌÓ„‰‡ ˝ÍÁÓÚ˘ÂÒÍË ÒÔÓÒÓ·˚ ÔÓ‰‡·ÓÚ‡Ú¸
ÒÓ‚Ï¢‡ˇ, ̇ÔËÏÂ, ‚˚Ô˜ÍÛ Ë ÔÓ‰‡ÊÛ ÔËÓÊÍÓ‚ ̇
ÏÂÒÚÌÓÈ Òڇ̈ËË ‰ÌÂÏ ÒÓ ÒÚËÔ-‰‡ÌÒÓÏ ‚ ÏÂÒÚÌÓÏ ÌÓ˜ÌÓÏ
ÍÎÛ·Â. ÕÓ ÂÒÎË Ô˄Ρ‰ÂÚ¸Òˇ ‚ÌËχÚÂθÌÓ, Í‡Í ˝ÚÓ Ò‰Â·Î
‡‚ÚÓ ´–˝„Ú‡Èχª, ÚÓ Ó͇ÊÂÚÒˇ, ˜ÚÓ Á‰Â¯ÌË ÊËÚÂÎË
ÒÔÓÒÓ·Ì˚ ÓÒÚ‡ÌÓ‚ËÚ¸ Ò‚ÓÈ ÊËÚÂÈÒÍËÈ Á‡·Â„ Ë
ÒÓÒ‰ÓÚÓ˜ËÚ¸Òˇ ̇ ‚¢‡ı ÍÛ‰‡ ·ÓΠÒÛ˘ÌÓÒÚÌ˚ı.
‘ÂÒÚË‚‡Î¸ ˆÂÌÚ‡Î¸ÌÓ- Ë ‚ÓÒÚÓ˜ÌÓ‚ÓÔÂÈÒÍÓ„Ó ÍËÌÓ ‚
¬ËÒ·‡‰ÂÌ GoEast.
2006, Russia, 52 min., col., Beta SP
Scriptwriter, Director, Sound, Editing Pulad Akhmatov
Director of Photography Mikhail Nemyssky
Producer Temina Tuayeva
Production ìNart-Artî
The life in the small town Rossosh is the same as in the rest
“˛¸Ï‡ ˝ÚÓ, Í‡Í ËÁ‚ÂÒÚÌÓ, ÏÂÒÚÓ, „‰Â ˜ÂÎÓ‚Â͇ Î˯‡˛Ú
Ò‚Ó·Ó‰˚. ‘ÓθÍÎÓÌÓ-Á̇ÏÂÌËÚ‡ˇ Ú˛¸Ï‡ ´¡ÂÎ˚È Î·‰¸ª
˝ÚÓ ÏÂÒÚÓ, „‰Â Î˯‡˛Ú Ò‚Ó·Ó‰˚ ̇˷ÓΠ‡‰Ë͇θÌ˚Ï
Ó·‡ÁÓÏ. ÕÓ ‰‡ÊÂ Ú‡Ï ˜¸ Ì ÏÓÊÂÚ Ë‰ÚË Ó Î˯ÂÌËË
Ò‚Ó·Ó‰˚ ‚ÌÛÚÂÌÌÂÈ. ŒÒÓ·ÂÌÌÓ Ò‚Ó·Ó‰˚ ˜Û‚ÒÚ‚.
«‡Íβ˜ÂÌÌ˚È fi‡ Ó˜Â̸ ËÌÚÂÂÒÛÂÚÒˇ Á‡Íβ˜ÂÌÌÓÈ
Õ‡Ú‡¯ÂÈ. ¿ Á‡Íβ˜ÂÌ̇ˇ Õ‡Ú‡¯‡ Ó˜‡Ó‚‡Ì‡ Á‡Íβ˜ÂÌÌ˚Ï
—‡¯ÂÈ Ë ÔËÌËχÂÚ Û˜‡ÒÚË ‚ ÏÂÊÚ˛ÂÏÌÓÈ Ë„ ü¬Õ. »
̇‰ÂÂÚÒˇ ¢ ·˚Ú¸ ÒÓ‚ÒÂÏ Ò‚Ó·Ó‰ÌÓÈ Ë ËÏÂÚ¸ ‰ÂÚÂÈ. ÕË͇͇ˇ
Ú˛¸Ï‡ Ì ‚ ÒË·ı Î˯ËÚ¸ ˜ÂÎÓ‚Â͇ Ò‚Ó·Ó‰˚ ̇‰ÂˇÚ¸Òˇ.
ñ œËÁ ÙÓ̉‡ ËÏÂÌË –Óχ̇ ü‡ÏÂ̇ Œ‘ƒü ´–ÓÒÒˡª,
≈͇ÚÂËÌ·Û„;
ñ ƒËÔÎÓÏ ÷ÂÌÚ‡ Ó·˘ÂÒÚ‚ÂÌÌÓÈ ËÌÙÓχˆËË ñ Ãü‘ Ó
Ô‡‚‡ı ˜ÂÎÓ‚Â͇ ´—Ú‡ÎÍÂª, ÃÓÒÍ‚‡.
2006, Russia, 30 min., col., Beta SP
Scriptwriter and Director Rashid Davletshin
Directors of Photography Sergei Klimov,
Sergei Proskuriakov, Rashid Davletshin
Music Gennadi Shiroglazov
Sound Gennadi Shiroglazov
Editing Sergei Proskuriakov
Producer Pavel Pechenkin
Production ìNovy Kursî
of Russia. The citizens of Rossosh struggle for survival, enjoy
every earned rouble, complain about everyday burdens.
Sometimes they find exotic ways to earn extra money ñ
combining, for example, baking and selling pies at the local
station during the day with striptease dancing in a local
nightclub. But if you look closely, as the author of ìRagtimeî
does, it seems that the local inhabitants are capable of
stopping the everyday routine to concentrate on more essential
issues.
Prison, as we know, is a place where the people are deprived
of freedom. The prison ìWhite Swanî ñ well known in
folklore ñ is a place where the depravation of freedom takes
the most radical form. But even here we cannot talk about the
depravation of inner freedom, especially the freedom of
emotions.
The prisoner Yura is interested in the prisoner Natasha. And
the prisoner Natasha is fascinated by the prisoner Sasha, and
takes part in the prisonersí amateur entertainment
programme. She hopes to be absolutely free one day and have
children. No prison can deprive man of the freedom to hope.
Festivals: GoEast ñ Festival of Central and Eastern European
Film, Wiesbaden
ñ Prize of Roman Karmen Fund ñ Russian Documentary FF
´Russiaª, Ekaterinburg;
ñ Diploma of the Centre of Public Information ñ IFF of
Human Rights ìStalkerî, Moscow.
ÔÓÚÂÚ Ì‡ÒÚÓˇ˘Â„Ó
portrait of the present
÷≈À”… Ã≈Õfl ü–≈œ◊≈
BESAME MUCHO
flœ“»ü-’›—≈
YAPTIK-HASSE
2007, –ÓÒÒˡ, 39 ÏËÌ., ˆ‚., 35 ÏÏ
122
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ ¿ÎË̇ –Û‰Ìˈ͇ˇ
ŒÔÂ‡ÚÓ —Â„ÂÈ Ã‡ÍÒËÏÓ‚
«‚ÛÍ ¿ÎÂÍ҇̉ ƒÏËÚË‚, ¿ÎÂÍÒÂÈ ¿ÌÚÓÌÓ‚
ÃÓÌÚ‡Ê À‡ËÒ‡ —ÓÎÓ‚ˆÓ‚‡
œÓ‰˛ÒÂ ¬ˇ˜ÂÒ·‚ “ÂθÌÓ‚
œÓËÁ‚Ó‰ÒÚ‚Ó —ƒ‘ (—‡ÌÍÚ-œÂÚÂ·Û„Ò͇ˇ ÒÚÛ‰Ëˇ
‰ÓÍÛÏÂÌڇθÌ˚ı ÙËθÏÓ‚)
À˛·Ó˜Í‡ ÊË‚ÂÚ ‚ “Ëı‚ËÌ „ÓÓ‰Â, ÌÓ ÌÂÏÌÓÊÍÓ Ë ‰Â‚ÌÂ.
ŒÌ‡ ÛÊ ÌÂÏÓÎÓ‰‡, ÌÓ ‰Îˇ ‚ÒÂı ÔÓ-ÔÂÊÌÂÏÛ À˛·Ó˜Í‡. ŒÌ‡
Û·Ó˘Ëˆ‡, ÌÓ Ë ‚ÓÎÓÌÚÂ ‚ ÏÂÒÚÌÓÈ ·ÓθÌˈÂ. “‡Í ÛÊ
ÔÓÎÛ˜‡ÂÚÒˇ, ˜ÚÓ À˛·Ó˜Í‡ Ë ÚÓ, Ë ˝ÚÓ, Ë Ú‡Ï Ë Á‰ÂÒ¸. ›ÚÓ
ÔÓÚÓÏÛ, ˜ÚÓ „·‚ÌÓ ‰Îˇ À˛·Ó˜ÍË ÒÓ‚ÒÂÏ ‰Û„ÓÂ. √·‚Ì˚Ï
Ó·‡ÁÓÏ À˛·Ó˜Í‡ ñ Ô‚ˈ‡. ›ÚÓÚ ÙËÎ¸Ï Ó À˛·Ó˜ÍÂ Ë ÂÂ
ÚÓ‚‡͇ı ÔÓ “Ëı‚ËÌÒÍÓÏÛ ‡Í‡‰ÂÏ˘ÂÒÍÓÏÛ ıÓÛ Î˛·ËÚÂÎÂÈ
2006, –ÓÒÒˡ, 30 ÏËÌ., ˆ‚., 35 ÏÏ
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ ›‰„‡ ¡‡ÚÂÌ‚
ŒÔÂ‡ÚÓ ¿ÎÂÍ҇̉ ‘ËÎËÔÔÓ‚
«‚ÛÍ »‚‡Ì √ÛÒ‡ÍÓ‚
ÃÛÁ˚͇ ¿Ì‰ÂÈ ŒÎÓ‚
ÃÓÌÚ‡Ê ¿ÎÂÍ҇̉ ƒÏËÚË‚
œÓ‰˛ÒÂ ¬ˇ˜ÂÒ·‚ “ÂθÌÓ‚
œÓËÁ‚Ó‰ÒÚ‚Ó —ƒ‘
(—‡ÌÍÚ-œÂÚÂ·Û„Ò͇ˇ ÒÚÛ‰Ëˇ ‰ÓÍÛÏÂÌڇθÌ˚ı ÙËθÏÓ‚)
¬ ÍÓ̈ ‡‚„ÛÒÚ‡ ·Óθ¯Ó ÌÂ̈ÍÓ ÒÂÏÂÈÒÚ‚Ó flÔÚËÍ
̇˜Ë̇ÂÚ ÒÚ‡ÌÒÚ‚Ë ÔÓ flχÎÛ. ŒÌÓ Ò‚Ó‡˜Ë‚‡ÂÚ Ò‚ÓÈ Î‡„Â¸
‚ ÚÛ̉Â, Ò·Ë‚‡ÂÚ ‚ ÒÚ‡‰Ó ÓÎÂÌÂÈ Ë ÓÚÔ‡‚ΡÂÚÒˇ ‚ ´‚ÂıÌËÈ
ÏËª. ¬ÂıÌËÈ ÏË ˝ÚÓ ˛„. ÕËÊÌËÈ Ò‚Â. —‰ÌËÈ
‰ÓÓ„‡, Ó·˚˜Ì‡ˇ ÊËÁ̸ ÌÂ̈‡. ¬ ‰ÓÓ„Â Ï˚ Ë ÛÁ̇ÂÏ
¯‡Ï‡Ì‡ »Ë “‡‰Ë·Â (ÂÏÛ 90, ÌÓ ÓÌ „Ó‚ÓËÚ, ˜ÚÓ 35);
χÎ˚¯ÂÈ fl͇Î˚̇ Ë flÍÓ, Ó·Û˜‡˛˘ËıÒˇ ·ÓÒ‡Ú¸ ·ÒÒÓ;
100-ÎÂÚÌ˛˛ ’‡‰Û, ÍÓÚÓ‡ˇ Ì ҇‰ËÚÒˇ ‚ ̇Ú˚ ÌË ‚ ÒÚÛÊÛ,
ÌË ‚ ‰Óʉ¸, ÌË ‚ ÛÒÚ‡ÎÓÒÚË, ÔÓÚÓÏÛ ˜ÚÓ Ê‡ÎÂÂÚ ÓÎÂÌÂÈ. ¬
Ò‚ˇ˘ÂÌÌ˚ı ̇Ú‡ı ÍÓ˜ÛÂÚ ·ÓÊÂÒÚ‚Ó ÒÂÏ¸Ë flÔÚËÍ-’˝ÒÂ.
ÕËÍÚÓ ÌËÍÓ„‰‡ Ì ۂˉËÚ Â„Ó Îˈ‡.
ÔÂÌˡ. » Ó·Ó ‚ÒÂı ÚÂı, ÍÓÏÛ Ï‡ÎÓ ÔÓÒÚÓ ÊËÁÌË, ÍÚÓ ÊË‚ÂÚ
˜ÂÏ-ÚÓ ·Óθ¯ËÏ, ˜ÂÏ Ó·˚‰ÂÌÌÓ ̇ÒÚÓˇ˘ÂÂ.
‘ÂÒÚË‚‡ÎË: DocumentaMadrid ÃÂʉÛ̇Ó‰Ì˚È ÙÂÒÚË‚‡Î¸
‰ÓÍÛÏÂÌڇθÌ˚ı ÙËθÏÓ‚ ‚ ljˉÂ.
2007, Russia, 39 min., col., 35 mm.
Scriptwriter and Director Alina Rudnitskaya
Director of Photography Sergei Maksimov
Sound Alexander Dmitriev, Alexei Antonov
Editing Larissa Solovtsova
Producer Viacheslav Telnov
ñ œËÁ ´«ÓÎÓÚÓÈ „ÓÎÛ·¸ª Á‡ ÎÛ˜¯ËÈ ÍÓÓÚÍÓÏÂÚ‡ÊÌ˚È
ÙËÎ¸Ï ñ ‘ÂÒÚË‚‡Î¸ ‰ÓÍÛÏÂÌڇθÌ˚ı Ë ‡ÌËχˆËÓÌÌ˚ı
ÙËθÏÓ‚ ‚ ÀÂÈԈ˄Â;
ñ œËÁ Á‡ ÎÛ˜¯ËÈ ÍÓÓÚÍÓÏÂÚ‡ÊÌ˚È ‰ÓÍÛÏÂÌڇθÌ˚È
ÙËÎ¸Ï ñ ÃÂʉÛ̇Ó‰Ì˚È ÍËÌÓÙÂÒÚË‚‡Î¸ ´œÓÒ·ÌË Í
˜ÂÎÓ‚ÂÍÛª, —‡ÌÍÚ-œÂÚÂ·Û„;
ñ œËÁ Á‡ ÎÛ˜¯ËÈ ÍÓÓÚÍÓÏÂÚ‡ÊÌ˚È ÙËθÏ, ÔËÁ
ÓÒÒËÈÒÍÓÈ √Ëθ‰ËË ÍËÌӂ‰ӂ Ë ÍËÌÓÍËÚËÍÓ‚ ´—ÎÓ̪ ñ
‘ÂÒÚË‚‡Î¸ ÍËÌÓ —Õ√ Ë ¡‡ÎÚËË ´üËÌÓ¯Óͪ, ¿Ì‡Ô‡Ö
2006, Russia, 30 min., col., 35 mm.
Scriptwriter and Director Edgar Bartenev
Director of Photography Alexander Filippov
Sound Ivan Gusakov
Music Andrei Orlov
Editing Alexander Dmitriev
Producer Vyacheslav Telnov
Production SDF (St. Petersburg Studio of Documentary Films)
Production SDF (St. Petersburg Studio of Documentary Films)
Little Luba lives in Tikhvin ñ a town, but really a small
village. She is not very young, but for everybody she is just
Little Luba. She is a cleaner, and she also does voluntary
work in the local hospital. So Little Luba is here and there
and everywhere. But the main thing for Little Luba is
something else: Little Luba is, above all, a singer. This film is
about Little Luba and her fellow-singers of the Tikhvin
Academic Choir of Singing Amateurs. And about those for
whom basic life is not enough and who live for more than the
everyday.
Festivals: DocumentaMadrid ñ International Documentary
Film Festival of Madrid
At the end of August the big nenets family Yaptik begins to
wander across Yamal. They fold up their camp in the tundra,
herd the reindeer and move towards the ìupper worldî. The
ìupper worldî is the south. The lower is the north. The middle
is the road, the usual life of the nenets. On road we also meet
the shaman Iri Tadibe (he is 90, but he says he is 35); the
children Yarkalyna and Yako, learning how to throw a lasso;
the 100-year-old Khadu who does not sit on the nart ñ
whether it is freezing cold or whether it rains ñ because she
pities the reindeer. The deity of family, Yaptik-Hesse, wanders
in the sacred narty. Nobody will ever see his face.
ñ Prize ìGolden Doveî for the best short film ñ International
Documentary & Animation Film Festival DOK, Leipzig;
ñ Prize for the best short documentary film ñ International
Film Festival ìMessage to Manî, St. Petersburg;
ñ Prize for the best short film, Prize of the Russian Guild of
Film Scholars and Critics ìElephantî ñ Festival of Cinema
of the CIS and Baltic States ìKinoShokî, Anapa
www.kinotavr.ru
ÒÔˆˇθÌ˚È ÔÓ͇Á
special screening
¿Õ“ŒÀŒ√»fl –Œ——»…—üŒ√Œ ü»ÕŒ
ANTHOLOGY OF RUSSIAN CINEMA
124
‘»À‹Ã 8-…: ´ü¿Ã≈ÕÕ¤… ÷¬≈“Œüª (1944 ñ 1956)
FILM 8: ìTHE STONE FLOWERî (1944 ñ 1956)
‘»À‹Ã 9-…: ´◊”∆»≈ ƒ≈“»ª (1955 ñ 1963)
FILM 9: ìTHE CHILDREN OF OTHERSî (1955 ñ 1963)
2006, –ÓÒÒˡ, (59 + 58) ÏËÌ., ‰ÓÍ.
2006, Russia, (59 + 58) min, doc.
¿‚ÚÓ˚ ÒˆÂ̇ˡ ÇˇÌ̇ üË‚‡, ≈‚„ÂÌËÈ Ã‡„ÓÎËÚ
Script Marianna Kireeva, Evgeni Margolit
–ÂÊËÒÒÂ ÇˇÌ̇ üË‚‡
Director Marianna Kireeva
–ÂÊËÒÒÂ ÏÓÌڇʇ fiËÈ üÓÚÓ‚
Editing Yuri Kotov
üÓÏÔÓÁËÚÓ ¿ÎÂÍ҇̉ ◊‡ÈÍÓ‚ÒÍËÈ
Composer Alexander Chaikovsky
«‚ÛÍ √‡ÎË̇ —Ë‚Â
Sound Galina Siver
“ÂÍÒÚ ˜ËÚ‡ÂÚ ¿ÎÂÍ҇̉ √Ó‰ÓÌ
Text read by Alexander Gordon
œÓ‰˛ÒÂ ÇË̇ “Û¯
Producer Marina Trush
œÓËÁ‚Ó‰ÒÚ‚Ó ´¿ÚËχª,
Production Artima Studio, Federal Agency of Culture and
‘‰Â‡Î¸ÌÓ ‡„ÂÌÚÒÚ‚Ó ÔÓ ÍÛθÚÛÂ Ë ÍËÌÂχÚÓ„‡ÙËË
Cinematography
ÒÔˆˇθÌ˚È ÔÓ͇Á
special screening
ÇˇÌ̇ üË‚‡
ÓÍÓ̘Ë· ÍËÌӂ‰˜ÂÒÍËÈ Ù‡ÍÛθÚÂÚ ¬√»ü‡
(1987, χÒÚÂÒ͇ˇ À. ÇχÚÓ‚ÓÈ, ≈.
—ÛÍÓ‚‡), Á‡ÚÂÏ ñ ‡ÒÔË‡ÌÚÛÛ. ¬
1992ñ2002 ‡·Óڇ· ̇ ‡Á΢Ì˚ı
‘»À‹Ã 8-…: ´ü¿Ã≈ÕÕ¤… ÷¬≈“Œüª (1944 ñ 1956).
‰ÓÎÊÌÓÒÚˇı ‚ ÒËÒÚÂÏ ÍËÌÓÔÓ͇Á‡
—˛ÊÂÚ Á̇ÏÂÌËÚÓÈ ÔÓÒ΂ÓÂÌÌÓÈ ÍËÌÓÒ͇ÁÍË ÒÚ‡ÌÓ‚ËÚÒˇ Á‰ÂÒ¸ ÏÂÚ‡ÙÓÓÈ
–ÓÒÒËÈÒÍÓ„Ó ÚÂ΂ˉÂÌˡ. —Ó‡‚ÚÓ Ë
‰‡Ï‡Ú˘ÂÒÍÓ„Ó ÔÛÚË ÓÚ˜ÂÒÚ‚ÂÌÌÓ„Ó ÍËÌÓ ËÁ Ô˚¯ÌÓ ‰ÂÍÓËÓ‚‡ÌÌ˚ı
ÂÊËÒÒÂ ˆËÍÎÓ‚ÓÈ ÔÓ„‡ÏÏ˚ ´ÃÛÁÂÈ
Ô‡‚ËθÓÌÓ‚ ˝ÔÓıË ´Ï‡ÎÓ͇ÚË̸ˇª Í ÊË‚ÓÈ ‡θÌÓÒÚË ´ÓÚÚÂÔÂθÌÓ„Óª
ÍËÌÓª (´ÿ‰‚˚ ÒÚ‡Ó„Ó ÍËÌÓª,
ÔÂËÓ‰‡.
1993ñ1997, ÚÂÎÂ͇̇Î˚ ´–ÓÒÒˡª Ë
´–ÓÒÒËÈÒÍË ÛÌË‚ÂÒËÚÂÚ˚ª). —Ó‡‚ÚÓ Ë
‘»À‹Ã 9-…: ´◊”∆»≈ ƒ≈“»ª (1955 ñ 1963).
ÒÓÂÊËÒÒÂ ÙËθχ Ó —Â„ ›ÈÁÂ̯ÚÂÈÌÂ
ƒ‚‡ ÔÓÍÓÎÂÌˡ ÍËÌÂχÚÓ„‡ÙËÒÚÓ‚ ñ ÓÚˆ˚ Ë ‰ÂÚË ñ ‚ ÔÓËÒ͇ı ÌÓ‚Ó„Ó
´ƒÓÏ Ã‡ÒÚÂ‡ª (ÔÂÏˡ ´“›‘»ª). — 2002
Ó·˘Â„Ó ˇÁ˚͇: ‚ ÊËÁÌË, ̇ ˝Í‡ÌÂ, ̇ Ò˙ÂÏÓ˜ÌÓÈ ÔÎÓ˘‡‰ÍÂÖ
‡·ÓÚ‡ÂÚ Ì‡‰ ‰ÓÍÛÏÂÌڇθÌ˚Ï ˆËÍÎÓÏ
´¿ÌÚÓÎӄˡ ÓÒÒËÈÒÍÓ„Ó ÍËÌÓª.
Marianna Kireeva
FILM 8: ìTHE STONE FLOWERî (1944 ñ 1956).
The plot of the well-known post-war fairy tale film here turns into a metaphor
for the dramatic way in which Russian cinema moved from magnificently
Graduated in cinema studies from the Film
decorated pavilions of the period when few films were made to the living
Institute VGIK (1987, course of L.
reality of the Thaw era.
Mamatova, E. Surkov), then postgraduate
study. From 1992-2002 worked in various
FILM 9: ìTHE CHILDREN OF OTHERSî (1955 ñ 1963).
jobs in film programming for Russian
Two generations of cinematographers ñ fathers and children ñ in search of a
television. Co-author and director of the cycle
new common language: in life, on the screen, on the setÖ
ìMuseum of Cinemaî (ìMasterpieces of Old
Cinemaî, 1993-1997, television channels
ìRussiaî and ìRussian Universitiesî). Coauthor and co-director of a film about Sergei
Eisenstein, ìThe House of the Masterî (TEFI
award). Since 2002 works on the documentary
cycle ìAnthology of Russian Cinemaî.
125
126
üËÌÓÚ‡Ú.doc
Kinoteatr.doc
‡ Ò ‰ÂÚ¸ÏË - ¯ÂÒÚÂÓ
SIX WITH THE CHILDREN
·ÂÒ
DEMON
„Â
GER
ÍÓ‚˜Â„
ARK
β·‡
LYUBA
χθ˜ËÍË
BOYS
ÌËÍËÚ‡ Ë ÌËÍËÚ‡
NIKITA AND NIKITA
Ô˚θ
DUST
ÚËÛÏÙ ·ÓÎË
TRIUMPH OF PAIN
127
ÍËÌÓÚ‡Ú.doc
kinoteatr.doc
128
œÓÂÍÚ ü»ÕŒ“≈¿“–.DOC Ó·˙‰ËÌˇÂÚ ÏÓÎÓ‰Ó ÔÓÍÓÎÂÌËÂ
ÓÒÒËÈÒÍËı ÍËÌÓÂÊËÒÒÂÓ‚ Ë Ô‰ÒÚ‡‚ΡÂÚ ÍËÌÓ, ÍÓÚÓÓÂ
Ô‡‚‰Ë‚Ó ÓÚ‡Ê‡ÂÚ ÒÓ‚ÂÏÂÌÌÛ˛ ÊËÁ̸.
œÓ ̇¯ÂÏÛ ÏÌÂÌ˲, ÒÂȘ‡Ò ‚ ÓÚ˜ÂÒÚ‚ÂÌÌÓÏ ÍËÌÂχÚÓ„‡ÙÂ
ıÛÊ ‚ÒÂ„Ó Ó·ÒÚÓËÚ ‰ÂÎÓ Ò ˝ÍÒÔÂËÏÂÌڇθÌ˚Ï,
ËÒÒΉӂ‡ÚÂθÒÍËÏ ËÒÍÛÒÒÚ‚ÓÏ, ÚÂÏ, ÍÓÚÓÓ ̇˘ÛÔ˚‚‡ÂÚ
ÌÓ‚˚ ÒÏ˚ÒÎ˚ Ë ÔÓ·ÛÂÚ ÔÓÌˇÚ¸ ÒÓ‚ÂÏÂÌÌ˚È ÏÂÌˇ˛˘ËÈÒˇ
ÏË. üÛθÚÛ ÌÂÓ·ıÓ‰ËÏ ÌÂÍËÈ Ô‰-‡‚‡Ì„‡‰, ˜ÚÓ-ÚÓ ‚Ó‰Â
ÓÚˇ‰Ó‚ ‡Á‚‰˜ËÍÓ‚, Ë‰Û˘Ëı ‚ÔÂÂ‰Ë „ÛΡÌÓ„Ó ‚ÓÈÒ͇ Ë
̇˘ÛÔ˚‚‡˛˘Ëı ÌÓ‚˚ ‰ÓÓ„Ë, ÔÓ ÍÓÚÓ˚Ï ÔÓÚÓÏ ·Û‰ÛÚ
ÒΉӂ‡Ú¸ ÔÓÎÍË Ò̇˜‡Î‡ ‡‚ÚÓÒÍÓ„Ó, ‡ Á‡ÚÂÏ Ë ÍÓÏÏÂ˜ÂÒÍÓ„Ó
ËÒÍÛÒÒÚ‚‡. ›ÚË Î„ÍÓ ÓÒ̇˘ÂÌÌ˚ ÏÓ·ËθÌ˚ ÓÚˇ‰˚ Ì ËϲÚ
ÚÓ˜Ì˚ı ҂‰ÂÌËÈ Ó ÚÓÏ, ÍÛ‰‡ ‰‚Ë„‡Ú¸Òˇ, ÓËÂÌÚËÛ˛ÚÒˇ ̇
ÏÂÒÚÌÓÒÚË ÔÓÎÛ‚ÒÎÂÔÛ˛, Ì‡Ó˘ÛÔ¸, ̇ۉ‡˜Û. ƒÓ·˚Ú˚ ËÏË
҂‰ÂÌˡ ¢ ÌÛʉ‡˛ÚÒˇ ‚ ‡Ì‡ÎËÁÂ, ‚ ÍÓÂÍÚËÓ‚ÍÂ, ÓÌË
ÏÓ„ÛÚ ·˚Ú¸ Ë Á‡·‡ÍÓ‚‡Ì˚, ËÎË ÔÓÒÚÓ Ì ÔË„Ó‰ËÚ¸Òˇ. ÕÓ
Ëı ‰ÂˇÚÂθÌÓÒÚ¸ ÌÂÓ·ıÓ‰Ëχ, ·ÂÁ Ì ËÒÍÛÒÒÚ‚Ó Ó·˜ÂÌÓ
ÚÓÔÚ‡Ú¸Òˇ ̇ ÏÂÒÚÂ, Ô‚‡˘‡ˇÒ¸ ‚ ·ÂÒÒÏ˚ÒÎÂÌÌÓÂ
‡Á‚ΘÂÌËÂ, ·ÂÁ‰ÛÏÌÛ˛ Ë„Û¯ÍÛ.
‘ËθÏ˚, ÍÓÚÓ˚Â Ì‡Ò ËÌÚÂÂÒÛ˛Ú, Ë„Ó‚˚ ËÎË
‰ÓÍÛÏÂÌڇθÌ˚Â, ‚ ÔÂ‚Û˛ Ó˜Â‰¸ ‰ÓÎÊÌ˚ ËÏÂÚ¸ ·ÎËÁÍÛ˛
Ò‚ˇÁ¸ Ò ÒÓ‚ÂÏÂÌÌÓÈ ‡θÌÓÒÚ¸˛, ‡ Ì ·˚Ú¸ ÂÁÛθڇÚÓÏ
‚ÓÓ·‡ÊÂÌˡ Ë Ù‡ÌÚ‡ÁËÈ Ëı ‡‚ÚÓÓ‚. Ã˚ Ò˜ËÚ‡ÂÏ, ˜ÚÓ
ÒÂ„Ó‰Ìˇ, ÍÓ„‰‡ ̇¯Â ‚ÓÒÔˡÚË ÓÒÓ·ÂÌÌÓ ÒËθÌÓ ÔÓ‰‚ÂÊÂÌÓ
‚ÎˡÌ˲ ¯Ú‡ÏÔÓ‚ Ë Ó·‡ÁˆÓ‚ χÒÒÓ‚ÓÈ ÍÛθÚÛ˚,
‚ÌËχÚÂθÌÓÂ Ë Û‚‡ÊËÚÂθÌÓ ̇·Î˛‰ÂÌË ‡θÌÓÈ ÊËÁÌË
‰‡ÂÚ ÌÂÍÓÚÓÛ˛ „‡‡ÌÚ˲ ÓÚ ÔÓ‚ÂıÌÓÒÚÌ˚ı ÒÛʉÂÌËÈ.
´ÕÓ‚˚È Ì‡ÚÛ‡ÎËÁϪ, Í‡Í ËÌÓ„‰‡ ̇Á˚‚‡˛Ú ‚˚·‡ÌÌÓ ̇ÏË
̇Ô‡‚ÎÂÌËÂ Â„Ó ÍËÚËÍË, ÔÓ Ì‡¯ÂÏÛ ÏÌÂÌ˲, ‰ÓÎÊÂÌ ‚ÂÌÛÚ¸
ÁÂÌ˲ Ó·˙ÂÍÚË‚ÌÓÒÚ¸, ‡ ‚Ô˜‡ÚÎÂÌËˇÏ ñ ËÒÍÂÌÌÓÒÚ¸. Ã˚
Ô‰ÒÚ‡‚ΡÂÏ ÙËθÏ˚, ˜¸Ë ‡‚ÚÓ˚, ̇ ̇¯ ‚Á„Ρ‰, ÒΉËÎË Á‡
ÌÂÛÎÓ‚ÎÂÌÌ˚ÏË ËÎË ÔÓÔÛ˘ÂÌÌ˚ÏË „‡ÌˇÏË Ì‡¯ÂÈ
ÒÂ„Ó‰Ìˇ¯ÌÂÈ ÊËÁÌË. «‡ ÚÂÏË ˇ‚ÎÂÌˡÏË, ÍÓÚÓ˚ ¢ ÌÂ
ÛÒÔÂÎË Á‡‚ÂÚÂÚ¸Òˇ, Á‡ÍÓÒÌÂÚ¸, Ì ÒÚ‡ÎË Ó·˘ËÏ ÏÂÒÚÓÏ Ï‡ÒÒωËÈÌÓ„Ó „ÎˇÌˆ‡. » ÂÒÎË Ï˚ ˝ÚÓ Á‡Ï˜‡ÂÏ, ÙËÎ¸Ï ÒÚ‡ÌÓ‚ËÚÒˇ
Ì‡Ï ËÌÚÂÂÒÂÌ, ÌÂÒÏÓÚˇ ̇ ̉ÓÒÚ‡ÚÍË Ï‡ÒÚÂÒÚ‚‡,
ÔÓÙÂÒÒËÓ̇ÎËÁχ Ë Ô.
¬ ÔÓÛ, ÍÓ„‰‡ ‚ÂÒ¸ ÏË ÒÚ‡ÌÓ‚ËÚÒˇ ÒÛÔÂχÍÂÚÓÏ, Ï˚ ıÓÚËÏ
ÓÚÒÚÓˇÚ¸ ˉ² ÒÂθÒÍÓÈ Î‡‚ÍË, „‰Â Ú‡ÍÊ ‚ÓÁÏÓÊÌÓ ÒÓ˜ÂÚ‡ÌËÂ
ÏÓÎÓÚ͇, ÏÓ˜‡ÎÍË Ë ÏÓÎÓ͇, ÌÓ „‰Â ‡ÒÒÓÚËÏÂÌÚ ÓÔ‰ÂΡÂÚÒˇ
ÔÓÚ·ÌÓÒÚˇÏË ÔÓÍÛÔ‡ÚÂÎÂÈ, ‡ Ì ̇‚ˇÁ˚‚‡ÂÚÒˇ ËÏ ÚÓڇθÌ˚Ï
χÌËÔÛÎËÓ‚‡ÌËÂÏ. œÓÂÍÚ ü»ÕŒ“≈¿“–.DOC ÏÓÊÂÚ
ÒÓÒÚÓˇÚ¸Òˇ ÚÓθÍÓ Í‡Í Ó·˘Â ‰ÂÎÓ ÚÂı, ÍÚÓ ÒÌËχÂÚ Ë ÚÂı, ÍÚÓ
ÒÏÓÚËÚ.
Õ‡Ò ËÌÚÂÂÒÛÂÚ ‰ÂÈÒÚ‚ËÚÂθ̇ˇ ÊËÁ̸ Ë ÍËÌÓ, ÍÓÚÓÓÂ Ò ÌÂÈ
‚Á‡ËÏÓ‰ÂÈÒÚ‚ÛÂÚ.
ÃËı‡ËÎ —ËÌ‚,
ÍÛ‡ÚÓ ÔÓ„‡ÏÏ˚
The project KINOTEATR.DOC unites the young generation of
Russian filmmakers and represents cinema which truthfully
reflects modern life.
We think that in the sphere of Russian cinema matters are
worse of all in experimental, searching art: for those artists
who touch upon new meanings and try to understand our
changing, modern world. Culture needs a certain avantgarde, groups of scouts who run ahead of the regular army
to explore new roads on which the troops of art-house, and
later commercial art, can follow. These lightly equipped
mobile units have no exact information on where to move;
they orient themselves half-blind, relying on touch and
chance. The data they collect still requires analysis and is
subject to correction; the data may be erroneous or just not
useful. But the activity of the vanguard is necessary;
without it, art is doomed and will not move on, turning into
senseless entertainment or a thoughtless toy.
The films that interest us ñ feature or documentary ñ should
first of all have a close link with modern reality rather than
stem from the authorsí imagination and fantasy. We reckon
that today, when our perception is particularly strongly
subjected to the influence of cliches and images of mass
culture, the attentive and respectful observation of real life
warrants against superficial judgments. The ìnew
naturalismî, as critics sometimes call the direction we have
chosen, must ñ in our opinion ñ return objectivity to our
vision and sincerity to our impressions.
We present films whose authors, in our opinion, observe
those aspects of our life that remained hitherto beyond the
cameraís capture or were missed out. They observe those
phenomena that have not yet been exposed, that have not
yet become platitudes of mass media glamour. And if we
notice this, the films become interesting, despite the lacks of
skill, professionalism and so forth.
In a time when the whole world has become a supermarket,
we want to defend the idea of a round-the-corner shop where
you can get everything you need, where the product range is
determined by the needs of the customers instead of being
imposed through complete manipulation. The project
KINOTEATR.DOC can happen only as a common cause of all
those who make cinema and all those who watch it.
We are interested in the reality of life and in a cinema that
engages with it.
Mikhail Sinev
Programme Curator
ÍËÌÓÚ‡Ú.doc
kinoteatr.doc
¿ — ƒ≈“‹Ã» ñ ÿ≈—“≈–Œ
SIX WITH THE CHILDREN
129
2005, –ÓÒÒˡ, 69 ÏËÌ., ˆ‚., 4:3, ÏÓÌÓ,
2005, Russia, 69 min., col., 4:3, mono,
miniDV, ‰ÓÍ.
miniDV, doc.
ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡ (2006,
¿‚ÚÓ-ÂÊËÒÒÂ, ÓÔÂ‡ÚÓ
Director and Photography
χÒÚÂÒ͇ˇ ÀÂÓÌˉ‡ œ˜ÂÎÍË̇ Ë –ÂÈ̇
¿ÎÂÍ҇̉ ÇÎËÌËÌ
Alexander Malinin
ÀË·ÎË͇).
ÃÓÌÚ‡Ê ü‡ÂÌ ¿ÛÚ˛ÌˇÌ
Editing Karen Arutiunian
‘ËθÏÓ„‡Ùˡ (‰ÓÍ.):
œÓ‰˛ÒÂ ÃËı‡ËÎ —ËÌ‚
Producer Mikhail Sinev
2005 ....¿ Ò ‰ÂÚ¸ÏË ñ ¯ÂÒÚÂÓ (‰ÓÍ.)
œÓËÁ‚Ó‰ÒÚ‚Ó ¿ÎÂÍ҇̉ ÇÎËÌËÌ
Production Alexander Malinin
2006 ....¬˚‰Óı (‰ÓÍ.)
œ‡‚‡ Ë ÔÓÍ‡Ú ü»ÕŒ“≈¿“–.DOC
Rights and Distribution
¿ÎÂÍ҇̉ ÇÎËÌËÌ
ŒÍÓ̘ËÎ Ù‡ÍÛθÚÂÚ ÍËÌÓ- Ë
ÚÂÎÂÂÊËÒÒÛ˚ »ÌÒÚËÚÛÚ‡
KINOTEATR.DOC
2007 ....¡ÂÒ (‰ÓÍ.)
www.kinoteatrdoc.ru
Alexander Malinin
Graduated from the faculty of cinema
and television direction of the Institute
of Modern Art (2006, workshop of
Leonid Pchelkin and Rein Liblik).
Filmography (doc.):
2005 ....Six with the Children (doc.)
2006 ....Exhale (doc.)
2007 ....Demon (doc.)
œÓ Î˛·Ó‚¸, ÍÓÚÓ‡ˇ ˆ‚ÂÚÂÚ, Ì ‚‰‡ˇ
About love which blossoms, shamelessly,
ÒÚ˚‰‡, ̇ β·˚ı ÍÛ˜‡ı ÒÓ‡, Ë ÍÓ„‰‡
on heaps of rubbish; when there is love,
Ó̇ ÂÒÚ¸, ÚÓ ‚Ò ÓÒڇθÌÓ Ì ËÏÂÂÚ
everything else is unimportant. It may
·Óθ¯Ó„Ó Á̇˜ÂÌˡ. ƒ‡, Ú‡Í ÊËÚ¸, ͇Í
not be desirable to live like these
˝ÚË Î˛‰Ë, Ì ıÓ˜ÂÚÒˇ, ÌÓ ÂÒÎË ·˚Ú¸
people, but if you are not prejudiced, it
ÌÂÔ‰‚ÁˇÚ˚Ï, ÚÓ ÔÓÌˇÚÌÓ, ˜ÚÓ ÓÌË
becomes clear that they live self-
ÊË‚ÛÚ Ò‡ÏÓ‰ÓÒÚ‡ÚÓ˜ÌÓ Ë ÛÔÓÂÌÌÓ, ˜ÚÓ
sufficiently and are intoxicated with
˝Ú‡ ÊËÁ̸, ÒÓ ‚ÒÂÏË Â „Ëχ҇ÏË, Ëı
life. This life ñ with all its grimaces ñ
‚ÔÓÎÌ ÛÒÚ‡Ë‚‡ÂÚ, Ë ˜ÚÓ Ó̇ ̇ Ò‡ÏÓÏ
suits them, and it actually is a full life
‰ÂΠñ ÊËÁ̸ Ë ÂÒÚ¸. ¬Ì Á‡‚ËÒËÏÓÒÚË
ñ independent of speculative judgments
ÓÚ ÛÏÓÁËÚÂθÌ˚ı ÓˆÂÌÓÍ, ÍÓÚÓ˚ Ï˚
that we rush to make.
ÂÈ ÚÓÓÔËÏÒˇ ‚˚ÒÚ‡‚ËÚ¸.
ñ Prizes of the Festival of Real Cinema
ñ œËÁ˚ ‘ÂÒÚË‚‡Îˇ ‰ÂÈÒÚ‚ËÚÂθÌÓ„Ó
ìKinoteatr.DOCî and of the
ÍËÌÓ ´üËÌÓÚ‡Ú.DOCª Ë üÓÌÍÛÒ‡
Competition of Debut Films ìSt.
‰Â·˛ÚÌ˚ı ÙËθÏÓ‚ ´—‚. ¿Ì̇ª, 2006.
Annaî (2006).
ÍËÌÓÚ‡Ú.doc
kinoteatr.doc
¡≈—
DEMON
130
2007, –ÓÒÒˡ, 55 ÏËÌ., ˆ‚., miniDV, ‰ÓÍ.
2007, Russia, 55 min., col., miniDV, doc.
¿‚ÚÓ ˉÂË, ÂÊËÒÒÂ, ÓÔÂ‡ÚÓ
Concept, Director, Director of
¿ÎÂÍ҇̉ ÇÎËÌËÌ
Photography Alexander Malinin
ÃÓÌÚ‡Ê ü‡ÂÌ ¿ÛÚ˛ÌˇÌ
Editing Karen Arutiunian
œÓ‰˛ÒÂ ÃËı‡ËÎ —ËÌ‚
Producer Mikhail Sinev
œ‡‚‡ Ë ÔÓÍ‡Ú ü»ÕŒ“≈¿“–.DOC
Rights and Distribution
¿ÎÂÍ҇̉ ÇÎËÌËÌ
ŒÍÓ̘ËÎ Ù‡ÍÛθÚÂÚ ÍËÌÓ- Ë
KINOTEATR.DOC
www.kinoteatrdoc.ru
ÚÂÎÂÂÊËÒÒÛ˚ »ÌÒÚËÚÛÚ‡
ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡ (2006,
χÒÚÂÒ͇ˇ ÀÂÓÌˉ‡ œ˜ÂÎÍË̇
–ÂÈ̇ ÀË·ÎË͇).
‘ËθÏÓ„‡Ùˡ (‰ÓÍ.):
2005 ....¿ Ò ‰ÂÚ¸ÏË ñ ¯ÂÒÚÂÓ (‰ÓÍ.)
2006 ....¬˚‰Óı (‰ÓÍ.)
2007 ....¡ÂÒ (‰ÓÍ.)
ŒÌ ÚÓ˜ËÚ ÌÓÊ, ÔÓÚÓÏ Ò‚ˇÁ˚‚‡ÂÚ ÔÒÛ
He sharpens a knife, then ties the dogís
·Ô˚ Ë Ô‡ÒÚ¸. Ã˚ ¢ Ì Á̇ÂÏ, ˜ÚÓ
paws and snout. We do not yet know
ÔÓËÁÓȉÂÚ, ÌÓ Ó˘Û˘ÂÌË ۄÓÁ˚,
what will happen, but we cannot get rid
ËÒıÓ‰ˇ˘ÂÈ ÓÚ ˝ÚÓ„Ó ˜ÂÎÓ‚Â͇, ÛÊ ÌÂ
of the sensation of threat emanating
ÓÒÚ‡‚ΡÂÚ. ’ÓÚˇ ÌË˜Â„Ó ÛʇÒÌÓ„Ó Ì‡Ï
from this man. Nothing awful is shown ñ
Ú‡Í Ë Ì ÔÓ͇Á˚‚‡˛Ú ñ Ó·˚˜Ì‡ˇ ÒÂϸˇ,
a usual family, usual life. Children, wife,
Ó·˚˜Ì‡ˇ ÊËÁ̸. ƒÂÚË, ÊÂ̇, ÍÛıÌˇ,
kitchen, television... So who is he ñ a
ÚÂ΂ËÁÓ... “‡Í ÍÚÓ Ê ÓÌ ñ ÏÓÌÒÚ,
monster who pretends to be a citizen, or
ÔËÍËÌÛ‚¯ËÈÒˇ Ó·˚‚‡ÚÂÎÂÏ, ËÎË
a normal guy who put on a scary mask?
ÌÓχθÌ˚È ÏÛÊËÍ, ̇‰Â‚¯ËÈ
The world around him is stretched so
ÔÛ„‡˛˘Û˛ ΢ËÌÛ? ¿ ÏË ‚ÓÍÛ„ Ì„Ó
gently and trustfully ñ warm, fragrant,
‡ÒÍËÌÛÎÒˇ Ú‡Í ÌÂÊÌÓ Ë ‰Ó‚Â˜Ë‚Ó ñ
breathing...
ÚÂÔÎ˚È, ‰Û¯ËÒÚ˚È, ‰˚¯‡˘ËÈ...
Alexander Malinin
Graduated from the faculty of cinema
and television direction of the Institute
of Modern Art (2006, workshop of
Leonid Pchelkin and Rein Liblik).
Filmography (doc.):
2005 ....Six with the Children (doc.)
2006 ....Exhale (doc.)
2007 ....Demon (doc.)
ÍËÌÓÚ‡Ú.doc
kinoteatr.doc
√≈–
GER
131
2006, –ÓÒÒˡ, 14 ÏËÌ., DVCam, ‰ÓÍ.
2006, Russia, 14 min., DVCam, doc.
‰ÓÍÛÏÂÌڇθÌÓ„Ó ÍËÌÓ ´–‡θÌÓÂ
¿‚ÚÓ-ÂÊËÒÒÂ ¿ÎÂÍÒÂÈ üβÍËÌ
Director Alexei Kliukin
‚ÂÏˇ 2ª ÔË ¿ÕŒ ´Internewsª (2006,
ŒÔÂ‡ÚÓ ÇÍÒËÏ ü‡Ú‡Â‚
Director of Photography Maxim Kataev
χÒÚÂÒ͇ˇ ÇËÌ˚ –‡Á·ÂÊÍËÌÓÈ Ë
œÓ‰˛ÒÂ ÃËı‡ËÎ —ËÌ‚
Producer Mikhail Sinev
ÕËÍÓ·ˇ »Á‚ÓÎÓ‚‡).
œÓËÁ‚Ó‰ÒÚ‚Ó ¿ÎÂÍÒÂÈ üβÍËÌ
Production Alexei Kliukin
œ‡‚‡ ü»ÕŒ“≈¿“–.DOC
Rights KINOTEATR.DOC
¿ÎÂÍÒÂÈ üβÍËÌ
ŒÍÓ̘ËÎ ÍÛÒ˚ ÂÊËÒÒÂÓ‚
‘ËθÏÓ„‡Ùˡ:
2005 ....—ÂÍÂÚ ÏÓÎÓ‰ÓÒÚË (‰ÓÍ.)
www.kinoteatrdoc.ru
2006 ....∆Ë‚‡ˇ ‚Ó‰‡ (‰ÓÍ.)
2006 ....—Ú‡ÒÚ̇ˇ ̉ÂΡ (‰ÓÍ.)
2006 ....√Â (‰ÓÍ.)
Alexei Kliukin
Graduated from the Courses for
Directors of Documentary Cinema ìReal
Time 2î at ìInternewsî (2006, workshop
of Marina Razbezhkina and Nikolai
Izvolov).
Filmography:
2005 ....The Secret of Youth (doc.)
2006 ....Water of Life (doc.)
2006 ....Holy Week (doc.)
2006 ....Ger (doc.)
–ÓÒÒˡ. 2006 „Ó‰. ƒ‚Ó ÏÓÎÓ‰˚ı β‰ÂÈ
Russia. 2006. Two young people support
ÔÓ‰‰ÂÊË‚‡˛Ú ˉÂË Ì‡ˆËÓ̇Î-
national socialist ideas. They consider
ÒӈˇÎËÁχ. ŒÌË Ò˜ËÚ‡˛Ú Ò·ˇ
themselves skinheads and look for
ÒÍËÌı‰‡ÏË, ‡ ˉÂÈÌÛ˛ ÔÓ‰ÔËÚÍÛ
ideological sources in paganism. One of
˜ÂÔ‡˛Ú ‚ ˇÁ˚˜ÂÒÚ‚Â. Œ‰ËÌ ËÁ ÌËı
them is more experienced, bearing the
·ÓΠÓÔ˚ÚÌ˚È, Ëϲ˘ËÈ ˇÁ˚˜ÂÒÍÓÂ
pagan name Ogneyar; he helps the
ËÏˇ Œ„Ì¡, ÔÓÏÓ„‡ÂÚ ‚ÚÓÓÏÛ
second to reach the deserted village
‰Ó·‡Ú¸Òˇ ‰Ó Á‡·Ó¯ÂÌÌÓÈ ‰Â‚ۯÍË,
where Dobroslav, the ideological
„‰Â ÊË‚ÂÚ Ë‰ÂÈÌ˚È ‚‰ÓıÌÓ‚ËÚÂθ
inspirer of Russian paganism, lives. The
ÓÒÒËÈÒÍËı ˇÁ˚˜ÌËÍÓ‚ ƒÓ·ÓÒ·‚.
second skinhead must also adopt a
¬ÚÓÓÏÛ ÒÍËÌıÂ‰Û Ú‡ÍÊ Ô‰ÒÚÓËÚ
pagan name. On the way they talk about
ÔËÌˇÚ¸ ˇÁ˚˜ÂÒÍÓ ËÏˇ. ¬ ÔÛÚË ÓÌË
what led them to nationalist and pagan
·ÂÒÂ‰Û˛Ú Ó ÚÓÏ, ˜ÚÓ ÔË‚ÂÎÓ Ëı Í
ideas, and try to explain their point of
̇ˆËÓ̇ÎËÒÚ‡Ï Ë ˇÁ˚˜ÌË͇Ï,
viewÖ
Ô˚Ú‡˛ÚÒˇ Ó·˙ˇÒÌËÚ¸ Ò‚Ó˛ ÚÓ˜ÍÛ
ÁÂÌˡ ‰Û„ËÏ Î˛‰ˇÏÖ
ÍËÌÓÚ‡Ú.doc
kinoteatr.doc
üŒ¬◊≈√
ARK
132
2007, –ÓÒÒˡ, 42 ÏËÌ., ‰ÓÍ.
2007, Russia, 42 min., doc.
¿‚ÚÓ-ÂÊËÒÒÂ, ÓÔÂ‡ÚÓ
Director, Director of Photography
≈ÎÂ̇ ƒÂÏˉӂ‡
Elena Demidova
œÓ‰˛ÒÂ ÃËı‡ËÎ —ËÌ‚
Producer Mikhail Sinev
œÓËÁ‚Ó‰ÒÚ‚Ó ´üËÌÓÚ‡Ú.DOCª,
Production KINOTEATR.DOC,
´œ‡ÒÒ‡ÊËª
´Passengerª
≈ÎÂ̇ ƒÂÏˉӂ‡
ŒÍÓ̘Ë· ÍÛÒ˚ ÂÊËÒÒÂÓ‚
‰ÓÍÛÏÂÌڇθÌÓ„Ó ÍËÌÓ ´–‡θÌÓÂ
‚ÂÏˇ 2ª ÔË ¿ÕŒ ´Internewsª (2006,
χÒÚÂÒ͇ˇ ÇËÌ˚ –‡Á·ÂÊÍËÌÓÈ Ë
ÕËÍÓ·ˇ »Á‚ÓÎÓ‚‡).
‘ËθÏÓ„‡Ùˡ (‰ÓÍ.):
www.kinoteatrdoc.ru
2005 ....—ÂÍÂÚ ÏÓÎÓ‰ÓÒÚË
2006 ....∆Ë‚‡ˇ ‚Ó‰‡
2006 ....—Ú‡ÒÚ̇ˇ ̉ÂΡ
2007 ....üÓ‚˜Â„
»Á ‚˜ÌÓÈ ÏÂÁÎÓÚ˚ —‚Â‡ ‚
Across 4500 kilometres of Russiaís
Úˉˆ‡ÚË„‡‰ÛÒÌÛ˛ ʇÛ ¿‰ÎÂ‡ ‚ÂÁÂÚ
vastness ñ from the Northern
ÔÓÂÁ‰ ˜ÂÂÁ 4500 ÍËÎÓÏÂÚÓ‚
permafrost to Adlerís 39 degrees heat a
ÓÒÒËÈÒÍËı ÔÓÒÚÓÓ‚ ÊËÚÂÎÂÈ
train carries the inhabitants of the
Á‡ÔÓΡÌÓ„Ó ”ÂÌ„Óˇ Í ◊ÂÌÓÏÛ ÏÓ˛.
polar Urengoy to the Black Sea. In the
¬ ÚÂÒÌÓÚ Ô·ˆÍ‡ÚÌÓ„Ó ‚‡„Ó̇ Á‡
narrowness of the third-class
¯ÂÒÚ¸ ‰ÌÂÈ Ô‡ÒÒ‡ÊË˚-ÔÓÔÛÚ˜ËÍË ñ ÚÓ
compartment the passengers come close
ÎË ÔÓ ‚ÓΠ‚˚Ò¯Â„Ó Ôӂ‰ÂÌˡ, ÚÓ ÎË
to each other over the six day journey ñ
ÔÓ ÒÎÛ˜‡ÈÌÓÒÚË ‚˚Ô‡‚¯Ëı ·ËÎÂÚÓ‚ ñ
whether at the will of a higher force or
ÒÚ‡ÌÛÚ ‚ ˝ÚÓÏ ÍÓıÓÚÌÓÏ ÔÓÒÚ‡ÌÒÚ‚Â
through the lottery of seat allocation.
̇ ͇ÍÓÂ-ÚÓ ‚ÂÏˇ Ò‡Ï˚ÏË ·ÎËÁÍËÏË
β‰¸ÏË.
Elena Demidova
Graduated from the Courses for
Directors of Documentary Cinema ìReal
Time 2î at ìInternewsî (2006, workshop
of Marina Razbezhkina and Nikolai
Izvolov).
Filmography (doc.)
2005 ....Secret Of Youth
2006 ....The Live Water
2006 ....Holy Week
2007 ....Ark
ÍËÌÓÚ‡Ú.doc
kinoteatr.doc
Àfi¡¿
LYUBA
133
2006, –ÓÒÒˡ, 13 ÏËÌ., miniDV, ‰ÓÍ.
2006, Russia, 13 minutes, miniDV, doc.
ÏÂÚ‡ÎÎÛ„˘ÂÒÍËÈ ËÌÒÚËÚÛÚ (1993),
¿‚ÚÓ ÒˆÂ̇ˡ, ÂÊËÒÒÂ, ÓÔÂ‡ÚÓ
Scriptwriter, Director, Director of
ÌÂÁ‡‚ËÒËÏÛ˛ ¯ÍÓÎÛ ÍËÌÓ Ë
≈ÎÂ̇ —ˉÂθÌËÍÓ‚‡
Photography Elena Sidelnikova
ÚÂ΂ˉÂÌˡ ´–‡θÌÓ ÍËÌÓ 2ª ÔË
œÓ‰˛ÒÂ ÃËı‡ËÎ —ËÌ‚
Producer Michael Sinev
¿ÕŒ ´Internewsª (2005, χÒÚÂÒ͇ˇ
œÓËÁ‚Ó‰ÒÚ‚Ó ≈ÎÂ̇ —ˉÂθÌËÍÓ‚‡
Production Elena Sidelnikova
ÇËÌ˚ –‡Á·ÂÊÍËÌÓÈ Ë ÕËÍÓ·ˇ
œ‡‚‡ ü»ÕŒ“≈¿“–.DOC
Rights KINOTEATR.DOC
≈ÎÂ̇ —ˉÂθÌËÍÓ‚‡
ŒÍÓ̘Ë· Ç„ÌËÚÓ„ÓÒÍËÈ „ÓÌÓ-
»Á‚ÓÎÓ‚‡).
www.kinoteatrdoc.ru
Elena Sidelnikova
Graduated from the Magnitogorsk
Mining and Metallurgical Institute
(1993), Independent School of Cinema
and Television ìReal Time 2î at
ìInternewsî (2005, workshop of Marina
Razbezhkina and Nikolai Izvolov).
À˛·‡ ñ ÌÂÏÓÎÓ‰‡ˇ, Á‡‰Â„‡Ì̇ˇ
Lyuba is an elderly woman worn out by
ÊËÁ̸˛ ÊÂÌ˘Ë̇ ñ ‡·ÓÚ‡ÂÚ
life; she works as secretary in the
ÒÂÍÂÚ‡ÂÏ ‚ ‰Â͇̇ÚÂ. ŒÌ‡, Í‡Í Ë
deanís office. She, like many of her
ÏÌӄˠ Ó‚ÂÒÌˈ˚, ÔË‚˚Í· ‚ÒÂ
contemporaries, has got used to
Ú‡˘ËÚ¸ ̇ Ò·Â: Ë ‰ÂÚÂÈ, Ë ‰ÓÏ. ÕÓ
carrying all the burdens of life herself:
ÊËÁ̸ ÔÓıÓ‰ËÚ. ” ‰ÂÚÂÈ ÛÊ ҂ÓË
children and household. But life goes
ÒÂϸË, ÓÌË ÊË‚ÛÚ ÓÚ‰ÂθÌÓ, Ë À˛·‡
by. The children already have their own
Ó͇Á‡Î‡Ò¸ ÒÓ‚Â¯ÂÌÌÓ Ó‰Ì‡. ƒÌÂÏ Ì‡
families, they live separately, and Lyuba
‡·ÓÚ ñ ÚÓÎÔ˚ ÒÚÛ‰ÂÌÚÓ‚, ‚Ò ÒÔ¯‡Ú,
is now entirely on her own. During the
‚ÒÂÏ ˜Â„Ó-ÚÓ ÌÛÊÌÓ, Û ‚ÒÂı ÍËÔËÚ
day she is at work ñ crowds of
ÊËÁ̸. ” À˛·˚ Ê ÌË˜Â„Ó ÌÂ
students, everyone is in a rush,
ÏÂÌˇÂÚÒˇ, Ë Ó̇ ÁÎËÚÒˇ ̇ ÏÓÎÓ‰Âʸ.
everybody needs something, life is
»ÁÓ ‰Ìˇ ‚ ‰Â̸, ËÁ „Ó‰‡ „Ó‰ Ó̇
bubbling. For Lyuba nothing changes,
ÓÚ‡·‡Ú˚‚‡ÂÚ ÒÛÂÚÎË‚˚È ‡·Ó˜ËÈ ‰Â̸,
and she gets angry with the young. Day
Á‡ÚÂÏ Û·Ë‡ÂÚ ‰ÂÍ‡Ì‡Ú (Î˯ÌË ‰Â̸„Ë
after day, year after year, she fulfils
ÌËÍÓÏÛ Ì ÔÓϯ‡˛Ú) Ë ÒÔ¯ËÚ
her busy working schedule, then cleans
‰ÓÏÓÈ. ƒÓχ Û Ì Íӯ͇, Á‡ÌˇÚˡ
the deanís office (extra money always
Û¯Û Ë ÚÂÎÂÙÓÌÌ˚ Á‚ÓÌÍË ‰ÂÚˇÏ ñ ‚
helps) and rushes home. At home she
ÌËı  ÊËÁ̸.
has a cat, her wushu exercises and
phone calls to her children ñ and that is
her entire life.
ÍËÌÓÚ‡Ú.doc
kinoteatr.doc
ÿÀ‹◊»ü»
BOYS
134
2006, –ÓÒÒˡ, 36 ÏËÌ., ˆ‚., miniDV, ‰ÓÍ.
2006, Russia, 36 minutes, col., miniDV, doc.
¿‚ÚÓ ˉÂË, ÂÊËÒÒÂ, ÓÔÂ‡ÚÓ,
Concept, Director, Director of
Á‚ÛÍ, ÏÓÌÚ‡Ê ¬‡ÎÂˡ-√‡È √ÂχÌË͇
Photography, Sound, Editing
œÓ‰˛ÒÂ ÃËı‡ËÎ —ËÌ‚
Valeria-Gai Germanika
œÓËÁ‚Ó‰ÒÚ‚Ó Ë ÔÓ͇Ú
Producer Mikhail Sinev
ü»ÕŒ“≈¿“–.DOC
Production and Distribution
KINOTEATR.DOC
¬‡ÎÂˡ-√‡È
√ÂχÌË͇
–Ӊ˷Ҹ ‚ ÃÓÒÍ‚Â ‚ 1984 „Ó‰Û.
ŒÍÓ̘Ë· ÌÂÁ‡‚ËÒËÏÛ˛ ¯ÍÓÎÛ ÍËÌÓ Ë
“¬ ´Internewsª (2005, χÒÚÂÒ͇ˇ
ÇËÌ˚ –‡Á·ÂÊÍËÌÓÈ). ƒÂ·˛ÚËÓ‚‡Î‡
ÙËθÏÓÏ ´ƒÂ‚Ó˜Í˪ ñ „·‚Ì˚È ÔËÁ
ÍÓÌÍÛÒ‡ ´üÓÓÚÍËÈ ÏÂÚª Œ–ü‘
´üËÌÓÚ‡‚ª (2006).
www.kinoteatrdoc.ru
‘ËθÏÓ„‡Ùˡ (‰ÓÍ.):
2005 ....ƒÂ‚Ó˜ÍË
2005 ....—ÂÒÚ˚
2006 ....Çθ˜ËÍË
2007 ....”Âı‡Î (Ò ¡ÓËÒÓÏ
’ηÌËÍÓ‚˚Ï)
2007 ....ƒÂ̸ ÓʉÂÌˡ »ÌÙ‡ÌÚ˚
(Ë„Ó‚ÓÈ ÔÓÎÌÓÏÂÚ‡ÊÌ˚È ‰Â·˛Ú)
Œ‰ËÒÒ¡ ‰‚Ûı ·‡Ú¸Â‚ 9 Ë 11 ÎÂÚ:
The odyssey of two brothers aged nine
ÔÓ‰˙ÂÁ‰˚ ‚ —ÚÓ„ËÌÂ, Í‚‡ÚË‡
and eleven: house entrances in Strogino,
χÚÂË, ‰ÂÚÒÍËÈ ËÌÚÂ̇Ú, ˆ˚„‡ÌÒÍËÈ
the motherís apartment, a boarding
Ú‡·Ó Ë Ì‚ÂÒÂÎÓ ‚ÓÁ‚‡˘ÂÌË ‰ÓÏÓÈ.
school, a gipsy camp and gloomy
ƒ‡Ï‡Ú˘ÂÒÍË ÔËÍβ˜ÂÌˡ, Í‡Í Ë
homecomings. Dramatic adventures, as
‚ÒˇÍÓ ÓÛ‰-ÏÛ‚Ë, ÏÌÓ„Ó ‡ÒÒ͇ÊÛÚ
in every road movie, teach the
Ò‚ÓËÏ „ÂÓˇÏ Ó Ò‚ÓÈÒÚ‚‡ı ÏË‡, ‚
protagonists a lot about the world, and
ÔÂ‚˚È ‡Á ÒÚÓÎÍÌÛÚ Ëı Ò
for the first time they are pushed off
Ó‰ËÌÓ˜ÂÒÚ‚ÓÏ Ë Ô‰‡ÚÂθÒÚ‚ÓÏ.
into loneliness and treachery.
Valeria-G‡i
Germanika
Born in Moscow in 1984. Graduated
from the Independent School of Cinema
and Television ìInternewsî (2005,
workshop of Marina Razbezhkina).
Debut film ìGirlsî: Main Prize of the
Short Film Competition ORFF
ìKinotavrî (2006).
Filmography (doc.)
2005 ....Girls
2005 ....Sisters
2006 ....Boys
2007 ....He's Gone (with Boris
Khlebnikov)
2007 ....Infante's Birthday
(feature film debut)
ÍËÌÓÚ‡Ú.doc
kinoteatr.doc
Õ»ü»“¿ » Õ»ü»“¿
NIKITA AND NIKITA
135
2006, –ÓÒÒˡ, 17 ÏËÌ., MiniDV, ‰ÓÍ.
2006, Russia, 17 min., MiniDV, doc.
ÎËÌ„‚ËÒÚ˘ÂÒÍËÈ ÛÌË‚ÂÒËÚÂÚ ñ Ã√À”
¿‚ÚÓ ÒˆÂ̇ˡ, ÂÊËÒÒÂ, ÓÔÂ‡ÚÓ
Scriptwriter, Director, Director of
(2000), ÿÍÓÎÛ ‰ÓÍÛÏÂÌڇθÌÓ„Ó ÍËÌÓ
Çˡ “˛ÎˇÂ‚‡
Photography Maria Tiuliaeva
´–‡θÌÓ ‚ÂÏˇ 2ª ÔË ¿ÕŒ
œÓ‰˛ÒÂ ÃËı‡ËÎ —ËÌ‚
Producer Mikhail Sinev
´Internewsª (2006, χÒÚÂÒ͇ˇ ÇËÌ˚
œÓËÁ‚Ó‰ÒÚ‚Ó Ã‡ˡ “˛ÎˇÂ‚‡
Production Maria Tiuliaeva
–‡Á·ÂÊÍËÌÓÈ).
œ‡‚‡ ü»ÕŒ“≈¿“–.DOC
Rights KINOTEATR.DOC
Çˡ “˛ÎˇÂ‚‡
ŒÍÓ̘Ë· ÃÓÒÍÓ‚ÒÍËÈ
www.kinoteatrdoc.ru
Maria Tiuliaeva
Graduated from the Moscow Linguistic
University MGLU (2000), School of
Documentary Cinema ìReal Time 2î at
ìInternewsî (2006, workshop of Marina
Razbezhkina).
¬ÓÒ¸ÏËÎÂÚÌËÈ Ï‡Î¸˜ËÍ ÕËÍËÚ‡
The eight-year-old Nikita suffers from
ÒÚ‡‰‡ÂÚ ƒ÷œ. œÓÒÚ˚ ‚Â˘Ë ñ ıÓ‰ËÚ¸,
cerebral palsy. Simple things, such as
„Ó‚ÓËÚ¸ ‰‡˛ÚÒˇ ÂÏÛ Ò ÚÛ‰ÓÏ. ◊ÚÓ·˚
walking and speaking, pose huge
ÔÂÓ‰ÓÎÂÚ¸ ·ÓÎÂÁ̸, ÓÌ Á‡ÌËχÂÚÒˇ
problems. In order to overcome his
Ô˚Ê͇ÏË ‚ ‚Ó‰Û. “ÂÌÂ ÓÚÌÓÒËÚÒˇ Í
illness, he does jumps into the water.
ÕËÍËÚÂ Ú‡Í ÊÂ, Í‡Í Ë Í ÓÒڇθÌ˚Ï, ÌÂ
The trainer relates to Nikita in the
‰Â·ˇ ÒÍˉÓÍ Ì‡ ËÌ‚‡ÎˉÌÓÒÚ¸. » Û
same way as to all the others, without
χθ˜Ë͇ ̇˜Ë̇ÂÚ ÔÓÎÛ˜‡Ú¸Òˇ: ÓÌ
making any concessions to his physical
Ô˚„‡ÂÚ Ò 3, 5 Ë 7 ÏÂÚÓ‚. ŒÒÚ‡ÂÚÒˇ
inability. And the boy manages: he
ÔÓÒΉÌËÈ Û·ÂÊ ñ 10-ÏÂÚÓ‚‡ˇ
jumps from 3, 5 and 7 metres. There is
‚˚¯Í‡Ö ÕÓ ÔË„ÓÚÓ‚ÎÂÌÌ˚È ‰Îˇ Ì„Ó
one last target: the 10-metre tower Ö
ÔÓ‰‡ÓÍ ñ ÊÂÎÂÁ̇ˇ ‰ÓÓ„‡ ñ ‰ÓÒÚ‡ÂÚÒˇ
But the gift prepared for the winner, a
‰Û„ÓÏÛ Ï‡Î¸˜ËÍÛ, ÚÓÊ ÕËÍËÚÂ,
railway, goes to another boy, who is
ÍÓÚÓ˚È ÒÓ‚Â¯‡ÂÚ Ò‚ÓÈ ÔÂ‚˚È ‚
also called Nikita and who takes the
ÊËÁÌË Ô˚ÊÓÍ.
first jump in his life.
ÍËÌÓÚ‡Ú.doc
kinoteatr.doc
œ¤À‹
DUST
136
2005, –ÓÒÒˡ, 107 ÏËÌ., Digital Vidio
2005, Russia, 107 min., Digital Vidio
¿‚ÚÓ ÒˆÂ̇ˡ ÇË̇ œÓÚ‡ÔÓ‚‡
–ÂÊËÒÒÂ —Â„ÂÈ ÀÓ·‡Ì
ŒÔÂ‡ÚÓ ƒÏËÚËÈ ÃÓ‰Âθ
üÓÏÔÓÁËÚÓ œ‡‚ÂÎ ÿ‚˜ÂÌÍÓ
«‚ÛÍ ƒÂÌËÒ √Ë„Ó¸Â‚,
“Ë„‡Ì √‡·ËÂΡÌ
¬ ÓΡı: ¿ÎÂÍÒÂÈ œÓ‰ÓθÒÍËÈ,
œÂÚ ÇÏÓÌÓ‚, œÒÓÈ üÓÓÎÂÌÍÓ,
ƒÏËÚËÈ œËÏÂÌÓ‚, ¿ÎÂÍÒÂÈ ¿„‚,
À‡ËÒ‡ œˇÚÌˈ͇ˇ
œÓ‰˛ÒÂ ¿ÎÂÍÒÂÈ À‚ËÌ
œÓËÁ‚Ó‰ÒÚ‚Ó ´—‚ÓË 2000ª
œ‡‚‡ ü»ÕŒ“≈¿“–.DOC
Scriptwriter Marina Potapova
—Â„ÂÈ ÀÓ·‡Ì
ŒÍÓ̘ËÎ ÃÓÒÍÓ‚ÒÍËÈ ËÌÒÚËÚÛÚ
Director Sergei Loban
Director of Photography Dmitri Model
Composer Pavel Shevchenko
˝ÎÂÍÚÓÌËÍË Ë Ï‡ÚÂχÚËÍË ñ û›Ã
(1995).
‘ËθÏÓ„‡Ùˡ:
2000 ....ÃÓ„ÎÓ ·˚Ú¸ „Ó‡Á‰Ó ıÛÊÂ
Sound Denis Grigoriev,
Tigran Gabrielian
Cast: Alexei Podolsky, Petr Mamonov,
Psoi Korolenko, Dmitri Pimenov,
Alexei Ageev, Larissa Piatnitskaya
(Í/Ï)
2001 ....—ÎÛ˜‡È Ò Ô‡ˆ‡ÌÓÏ
2002 ....—ÓÒË ·‡Ì‡Ì (Í/Ï)
2003 ....Wid men (Í/Ï)
2005 ....œ˚θ
Producer Alexei Levin
Production SVOI 2000
Rights KINOTEATR.DOC
www.kinoteatrdoc.ru
›ÍÁËÒÚÂ̈ˇθ̇ˇ ‰‡Ï‡ Ò ˝ÎÂÏÂÌÚ‡ÏË
Ù‡ÌÚ‡ÒÚËÍË.
œ˚θ - ˝ÚÓ ÒÛÂÚ‡, ‚ ÍÓÚÓÛ˛
ÔÓ„ÛÊÂÌ˚ β‰Ë. ÕÓ ÂÒÚ¸ Û˜ÂÌ˚È,
Á̇˛˘ËÈ ·Óθ¯Â ‰Û„Ëı Ó· ÛÒÚÓÈÒÚ‚Â
¬ÒÂÎÂÌÌÓÈ. ŒÌ Á̇ÂÚ, ˜ÚÓ Ô˚ÎËÌÍË
‚ÔÓÎÌ ËÒÒΉÛÂÏ˚ Ë ËÁΘËÏ˚.
”˜ÂÌ˚È Ì ·ÂÁ„ÛÂÚ ÒÓÚÛ‰Ì˘‡Ú¸ Ò
‘—¡, ·Î‡„Ó‰‡ˇ ˜ÂÏÛ Í ÌÂÏÛ Ì‡
Ó·ÒΉӂ‡ÌË ÔÓÔ‡‰‡ÂÚ 24-ÎÂÚÌËÈ
ËÌÙ‡ÌÚËθÌ˚È ¿Î¯‡ —Â„‚ ñ
˚ıÎ˚È Ë ·ÎËÁÓÛÍËÈ. œÓ·˚‚‡‚
ÌÂÍÓÚÓÓ ‚ÂÏˇ ‚ ÍÂÔÍÓÏ Á‰ÓÓ‚ÓÏ
ÚÂÎÂ, ¿Î¯‡ ÚÂÔÂ¸ „ÓÚÓ‚ ̇ ‚ÒÂ,
˜ÚÓ·˚ ‚ÂÌÛÚ¸ Ë Ò‚Ó ÚÂÎÓ, Ë Ò‚Ó˛
ÊËÁ̸...
ñ ƒËÔÎÓÏ √Ëθ‰ËË ÍËÌӂ‰ӂ Ë
ÍËÌÓÍËÚËÍÓ‚ ñ Ãü‘ ‚ ÃÓÒÍ‚Â
(ÔÓ„‡Ïχ ´œÂÒÔÂÍÚË‚‡ª, 2005;
ñ œËÁ Œ„ÍÓÏËÚÂÚ‡ ñ ‘ÂÒÚË‚‡Î¸
‰ÂÈÒÚ‚ËÚÂθÌÓ„Ó ÍËÌÓ
´üËÌÓÚ‡Ú.DOCª, ÃÓÒÍ‚‡, 2005;
ñ œËÁ Á‡ ÎÛ˜¯ËÈ ÔÓÎÌÓÏÂÚ‡ÊÌ˚È
ÙËÎ¸Ï (ÍÓÌÍÛÒ ´üËÌÓ ·ÂÁ
ÍËÌÓÔÎÂÌÍ˪) ñ Œ‘ü ´üËÌÓ¯Óͪ,
¿Ì‡Ô‡, 2005;
ñ —ÔˆˇθÌ˚È ‰ËÔÎÓÏ Ê˛Ë - Ãü‘ Ó
Ô‡‚‡ı ˜ÂÎÓ‚Â͇ ´—Ú‡ÎÍÂª, ÃÓÒÍ‚‡,
2005.
Existential drama with elements of
fantasy.
Dust ñ that is people rushing every
day. But there is a scientist who knows
more than others about the workings of
the universe. He knows that specks of
dust can be researched and cured. The
scientist does not refrain from
cooperation with the Federal Security
Bureau, thanks to whom he finds the
24-year-old infantile Alesha Sergeev,
who visits him for tests. Alesha is
friable, flabby, and short sighted.
Having experienced for some time what
life is like in a strong and healthy body,
Alesha is prepared to do anything to
retrieve both the body and that life...
ñ Diploma of the Guild of Film Scholars
and Critics ñ IFF in Moscow
(programme ´Perspectivesª, 2005);
ñ Prize of the Organizing Committee ñ
Festival of Real Cinema
ìKinoteatr.DOCî, Moscow, 2005;
ñ Prize for the best feature film
(competition ìCinema without Filmî)
ñ FF ìKinoShockî, Anapa, 2005;
ñ Special Jury Diploma ñ IFF of
Human Rights ´Stalkerª, Moscow,
2005.
Sergei Loban
Graduated from the Moscow Institute
of Electronics and Mathematics MIEM
(1995).
Filmography:
2000 ....It Could be Worse (short)
2001 ....The Case with the Boy
2002 ....Suck the Banana (short)
2003 ....Wid Men (short)
2005 ....Dust
ÍËÌÓÚ‡Ú.doc
kinoteatr.doc
“–»”Ñ ¡ŒÀ»
TRIUMPH OF PAIN
137
2005, –ÓÒÒˡ, 20 ÏËÌ., ˆ‚., miniDV, ‰ÓÍ.
2005, Russia, 20 min., col., miniDV, doc.
ÚÂ΂ˉÂÌˡ ¿ÕŒ ´Internewsª (2005).
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ
Scriptwriter and Director
‘ËθÏÓ„‡Ùˡ:
ƒ‡¸ˇ ¡‡Ò‡Î‡Â‚‡
Daria Basalaeva
2005 ....“ËÛÏÙ ·ÓÎË (‰ÓÍ.)
ŒÔÂ‡ÚÓ ¬‡ÎÂˡ-√‡È √ÂχÌË͇
Director of Photography
2005 ....ŒÒÓ·˚È ÂÁÓÌ (‰ÓÍ.)
œÓ‰˛ÒÂ ÃËı‡ËÎ —ËÌ‚
Valeria-Gai Germanika
œÓËÁ‚Ó‰ÒÚ‚Ó ƒ‡¸ˇ ¡‡Ò‡Î‡Â‚‡
Producer Mikhail Sinev
œ‡‚‡ ü»ÕŒ“≈¿“–.DOC
Production Daria Basalaeva
ƒ‡¸ˇ ¡‡Ò‡Î‡Â‚‡
ŒÍÓ̘Ë· ÕÂÁ‡‚ËÒËÏÛ˛ ¯ÍÓÎÛ ÍËÌÓ Ë
Rights KINOTEATR.DOC
www.kinoteatrdoc.ru
Daria Basalaeva
Graduated from the Independent School
of Cinema and Television ìInternewsî
(2005).
Filmography:
2005 ....Triumph of Pain (doc.)
2005 ....Special Reason (doc.)
œÓÔ˚Ú͇ ‡Ò¯ËËÚ¸ ÒÓÁ̇ÌË ‚
The attempt to expand consciousness in
‰Ó·Ó‚ÓθÌÓÏ ËÒÔ˚Ú‡ÌËË ÙËÁ˘ÂÒÍÓÈ
a voluntary test with physical pain.
·Óθ˛.
ñ Jury Prize ìFor Closeness to the
ñ œËÁ Ê˛Ë ´«‡ ·ÎËÁÓÒÚ¸ Í Ò‚ÓËÏ
„ÂÓˇÏª (ÓÔÂ‡ÚÓ ¬‡ÎÂˡ √‡È
√ÂχÌË͇) ñ ‘ÂÒÚË‚‡Î¸
‰ÂÈÒÚ‚ËÚÂθÌÓ„Ó ÍËÌÓ
´üËÌÓÚ‡Ú.Docª, ÃÓÒÍ‚‡, 2006;
ñ —ÔˆˇθÌ˚È ‰ËÔÎÓÏ Ê˛Ë ñ Ãü‘
ÒÚÛ‰Â̘ÂÒÍËı ÙËθÏÓ‚ ´Õ‡˜‡ÎÓª,
—‡ÌÍÚ-œÂÚÂ·Û„, 2005.
Heroesî (photography of Valeria Gui
Germanika) ñ Festival of Real Cinema
ìKinoteatr.docî, Moscow, 2006
ñ Special Jury Diploma ñ IFF of
student films ìBeginningî, St.
Petersburg, 2005.
138
www.kinotavr.ru
¬ÂÎËÍÓÎÂÔ̇ˇ ÒÂÏÂ͇
The magnificent seven
$8 /2
1
$8 1/2
‚ÂÏˇ ʇڂ˚
HARVEST TIME
‰Ó΄Ó ÔÓ˘‡ÌËÂ
LONG FAREWELL
ÊÂÎÂÁ̇ˇ ÔˇÚ‡ ÓÎË„‡ıËË
THE IRON HEEL OF OLIGARCHY
ÍÛÊÂÌË ‚ Ô‰Â·ı ÍÓθˆÂ‚ÓÈ
SPINNING INSIDE THE RING ROAD
ÏÂı‡Ì˘ÂÒ͇ˇ Ò˛ËÚ‡
A MECHANICAL SUITE
ÌÂÊÌ˚È ‚ÓÁ‡ÒÚ
THE GENTLE AGE
139
‚ÂÎËÍÓÎÂÔ̇ˇ ÒÂÏÂ͇
the magnificent seven
140
¬ÂÎËÍÓÎÂÔ̇ˇ
ÒÂÏÂ͇
The magnificent
seven
(üÛ‡ÚÓ ÔÓ„‡ÏÏ˚ -
(Programme Curator -
≈‚„ÂÌˡ “Ë‰‡ÚÓ‚‡)
Evgeniya Tirdatova)
«‡ ‚Ò ‚ÂÏˇ ÒÛ˘ÂÒÚ‚Ó‚‡Ìˡ
During the time of the existence of the
Õ‡ˆËÓ̇θÌÓÈ ÔÂÏËË ÍËÌÓÍËÚËÍË Ë
National Award of Film-critics and the
ÍËÌÓÔÂÒÒ˚ ̇ Ì ·˚ÎÓ ÌÓÏËÌËÓ‚‡ÌÓ
Film-press over a hundred domestic
Ò‚˚¯Â ÒÓÚÌË ÓÚ˜ÂÒÚ‚ÂÌÌ˚ı ÙËθÏÓ‚.
films have been nominated. Compiling
—ÓÒÚ‡‚Ρˇ ÔÓ„‡ÏÏÛ Í ÂÂ
the programme for its tenth
‰ÂÒˇÚËÎÂÚÌÂÏÛ ˛·Ëβ, Ï˚, ÚÓ ÂÒÚ¸
anniversary, we, that is the members of
˜ÎÂÌ˚ Œ„ÍÓÏËÚÂÚ‡ ÔÂÏËË (Շڇθˇ
the Organizing Committee of the Award
¡‡ÒË̇, ¬ËÍÚÓ ÇÚËÁÂÌ, “‡Ú¸ˇÌ‡
(Natalia Basina, Viktor Matizen,
ÃÓÒÍ‚Ë̇-fl˘ÂÌÍÓ, ≈‚„ÂÌˡ
Tatiana Moskvina-Yashchenko, Evgenia
“Ë‰‡ÚÓ‚‡, ≈ÎÂ̇ ”‚‡Ó‚‡) ¯ËÎË
Tirdatova, Elena Uvarova) have decided
ÓÚÓ·‡Ú¸ ‰Îˇ ‰ÂÏÓÌÒÚ‡ˆËË Ú ËÁ ÌËı,
to select for the screenings those films
ÍÓÚÓ˚ ҇ÏË ıÓÚÂÎË ·˚ ÔÂÂÒÏÓÚÂÚ¸.
that we would ourselves like to watch
» Ì ÍÓ„‰‡-ÌË·Û‰¸, ‡ ‚Ó ‚ÂÏˇ
again. Not just sometime, but during
Ì˚̯ÌÂÈ Ê‡Ú‚˚, ÍÓ„‰‡ β‰Ë,
the current harvest when people who ñ
ÍÓÚÓ˚ ‚ ÌÂÊÌÓÏ ‚ÓÁ‡ÒÚ ÊËÎË ÔÓ‰
in their tender age ñ lived under the
ÊÂÎÂÁÌÓÈ ÔˇÚÓÈ Ë‰ÂÓÎӄ˘ÂÒÍÓÈ
iron heel of ideological oligarchy,
ÓÎË„‡ıËË, Ì ËÏ¡ ‚ ͇χÌ Ë
without eight and a half dollars in their
‚ÓÒ¸ÏË Ò ÔÓÎÓ‚ËÌÓÈ ‰ÓηÓ‚, ÚÂÔÂ¸
pocket, are now spinning around
ÍÛʇÚÒˇ ÔÓ ‡ÁÌ˚Ï Ó·ËÚ‡Ï ÔÓ‰
different orbits to a mechanical suite of
ÏÂı‡Ì˘ÂÒÍÛ˛ Ò˛ËÚÛ ‰Ó΄ӄÓ
long farewells with themselves.
ÔÓ˘‡Ìˡ Ò ÒÓ·ÓÈ.
If this phrase is not sufficient, we can
≈ÒÎË ˝ÚÓÈ Ù‡Á˚ ̉ÓÒÚ‡ÚÓ˜ÌÓ, ÏÓÊÌÓ
add that, behind the nominations for a
‰Ó·‡‚ËÚ¸, ˜ÚÓ Á‡ ÌÓÏË̇ˆËÂÈ ÙËθχ
criticsí award stand not only the voices
̇ ÔÂÏ˲ ÍËÚËÍË ÒÚÓˇÚ Ì ÚÓθÍÓ
of those experts who voted for it, but
ÔÓ‰‡ÌÌ˚ Á‡ ÌÂ„Ó „ÓÎÓÒ‡ ˝ÍÒÔÂÚÓ‚, ÌÓ
also a certain reason that may be
Ë ÓÔ‰ÂÎÂÌ̇ˇ Ô˘Ë̇, ÍÓÚÓ‡ˇ
revealed here. ìThe Iron Heel of
ÏÓÊÂÚ ·˚Ú¸ ‚˚ˇ‚ÎÂ̇. “‡Í, ´∆ÂÎÂÁ̇ˇ
Oligarchyî is an example of low-budget
ÔˇÚ‡ ÓÎË„‡ıË˪ ñ Ó·‡Áˆ
art-house cinema, satisfying the taste of
ÌËÁÍÓ·˛‰ÊÂÚÌÓ„Ó ‡Ú-ÍËÌÓ,
a sophisticated audience; ì8 /2 Dollarsî
Û‰Ó‚ÎÂÚ‚Óˇ˛˘Â„Ó ‚ÍÛÒÛ ÔÓ‰‚ËÌÛÚÓÈ
and ìMechanical Suiteî indicate
1
1
ÔÛ·ÎËÍË, ´8 /2 ‰ÓηÓ‚ª Ë
directions in which the Russian comedy
´ÃÂı‡Ì˘ÂÒ͇ˇ Ò˛ËÚ‡ª Û͇Á˚‚‡˛Ú
genre might have developed before
̇Ô‡‚ÎÂÌˡ, ‚ ÍÓÚÓ˚ı Ïӄ· ·˚
entering its path of banal copying of
‡Á‚Ë‚‡Ú¸Òˇ ÓÚ˜ÂÒÚ‚ÂÌ̇ˇ ÍÓωˡ,
Hollywood models; ìTender Ageî is an
Ì˚̘ ‚ÒÚÛÔË‚¯‡ˇ ̇ ÔÛÚ¸ ·‡Ì‡Î¸ÌÓ„Ó
unprecedented ìconfession of the
ÍÓÔËÓ‚‡Ìˡ „ÓÎÎË‚Û‰ÒÍËı Ó·‡ÁˆÓ‚,
centuryís sonî to a psychiatrist in the
´ÕÂÊÌ˚È ‚ÓÁ‡ÒÚª ñ ‰‚‡ ÎË ÌÂ
form of a tragicomedy; ìHarvest Timeî
·ÂÒÔˆ‰ÂÌÚ̇ˇ ´ËÒÔӂ‰¸ Ò˚̇ ‚Â͇ª
is an unexpectedly successful
ÔÒËıˇÚÛ ‚ ÙÓÏ Ú‡„ËÍÓωËË,
continuation of the ìsoilî tradition of
´¬ÂÏˇ ʇڂ˚ª ñ ÌÂÓÊˉ‡ÌÌÓ Û‰‡˜ÌÓÂ
Soviet and Russian cinema begun with
ÔÓ‰ÓÎÊÂÌË ´ÔÓ˜‚ÂÌÌÓȪ Ú‡‰ËˆËË
ìEarthî; ìLong Farewellî is a fine
ÒÓ‚ÂÚÒÍÓ„Ó Ë ÓÒÒËÈÒÍÓ„Ó ÍËÌÓ,
reconstruction of a ìlost timeî and an
̇˜‡‚¯ÂÈÒˇ Ò ´«ÂÏÎ˪, ´ƒÓ΄ÓÂ
example of a screen adaptation that
ÔÓ˘‡Ì˪ ñ ÚÓÌ͇ˇ ÂÍÓÌÒÚÛÍˆËˇ
preserved the atmosphere of its literary
´ÛÚ‡˜ÂÌÌÓ„Ó ‚ÂÏÂÌ˪ Ë ‚ÏÂÒÚÂ Ò ÚÂÏ
source; ìSpinning inside the Ring Roadî
ÔËÏÂ ˝Í‡ÌËÁ‡ˆËË, ÒÓı‡ÌË‚¯ÂÈ
belongs to the partially forgotten genre
‡ÚÏÓÒÙÂÛ ÔÓÁ‡Ë˜ÂÒÍÓ„Ó
of social and psychological drama,
ÔÂ‚ÓËÒÚÓ˜ÌË͇, ´üÛÊÂÌË ‚
stripped of the soapy taste and narrated
Ô‰Â·ı ÍÓθˆÂ‚ÓȪ ñ ÔÓ‰Á‡·˚Ú˚È
in a rather finely articulated film
ʇÌ ÒӈˇθÌÓ-ÔÒËıÓÎӄ˘ÂÒÍÓÈ
language.
‰‡Ï˚, Î˯ÂÌÌÓÈ Ï˚θÌÓ„Ó ÔË‚ÍÛÒ‡
To what extent these seven are actually
Ë Í ÚÓÏÛ Ê ‡ÒÒ͇Á‡ÌÌÓÈ ‚ÂҸχ
magnificent will be decided by the
‡ÚËÍÛÎËÓ‚‡ÌÌ˚Ï ÍËÌÓˇÁ˚ÍÓÏ.
audience of Kinotavr 2007. For us, the
Õ‡ÒÍÓθÍÓ ‚ÂÎËÍÓÎÂÔ̇ ˝Ú‡ ÒÂÏÂ͇ ‚
seven are worth to be screened.
‰ÂÈÒÚ‚ËÚÂθÌÓÒÚË, ¯ËÚ
ÍËÌÓÚ‡‚Ó‚Ò͇ˇ ÔÛ·ÎË͇ 2007 „Ó‰‡. Õ‡Ï
Ó̇ Ô‰ÒÚ‡‚ΡÂÚÒˇ ‰ÓÒÚÓÈÌÓÈ ÔÓ͇Á‡.
Chairman of the Organizing
Committee of the Award,
Viktor Matizen
œ‰Ò‰‡ÚÂθ Œ„ÍÓÏËÚÂÚ‡ ÔÂÏËË
¬ËÍÚÓ ÇÚËÁÂÌ
‚ÂÎËÍÓÎÂÔ̇ˇ ÒÂÏÂ͇
the magnificent seven
$8 1/2
141
ÃÛÁ˚͇θ̇ˇ ÍÓωˡ Ò ˝ÎÂÏÂÌÚ‡ÏË
ÏÂÎÓ‰‡Ï˚ Ë Í˘‡. –ÂÊËÒÒÂ
ÂÍ·ÏÌ˚ı ÓÎËÍÓ‚ √Â‡ üÂÏÓ‚
ϘڇÂÚ Ó ÔÓÒÚ‡ÌÓ‚Í ·Óθ¯ÓÈ
͇ÚËÌ˚, ‡ ÔÓ͇ Ô¸ÂÚ, ‚ÂÒÂÎËÚÒˇ Ë
̇‰ÂÂÚÒˇ ̇ ÎÛ˜¯Ë ‚ÂÏÂ̇. ÕÓ
Ӊ̇ʉ˚ ‰Â̸„Ë ‚ÒÂ-Ú‡ÍË ÔÓˇ‚Ρ˛ÚÒˇ,
Ô‡‚‰‡ ·‡Ì‰ËÚÒÍËÂ. «‡ Ó‰ÌÛ ÌÓ˜¸ Ò
ÔÓÏÓ˘¸˛ ÌÓ‚ÓÈ ÔÓ‰Û„Ë „ÂÓÈ ÎËıÓ
Ú‡ÚËÚ ÔÓÎÓ‚ËÌÛ ·˛‰ÊÂÚ‡ ÙËθχ. ›ÚÓ
Ó·ÒÚÓˇÚÂθÒÚ‚Ó ‚‚Â„‡ÂÚ √ÂÛ ËÏÂÌÌÓ ‚
ÚÛ ÒËÚÛ‡ˆË˛, ËÁ ÍÓÚÓÓÈ Ì‚ÓÁÏÓÊÂÌ
‚˚ıÓ‰. ÕÓ ÓÌ Â„Ó Ë Ì ˢÂÚ, ‡ ÔÓÒÚÓ
ÔÓ‰ÓÎʇÂÚ ÊËÚ¸...
Musical comedy with elements of
melodrama and kitsch. The advertising
clip-maker Gera Kremov dreams of
shooting a full-length film, but for the
moment he drinks and enjoys himself,
waiting for better times. But one day
money becomes available, but it is
criminal money. During one night, he
spends half of the filmís budget with his
girlfriend. This circumstance puts Gera
into a desperate situation. Yet he doesnít
even try to find a way out, and instead
continues his life of love and hopeÖ.
1999, –ÓÒÒˡ, 98 ÏËÌ., ˆ‚., ÏÓÌÓ
1999, Russia, 98 min., col., mono
¿‚ÚÓ˚ ÒˆÂ̇ˡ
√Ë„ÓËÈ üÓÌÒÚ‡ÌÚËÌÓÔÓθÒÍËÈ,
¿‚‰ÓÚ¸ˇ —ÏËÌÓ‚‡, —Â„ÂÈ ü˚ÎÓ‚
–ÂÊËÒÒÂ
√Ë„ÓËÈ üÓÌÒÚ‡ÌÚËÌÓÔÓθÒÍËÈ
ŒÔÂ‡ÚÓ˚ fiËÈ À˛·¯ËÌ,
≈‚„ÂÌËÈ üÓÊÂÌÍÓ‚
’Û‰ÓÊÌËÍ ≈‚„ÂÌËÈ ÃËÚÚ‡
üÓÒÚ˛Ï˚ Çˡ ÷Ë„‡Î¸,
Շڇθˇ »‚‡ÍË̇
üÓÏÔÓÁËÚÓ –Û¯‡Ì ¿˛ÔÓ‚
«‚ÛÍ ÕËÍÓÎ‡È ÃÓÒËÌ, œ‡‚ÂÎ ƒÓÁ‰Ó‚,
≈‚„ÂÌËÈ “ÂÂıÓ‚
¬ ÓΡı: »‚‡Ì ŒıÎÓ·˚ÒÚËÌ,
ŒÎÂÒˇ œÓÚ‡¯ËÌÒ͇ˇ,
‘‰Ó ¡Ó̉‡˜ÛÍ,
Շڇθˇ ¿Ì‰ÂȘÂÌÍÓ,
¬Î‡‰ËÏË ÃÂ̸¯Ó‚, »„Ó¸ ¬ÂÌËÍ,
¿ÏÂÌ œÂÚÓÒˇÌ,
¬Î‡‰ËÏË ÿ‡ËÌÒÍËÈ,
¬ˇ˜ÂÒ·‚ –‡Á·Â„‡Â‚, ¿Ì‰ÂÈ »,
¿Ì„ÂÎË̇ ◊ÂÌÓ‚‡, –‡ÏËθ —‡·ËÚÓ‚,
√Ó¯‡ üÛˆÂÌÍÓ, —Â„ÂÈ ”Î˚·‡·Ó‚
œÓ‰˛ÒÂ ¿ÎÂÍ҇̉ ¿ÌÚËÔÓ‚
œÓËÁ‚Ó‰ÒÚ‚Ó üËÌÓÒÚÛ‰Ëˇ ËÏÂÌË
Ã.√Ó¸ÍÓ„Ó, ´œÂϸÂ-ÙËθϪ,
√ÓÒÍËÌÓ –‘
œÓÍ‡Ú ´œÂϸÂ-ÙËθϪ
Scriptwriters
Grigori Konstantinopolsky,
Avdotia Smirnova, Sergei Krylov
Director Grigori Konstantinopolsky
Directors of Photography
Yuri Liubshin, Evgeni Korzhenkov
Production Design Evgeni Mitta
Costume Design Maria Tsigal,
Natalia Ivakina
Composer Rushan Ayupov
Sound Nikolai Mosin, Pavel Drozdov,
Evgeni Terekhov
Cast: Ivan Okhlobystin,
Olessia Potashinskaya,
Fedor Bondarchuk, Natalia
Andreichenko, Vladimir Menshov,
Igor Vernik, Armen Petrosian,
Vladimir Shainsky,
Viacheslav Razbegayev, Andrei I,
Angelina Chernova, Ramil Sabitov,
Gosha Kutsenko, Sergei Ulybabov
Producer Alexander Antipov
Production Gorky Film Studio,
Premier Film, wit participation of
Goskino of the Russian Federation
Distribution Premier Film
ñ Õ‡ˆËÓ̇θ̇ˇ ÔÂÏˡ
ÍËÌÓÍËÚËÍË Ë ÍËÌÓÔÂÒÒ˚
´«ÓÎÓÚÓÈ Œ‚Â̪ (1999) ‚
ÌÓÏË̇ˆËË ´ÀÛ˜¯ËÈ ÙËθω·˛Úª.
ñ ëGolden Ariesí Award of Film Critics
and the Film Press, (1999) in the
category Best Debut Film
‚ÂÎËÍÓÎÂÔ̇ˇ ÒÂÏÂ͇
the magnificent seven
¬–≈Ãfl ∆¿“¬¤
HARVEST TIME
142
2003, –ÓÒÒˡ, 67 ÏËÌ., ˆ‚., ÏÓÌÓ
2003, Russia, 67 min, col., optical mono
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ
Scriptwriter and Director
ÇË̇ –‡Á·ÂÊÍË̇
Marina Razbezhkina
ŒÔÂ‡ÚÓ »Ë̇ ”‡Î¸Ò͇ˇ
Director of Photography
’Û‰ÓÊÌËÍ –‡¯ËÚ —‡ÙËÛÎÎËÌ
Irina Uralskaya
üÓÒÚ˛Ï˚
Production Design Rashit Safiullin
¿ÎÂÍ҇̉‡ —ÏÓÎË̇-–ÓÁ‡ÌÓ‚‡
Costume Design
üÓÏÔÓÁËÚÓ ¿ÌÚÓÌ —Ë·‚
Alexandra Smolina-Rozanova
ü‡Ï·ÌË —ÂÈÌıÓ Õ‡Ï˜˚·Í
Composer Anton Silayev
√ÓÎÓÒ Ë ‚Ó͇Π—Â„ÂÈ —Ú‡ÓÒÚËÌ,
Vocals Seyncho Namchylak,
¬Ë͇ ¬‡ÒË肇
Sergei Starostin, Vika Vasilieva
«‚ÛÍ ÕËÍÓÎ‡È ”ÒÚËÏÂÌÍÓ
Sound Nikolai Ustimenko
¬ ÓΡı: À˛‰ÏË· ÃÓÚÓ̇ˇ,
Cast: Liudmila Motornaya,
¬ˇ˜ÂÒ·‚ ¡‡Ú‡ÍÓ‚, ƒËχ flÍӂ΂,
Viacheslav Batrakov, Dima Yakovlev,
ƒËχ ≈χÍÓ‚, —‚ÂÚ·̇ ≈ÙÂÏÓ‚‡,
Dima Ermakov, Svetlana Efremova,
—Â„ÂÈ “ËÏÓÙ‚, —Â„ÂÈ ¿·‡ÍÛÏÓ‚,
Sergei Timofeev, Sergei Abakumov,
¬‡‰ËÏ ÕËÍËÚËÌ, À‚ —‡ÏÓÛıÓ‚,
Vadim Nikitin, Lev Samorukhov,
¬Î‡‰ËÏË ¬‡ÒËÌ, »Ì̇ ÕËÍËÙÓÓ‚‡,
Vladimir Vasin, Inna Nikiforova,
—Ë‡ üÛ̉ÛıË̇
Sira Kundukhina
œÓ‰˛ÒÂ Շڇθˇ ∆ÂÎÚÛıË̇
Producer Natalia Zheltukhina
œÓËÁ‚Ó‰ÒÚ‚Ó –»—ü, ÔË Û˜‡ÒÚËË
Production RISK, with participation of
ÃËÌËÒÚÂÒÚ‚‡ ÍÛθÚÛ˚ –‘
the Russian Ministry of Culture
ñ œËÁ Ê˛Ë ‘»œ–≈——», ‰ËÔÎÓÏ
Ê˛Ë ÓÒÒËÈÒÍÓÈ ÍËÌÓÍËÚËÍË ñ
Ãü‘ ‚ ÃÓÒÍ‚Â, 2004;
ñ œÂ‚˚È ÔËÁ ‚ ‡Á‰ÂΠ˄Ó‚Ó„Ó
ÍËÌÓ, ÒÔˆÔËÁ Ê˛Ë Á‡
ÓÔÂ‡ÚÓÒÍÛ˛ ‡·ÓÚÛ ñ ‘–ü
´ŒÍÌÓ ‚ ≈‚ÓÔÛª, ¬˚·Ó„, 2004;
ñ —ÔˆˇθÌ˚È ÔËÁ Ê˛Ë
´—Â·ˇÌ˚È ¿ÎÂÍ҇̉ª, ÔËÁ Á‡
ıÛ‰ÓÊÂÒÚ‚ÂÌÌ˚ ‰ÓÒÚËÊÂÌˡ
(Artistic Achievement Award) ñ
Ãü‘ ‚ —‡ÎÓÌË͇ı, √ÂˆËˇ, 2004;
ñ œÂÏˡ ÍËÌÓÍËÚËÍË Ë ÍËÌÓÔÂÒÒ˚
´«ÓÎÓÚÓÈ Œ‚Â̪ (2004) ‚
ÌÓÏË̇ˆËˇı ´ÎÛ˜¯ËÈ
ÔÓÎÌÓÏÂÚ‡ÊÌ˚È Ë„Ó‚ÓÈ ‰Â·˛Úª,
´ÎÛ˜¯‡ˇ ‡·ÓÚ‡ ÓÔÂ‡ÚÓ‡ª;
ñ œËÁ „ËÓ̇ ÕËÊÌˇˇ ÕÓÏ‡Ì‰Ëˇ
Á‡ Û‰‡˜Ì˚È ‰Â·˛Ú ñ ‘–ü ‚
ŒÌÙÎÂÂ, ‘‡ÌˆËˇ, 2004.
ñ FIPRESCI Jury Award, Diploma of
the Jury of Russian Film Critics ñ
IFF, Moscow, 2004;
ñ First Prize in the feature film
section, Special Jury Prize for
camera work ñ Russian Film Festival
ìWindow on Europeî, Vyborg, 2004;
ñ Special Jury Prize ìSilver
Alexanderî (Artistic Achievement
Award), IFF Saloniki, Greece, 2004;
ñ ìGolden Ariesî Award of Film Critics
and the Film Press, 2004, in the
categories ìBest Debutî and ìBest
Photographyî;
ñ Prize of the Lower Normandy Region
for a successful debut ñ Film
Festival in Honfleur, France, 2004.
—ӈˇθ̇ˇ Ú‡„ËÍÓÏ˘ÂÒ͇ˇ ÔËÚ˜‡.
–ÓÒÒËÈÒ͇ˇ „ÎÛ·ËÌ͇, ÔÓÒ΂ÓÂÌÌ˚Â
„Ó‰˚. üÓÏ·‡ÈÌÂ “ÓÒˇ ‡·ÓÚ‡ÂÚ
̇‡‚ÌÂ Ò ÏÛʘË̇ÏË. ” Ì ‰‚ÓÂ
‰ÂÚÂÈ Ë ÏÛÊ ñ ËÌ‚‡Îˉ ‚ÓÈÌ˚. œÓ
ËÚÓ„‡Ï „Ó‰‡ “ÓÒˇ ÒÚ‡ÌÓ‚ËÚÒˇ
Ôӷ‰ËÚÂθÌˈÂÈ ÒÓˆÒÓ‚ÌÓ‚‡Ìˡ, Ë
‚Òˇ ÒÂϸˇ ÚÂÔÂ¸ ÓÁ‡·Ó˜Â̇ ÚÂÏ, ͇Í
Ò·Â˜¸ ÔÂÂıÓ‰ˇ˘Â ü‡ÒÌÓ «Ì‡Ïˇ ÓÚ
‰Óχ¯ÌËı „˚ÁÛÌÓ‚. ÕÓ ˝ÚÓ ËÏ ÌÂ
Û‰‡ÂÚÒˇ. ◊ÚÓ·˚ ̇‚Ò„‰‡ ÓÒÚ‡‚ËÚ¸
ÁÌ‡Ïˇ ‚ Ò‚ÓÂÈ ÒÂÏ¸Â Ë Ú‡ÍËÏ Ó·‡ÁÓÏ
ËÁ·Âʇڸ ÔÛ·Î˘ÌÓ„Ó ÒÛ‰‡, ¿ÌÚÓÌË̇
¯‡ÂÚ ÒÚ‡Ú¸ ·ÂÒÒÏÂÌÌ˚Ï ÎˉÂÓÏ
Ò‚ÓÂ„Ó ÍÓÎıÓÁ‡...
A social tragic-comic allegory.
The Russian countryside in the postwar period. The harvest machine
operator Antonina works on a par with
her male colleagues. She has two
children and a husband, an invalid of
the war. According to the yearís results
Antonina wins the achievement
competition and now the entire family
is worried about saving the Red Banner
she received from domestic rodents. But
they fail... In order to keep the flag in
the family for good and to avoid a
public trial, Antonina decides to become
the leader of the villageís collective
farm...
‚ÂÎËÍÓÎÂÔ̇ˇ ÒÂÏÂ͇
the magnificent seven
ƒŒÀ√Œ≈ œ–ŒŸ¿Õ»≈
LONG FAREWELL
143
›Í‡ÌËÁ‡ˆËˇ Ó‰ÌÓËÏÂÌÌÓÈ ÔÓ‚ÂÒÚË
fiˡ “ËÙÓÌÓ‚‡.
Õ‡˜‡ÎÓ 50-ı „Ó‰Ó‚. ÃÓÎÓ‰‡ˇ
ÔÓ‚Ë̈ˇθ̇ˇ ‡ÍÚËÒ‡ ÒÚ‡ÌÓ‚ËÚÒˇ
ÔËÏÓÈ Ó‰ÌÓ„Ó ËÁ ÒÚÓ΢Ì˚ı Ú‡ÚÓ‚.
≈ β·ˇÚ ‰‚Ó ÏÛʘËÌ ñ
ÔÂÛÒÔ‚‡˛˘ËÈ ‰‡Ï‡ÚÛ„ —ÏÓΡÌÓ‚ Ë
ÒÓ·ÒÚ‚ÂÌÌ˚È ÏÛÊ ñ ÌÂÛ‰‡˜ÎË‚˚È
ÙËÎÓÎÓ„ √˯‡ –·Ó‚, ÍÓÚÓÓ„Ó Ó̇
ÚÓÊ ÌÂÊÌÓ Î˛·ËÚ. ÀˇÎˇ Ó˜Â̸
̇‰ÂÂÚÒˇ ̇ ÚÓ, ˜ÚÓ —ÏÓΡÌÓ‚ ÔÓÏÓÊÂÚ
√˯ ÔÓ·ËÚ¸Òˇ ‚ Ô˜‡Ú¸, Ë ‡‰Ë „Ó
Ú‚Ó˜ÂÒÍËı ÛÒÔÂıÓ‚ „ÓÚÓ‚‡ ̇ β·˚Â
ÊÂÚ‚˚...
Screen Adaptation of Yuri Trifonovís
story of the same title.
The beginning of the 1950s. Lialia, a
young actress from the provinces,
becomes the leading star of one of the
capitalís theatres. Two men are in love
with her: the successful playwright
Smolianov and her husband, the
unsuccessful philologist Grisha Rebrov,
whom she loves tenderly. Lialia hopes
that Smolianov may help Grisha with
the publication of his works, and for
the sake of his creative success she is
ready for any sacrifice.
2004, –ÓÒÒˡ, 106 ÏËÌ., ˆ‚., 1:1.66,
2004, Russia, 106 min., col., 1:1.66,
Dolby SRD
Dolby SRD
¿‚ÚÓ˚ ÒˆÂ̇ˡ ›Î¸„‡ À˚̉Ë̇,
Scriptwriters Elga Lyndina,
—Â„ÂÈ ”ÒÛΡÍ
Sergei Ursuliak
–ÂÊËÒÒÂ —Â„ÂÈ ”ÒÛΡÍ
Director Sergei Ursuliak
ŒÔÂ‡ÚÓ ÃËı‡ËÎ —ÛÒÎÓ‚
Director of Photography
’Û‰ÓÊÌËÍ √Ë„ÓËÈ ÿËÓÍÓ‚
Mikhail Suslov
üÓÒÚ˛Ï˚ ≈ÎÂ̇ —Ú‡ÌÍ‚‡,
Production Design Grigori Shirokov
¿ÎÂÍÒÂÈ ü‡Ï˚¯Ó‚
Costume Design Elena Stankeyeva,
«‚ÛÍ fiÎˡ ≈„ÓÓ‚‡
Alexei Kamyshov
¬ ÓΡı: ¿Ì‰ÂÈ ŸÂÌÌËÍÓ‚,
Sound Yulia Egorova
œÓÎË̇ ¿„Û‚‡, ¡ÓËÒ ü‡ÏÓÁËÌ,
Cast: Andrei Shchennikov,
“‡Ú¸ˇÌ‡ À·‰¸ÍÓ‚‡, üÓÌÒÚ‡ÌÚËÌ
Polina Agureeva, Boris Kamorzin,
∆ÂΉËÌ, √ÂÌËÂÚÚ‡ ≈„ÓÓ‚‡,
Tatiana Lebedkova, Konstantin Zheldin,
ÕËÍÓÎ‡È ÿÂÈÍÓ, fiÎËÈ Ã‡Î‡ÍˇÌˆ,
Genrietta Egorova, Nikolai Sheiko,
≈‚„ÂÌËÈ üË̉ËÌÓ‚,
Yuli Malakiants, Evgeni Kindinov,
¬‡ÎÂÌÚË̇ ÿ‡˚ÍË̇
Valentina Sharykina
œÓ‰˛ÒÂ ≈‚„ÂÌËÈ ”β¯ÍËÌ
Producer Evgeni Uliushkin
—ÓÔÓ‰˛ÒÂ —Â„ÂÈ ”ÒÛΡÍ
Co-Producer Sergei Ursuliak
œÓËÁ‚Ó‰ÒÚ‚Ó ´‘ËÎÏ-œÓª, ÔË
Production ìFilm-Proî,
Û˜‡ÒÚËË ÃËÌËÒÚÂÒÚ‚‡ ÍÛθÚÛ˚ –‘
with participation of the Russian
Ministry of Culture
ñ œËÁ Á‡ ÎÛ˜¯Û˛ ÊÂÌÒÍÛ˛ Óθ
(œÓÎË̇ ¿„Û‚‡) ñ –ü‘
´üËÌÓÚ‡‚ª, —Ó˜Ë, 2004;
ñ œÂÏËË üËÌÓÍËÚËÍË Ë
ÍËÌÓÔÂÒÒ˚ ´«ÓÎÓÚÓÈ Œ‚Â̪ (2004)
‚ ÌÓÏË̇ˆËˇı ´ÎÛ˜¯‡ˇ ÊÂÌÒ͇ˇ
Óθª (œÓÎË̇ ¿„Û‚‡), ´ÎÛ˜¯‡ˇ
ÏÛÊÒ͇ˇ Óθ ‚ÚÓÓ„Ó Ô·̇ª
(¡ÓËÒ ü‡ÏÓÁËÌ), œÂÏˡ ËÏÂÌË
ÃËÓ̇ ◊ÂÌÂÌÍÓ (—Â„ÂÈ
”ÒÛΡÍ);
ñ œËÁ √Ëθ‰ËË ÍËÌÓÂÊËÒÒÂÓ‚ –‘ ñ
Ãü‘ Ó Ô‡‚‡ı ˜ÂÎÓ‚Â͇ ´—Ú‡ÎÍÂª,
ÃÓÒÍ‚‡, 2004;
ñ œËÁ Á‡ ÎÛ˜¯Û˛ ÊÂÌÒÍÛ˛ Óθ
(œÓÎË̇ ¿„Û‚‡), ÔËÁ ËÏÂÌË
¿Ì‰¡ ÃÓÒÍ‚Ë̇ Á‡ ÎÛ˜¯Û˛
ÓÔÂ‡ÚÓÒÍÛ˛ ‡·ÓÚÛ ñ ü‘
´ÀËÚÂ‡ÚÛ‡ Ë ÍËÌÓª, √‡Ú˜Ë̇,
2005.
ñ Prize for Best Actress (Polina
Agureeva), Russian Film Festival
ìKinotavrî, Sochi, 2004
ñ ìGolden Ariesî Award of Film Critics
and the Film Press, 2004, in the
categories ëBest Actressí (Polina
Agureeva), ëBest Supporting Actorí
(Boris Kamorzin); Miron Chernenko
Prize (Sergei Ursuliak);
ñ Prize of the Russian Guild of Film
Critics, IFF of Human Rights
ìStalkerî, Moscow, 2004;
ñ Prize for Best Actress (Polina
Agureeva), Andrei Moskvin Prize for
Best Photography at the Russian
Festival ìLiterature and Cinemaî,
Gatchina, 2005.
‚ÂÎËÍÓÎÂÔ̇ˇ ÒÂÏÂ͇
the magnificent seven
∆≈À≈«Õ¿fl œfl“¿ ŒÀ»√¿–’»»
THE IRON HEEL OF OLIGARCHY
144
–ÓÒÒˡ, 1998, 68 ÏËÌ., ˆ‚.
Russia, 1998, 68 min., col.
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ
Director and Scriptwriter
¿ÎÂÍ҇̉ ¡‡¯ËÓ‚
Alexander Bashirov
ŒÔÂ‡ÚÓ˚ —Â„ÂÈ À‡Ì‰Ó,
Director of Photography
¬Î‡‰ËÏË ¡˚ΡÍÓ‚
Sergei Lando, Vladimir Bryliakov
’Û‰ÓÊÌËÍ ¬Î‡‰ËÏË —‚ÂÚÓÁ‡Ó‚
Production Design Vladimir Svetozarov
üÓÒÚ˛Ï˚ ≈͇ÚÂË̇ ÿ‡Ô͇Ȉ,
Costume Design Ekaterina Shapkaits,
À˛‰ÏË· –ÓχÌÓ‚Ò͇ˇ
Liudmila Romanovskaya
üÓÏÔÓÁËÚÓ ≈‚„ÂÌËÈ ‘‰ÓÓ‚
Music Evgeni Fedorov
¿‚ÚÓ ÔÂÒÂÌ, ‚Ó͇Π»Ì̇ ¬ÓÎÍÓ‚‡
Songs and Vocals Inna Volkova
«‚ÛÍ ›ÎÂÓÌÓ‡ ü‡Á‡ÌÒ͇ˇ,
Sound Eleonora Kazanskaya,
›‰„‡ ‘Ë„ÌÂ, —Â„ÂÈ ‘Ë„ÌÂ
Edgar Figner, Sergei Figner
¬ ÓΡı: ¿ÎÂÍ҇̉ ¡‡¯ËÓ‚,
Cast: Alexander Bashirov, Rita Margo,
–ËÚ‡ Ç„Ó, ≈ÎÂ̇ fi‰‡ÌÓ‚‡,
Elena Yudanova, Inna Volkova,
»Ì̇ ¬ÓÎÍÓ‚‡, Õ‡Ú‡Îˡ œË‚Ó‚‡Ó‚‡,
Natalia Pivovarova, Evgeni Fedorov,
≈‚„ÂÌËÈ ‘‰ÓÓ‚,
Konstantin Fedorov, Alexander
üÓÌÒÚ‡ÌÚËÌ ‘‰ÓÓ‚,
Voronov, Sergei Kagadeev,
¿ÎÂÍ҇̉ ¬ÓÓÌÓ‚, —Â„ÂÈ ü‡„‡‰Â‚,
Oleg Veresov, Irina Sharovatova,
ŒÎ„ ¬ÂÂÒÓ‚, »Ë̇ ÿ‡Ó‚‡ÚÓ‚‡,
Alexander Rozanov, Alexander Tyurin
¿ÎÂÍ҇̉ –ÓÁ‡ÌÓ‚, ¿ÎÂÍ҇̉ “˛ËÌ
Text read by Rita Margo
“ÂÍÒÚ ˜ËÚ‡ÂÚ –ËÚ‡ Ç„Ó
Producers Sergei Vladimirov,
œÓ‰˛ÒÂ˚ —Â„ÂÈ ¬Î‡‰ËÏËÓ‚,
Rodion Ismailov, Alexander Bashirov
–Ó‰ËÓÌ »ÒχÈÎÓ‚, ¿ÎÂÍ҇̉ ¡‡¯ËÓ‚
Production Company and Sales
œÓËÁ‚Ó‰ÒÚ‚Ó Ë Ô‡‚‡
Deboshir-Film
´ƒÂ·Ó¯Ë-‘ËθϪ
ñ œËÁ ÊÛ̇· ´‘ËθÏÍËÚËͪ ñ
Ãü‘ ‚ ¬Â̈ËË, 1998;
ñ œÂÏˡ Ê˛Ë ‘»œ–≈——» ñ
Œ–ü‘ ´üËÌÓÚ‡‚ª, —Ó˜Ë, 1998;
ñ œËÁ ´—Â·ˇÌ˚È „‚ÓÁ‰¸ª (ÍÓÌÍÛÒ
‰Â·˛ÚÓ‚) ñ üËÌÓÙÓÛÏ
´—Â·ˇÌ˚È „‚ÓÁ‰¸ª, flÎÚ‡, 1998;
ñ œËÁ Ê˛Ë Á‡ ÎÛ˜¯Û˛
ÓÔÂ‡ÚÓÒÍÛ˛ ‡·ÓÚÛ, ÒÔˆˇθÌ˚È
ÔËÁ Ê˛Ë ÍËÚËÍÓ‚ ñ ‘–ü ´ŒÍÌÓ
‚ ≈‚ÓÔÛª, ¬˚·Ó„, 1998;
ñ œËÁ ´“Ë„ª ñ Ãü‘ ‚
–ÓÚÚÂ‰‡ÏÂ, 1999;
ñ ¡Óθ¯ÓÈ ÔËÁ Ê˛Ë, ÔËÁ Á‡ ÎÛ˜¯Û˛
ÏÛÊÒÍÛ˛ Óθ (¿ÎÂÍ҇̉ ¡‡¯ËÓ‚),
ÔËÁ √Ëθ‰ËË ÍËÌӂ‰ӂ Ë
ÍËÌÓÍËÚËÍÓ‚ –ÓÒÒËË ñ ü‘
´ÀËÚÂ‡ÚÛ‡ Ë ÍËÌÓª, √‡Ú˜Ë̇, 1999;
ñ œËÁ Á‡ ÎÛ˜¯ËÈ Â‚ÓÔÂÈÒÍËÈ ÙËθÏ
ñ Ãü‘ ‚ ¿ÎÂÍ҇̉ËË, 1999 Ë ‰.
ñ Prize of the magazine ëFilmCriticí ñ
IFF Venice, 1998;
ñ Prize of FIPRESCI Jury ñ ORFF
ëKinotavrí, Sochi, 1998;
ñ Prize ëSilver Nailí (debut
competition)
ñ Film Forum ëSilver Nailí, —Ó˜Ë,1998;
ñ Jury Prize for the best camera work,
Special Prize of Criticsí Jury ñ
Russian Film Festival ëWindow on
Europeí, Vyborg, 1998;
ñ ëTigerí Award, ñ IFF Rotterdam,
1999;
ñ Grand Jury Prize, Award for Best
Actor (Alexander Bashirov), Prize of
the Guild of Russian Film Critics ñ
Russian Film Festival ëLiterature
and Cinemaí, Gatchina, 1999;
ñ Best European Film ñ IFF
Alexandria, 1999.
—ӈˇθ̇ˇ ÙÂÂˡ ̇ ÚÂÏ˚ Óχ̇
´∆ÂÎÂÁ̇ˇ ÔˇÚ‡ª ƒÊÂ͇ ÀÓ̉Ó̇ (Ò
ËÒÔÓθÁÓ‚‡ÌËÂÏ ˆËÚ‡Ú) Ë ´ü‡ÔËڇ·ª
ü‡· ÇÍÒ‡ ‚ ËÌÚÂ¸Â‡ı
ÒÓÎ̘ÌÓ„Ó —‡ÌÍÚ-œÂÚÂ·Û„‡ ÍÓ̈‡
90-ı ÔÓ‰ ÏÛÁ˚ÍÛ „ÛÔÔ ´üÓÎË·˪ Ë
TEQUILAJAZZZ Ò ‚ÂҸχ ÛÁ̇‚‡ÂÏ˚Ï
ÔÂÒÓ̇ÊÂÏ ñ Û˜‡ÒÚÌËÍÓÏ ÒıÓ‰ÓÍ Ë
‰ÂÏÓÌÒÚ‡ˆËÈ, ÍÓÚÓÓ„Ó ‚‰ÓıÌÓ‚ÂÌÌÓ
Ë„‡ÂÚ Ò‡Ï ¡‡¯ËÓ‚.
Social extravaganza based on the novel
ìIron Heelî by Jack London (with
citations) and ìThe Capitalî by Karl
Marx set in the interiors of a sunny
St.Petersburg in the late 1990s to the
music of the groups ëKolibrií and
ëTequilajazzzí, featuring a very familiar
character who frequents gatherings and
rallies and who is vividly portrayed by
Alexander Bashirov himself.
‚ÂÎËÍÓÎÂÔ̇ˇ ÒÂÏÂ͇
the magnificent seven
ü–”∆≈Õ»≈ ¬ œ–≈ƒ≈À¿’ üŒÀ‹÷≈¬Œ…
SPINNING INSIDE THE RING ROAD
145
2006, –ÓÒÒˡ, 112 ÏËÌ., ˆ‚., Dolby SRD
2006, Russia, 112 min., col., Dolby SRD
β‰ÂÈ, Ó·˙‰ËÌÂÌÌ˚ı ‚ÂÏÂÌÂÏ Ë
¿‚ÚÓ˚ ÒˆÂ̇ˡ
Scriptwriters Ramil Salakhutdinov,
ÏÂÒÚÓÏ ÔÓÊË‚‡Ìˡ: ÓÒÒËÈÒÍËÈ
–‡ÏËθ —‡Î‡ıÛÚ‰ËÌÓ‚,
Mikhail Trofimenko
Ï„‡ÔÓÎËÒ, 2005 „Ó‰.
ÃËı‡ËÎ “ÓÙËÏÂÌÍÓ
Director Ramil Salakhutdinov
–ÂÊËÒÒÂ –‡ÏËθ —‡Î‡ıÛÚ‰ËÌÓ‚
Artistic Directors Alexei German,
’Û‰.ÛÍ. ¿ÎÂÍÒÂÈ √ÂχÌ,
Svetlana Karmalita
—‚ÂÚ·̇ ü‡χÎËÚ‡
Director of Photography
ŒÔÂ‡ÚÓ ¿ÎÂÍ҇̉ üÛÁ̈ӂ
Alexander Kuznetsov
’Û‰ÓÊÌËÍ fiËÈ —ÓÚÌËÍÓ‚
Production Design Yuri Sotnikov
üÓÒÚ˛Ï˚ ŒÎ¸„‡ ÕÂÒÚÂÂÌÍÓ
Costume Design Olga Nesterenko
«‚ÛÍ ¬Î‡‰ËÏË œÂÒÓ‚
Sound Vladimir Persov
¬ ÓΡı: ƒÏËÚËÈ ¬ÓÓ·¸Â‚,
Cast: Dmitri Vorobiev,
—‚ÂÚ·̇ œËÒ¸Ï˘ÂÌÍÓ, ŒÎ„ üÓ‚‡ÎÓ‚,
Svetlana Pismichenko, Oleg Kovalov,
≈ÎÂ̇ œÓÔÓ‚‡, ƒÏËÚËÈ ¬ÓÓ̈,
Elena Popova, Dmitri Voronets,
üÓÌÒÚ‡ÌÚËÌ ¡Û‰ÛÍÓ‚,
Konstantin Burdukov,
¡ÓËÒ ¬ÓȈÂıÓ‚ÒÍËÈ,
Boris Voitsekhovsky,
üÓÌÒÚ‡ÌÚËÌ «Û·ˈÍËÈ,
Konstantin Zubritsky, Sergei Koshonin,
—Â„ÂÈ üÓ¯ÓÌËÌ, ¿ÎÂÍÒÂÈ ¡‡‡·‡¯,
Alexei Barabash, Olga Shuvalova,
ŒÎ¸„‡ ÿÛ‚‡ÎÓ‚‡, »„Ó¸ √Ë„Ó¸Â‚,
Igor Grigoriev, Gennadi Golubev,
Some stories from the life of different
√ÂÌ̇‰ËÈ √ÓÎ۷‚, »„Ó¸ –ÓχÌÓ‚
Igor Romanov
people, united by the time and place
œÓ‰˛ÒÂ ¬ËÍÚÓ »Á‚ÂÍÓ‚
Producer Viktor Izvekov
where they live: a megapolis, Russia,
œÓËÁ‚Ó‰ÒÚ‚Ó ´—‚Âª, ÔË Û˜‡ÒÚËË
Production ´Severª, with participation
2005.
‘‰Â‡Î¸ÌÓ„Ó ‡„ÂÌÚÒÚ‚‡ ÔÓ ÍÛθÚÛ Ë
from the Federal Agency of Culture and
ÍËÌÂχÚÓ„‡ÙËË
Cinematography
ñ œËÁ Ê˛Ë ´—Â·ˇÌ‡ˇ ·‰¸ˇª,
ñ Jury Prize ìSilver Boatî; Prize of
ÔËÁ √Ëθ‰ËË ÍËÌÓÍËÚËÍË Ë
the Guild of Film Critics and the
ÍËÌÓÔÂÒÒ˚, ÔËÁ ¬ü—– ´Á‡ ÎÛ˜¯ËÈ
Film Press; Prize of the Higher
‰Â·˛Úª ñ ‘–ü ´ŒÍÌÓ ‚ ≈‚ÓÔÛª,
Courses for Directors and
¬˚·Ó„, 2006.
Scriptwriters ëfor the best debutí;
—ӈˇθÌÓ-ÔÒËıÓÎӄ˘ÂÒ͇ˇ ‰‡Ï‡.
ÕÂÒÍÓθÍÓ ËÒÚÓËÈ ËÁ ÊËÁÌË ‡ÁÌ˚ı
Russian Film Festival ìWindow on
Europeî, Vyborg, 2006.
‚ÂÎËÍÓÎÂÔ̇ˇ ÒÂÏÂ͇
the magnificent seven
Ã≈’¿Õ»◊≈—ü¿fl —fi»“¿
A MECHANICAL SUITE
146
2001, –ÓÒÒˡ, 100 ÏËÌ., ˆ‚., Dolby SRD
2001, Russia, 100 min, col., Dolby SRD
¿‚ÚÓ ÒˆÂ̇ˡ √ÂÌ̇‰ËÈ ŒÒÚÓ‚ÒÍËÈ
Scriptwriter Gennadi Ostrovsky
–ÂÊËÒÒÂ ƒÏËÚËÈ ÃÂÒıË‚
Director Dmitri Meskhiev
ŒÔÂ‡ÚÓ —Â„ÂÈ Ã‡˜ËθÒÍËÈ
Director of Photography
’Û‰ÓÊÌËÍ Õ‡Ú‡Îˡ üÓ˜Â„Ë̇
Sergei Machilsky
üÓÒÚ˛Ï˚ ¿ÎÂÍ҇̉‡ ¬ÂÒÂθ˜‡ÍÓ‚‡
Production Design Natalia Kochergina
üÓÏÔÓÁËÚÓ˚ ÀÂÓÌˉ ‘‰ÓÓ‚,
Costume Design Alexandra Veselchakova
—‚ˇÚÓÒ·‚ üÛ‡¯Ó‚, ¬Î‡‰ËÏË ¬ÓÎÍÓ‚
Composers Leonid Fedorov,
«‚ÛÍ üÓÌÒÚ‡ÌÚËÌ «‡ËÌ
Sviatoslav Kurashov, Vladimir Volkov
¬ ÓΡı: —Â„ÂÈ √‡χ¯,
Sound Konstantin Zarin
ÃËı‡ËÎ œÓ˜ÂÌÍÓ‚, üÓÌÒÚ‡ÌÚËÌ
Cast: Sergei Garmash, Mikhail
’‡·ÂÌÒÍËÈ, —Â„ÂÈ Ã‡ÍӂˆÍËÈ,
Porechenkov, Konstanting Khabensky,
»Ë̇ –ÓÁ‡ÌÓ‚‡, «Ë̇ˉ‡ ÿ‡ÍÓ,
Sergei Makovetsky, Irina Rozanova,
—Â„ÂÈ √ÓÎÓ‚ÍËÌ,
Zinaida Sharko, Sergei Golovkin,
≈‚„ÂÌˡ ƒÓ·Ó‚ÓθÒ͇ˇ,
Evgeniya Dobrovolskaya, Andrei Zibrov,
¿Ì‰ÂÈ «Ë·Ó‚, ÃËı‡ËÎ ¬‡ÒÒÂ·‡ÛÏ,
Mikhail Vasserbaum, Zoya Buriak,
«Óˇ ¡ÛˇÍ, ¿ÎÂÍ҇̉ ¡‡¯ËÓ‚,
Alexander Bashirov, Yuri Kuznetsov,
fiËÈ üÛÁ̈ӂ, —Â„ÂÈ ¡˚Á„Û,
Sergei Byzgu, Alexander Fatiushin
¿ÎÂÍ҇̉ ‘‡Ú˛¯ËÌ
Producer Olga Vasilieva
œÓ‰˛ÒÂ ŒÎ¸„‡ ¬‡ÒË肇
Production Kinoforum 2000
œÓËÁ‚Ó‰ÒÚ‚Ó ´üËÌÓÙÓÛÏ 2000ª
Distribution Gala Production
œÓÍ‡Ú √ÛÔÔ‡ ÍÓÏÔ‡ÌËÈ GP
ñ œËÁ Á‡ ÎÛ˜¯Û˛ ÂÊËÒÒÛÛ, ÔËÁ Á‡
ÎÛ˜¯Û˛ ÊÂÌÒÍÛ˛ Óθ ‚ÚÓÓ„Ó Ô·̇
(≈‚„ÂÌˡ ƒÓ·Ó‚ÓθÒ͇ˇ), ÔËÁ Á‡
ÎÛ˜¯ËÈ ‡ÍÚÂÒÍËÈ ‡Ì҇Ϸθ ñ ü‘
´—ÓÁ‚ÂÁ‰ËÂ-2001ª;
ñ Õ‡ˆËÓ̇θ̇ˇ ÔÂÏˡ ÍËÌÓÍËÚËÍË Ë
ÍËÌÓÔÂÒÒ˚ ´«ÓÎÓÚÓÈ Œ‚Â̪ (2001) ‚
ÌÓÏË̇ˆËË ´ÎÛ˜¯‡ˇ ÊÂÌÒ͇ˇ Óθ
‚ÚÓÓ„Ó Ô·̇ª (≈.ƒÓ·Ó‚ÓθÒ͇ˇ);
ñ œÂÏˡ üËÌӇ͇‰ÂÏËË ´ÕË͇ª (2001)
‚ ÌÓÏË̇ˆËË ´ÎÛ˜¯‡ˇ ÊÂÌÒ͇ˇ Óθ
‚ÚÓÓ„Ó Ô·̇ª (≈.ƒÓ·Ó‚ÓθÒ͇ˇ);
ñ œËÁ Á‡ ÎÛ˜¯Û˛ ÂÊËÒÒÛÛ ñ ü‘
´¬Ë‚‡Ú ÍËÌÓ –ÓÒÒËË!ª, —œ·, 2002 Ë ‰.
ñ Prize for Best Direction, Best
Supporting Actress (Evgeniya
Dobrovolskaya), Acting Ensemble ñ
Film Festival ëSozvedieí 2001;
ñ ëGolden Ariesí National Award of Film
Critics and the Film Press (2001) in
the category Best Supporting Actress
(Evgeniya Dobrovolskaya);
ñ Prize of the Film Academy NIKA
(2001) in the category Best Supporting
Actress (Evgeniya Dobrovolskaya);
ñ Prize for Best Director ñ Film Festival
ëVivat, Cinema of Russia!í St
Petersburg, 2002; etc.
“‡„ËÍÓωˡ ÔÓ ÏÓÚË‚‡Ï Ó‰ÌÓËÏÂÌÌÓÈ
ÔÓ‚ÂÒÚË —Â„¡ ◊Ëı‡˜Â‚‡.
—ÓÚÛ‰ÌËÍ Ô‡ÚÂÌÚÌÓ„Ó Óډ· ÔÓÂı‡Î ̇
‚˚ıÓ‰Ì˚ ‚ À˚ÍÓ‚Ó ÔÓ‰ œËÚÂ Ë Ú‡Ï
ÒÍÓ̘‡ÎÒˇ ÓÚ ËÌÙ‡ÍÚ‡. «‡‚Ó‰ÒÍËÂ
ÍÓÎÎÂ„Ë ¯ËÎË ÔÂ‚ÂÁÚË ÚÂÎÓ ÔÓÍÓÈÌÓ„Ó
üÓÎË ‚ œËÚÂ Á‡ Ò˜ÂÚ Ô‰ÔˡÚˡ Ë ‚
ÔËÌÛ‰ËÚÂθÌÓÏ ÔÓˇ‰Í ÔÓÒ·ÎË Á‡
ÚÂÎÓÏ ÌÂÔ¸˛˘Â„Ó Ã‡ÍÂ‡Ìˆ‡ Ë ‰ÂÎÓ‚Ó„Ó
ÃËÚˇ„Ë̇. ¬ ˝ÚÓÈ Ì‚˚ÌÓÒËÏÓÈ ‰Îˇ Ó·ÓËı
Ó·ÒÚ‡ÌÓ‚Í ÃËÚˇ„ËÌ ‚ÒÂ-Ú‡ÍË Û·Â‰ËÎ
ÇÍÂ‡Ìˆ‡ ‚ ÚÓÏ, ˜ÚÓ ‚˚ÔËÚ¸
ÌÂÓ·ıÓ‰ËÏÓ. œËÎË ‚Ò˛ ‰ÓÓ„Û. ¬ À˚ÍÓ‚Ó
ÔËÂı‡ÎË ·ÂÁ ‰ÂÌ„, „Ó· Á‡Í‡Á˚‚‡Ú¸ Ì ̇
˜ÚÓ, Ë ÔÓ‚ÂÁÎË üÓβ ‚ œËÚÂ Ó·˚˜Ì˚Ï
Ô‡ÒÒ‡ÊËÓÏ. ◊ÂÚ‚ÂÚ˚Ï ‚ ÍÛÔ ·˚Î ÌÂÍËÈ
›‰Û‡‰ Ò ˜ÂÏÓ‰‡ÌÓÏ, ‡ ‚ ˜ÂÏÓ‰‡Ì ñ
ÛÍ‡‰ÂÌ̇ˇ ̇ Á‡‚Ӊ ‰Âڇθ ÒÚÓËÏÓÒÚ¸˛
$5000. ¬ ÂÁÛθڇÚ Ì‚ÂÓˇÚÌÓ„Ó
ÒÚ˜ÂÌˡ Ó·ÒÚÓˇÚÂθÒÚ‚ ÚÛÔ, ˜ÂÏÓ‰‡Ì Ë
›‰Û‡‰ ËÒ˜ÂÁÎËÖ
Tragicomedy based on the story of the
same title by Sergei Chikhachev.
Kolya, a member of staff of the patents
office goes to Lykovo near St. Petersburg
over the weekend and dies there of a heart
attack. His colleagues decide to move the
body of their late colleague Kolya to
Petersburg on the companyís account and
ñ in the emergency of the situation ñ they
send the sober Markerants and the
practically minded Mityagin to Lykovo. In
this situation ñ unbearable for both ñ
Mityagin convinces Markerants to have a
drink after all. In fact, they drink during
the entire journey. In Lykovo they arrive
without money, so they have no means to
buy a coffin; so they take Kolya as an
ordinary passenger on the train back to
Petersburg. The fourth passenger in te
compartment is a certain Eduard with a
suitcase, which, it transpires, contains an
item stolen at the factory to the value of
$5000. As a result of this unlikely
convergence of circumstances, the body,
the case and Eduard disappearÖ.
‚ÂÎËÍÓÎÂÔ̇ˇ ÒÂÏÂ͇
the magnificent seven
Õ≈∆Õ¤… ¬Œ«–¿—“
THE GENTLE AGE
147
ƒ‡Ï‡.
2000, –ÓÒÒˡ, 115 ÏËÌ., ˆ‚., 1:1.66,
2000, Russia, 115 min., col., 1:1.66,
¬ÌÛÍ Á̇ÏÂÌËÚÓ„Ó „ÂÌÂ‡Î‡-ÎÂÚ˜Ë͇
Dolby SRD
Dolby SRD
ÓʉÂÌˡ, ÔÓÔ‡‰‡ÂÚ Ì‡ ÔÂ‚Û˛
¿‚ÚÓ˚ ÒˆÂ̇ˡ ƒÏËÚËÈ —ÓÎÓ‚¸Â‚,
Scriptwriters Dmitri Soloviev,
˜Â˜ÂÌÒÍÛ˛ ‚ÓÈÌÛ. ¬Ó ‚ÂÏˇ ‰ÂÒ‡ÌÚ‡ ̇
—Â„ÂÈ —ÓÎÓ‚¸Â‚
Sergei Soloviev
»‚‡Ì‡ Ô‡‰‡ÂÚ Ò Ô‡‡¯˛Ú‡ Ô‡ÚÓÌÌ˚È
–ÂÊËÒÒÂ —Â„ÂÈ —ÓÎÓ‚¸Â‚
Director Sergei Soloviev
ˇ˘ËÍ, ÔÓÒΠ˜Â„Ó, ‚ ˆÂΡı ‚˚ˇÒÌÂÌˡ
ŒÔÂ‡ÚÓ œ‡‚ÂÎ À·¯‚
Director of Photography
ÔÓÒÎÂÚ‡‚χÚ˘ÂÒÍÓÈ ‡‰ÂÍ‚‡ÚÌÓÒÚË,
’Û‰ÓÊÌËÍ —Â„ÂÈ »‚‡ÌÓ‚
Pavel Lebeshev
»‚‡Ì ‰ÓÎÊÂÌ ÔÓ‰Ó·ÌÂȯËÏ Ó·‡ÁÓÏ
üÓÒÚ˛Ï˚ Շڇθˇ »‚‡ÌÓ‚‡
Production Design Sergei Ivanov
ËÁÎÓÊËÚ¸ ÔÒËıӇ̇ÎËÚËÍÛ ‚Ò˛ Ò‚Ó˛
üÓÏÔÓÁËÚÓ ›ÌË ÀÓ·¯‚ËÎË
Costume Design Natalia Ivanova
Ô‰˚‰Û˘Û˛ ÊËÁ̸Ö
«‚ÛÍ ¬ˇ˜ÂÒ·‚ üβ˜ÌËÍÓ‚
Composer Enri Lolashvili
“Âı˜‡ÒÚ̇ˇ ´ËÒÚÓˡ ÔÓ ‚ÂÎËÍÛ˛
¬ ÓΡı: ƒÏËÚËÈ —ÓÎÓ‚¸Â‚,
Sound Viacheslav Kliuchnikov
ÊË‚Û˜ÂÒÚ¸ª (´»‰ËÓÚª, ´ŒÚˆ˚ Ë ‰ÂÚ˪,
≈ÎÂ̇ ü‡Ï‡Â‚‡, ŒÎ¸„‡ —ˉÓÓ‚‡,
Cast: Dmitri Soloviev, Elena Kamayeva,
´¬ÓÈ̇ Ë ÏËª), ‚ ÍÓÚÓÓÈ ·Óθ¯Â
»‚‡Ì ¡ÂÁËÌ, ¿Ì‰ÂÈ —‡‚ÓÒÚ¸ˇÌÓ‚,
Olga Sidorova, Ivan Berzin,
ÔÓ˝ÁËË, ˜ÂÏ ‰ÓÍÛÏÂÌÚ‡.
»Ë̇ √Ë„Ó¸Â‚‡, ¿ÎÂÍÒÂÈ ƒ‡„‡Â‚,
Andrei Savostianov, Irina Grigorieva,
À˛‰ÏË· —‡‚Â肇, üËËÎÎ À‡‚Ó‚,
Alexei Dagayev, Liudmila Savelieva,
—Â„ÂÈ √‡χ¯, »‚‡Ì ¿ÎËÏÓ‚,
Kirill Lavrov, Sergei Garmash,
¬‡ÎÂÌÚËÌ √‡ÙÚ, ¿ÌÚÓÌ ’‡ÔÓ‚,
Ivan Alimov, Valentin Gaft,
“Óχ¯ ¡ˇÎÍÓ‚ÒÍËÈ,
Anton Khrapov, Tomasz Bialkowski,
The grandson of the well-known
ÕËÍÓÎ‡È ◊Ë̉ˇÈÍËÌ, ¿Ì‰ÂÈ œ‡ÌËÌ,
Nikolai Chindyaikin, Andrei Panin,
Aviation General Gromov, Ivan Gromov,
¡ÓËÒ √·ÂÌ˘ËÍÓ‚
Boris Grebenshchikov
born 1974, is drafted into the first
œÓ‰˛ÒÂ˚ ÕËÍËÚ‡ ÃËı‡ÎÍÓ‚,
Producers Nikita Mikhalkov,
Chechen war. During a landing exercise
ÀÂÓÌˉ ¬Â¢‡„ËÌ
Leonid Vereshchagin
a box of ammunition drops from a
œÓËÁ‚Ó‰ÒÚ‚Ó ´“Ë“˝ª, ÔË Û˜‡ÒÚËË
Production TriTe, with participation
parachute right next to Ivan, who, as a
√ÓÒÍËÌÓ –‘, ´—¿—ª
from Goskino, SAS
ñ œËÁ üËÌӇ͇‰ÂÏËË ´ÕË͇ª (2000)
ñ Prize of the Film Academy NIKA
√ÓÏÓ‚‡, »‚‡Ì √ÓÏÓ‚, 1974 „Ó‰‡
consequence, has to undergo
psychotherapy to ward off any possible
post-traumatic effect. In this process he
has to provide the therapist with a
detailed account of his life. A history of
‚ ÌÓÏË̇ˆËË ´ÎÛ˜¯‡ˇ Óθ ‚ÚÓÓ„Ó
ëgreat survivabilityí in three parts
Ô·̇ª (—Â„ÂÈ √‡χ¯);
(ëIdiotí, ëFathers and Sonsí, ëWar and
ñ œËÁ ´«ÓÎÓÚ‡ˇ ÓÁ‡ª, ÔËÁ ËÏÂÌË
(2000) in the category Best
Supporting Actor (Sergei Garmash);
ñ Prize ëGolden Roseí, Mikael Tariverdiev
Peaceí), which has poetic rather than
ÃË͇˝Î‡ “‡Ë‚Â‰Ë‚‡ Á‡ ÎÛ˜¯Û˛
Award for Best Film Music, Prize of
documentary character.
ÏÛÁ˚ÍÛ Í ÙËθÏÛ, ÔËÁ √Ëθ‰ËË
the Russian Guild of Film Critics and
ÍËÌӂ‰ӂ Ë ÍËÌÓÍËÚËÍÓ‚ ñ Œ–ü‘
Film Press, Open Russian Film Festival
´üËÌÓÚ‡‚ª, —Ó˜Ë, 2001;
ñ œÂÏˡ ÍËÌÓÍËÚËÍË Ë ÍËÌÓÔÂÒÒ˚
ëKinotavrí, Sochi, 2001;
ñ ëGolden Ariesí Award of Film Critics
´«ÓÎÓÚÓÈ Œ‚Â̪ (2001) ‚ ÌÓÏË̇ˆËË
and the Film Press, (2001) in the
´ÎÛ˜¯‡ˇ ÏÛÊÒ͇ˇ Óθ ‚ÚÓÓ„Ó
category Best Supporting Actor
Ô·̇ª (—Â„ÂÈ √‡χ¯) Ë ‰.
(Sergei Garmash); etc.
50 ‚˚·Ë‡˛Ú 50 (˜‡ÒÚ¸ I)
50 choose 50 (part I)
¬ ÓÔÓÒ ۘ‡ÒÚ‚Ó‚‡ÎË:
Survey participants
«‡‡ ¿·‰Û炇/ Zara Abdullaeva
À‚ ¿ÌÌËÌÒÍËÈ/ Lev Anninsky
À˛·Ó‚¸ ¿ÍÛÒ/ Liubov Arkus
¿ÌÊÂÎË͇ ¿Ú˛ı/ Angelica Artyukh
148
œÂÚ ¡‡„Ó‚/ Peter Bagrov
fiËÈ ¡Ó„ÓÏÓÎÓ‚/ Yuri Bogomolov
¬‡ÎÂËÈ ¡ÓÒÂÌÍÓ/ Valeri Bosenko
fiËÈ √·‰Ëθ˘ËÍÓ‚/ Yuri Gladilshchikov
ƒÂÌËÒ √ÓÂÎÓ‚/ Denis Gorelov
¬‡ÎÂˡ √ÓÂÎÓ‚‡/ Valeria Gorelova
»Ë̇ √‡˘ÂÌÍÓ‚‡/ Irina Grashchenkova
≈‚„ÂÌËÈ √ÛÒˇÚËÌÒÍËÈ/ Evgeni Gusiatinsky
¬Î‡‰ËÏË ƒÏËÚË‚/ Vladimir Dmitriev
¿ÌÚÓÌ ƒÓÎËÌ/ Anton Dolin
“‡Ú¸ˇÌ‡ »ÂÌÒÂÌ/ Tatiana Iensen
ÕËÍÓÎ‡È »Á‚ÓÎÓ‚/ Nikolai Izvolov
»Ë̇ »Á‚ÓÎÓ‚‡/ Irina Izvolova
ÇÍ «‡Í/ Mark Zak
À‚ ü‡‡ı‡Ì/ Lev Karakhan
¬‡ÎÂËÈ ü˘ËÌ/ Valeri Kichin
—Â„ÂÈ üÛ‰ˇ‚ˆÂ‚/ Sergei Kudriavtsev
ÇÍ üÛ¯ÌËӂ˘/ Mark Kushnirovich
—Â„ÂÈ À‡‚ÂÌڸ‚/ Sergei Lavrentiev
≈‚„ÂÌˡ ÀÂÓÌÓ‚‡/ Evgenia Leonova
À‡ËÒ‡ Ã‡Î˛ÍÓ‚‡/ Larissa Maliukova
¬ËÍÚÓ ÇÚËÁÂÌ/ Viktor Matizen
¿ÏÂÌ Ã‰‚‰‚/ Armen Medvedev
≈‚„ÂÌËÈ Ã‡„ÓÎËÚ/ Evgeni Margolit
Շڇθˇ ÕÛÒËÌÓ‚‡/ Natalia Nusinova
»Ë̇ œ‡‚ÎÓ‚‡/ Irina Pavlova
ÀÂÓÌˉ œ‡‚β˜ËÍ/ Leonid Pavliuchik
¿Ì‰ÂÈ œÎ‡ıÓ‚/ Andrei Plakhov
≈ÎÂ̇ œÎ‡ıÓ‚‡/ Elena Plakhova
üËËÎÎ –‡ÁÎÓ„Ó‚/ Kirill Razlogov
—Ú‡ÌËÒ·‚ –ÓÒÚÓˆÍËÈ/ Stanislav Rostotsky
»Ë̇ –Û·‡ÌÓ‚‡/ Irina Rubanova
ƒÏËÚËÈ —‡Î˚ÌÒÍËÈ/ Dmitri Salynsky
≈ÎÂ̇ —Ú˯ӂ‡/ Elena Stishova
ƒËΡ‡ “‡Ò·Û·ÚÓ‚‡/ Diliara Tasbulatova
≈‚„ÂÌˡ “Ë‰‡ÚÓ‚‡/ Evgenia Tirdatova
¿ÎÂÍ҇̉ “Ó¯ËÌ/ Alexander Troshin
¬ËÚ‡ÎËÈ “ÓˇÌÓ‚ÒÍËÈ/ Vitali Troyanovsky
¬‡ÎÂËÈ ‘ÓÏËÌ/ Valeri Fomin
≈͇ÚÂË̇ ’ÓıÎÓ‚‡/ Ekaterina Khokhlova
—‚ÂÚ·̇ ’ÓıˇÍÓ‚‡/ Svetlana Khokhriakova
ÕË̇ ÷˚ÍÛÌ/ Nina Tsyrkun
¿Ì‰ÂÈ ÿÂÏˇÍËÌ/ Andrei Shemiakin
¬‡ÎÂÌÚË̇ ÿÂÏˇÍË̇/ Valentina Shemiakina
¿ÎÂÍ҇̉ ÿÔ‡„ËÌ/ Alexander Shpagin
œÂÚ ÿÂÔÓÚËÌÌËÍ/ Peter Shepotinnik
50 ‚˚·Ë‡˛Ú 50 (˜‡ÒÚ¸ I)
50 choose 50 (part I)
ÎÂÚˇÚ ÊÛ‡‚ÎË
THE CRANES ARE FLYING
˜‡Ô‡Â‚
CHAPAEV
Ë‚‡Ì „ÓÁÌ˚È
IVAN THE TERRIBLE
ÓÍ‡Ë̇
OUTSKIRTS
·ÓÌÂÌÓÒˆ "ÔÓÚÂÏÍËÌ"
THE BATTLESHIP POTEMKIN
ÚÂÚ¸ˇ Ï¢‡ÌÒ͇ˇ
BED AND SOFA ("THREE IN LOVE")
Ò˜‡ÒÚ¸Â
HAPPINESS
‚ÂÒ̇ ̇ Á‡˜ÌÓÈ ÛÎˈÂ
SPRING ON ZARECHNAYA STREET
ÔÓ Á‡ÍÓÌÛ
BY THE LAW/ DURA LEX
χ¯Â̸͇
MASHENKA
ÒÚÓ„ËÈ ˛ÌÓ¯‡
A SEVERE YOUNG MAN
¯ËÌÂθ
THE OVERCOAT
ÒÚ‡˜Í‡
STRIKE
Ϙڇ
THE DREAM
ÓÚˆ ÒÂ„ËÈ
FATHER SERGIUS
‰ÓÏ Ì‡ ÚÛ·ÌÓÈ
THE HOUSE ON TRUBNAYA SQUARE
ÒÓÓÍ ÔÂ‚˚È
FORTY-FIRST
ÔÓÚÓÏÓÍ ˜ËÌ„ËÒ-ı‡Ì‡
STORM OVER ASIA
ÁÓÎۯ͇
CINDERELLA
ÔÛÚ‚͇
‚ ÊËÁ̸
ROAD TO LIFE
‚ÂÒÂÎ˚Â
·ˇÚ‡
HAPPY GUYS/ JOLLY FELLOWS (AKA "MOSCOW LAUGHS")
Ó·ÎÓÏÓÍ
ËÏÔÂËË
A FRAGMENT OF EMPIRE
͇̇‚‡Î¸Ì‡ˇ
ÌÓ˜¸
CARNIVAL NIGHT
‡ÎÂÍ҇̉
Ì‚ÒÍËÈ
ALEXANDER NEVSKY
˛ÌÓÒÚ¸
χÍÒËχ
THE YOUTH OF MAXIM
149
50 ‚˚·Ë‡˛Ú 50 (˜‡ÒÚ¸ I)
50 choose 50 (part I)
150
œˇÚ¸‰ÂÒˇÚ Ì‡ ÔˇÚ¸‰ÂÒˇÚ Fifty-Fifty
ü ÒÚÓÎÂÚ˲ ÍËÌÓÔÓËÁ‚Ó‰ÒÚ‚‡ ‚ –ÓÒÒËË ´üËÌÓÚ‡‚ª ¯ËÎ
‚ Ú˜ÂÌË ‰‚Ûı ÒÂÁÓÌÓ‚ ÔÓ͇Á‡Ú¸ ÔÓ„‡ÏÏÛ ËÁ 50 ÎÛ˜¯Ëı
ÓÒÒËÈÒÍËı ÙËθÏÓ‚ ñ ÔÓÎÓ‚ËÌÛ ‚ Ì˚̯ÌÂÏ „Ó‰Û Ë
ÔÓÎÓ‚ËÌÛ ‚ ÒÎÂ‰Û˛˘ÂÏ. ¬ ÓÚ·Ó ͇ÚËÌ Û˜‡ÒÚ‚Ó‚‡ÎË 50
ÍËÌӂ‰ӂ Ë ÍËÌÓÍËÚËÍÓ‚ ‚ÒÂı ÔÓÍÓÎÂÌËÈ ñ ÚÂ, ÍÚÓ
‡·ÓڇΠ‚ ÒÓ‚ÂÚÒÍË „Ó‰˚, Ë ÚÂ, ÍÚÓ Ì‡˜‡Î ‡·ÓÚ‡Ú¸ ‚ ÌÓ‚ÓÂ
‚ÂÏˇ. ¬ ˝ÚÓÏ „Ó‰Û Í‡Ê‰ÓÏÛ ËÁ „ÓÎÓÒÓ‚‡‚¯Ëı ·˚ÎÓ
Ô‰ÎÓÊÂÌÓ Ì‡Á‚‡Ú¸ 25 ÎÛ˜¯Ëı Ò Â„Ó ÚÓ˜ÍË ÁÂÌˡ
ÙËθÏÓ‚, ‚˚ÔÛ˘ÂÌÌ˚ı ‚ 1908ñ1957 „„. ñ Á‡ ÔÂ‚˚Â
ÔÓ΂Â͇ Ò ÏÓÏÂÌÚ‡ ‚˚ıÓ‰‡ ´œÓÌËÁÓ‚ÓÈ ‚ÓθÌˈ˚ª.
≈ÒÚÂÒÚ‚ÂÌÌÓ, Ò‡ÁÛ Ê ‚ÓÁÌËÍ ÚˇÊÍËÈ ‚ÓÔÓÒ, ͇ÍË ÒÓ‚ÂÚÒÍËÂ
ÙËθÏ˚ ÒΉÛÂÚ Ò˜ËÚ‡Ú¸ ÓÒÒËÈÒÍËÏË, ‡ ͇ÍË ´ÓÚ‰‡Ú¸ª
‰Û„ËÏ ÂÒÔÛ·ÎËÍ‡Ï ———–. —Û‰ËÚ¸ ÔÓ ÏÂÒÚÛ ÔÓËÁ‚Ó‰ÒÚ‚‡? œÓ
ˇÁ˚ÍÛ? œÓ ̇ˆËÓ̇θÌÓÒÚË ÂÊËÒÒÂÓ‚? œÓ ÏÂÌÚ‡ÎËÚÂÚÛ?
”ˇÁ‚ËÏÓ Î˛·Ó ‰ÂÎÂÌËÂ, Ë ÓÚ‚ÂÚÒÚ‚ÂÌÌÓÒÚ¸ Á‡ ÚÓ, ˜ÚÓ ´—ÚÓ„ËÈ
˛ÌÓ¯‡ª Ë ´¬ÂÒ̇ ̇ «‡˜ÌÓÈ ÛÎˈª, ÔÓËÁ‚‰ÂÌÌ˚ ‚ üË‚Â
Ë Œ‰ÂÒÒÂ, ´ÓÒÚ‡ÎËÒ¸ª Á‡ –ÓÒÒËÂÈ, ‡ ´«ÂÏΡª Ë ´ŸÓÒª ·˚ÎË
´ÓÚ‰‡Ì˚ª ”Í‡ËÌÂ, ÎÂÊËÚ Ì‡ ÒÓÒÚ‡‚ËÚÂÎÂ.
œÓ‰Ò˜ÂÚ˚ ‚ÂÎËÒ¸ Ú‡Í: ‰Îˇ ͇ʉÓÈ Í‡ÚËÌ˚, ÛÔÓÏˇÌÛÚÓÈ
ıÓÚˇ ·˚ Ó‰ÌËÏ ˝ÍÒÔÂÚÓÏ, ·˚ÎÓ ÒÓÒ˜ËÚ‡ÌÓ ˜ËÒÎÓ ‡ÌÍÂÚ, ‚
ÍÓÚÓ˚ı ÓÌ ÙË„ÛËÓ‚‡Î, ÚÓ ÂÒÚ¸ ˜ËÒÎÓ ÔÓ‰‡ÌÌ˚ı Á‡ ÌÂÂ
„ÓÎÓÒÓ‚. 25 ͇ÚËÌ, Á‡Ìˇ‚¯Ë ÔÂ‚˚ 25 ÏÂÒÚ, Ó·‡ÁÓ‚‡ÎË
ÙË̇θÌ˚È ÎËÒÚ.
œË Ó·‡·ÓÚÍ ‡ÌÍÂÚ ·˚Î Ôӂ‰ÂÌ ÓÔ˚Ú. 50 ‡ÌÍÂÚ ·˚ÎË
ÒÎÛ˜‡ÈÌ˚Ï Ó·‡ÁÓÏ ‡Á·ËÚ˚ ̇ ‰‚ ‡‚Ì˚ „ÛÔÔ˚, Ë ‰Îˇ
͇ʉÓÈ „ÛÔÔ˚ Ôӂ‰ÂÌ ÓÚ‰ÂθÌ˚È ÔÓ‰Ò˜ÂÚ. ŒÌ ‚˚ˇ‚ËÎ ÔÓ˜ÚË
ÔÓÎÌÓ ÒÓ‚Ô‡‰ÂÌË ËÚÓ„Ó‚˚ı ÒÔËÒÍÓ‚. “‡ÍËÏ Ó·‡ÁÓÏ,
„ÂÌÂ‡Î¸Ì˚È ÒÔËÒÓÍ ËÁ 25 ÙËθÏÓ‚ ‚ÔÓÎÌ ÛÒÚÓȘ˂ ‚ ÚÓÏ
ÒÏ˚ÒÎÂ, ˜ÚÓ Û‚Â΢ÂÌË ˜ËÒ· ˝ÍÒÔÂÚÓ‚ Ì ËÁÏÂÌËÎÓ ·˚ ÒÔËÒ͇
ÙËθÏÓ‚-ÎˉÂÓ‚. ›ÚÓ Ó·˙ˇÒÌˇÂÚÒˇ ÚÂÏ, ˜ÚÓ ÍËÌÓÍËÚËÍË, ÔË
‚ÒÂı ‡ÒıÓʉÂÌˡı ÏÂÊ‰Û ÒÓ·ÓÈ, Ô‰ÒÚ‡‚Ρ˛Ú ˝ÒÚÂÚ˘ÂÒÍË
ÍÓÌÒÓÎˉËÓ‚‡ÌÌÓ ÒÓÓ·˘ÂÒÚ‚Ó. ’ÓÚˇ, ‡ÁÛÏÂÂÚÒˇ, ÂÁÛθڇÚ˚
‡ÌÍÂÚËÓ‚‡Ìˡ „ÛÔÔ˚ ËÒÚÓËÍÓ‚ ÍËÌÓ Ë „ÛÔÔ˚
ÍËÌÓÓ·ÓÁ‚‡ÚÂÎÂÈ —û Ì ·˚ÎË ·˚ ˉÂÌÚ˘Ì˚.
¬ÚÓÓÈ ‚ÓÔÓÒ: Í‡Í ‚Îˡ˛Ú ̇ ÙË̇θÌ˚È ÒÔËÒÓÍ ÛÒÎӂˡ
ÓÚ·Ó‡? ¡˚Î ·˚ ÂÁÛÎ¸Ú‡Ú ÚÂÏ ÊÂ, ÂÒÎË ·˚ ˝ÍÒÔÂÚ˚ Ò‡ÁÛ
̇Á‚‡ÎË ÎÛ˜¯Ë 50 ͇ÚËÌ Á‡ 100 ÎÂÚ? ¬ˇ‰ ÎË. —ÍÓÂÂ
‚ÒÂ„Ó ÙËθÏ˚ 60-ı ÔÓÚÂÒÌËÎË ·˚ ÙËθÏ˚ 30-ı ñ ÚÓ˜ÌÓ Ú‡Í
ÊÂ, Í‡Í ÙËθÏ˚ 20ñ30-ı ‚ Ô‰·„‡ÂÏÓÈ ÔÓ„‡ÏÏÂ
‚˚ÚÂÒÌËÎË ÙËθÏ˚ ‰Ó‚ÓβˆËÓÌÌÓ„Ó ‚ÂÏÂÌË. ¿ ÂÒÎË ·˚
˝ÍÒÔÂÚ‡Ï Ì ‡ÁÓÒ·ÎË ÓËÂÌÚËÓ‚Ó˜ÌÓ„Ó ÒÔËÒ͇ ËÁ ÒÚ‡ Ò
Î˯ÌËÏ ÙËθÏÓ‚ 1908ñ1957 „„., ÒÍÓÏÔËÎËÓ‚‡ÌÌÓ„Ó ËÁ
‡ÁÌ˚ı ËÒÚÓ˜ÌËÍÓ‚, ‡ Ô‰ÎÓÊËÎË ·˚ Ó·‡˘‡Ú¸Òˇ ÚÓθÍÓ Í
Ò‚ÓÂÈ Ô‡ÏˇÚË Ë Í Í‡Ú‡ÎÓ„‡Ï ÓÚ˜ÂÒÚ‚ÂÌÌÓÈ ÍËÌÓÔÓ‰Û͈ËË?
ÕÂËÁ‚ÂÒÚÌÓ. ¿ ÂÒÎË ·˚ ËÏ ÂÍÓÏẨӂ‡ÎË ÓÚ·Ë‡Ú¸ ÌÂ
´ÎÛ˜¯Ëª, ‡ Ò͇ÊÂÏ, ´Ì‡Ë·ÓΠÂÔÂÁÂÌÚ‡ÚË‚Ì˚ª ‰Îˇ
Í‡Ê‰Ó„Ó ‚ÂÏÂÌË ÙËθÏ˚?
¬ÓÔÓÒÓ‚ ·Óθ¯Â, ˜ÂÏ ÓÚ‚ÂÚÓ‚, ÌÓ ˝ÍÒÔÂËÏÂÌÚ Â˘Â ÌÂ
Á‡ÍÓ̘ÂÌ. ¬Ó-ÔÂ‚˚ı, Á‡ 50 ˝ÍÒÔÂÚ‡ÏË Â˘Â 25 ͇ÚËÌ,
ÒÓÁ‰‡ÌÌ˚ı ‚ 1958ñ2008 „„. üÓÏ ÚÓ„Ó, ‚ ·Û‰Û˘ÂÏ „Ó‰Û 100
˜ÎÂÌ‡Ï √Ëθ‰ËË ÍËÌӂ‰ӂ Ë ÍËÌÓÍËÚËÍÓ‚ Ô‰ÒÚÓËÚ
̇Á‚‡Ú¸ 100 ÎÛ˜¯Ëı ͇ÚËÌ, ÒÓÁ‰‡ÌÌ˚ı Á‡ 100 ÎÂÚ
ÍËÌÓÔÓËÁ‚Ó‰ÒÚ‚‡ ‚ –ÓÒÒËË. ≈ÒÎË ÍÚÓ-ÚÓ Ô‰ÎÓÊËÚ ·ÓÎÂÂ
ÒÔ‡‚‰ÎË‚˚ Ô‡‚Ë· ‚˚·Ó‡ ñ Á‡‡Ì ÒÔ‡ÒË·Ó.
In order to mark the centenary of film production in Russia
´Kinotavrª has decided to present a program of the fifty best
Russian films over two years: half of the films this year, half
next year. Fifty film scholars and film critics of different
generations ñ from those who wrote in the Soviet period and
those who to began to work in the post-Soviet era ñ have
participated in the selection of those films. This year they
were asked to name the 25 best films, from their point of
view, released during 1908-1957, the first half of the century
from the moment of the appearance of ìStenka Razinî.
Naturally, a set of complex questions arose: which Soviet films
should be considered Russian and which should be designated
to the former Soviet republics. Should the decision be made by
production place? By language? By the directorís nationality?
By mentality? Any division is painful; the responsibility for
ìkeepingî as Russian films ìA Severe Young Manî, and
ìSpring on Zarechnaya Streetî, although all were made on
Ukrainian territory, while ìEarthî and ìShchorsî were
ìsurrenderedî to Ukraine, remains with the editor.
The calculations were conducted thus: for each film mentioned
by any one expert, the number of questionnaires where it was
named (that is, the number of votes it received) were counted.
The 25 films ranked on the first 25 places thus formed the
final list.
While processing the questionnaires, a curious discovery was
made: fifty questionnaires were divided into two groups and a
separate evaluation was done for each group. This process
revealed an almost full concurrence with the final list. Thus,
the general list of 25 films is quite reliable in the sense that
an increase in the number of experts would not have changed
the list of leading films. This means that film critics, despite
divergences in opinion, represent an aesthetically united
community. Though, certainly, the results of questioning a
group of film historians and mass media correspondents
would not concur.
The second question: how is the final list influenced by the
conditions of selection? Would the result be the same if
experts had named the best fifty films for 100 years? Hardly.
Most likely, the films of the 1960s would have brushed aside
the films of the 1930s, just like the films of the 1920s and
1930s in the current list have pushed out pre-Revolutionary
films. And if the experts had not received a list of some
hundred films of 1908-1957, compiled from different sources,
but would have had to rely on their memory and on
catalogues of Russian film production? We do not know.
Well, and if they had been asked to commend not the best,
but the most representative films?
There are more questions than answers, but the experiment is
not complete yet. First, another 25 films created in 1958-2008
await fifty experts. Moreover, next year one hundred members
of the Guild of Film Scholars and Film Critics have to list the
100 best films created in 100 years of film production in
Russia. If anyone has any ideas for more equitable rules for
the selection ñ these would be gratefully received.
¬ËÍÚÓ ÇÚËÁÂÌ,
Viktor Matizen,
ÔÂÁˉÂÌÚ √Ëθ‰ËË ÍËÌӂ‰ӂ Ë ÍËÌÓÍËÚËÍÓ‚
President of the Guild of Film Scholars and Film Critics
Splinters: Smashed
to Smithereens?
üÓ„‰‡-ÚÓ, ‰‡‚Ì˚Ï-‰‡‚ÌÓ, ̇ Á‡ ͇ÔËÚ‡ÎËÁχ ˛Ì˚È
ÓÒÒËÈÒÍËÈ ÂÊËÒÒÂ ÒÓÁ‰‡Î ÙËθÏ, ‚ ÍÓÚÓÓÏ, ÔÓ Â„Ó
ÒÎÓ‚‡Ï, ̇ÏÂ‚‡ÎÒˇ ‚ÓÁ‰‡Ú¸ ‰ÓÎÊÌÓ Á‡Ï˜‡ÚÂθÌÓÏÛ
ÒÓ‚ÂÚÒÍÓÏÛ ÍËÌÓ ÔˇÚˉÂÒˇÚ˚ı-ÒÂÏˉÂÒˇÚ˚ı „Ó‰Ó‚.
œÓÏÌ˛, Í‡Í Û‰Ë‚ËÎÓ ˝ÚÓ ´ÔˇÚˉÂÒˇÚ˚ı-ÒÂÏˉÂÒˇÚ˚ıª. ¬Â‰¸
‰‡Ê ‚ ÔˇÚˉÂÒˇÚ˚ „Ó‰˚ ÂÒÚ¸ Í‡Í ÏËÌËÏÛÏ ÚË ÔÂËÓ‰‡, Ë
ÙËθÏ˚, ‚˚ÔÛ˘ÂÌÌ˚ ‚ 1951ñ1953 „Ó‰‡ı ÓÚ΢‡˛ÚÒˇ ÓÚ ÎÂÌÚ
1954ñ1957-„Ó Ì‡ÒÚÓθÍÓ, ˜ÚÓ Í‡ÊÂÚÒˇ, ·Û‰ÚÓ Ò‰Â·Ì˚ ÓÌË Ì‡
‡ÁÌ˚ı Ô·ÌÂÚ‡ı. ÿÂÒÚˉÂÒˇÚ˚ ñ ˝ÚÓ Ë ‚Ó‚Ò ˆÂ·ˇ ˝ÔÓı‡.
‘ËθÏ˚ ÔÓÒΉÌËı ıÛ˘Â‚ÒÍËı ÎÂÚ, ÔÓËÁ‚‰ÂÌˡ ‚˚‰‡˛˘Â„ÓÒˇ
ÔÂËÓ‰‡ 1965ñ1968 „Ó‰Ó‚, ÎÂÌÚ˚ ¯ÂÒÚ¸‰ÂÒˇÚ ‰Â‚ˇÚÓ„ÓÖ
—ÎÓ‚ÓÏ, ÚÓ ÍËÌÂχÚÓ„‡Ù˘ÂÒÍÓ ÔÓËÁ‚‰ÂÌËÂ, ‚ ÍÓÚÓÓÏ
´ü‡̇‚‡Î¸Ì‡ˇ ÌÓ˜¸ª Ô˘ۉÎË‚Ó ÒÚ‡ÎÍË‚‡Î‡Ò¸ Ò ´ü‡ÎËÌÓÈ
Í‡ÒÌÓȪ, ‚˚¯ÎÓ ÒÛÏ·ÛÌ˚Ï ËÏÂÌÌÓ ÔÓÚÓÏÛ, ˜ÚÓ ‰Îˇ
‡‚ÚÓ‡ ˛Ì˚È –ˇÁ‡ÌÓ‚ Ë ÁÂÎ˚È ÿÛͯËÌ ·˚ÎË
ÔÂÒÓ̇ʇÏË Ó‰ÌÓ„Ó ‚ÂÏÂÌË.
“ÂÔÂ¸ ñ ÌÓ‚Ó ‰ÂÎÓ.
«‡ÚÛ‰ÌËÚÂθÌÓ Ò͇Á‡Ú¸, ÒÍÓθÍÓ ÚÓÎÒÚÂÌÌ˚ı ÚÓÏÓ‚ ̇ÔËÒ‡ÌÓ
ÔÓ Ì‡¯Â ÍËÌÓ, ÔÓˇ‚Ë‚¯ÂÂÒˇ Á‡ ÔÂ‚˚ ԡڸ‰ÂÒˇÚ ÎÂÚ Ò‚Ó„Ó
ÒÛ˘ÂÒÚ‚Ó‚‡Ìˡ, ÒÍÓθÍÓ ‚˚‰‡˛˘ËıÒˇ ÛÏÓ‚ ·ËÎËÒ¸ ̇‰
Á‡„‡‰Í‡ÏË ÓÚ˜ÂÒÚ‚ÂÌÌÓÈ ÍËÌÓËÒÚÓËË. ¿ Û Ì‡Ò ÚÂÔÂ¸ ñ
ÒÔËÒÓÍ ÎÛ˜¯Ëı ÓÒÒËÈÒÍËı ÙËθÏÓ‚ Ò 1908 ÔÓ 1958 „Ó‰.
üËÌӂ‰ÂÌËÂ Ë ÍËÌÓÍËÚË͇ ÛÊ ÏÂÚ‚˚ Ë, ̇‚ÂÌÓÂ, ÂÒÚ¸
ÓÔ‰ÂÎÂÌ̇ˇ ÒÔ‡‚‰ÎË‚ÓÒÚ¸ ‚ ÚÓÏ, ˜ÚÓ ‚ Ô‡ÏˇÚ¸ Ó Ò· Ï˚
ÓÒÚ‡‚ΡÂÏ ÒÔËÒÍË ÚÓ„Ó, ˜ÚÓ ·˚ÎÓ ÍÓ„‰‡-ÚÓ ÒÏ˚ÒÎÓÏ Ì‡¯Â„Ó
ÒÛ˘ÂÒÚ‚Ó‚‡Ìˡ. ¬Â‰¸ Òӄ·ÒÌÓ ˝ÚÓÏÛ ÂÂÒÚÛ ·Û‰ÂÚ
Ôӂ‰Â̇ ÂÚÓÒÔÂÍÚË‚‡. ¡˚Ú¸ ÏÓÊÂÚ, ÍÚÓ-ÚÓ ËÁ ·Û‰Û˘Ëı
ÍËÌÓ„ÂÌË‚ Á‡„ΡÌÂÚ ‚ ÍËÌÓÁ‡Î Ë Û‚Ë‰ËÚ ‚ÂÎËÍÛ˛ ´—Ú‡˜ÍÛª
Ë ‚ÂÎËÍËı ´∆Û‡‚ÎÂȪ. ”‚ˉËÚ ‚ÔÂ‚˚Â, ̇ ̇ÒÚÓˇ˘ÂÏ
˝Í‡ÌÂ, ̇ ÍËÌÓÔÎÂÌÍ ñ Ë ÔÓÈÏÂÚ ‚‰Û„, ˜ÚÓ ÍËÌÓ ñ ˝ÚÓ
·Óθ¯Ó ËÒÍÛÒÒÚ‚Ó.
’ÓÚÂÎÓÒ¸ ·˚ ÚÓθÍÓ Ô‰ÓÒÚÂ˜¸ ÓÚ Ó˜Â‰Ì˚ı ÔÓÔ˚ÚÓÍ
„Ó‚ÓËÚ¸ Ó ÒÓ‚ÂÚÒÍÓÏ ÍËÌÓ ´‰‚‡‰ˆ‡Ú˚ı-Úˉˆ‡Ú˚ıª ËÎË
´ÒÓÓÍÓ‚˚ı-ÔˇÚˉÂÒˇÚ˚ıª.
–‡ÁÛÏÂÂÚÒˇ, ÒÍÓÏÌÓ Ә‡Ó‚‡ÌË ´Ã‡¯Â̸Í˪ ÏÓÊÂÚ ·˚Ú¸
ÔÓÌˇÚÌÓ Î˯¸ ‚ ÍÓÌÚ‡ÒÚÂ Ò „·‚Ì˚ÏË Í‡ÚË̇ÏË Ò‡ÏÓ„Ó
ÔÓÁÓÌÓ„Ó, β‰Ó‰ÒÍÓ„Ó ÍËÌÓÔÂËÓ‰‡ 1935ñ1939 „Ó‰Ó‚. “ÓθÍÓ
Á̇ÍÓÏÒÚ‚Ó Ò „·‚Ì˚ÏË Í‡ÚË̇ÏË ÓÚ‚‡ÚËÚÂθÌÓ„Ó ‚ÂÏÂÌË
ÒÔÓÒÓ·ÌÓ Ó·˙ˇÒÌËÚ¸ Á‡ÔÂÚ ´—ÚÓ„Ó„Ó ˛Ìӯ˪. ¿ ÔÓÎÌÓÂ
ÓÚÒÛÚÒÚ‚Ë ‚ ÒÔËÒÍ ‰Ó‚ÓβˆËÓÌÌ˚ı ÎÂÌÚ Ó·ÛÒÎÓ‚ÎÂÌÓ Ì Ëı
ıÛ‰ÓÊÂÒÚ‚ÂÌÌ˚Ï ÌÂÒÓ‚Â¯ÂÌÒÚ‚ÓÏ, ‡ ÚÂÏ, ˜ÚÓ ÍËÌӂ‰˚ ñ ÚÓÊÂ
β‰Ë, Ë Û Í‡Ê‰Ó„Ó ÂÒÚ¸ Ò‚ÓË ÔËÒÚ‡ÒÚˡ. üÓÏÛ-ÚÓ Ì‡‚ËÚÒˇ
´œËÍÓ‚‡ˇ ‰‡Ï‡ª, ÍÓÏÛ-ÚÓ ñ ´fiÌÓÒÚ¸ ÇÍÒËχªÖ
ÕÓ ‚Ò ˝ÚÓ, Ú‡Í Ò͇Á‡Ú¸, ÎËË͇. –‡θÌÓÒÚ¸ ÒÓÒÚÓËÚ ‚ ÚÓÏ,
˜ÚÓ, ‚Ó-ÔÂ‚˚ı, ÓÁ̇˜ÂÌ̇ˇ ÂÚÓÒÔÂÍÚË‚‡ ÒÏÓÊÂÚ
ÔÓ·Û‰ËÚ¸ ‚ ÍÓÏ-ÚÓ „Ó‰ÓÒÚ¸ Á‡ ÓÚ˜ÂÒÚ‚ÂÌÌ˚È
ÍËÌÂχÚÓ„‡Ù ñ Ì Ô·͇ÚÌÓ-Ô‡ÚËÓÚ˘ÂÒÍÛ˛, ‡ ̇ÒÚÓˇ˘Û˛ ñ
Ë ÔÓ‰‚Ë„ÌÛÚ¸ ̇ ÒÓÁ‰‡ÌË ÌÓ‚˚ı ÍËÌÓÔÓËÁ‚‰ÂÌËÈ,
‰ÓÒÚÓÈÌÓ ÔÓÔÓÎÌˇ˛˘Ëı ÒÂÈ ‚˚‰‡˛˘ËÈÒˇ ˇ‰.
¿ ‚Ó-‚ÚÓ˚ı, ËÁÓ ‚ÒÂÈ ˝ÚÓÈ Á‡ÚÂË ‚ÔÓÎÌ ÏÓÊÂÚ ÔÓÎÛ˜ËÚ¸Òˇ
ÍÌË„‡, ÍÓÚÓ‡ˇ ‚˚ȉÂÚ ‚ 2008 „Ó‰Û Í ÒÚÓÎÂÚÌÂÏÛ ˛·Ëβ
ÔÂϸÂ˚ ´œÓÌËÁÓ‚ÓÈ ‚ÓθÌˈ˚ª. üÌË„‡ ·Û‰ÂÚ ˇÍÓÈ Ë
Ô‡Á‰Ì˘ÌÓÈ. ÃÓÊÂÚ, ‰‡ÊÂ Ë ÔË·˚θ ÔËÌÂÒÂÚ. ÕÂ
ÍËÌӂ‰‡Ï-ÍËÌÓÍËÚË͇Ï, ‡ÁÛÏÂÂÚÒˇ. “ÂÏ, ÍÚÓ ÛÏÂÂÚ Ì‡
ËÒÍÛÒÒÚ‚Â Á‡‡·‡Ú˚‚‡Ú¸.
Once, a long time ago, at the beginning of capitalism, a young
Russian director made a film in which, as he said, he
intended to do justice to the remarkable Soviet cinema of the
50s-70s.
I remember how dazzling these decades were. In fact, even in
the 1950s there were at least three periods: the films released
in 1951-1953 differ from those released between 1954-1957 to
such an extent that they seem to have been made on a
different planet. The 1960s are an entire epoch: the films of
Khrushchevís last years, the films of the outstanding period
of 1965-1968, the films of 1968Ö.
In a word, the work where ìCarnival Nightî fancifully
collided with ìRed Guelderbushî turned out chaotic, because
the author treated the young Riazanov and the mature
Shukshin as characters of the same era.
The present is a different matter.
It is difficult to say how many thick volumes have been
written about our cinema of the first fifty of years of its
existence, how many outstanding minds have struggled with
the riddles of Russian film history. And here we have a list
of the best Russian films from 1908 to 1958.
Film history and criticism are dead already, and there is
probably a certain degree of justice in leaving behind lists of
what once made up the meaning of our lives. In fact, this list
will form the basis for a retrospective. Perhaps some future
film genius will glance into the projection hall and see the
great ìStrikeî and the great ìCranesî for the first time on a
large screen ñ and understand, suddenly, that the cinema is
great art.
I would like to warn of attempts to speak of Soviet cinema of
the 20s-30s or 40s-50s.
Certainly, the modest charm of ìMashenkaî emerges only in
contrast with the main films of the most shameful,
cannibalistic period of 1935-1939. Only the acquaintance with
the main films of this horrible time can explain the ban on ìA
Severe Young Manî. The full absence of pre-Revolutionary
films in the list is caused not by their artistic imperfection,
but because film scholars, too, are human beings with their
own predilections and preferences. Some like ìThe Queen of
Spadesî, others ìMaximís YouthîÖ
But all this is poetry, so to say. The reality is that the
announced retrospective is capable of arousing pride in
national cinema ñ not placard-like and patriotic, but genuine
pride ñ and trigger the creation of new films, which can
adequately join the list.
Moreover, a colourful and celebratory ñ maybe even profitable ñ
book might emerge to coincide with the 2008 centenary of the
premiere of ìStenka Razinî. Not a book for film scholars,
though, but for those who make money out of art.
—Â„ÂÈ À‡‚ÂÌڸ‚
ËÒÚÓËÍ ÍËÌÓ, ÍËÚËÍ
Sergei Lavrentiev
Film historian, critic
50 ‚˚·Ë‡˛Ú 50 (˜‡ÒÚ¸ I)
50 choose 50 (part I)
ŒÒÍÓÎÍË ‡Á·ËÚÓ„Ó
‚‰·ÂÁ„Ë?
151
50 ‚˚·Ë‡˛Ú 50 (˜‡ÒÚ¸ I)
50 choose 50 (part I)
152
ƒÂÚË ÔÓÎÛ‚Â͇
Children of a half-century
ü‡ÍËÏ ÊÂ, ÒÛ‰ˇ ÔÓ ˝ÚÓÏÛ ÒÔËÒÍÛ, Ô‰ÒÚ‡˛Ú ÔÂ‚˚Â
According to this list, how do the films of the first half of
ÔÓ΂Â͇ ÓÒÒËÈÒÍÓ„Ó ÍËÌÓ ËÁ ̇¯Â„Ó ñ ÔÂÍ‡ÒÌÓ„Ó-ÌÂ
the century present our happy (and not so happy) distant
ÔÂÍ‡ÒÌÓ„Ó, ÌÓ ñ ·ÂÒÒÔÓÌÓ, ‰‡ÎÂ͇? √·‚̇ˇ
past? It is most unexpected to find as common denominator
ÌÂÓÊˉ‡ÌÌÓÒÚ¸: ‚ Ó·˘ÂÏ Á̇ÏÂ̇ÚÂΠÓ͇Á˚‚‡˛ÚÒˇ ÌÂ
not the broad masses, not monuments to leaders of all sorts
̇Ó‰Ì˚ χÒÒ˚, Ì ÏÓÌÛÏÂÌÚ˚ ‚ÓʉÂÈ ‚ÒÂı Ó‰Ó‚ Ë ‚ˉӂ,
and kinds, but the child. Maybe therefore pre-Revolutionary
ÌÓ ñ ·ÂÌÓÍ (Ì ÔÓÚÓÏÛ ÎË Ù‡ÍÚ˘ÂÒÍË ‚˚Ô‡ÎÓ ËÁ ÒÔËÒ͇
cinema ñ feverishly engaged in the process of growing up and
ÎËıÓ‡‰Ó˜ÌÓ ‚ÁÓÒ΂¯Â ‚ Ô‰˜Û‚ÒÚ‚ËË ÒÍÓÓ„Ó ÍÓ̈‡
in anticipation of its fast end ñ was pushed from the list?
‰Ó‚ÓβˆËÓÌÌÓ ÍËÌÓ?). ŒÚ ËÒÚÓ͇ ÒÓ‚ÂÚÒÍËı ‚ÂÏÂÌ
Since the Soviet period this theme links the non-dejected,
̇˜‡ÎÓ ˝ÚÓ Ó‰ÌËÚ ÌÂÛÌ˚‚‡˛˘Â-ÎÛ˜ÂÁ‡Ì˚ı ‚ÂÒÂÎ˚ı ·ˇÚ
radiant, cheerful guys with Ivan the Terrible. Eisenstein
Ò „ÓÁÌ˚Ï »Ó‡ÌÌÓÏ ñ ̉‡ÓÏ Ê ˆÂÎË Ë ÏÂÚÓ‰˚ „ÂÓˇ
deduces ñ not without reason ñ the purpose and method of
›ÈÁÂ̯ÚÂÈÌ ‚˚‚Ó‰ËÚ Ì ÒÚÓθÍÓ ËÁ ËÒÚÓ˘ÂÒÍÓÈ
the hero not so much from historical conformity, but from his
ÒÓÓ·‡ÁÌÓÒÚË, ÒÍÓθÍÓ ËÁ Â„Ó ÌÂÁ‡ÊË‚‡˛˘ÂÈ ‰ÂÚÒÍÓÈ
own, unhealed childhood trauma. Childhood is initially pure
Ú‡‚Ï˚. ƒÂÚÒÍÓ ñ Í‡Í ÔÂ‚ÓÁ‰‡ÌÌÓ ˜ËÒÚÓÂ Ë ˇÒÌÓÂ: Ë ‚ÓÚ
and clear: among the films that shook the world appears
ÔÓÒÂ‰Ë ÙËθÏÓ‚, ÔÓÚˇÒ‡‚¯Ëı ÏË, Û‚ÂÂÌÌÓ ÛÒÚ‡Ë‚‡ÂÚÒˇ
suddenly our lovely and modest Cinderella, and quite
‚ ÒÔËÒÍ ̇¯‡ ÏË·ˇ Ë ÒÍÓÏ̇ˇ «ÓÎۯ͇. ÕÓ ‰ÂÚÒÍÓ ñ
confidently populates the list. But childhood is also terribly
˝ÚÓ Ë Í‡Ú‡ÒÚÓÙ˘ÂÒÍË ·ÂÁÁ‡˘ËÚÌÓÂ Ë ÛˇÁ‚ËÏÓÂ, ÓÒÓ·ÂÌÌÓ
defenceless and vulnerable, especially before the storm of
ÔÂ‰ ÎˈÓÏ ·Û¯Û˛˘Ëı ËÒÚÓ˘ÂÒÍËı ÒÚËıËÈ ’’ ‚Â͇.
historical events of the 20th century.
» ̇‚ˇÁ˜Ë‚˚Ï ‚ˉÂÌËÂÏ ËÁ ÙËθχ ‚ ÙËÎ¸Ï ÔÂÂıÓ‰ËÚ
A persuasive vision that runs through the films is the motive
ÏÓÚË‚ ËÁ·ËÂÌˡ Ï·‰Â̈‚ ñ ·Óθ¯Ëı Ë Ï‡Î˚ı.
of beating babies, large and small. They are shot, thrown into
–‡ÒÒÚÂÎË‚‡˛Ú, ·ÓÒ‡˛Ú ‚ Ó„Ó̸, ‚‰‡‚ÎË‚‡˛Ú ‚ ÁÂÏβ
the fire, buried in the soil by shells and tanks, they conduct
Ò̇ˇ‰‡ÏË Ë „ÛÒÂÌˈ‡ÏË Ú‡ÌÍÓ‚, ‚‰ÛÚ ‚ÓÍÛ„ „ÓÂÏ˚˜Ì˚ı
humiliating round-dances around the hapless. They are
ËÁ‰Â‚‡ÚÂθÒÍË ıÓÓ‚Ó‰˚. » ·¸˛Ú, ·¸˛Ú, ·¸˛ÚÖ ¡¸˛Ú
beaten, beaten, beatenÖ Mustafa and whistling Kolka are
ÃÛÒÚ‡ÙÛ Ò üÓθÍÓÈ-—‚ËÒÚÓÏ Ë ˛ÌÓ„Ó Ã‡ÍÒËχ, ·¸˛Ú ˛ÌÓ„Ó
beaten, as is young Maxim; the young German captive in
ÌÂψÍÓ„Ó ÔÎÂÌÌÓ„Ó ‚ ´ŒÍ‡Ë̪ Ë „ÓÂÏ˚˜ÌÓ„Ó ’Ï˚ˇ ËÁ
ìOutskirtsî is beaten as well as the hapless Khmyr in
´—˜‡ÒÚ¸ˇª (´‰Ó ÔÓÎÛÒÏÂÚË, ÌÓ Ú‡Í, ˜ÚÓ·˚ ÊË‚ ÓÒÚ‡ÎÒˇª).
ìHappinessî (ìhalt to death, but so that he remained aliveî).
» ÓÚˆ Ò Ï‡ÚÂ¸˛ Ì Á‡˘ËÚ‡ (ÂÒÎË ÓÌË ÂÒÚ¸) ñ Ò‡ÏË
Father and mother (if present) offer no protection: they are as
·ÂÒÔÓÏÓ˘Ì˚, Í‡Í ‰ÂÚË Ï‡Î˚Â. » ÚÓ„‰‡ ‚ Ó‰ÌÓÏ ÒÔ‡ÒÂÌËÂ
helpless as the children. Salvation appears in the fight against
‚ˉËÚÒˇ: Ò·ËÚ¸Òˇ ‚ÏÂÒÚ ñ ‚ ·ÂÒÔËÁÓÌ˘¸˛ ÎË ÒÚ‡˛,
loneliness: whether in a crowd of homeless children, or in
‚ Ó„‡ÌËÁÓ‚‡ÌÌ˚ ÎË ÔÓÎÂÚ‡ÒÍË ˇ‰˚ ñ ˜ÚÓ· Ì ÔÓÔ‡ÒÚ¸
organized proletarian lines, the children escape from
ÔÓÓ‰ËÌÓ˜ÍÂ, ‚ ̇‰Âʉ ‚˚ÊËÚ¸ Ë ‰ÓÊËÚ¸ ‰Ó ´Ú‡ÍÓÈ ÊËÁÌË,
perishing alone, hoping to survive and to reach ìsuch life
˜ÚÓ ÛÏË‡Ú¸ Ì ̇‰Óª. » ˜Â‰ÓÈ Ë‰ÛÚ ÔÓ ˝Í‡ÌÛ ‰ÂÚË
that you donít have to dieî.
ÔÓÎÛ‚Â͇, ‰ÂÚË, ·Â„Û˘Ë ñ ·ÂÁÛÒÔ¯ÌÓ ñ ÓÚ „ÓÁ˚: ÒÚ‡˚Â
Sequentially the children of the half-century walk across the
Ë Ï‡Î˚ Ï·‰Â̈˚, ÔÓÎÛÊÂÌ˘ËÌ˚-ÔÓÎۉ‚ӘÍË, ˜ÚÓ·˚
screen, running away in vain from the historical thunder-
Í ÍÓÌˆÛ 50-ı ÔÓ‚ÂÌÛÚ¸Òˇ Í Ì‡Ï Ì‡ Ô‰ÂΠÓÚ˜‡ˇÌˡ
storm: old and small babies, half-girls and half-women who
ÌÂÁ‡·˚‚‡ÂÏ˚Ï Ì‚ÂÓˇÚÌ˚Ï ÎˈÓÏ “‡Ú¸ˇÌ˚ —‡ÏÓÈÎÓ‚ÓÈ ñ
return at the end of the 1950s, on the threshold of despair,
¬ÂÓÌËÍË. » Ó͇ÊÂÚÒˇ: ÒÔ‡ÒÂÌËÂ, ·˚Ú¸ ÏÓÊÂÚ, ‚ ÚÓÏ, ˜ÚÓ·
through the unforgettable and incredible face of Tatiana
Ò‡ÏÓÏÛ Ì‡ÈÚË Ë ÒÔ‡ÒÚË ‰Û¯Û, ¢ ·ÓΠÌÂÔË͇ˇÌÌÛ˛
Samoilova ñ Veronika. Perhaps salvation lies in finding and
Ë ·ÂÁÁ‡˘ËÚÌÛ˛, ˜ÂÏ Ú˚. » ̇˜ÌÂÚÒˇ ‚ÁÓÒÎÂÌË „ÂÓ‚ ñ
rescuing a soul that is even more restless and defenceless
Ò˛ÊÂÚ ÒÎÂ‰Û˛˘Â„Ó ÔÓÎÛ‚Â͇.
than your own. Then the process of the heroís maturation sets
on, but that is the subject matter for the next fifty years.
≈‚„ÂÌËÈ Ã‡„ÓÎËÚ
ËÒÚÓËÍ ÍËÌÓ, ÍËÚËÍ
Evgeni Margolit,
Film historian, critic
50 ‚˚·Ë‡˛Ú 50 (˜‡ÒÚ¸ I)
50 choose 50 (part I)
À≈“fl“ ∆”–¿¬À»
THE CRANES ARE FLYING
153
ƒ‡Ï‡Ú˘ÂÒ͇ˇ ËÒÚÓˡ ‰Â‚Û¯ÍË,
ËÁÏÂÌË‚¯ÂÈ Ô‡ÏˇÚË Î˛·ËÏÓ„Ó,
ۯ‰¯Â„Ó Ì‡ ‚ÓÈÌÛ. œÓ Ô¸ÂÒ ¬ËÍÚÓ‡
–ÓÁÓ‚‡ ´¬Â˜ÌÓ ÊË‚˚ª. ≈‰ËÌÒÚ‚ÂÌÌ˚È
Ë„Ó‚ÓÈ ÔÓÎÌÓÏÂÚ‡ÊÌ˚È
ÓÚ˜ÂÒÚ‚ÂÌÌ˚È ÙËθÏ, ÔÓÎۘ˂¯ËÈ ‚
ü‡ÌÌ ´«ÓÎÓÚÛ˛ ԇθÏÓ‚Û˛ ‚ÂÚ‚¸ª.
1957, ———–, 97 ÏËÌ., ˜/·
1957, USSR, 97 min, b/w
¿‚ÚÓ ÒˆÂ̇ˡ ¬ËÍÚÓ –ÓÁÓ‚
–ÂÊËÒÒÂ ÃËı‡ËÎ ü‡Î‡ÚÓÁÓ‚
ŒÔÂ‡ÚÓ —Â„ÂÈ ”ÛÒ‚ÒÍËÈ
’Û‰ÓÊÌËÍ ≈‚„ÂÌËÈ —‚ˉÂÚÂ΂
üÓÒÚ˛Ï˚ Àˉˡ Õ‡ÛÏÓ‚‡
üÓÏÔÓÁËÚÓ ÃÓËÒÂÈ ¬‡ÈÌ·Â„
“ÂÍÒÚ ÔÂÒÌË ¬‡‰ËÏ üÓÓÒÚ˚΂
«‚ÛÍ »„Ó¸ ÇÈÓÓ‚
¬ ÓΡı: “‡Ú¸ˇÌ‡ —‡ÏÓÈÎÓ‚‡, ¿ÎÂÍÒÂÈ
¡‡Ú‡ÎÓ‚, ¬‡ÒËÎËÈ ÃÂÍÛ¸Â‚,
¿ÎÂÍ҇̉ ÿ‚ÓËÌ, —‚ÂÚ·̇
’‡ËÚÓÌÓ‚‡, üÓÌÒÚ‡ÌÚËÌ ÕËÍËÚËÌ,
¬‡ÎÂÌÚËÌ «Û·ÍÓ‚, ¿ÌÚÓÌË̇ ¡Ó„‰‡ÌÓ‚‡,
¡ÓËÒ üÓÍÓ‚ÍËÌ, ¬‡ÎÂÌÚË̇ ¿Ì‡Ì¸Ë̇,
¬‡ÎÂÌÚË̇ ¬Î‡‰ËÏËÓ‚‡, ÀÂÓÌˉ
üÌˇÁ‚, ÕËÍÓÎ‡È —ÏÓ˜ÍÓ‚
œÓËÁ‚Ó‰ÒÚ‚Ó üËÌÓÒÚÛ‰Ëˇ
´ÃÓÒÙËθϪ
¬ÓÒÒÚ‡ÌÓ‚ÎÂÌË ´ÃÓÒÙËθϪ (1973)
Scriptwriter Viktor Rozov
Director Mikhail Kalatozov
Director of Photography Sergei
Urusevsky
Production Design Evgeni Svidetelev
Costume Design Lidia Naumova
Composer Moisei Vainberg
Sound Igor Mayorov
Cast: Tatiana Samoilova, Alexei
Batalov, Vasili Merkuriev, Alexander
Shvorin, Svetlana Kharitonova,
Konstantin Nikitin, Valentin Zubkov,
Antonina Bogdanova, Boris Kokovkin,
Valentina Ananyina, Valentina
Vladimirova, Leonid Kniazev,
Nikolai Smorchkov
Production Mosfilm Studio
Restored by Mosfilm (1973)
Dramatic story of a girl who betrays the
memory of her beloved when he leaves
for the war. Based on Viktor Rozovís
play ìAlive Foreverî.
ñ «ÓÎÓÚ‡ˇ ԇθÏÓ‚‡ˇ ‚ÂÚ‚¸ ´«‡
‚˚ÒÓÍËÂ ıÛ‰ÓÊÂÒÚ‚ÂÌÌ˚Â
‰ÓÒÚÓËÌÒÚ‚‡ Ë „ÛχÌËÁϪ, ÔË
˝ÚÓÏ Ê˛Ë ÓÚÏÂÚËÎÓ
ËÒÍβ˜ËÚÂθÌÛ˛ Ë„Û ‡ÍÚËÒ˚
“‡Ú¸ˇÌ˚ —‡ÏÓÈÎÓ‚ÓÈ; ÔËÁ
¬˚Ò¯ÂÈ ÚÂıÌ˘ÂÒÍÓÈ ÍÓÏËÒÒËË
‘‡ÌˆËË Á‡ ÓÔÂ‡ÚÓÒÍÛ˛ ‡·ÓÚÛ ñ
Ãü‘ ‚ ü‡ÌÌÂ, 1958;
ñ œÂÏˡ ‘‡ÌˆÛÁÒÍÓÈ ‡Í‡‰ÂÏËË
ÍËÌÂχÚÓ„‡ÙËË ´’ÛÒڇθ̇ˇ
Á‚ÂÁ‰‡ª “‡Ú¸ˇÌ —‡ÏÓÈÎÓ‚ÓÈ Á‡
ËÒÔÓÎÌÂÌË „·‚ÌÓÈ ÓÎË ‚ ÙËθÏÂ
´ÀÂÚˇÚ ÊÛ‡‚Î˪;
ñ œÓ˜ÂÚÌ˚È ÔËÁ ´«‡ ÌÂÓ·˚˜ÌÛ˛ Ë
„ÎÛ·ÓÍÓ ˝ÏÓˆËÓ̇θÌÛ˛ ÙÓÏÛ
‚ÓÔÎÓ˘ÂÌˡ ·Î‡„ÓÓ‰ÌÓÈ Ë‰ÂË
β·‚Ë Í –Ó‰ËÌÂ, Á‡ ÔÓ˝Ú˘ÂÒÍËÈ
‡ÒÒ͇Á Ó ÓχÌÚ˘ÂÒÍËı ˜Û‚ÒÚ‚‡ı
ÏÓÎÓ‰˚ı „ÂÓ‚, ÔÂ‰‡ÌÌ˚È Ò
‚˚ÒÓÍËÏ ÂÊËÒÒÂÒÍËÏ Ë
ÓÔÂ‡ÚÓÒÍËÏ Ï‡ÒÚÂÒÚ‚ÓϪ ñ
Ãü‘ ‚ ÃÂıËÍÓ, 1958;
ñ œÓ˜ÂÚÌ˚È ‰ËÔÎÓÏ ñ Ãü‘ ‚
ÀÓ͇ÌÓ, 1958;
ñ ŒÒÓ·˚È ÔËÁ ñ ¬ü‘ ‚ ÃÓÒÍ‚Â, 1958;
ñ œÓ˜ÂÚ̇ˇ „‡ÏÓÚ‡ ñ Ãü‘ ‚
¬‡ÌÍÛ‚ÂÂ, 1958;
ñ œÓ ÓÔÓÒÛ „‡ÁÂÚ˚ ´—Ó‚ÂÚÒ͇ˇ
ÍÛθÚÛ‡ª ñ Ó‰ËÌ ËÁ ÎÛ˜¯Ëı
ÙËθÏÓ‚ 1957 „Ó‰‡.
ñ Golden Palm ìFor high artistic
achievements and humanismî, while
the jury also noted the exceptional
performance of the actress Tatiana
Samoilova; Prize of the Supreme
Technical Commission of France for
camerawork ñ IFF Cannes, 1958;
ñ Prize of the French Academy of
Cinematography ìCrystal Starî to
Tatiana Samoilova for her
performance in a lead role in the
film ìThe Cranes are Flyingî;
ñ Honorary Prize ìFor the unusual and
deeply emotional embodiment of the
noble idea of love for motherland, for
the poetic story about the romantic
feelings of young heroes, rendered
with exceptional skill by the director
and the director of photographyî ñ
IFF Mexico, 1958;
ñ Honorary Diploma ñ IFF Locarno,
1958;
ñ Special Prize ñ FF in Moscow, 1958;
ñ Honorary Certificateñ IFF
Vancouver, 1958;
ñ According to a survey of the
newspaper ìSovetskaya kulturaî: one
of the best films of 1957.
50 ‚˚·Ë‡˛Ú 50 (˜‡ÒÚ¸ I)
50 choose 50 (part I)
◊¿œ¿≈¬
CHAPAEV
154
1934, ———–, 95 ÏËÌ., ˜/·
1934, USSR, 95 min., b/w
¿‚ÚÓ˚ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ˚
¡‡Ú¸ˇ ¬‡ÒËθ‚˚
(—Â„ÂÈ ¬‡ÒËθ‚, √ÂÓ„ËÈ ¬‡ÒËθ‚)
ŒÔÂ‡ÚÓ˚ ¿ÎÂÍ҇̉ —Ë„‡Â‚,
¿ÎÂÍ҇̉ üÒÂÌÓÙÓÌÚÓ‚
’Û‰ÓÊÌËÍ »Ò‡‡Í ÇıÎËÒ
üÓÏÔÓÁËÚÓ √‡‚ËËÎ œÓÔÓ‚
«‚ÛÍ ¿ÎÂÍ҇̉ ¡ÂÍÍÂ, ¬Î‡‰ËÏË
¬ËÌÓ„‡‰Ó‚ (1963)
¬ ÓΡı: ¡ÓËÒ ¡‡·Ó˜ÍËÌ,
ÀÂÓÌˉ üÏËÚ, ¬‡‚‡‡ ÃˇÒÌËÍÓ‚‡,
¡ÓËÒ ¡ÎËÌÓ‚, »Î·ËÓÌ œÂ‚ˆÓ‚,
—ÚÂÔ‡Ì ÿÍÛ‡Ú, ¬ˇ˜ÂÒ·‚ ¬ÓÎÍÓ‚,
ÕËÍÓÎ‡È —ËÏÓÌÓ‚, ¡ÓËÒ ◊ËÍÓ‚,
√ÂÓ„ËÈ ¬‡ÒËθ‚, √ÂÓ„ËÈ ∆ÊÂÌÓ‚
œÓËÁ‚Ó‰ÒÚ‚Ó ´ÀÂÌÙËθϪ
¬ÓÒÒÚ‡ÌÓ‚ÎÂÌË ´ÃÓÒÙËθϪ (1963)
Scriptwriters and Directors
Vasiliev Brothers
(Sergei Vasiliev, Georgy Vasiliev)
Directors of Photography
Alexander Sigaev,
Alexander Ksenofontov
Production Design Isaak Makhlis
Composer Gavriil Popov
Sound Alexander Bekker, Vladimir
Vinogradov (1963)
Cast: Boris Babochkin, Leonid Kmit,
Varbara Miasnikova, Boris Blinov,
Illarion Pevtsov, Stepan Shkurat,
Viacheslav Volkov, Nikolai Simonov,
Boris Chirkov, Georgy Vasiliev,
Georgy Zhzhenov
Production Lenfilm
Restored by Mosfilm (1963).
ñ —Ú‡ÎËÌÒ͇ˇ ÔÂÏˡ I ÒÚÂÔÂÌË
(1941);
ñ œÂ‚‡ˇ ÔÂÏˡ ñ ´—Â·ˇÌ˚È
ÍÛ·Óͪ (Ò ÙËθχÏË ´fiÌÓÒÚ¸
ÇÍÒËχª, ´üÂÒÚ¸ˇÌª) ñ
Ãü‘ ‚ ÃÓÒÍ‚Â, 1935;
ñ √‡Ì-ÔË Ë ‰ËÔÎÓÏ ñ
ÃÂʉÛ̇Ӊ̇ˇ ‚˚ÒÚ‡‚͇ ‚
œ‡ËÊÂ, 1937;
ñ ¡ÓÌÁÓ‚‡ˇ ω‡Î¸ ñ
Ãü‘ ‚ ¬Â̈ËË, 1946.
ñ Stalin Prize, 1st class (1941);
ñ First Prize ìSilver Cupî (jointly with
ìMaximís Youthî and ìPeasantsî) ñ
IFF Moscow, 1935;
ñ Grand Prix and Diploma ñ
International Exhibition in Paris,
1937;
ñ Bronze Medal ñ IFF Venice, 1946.
√ÂÓ˘ÂÒ͇ˇ ‰‡Ï‡ ÔÓ ËÒÚÓËÍÓ·ËÓ„‡Ù˘ÂÒÍËÏ Ï‡ÚÂˇ·Ï
ƒ.¿. ‘ÛχÌÓ‚‡ Ë ¿.Õ. ‘ÛχÌÓ‚ÓÈ
Ó Î„Ẩ‡ÌÓÏ „ÂÓ √‡Ê‰‡ÌÒÍÓÈ
‚ÓÈÌ˚ ¬‡ÒËÎËË »‚‡Ìӂ˘ ◊‡Ô‡Â‚Â
(1887-1919).
Heroic drama based on historical
biographic material of D.A. Furmanov
and A.N. Furmanova about the
legendary Civil War hero Vasili
Ivanovich Chapaev (1887-1919).
50 ‚˚·Ë‡˛Ú 50 (˜‡ÒÚ¸ I)
50 choose 50 (part I)
»¬¿Õ √–Œ«Õ¤…
IVAN THE TERRIBLE
155
»ÒÚÓ˘ÂÒ͇ˇ ‰‡Ï‡ ‚ ‰‚Ûı ÙËθχı Ó
·Ó¸·Â »‚‡Ì‡ √ÓÁÌÓ„Ó Á‡ Ó·˙‰ËÌÂÌËÂ
ÙÂÓ‰‡Î¸ÌÓÈ –ÛÒË ‚ ÏÓ˘ÌÓÂ
ˆÂÌÚ‡ÎËÁÓ‚‡ÌÌÓ „ÓÒÛ‰‡ÒÚ‚Ó. œÂ‚‡ˇ
ÒÂˡ ·˚· ıÓÓ¯Ó ÔËÌˇÚ‡ ͇Í
ÁËÚÂΡÏË, Ú‡Í Ë Ô‡‚ËÚÂθÒÚ‚ÓÏ, ÌÓ
‚Ó ‚ÚÓÓÈ —Ú‡ÎËÌ Û‚Ë‰ÂÎ ÔˇÏ˚Â
Ô‡‡ÎÎÂÎË ˝Í‡ÌÌÓ„Ó ‰ÂÈÒڂˡ Ò
‡ÎˡÏË ÒÓ·ÒÚ‚ÂÌÌÓÈ ‚·ÒÚË. ¬
ÂÁÛθڇÚ 2-ˇ ÒÂˡ ÔÓˇ‚Ë·Ҹ ̇
˝Í‡Ì‡ı ÚÓθÍÓ ‚ 1958 „Ó‰Û.
Historical drama in two films about
Ivan the Terribleís struggle for the
unification of feudal Rus into a
powerful, centralized state. The first
film was well received by spectators and
the government, but in the second film
Stalin saw a direct parallel between the
action on screen and his own, real
power and authority. As a result the
second film was released only in 1958.
1944ñ1945, ———–, (100+100) ÏËÌ.,
˜/·+ˆ‚.
1944ñ1945, USSR, (100+100) min.,
b/w+col.
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ
—Â„ÂÈ ›ÈÁÂ̯ÚÂÈÌ
ŒÔÂ‡ÚÓ˚ ¿Ì‰ÂÈ ÃÓÒÍ‚ËÌ,
›‰Û‡‰ “ËÒÒ˝
’Û‰ÓÊÌËÍ »ÓÒËÙ ÿÔËÌÂθ
üÓÒÚ˛Ï˚ ¬Ò‚ÓÎÓ‰ ¬ÓËÌÓ‚, flÍÓ‚
–‡ÈÁχÌ, Àˉˡ Õ‡ÛÏÓ‚‡
üÓÏÔÓÁËÚÓ —Â„ÂÈ œÓÍÓٸ‚
“ÂÍÒÚ ÔÂÒÂÌ ¬Î‡‰ËÏË ÀÛ„Ó‚ÒÍÓÈ
«‚ÛÍ ¬Î‡‰ËÏË ¡Ó„‰‡ÌÍ‚˘, ¡ÓËÒ
¬ÓθÒÍËÈ
¬ ÓΡı: ÕËÍÓÎ‡È ◊Â͇ÒÓ‚, À˛‰ÏË·
÷ÂÎËÍÓ‚Ò͇ˇ, —Â‡ÙËχ ¡ËχÌ,
œ‡‚ÂÎ ü‡‰Ó˜ÌËÍÓ‚, ÃËı‡ËÎ ∆‡Ó‚,
¿Ï‚ÓÒËÈ ¡Û˜Ï‡, ÃËı‡ËÎ üÛÁ̈ӂ,
ÃËı‡ËÎ Õ‡Á‚‡ÌÓ‚, ¿Ì‰ÂÈ ¿·ËÍÓÒÓ‚,
¬Ò‚ÓÎÓ‰ œÛ‰Ó‚ÍËÌ, ¿ÎÂÍ҇̉
Ä·Ó‚, ÇÍÒËÏ ÃËı‡ÈÎÓ‚, œ‡‚ÂÎ
ÇÒ҇θÒÍËÈ, ›ËÍ œ˚¸Â‚, —Â„ÂÈ
—ÚÓΡÓ‚, √ÂÓ„ËÈ fiχÚÓ‚, —ÂÏÂÌ
“ËÏÓ¯ÂÌÍÓ, ¿ÎÂÍ҇̉ –ÛÏÌ‚,
¬Î‡‰ËÏË ¡‡Î‡¯Ó‚, √ÂÓ„ËÈ ¬ËˆËÌ,
¿ÌÂθ —Û‰‡Í‚˘, ¿‰‡ ¬ÓȈËÍ
œÓËÁ‚Ó‰ÒÚ‚Ó ÷Œü—, ´ÃÓÒÙËθϪ
¬ÓÒÒÚ‡ÌÓ‚ÎÂÌË ´ÃÓÒÙËθϪ
(1986ñ1987)
Scriptwriter and Director Sergei
Eisenstein
Director of Photography Andrei
Moskvin, Eduard Tisse
Production Design Joseph Shpinel
Costume Design Vsevolod Voinov,
Yakov Raizman,
Lidia Naumova
Composer Sergei Prokofiev
Lyrics Vladimir Lugovskoy
Sound Vladimir Bogdankevich,
Boris Volsky
Cast: Nikolai Cherkasov, Liudmila
Tselikovskaya, Serafima Birman, Pavel
Kadochnikov, Mikhail Zharov, Ambrosius
Buchma, Mikhail Kuznetsov, Mikhail
Nazvanov, Andrei Abrikosov, Vsevolod
Pudovkin, Alexander Mgebrov, Maxim
Mikhailov, Pavel Massalsky, Eric Pyriev,
Sergei Stoliarov, Georgy Yumatov, Semen
Timoshenko, Alexander Rumnev, Vladimir
Balashov, Georgy Vitsin, Anelle
Sudakevich, Ada Voitsik
Production TsOKS, Mosfilm
Restored by Mosfilm (1986ñ1987)
ñ —Ú‡ÎËÌÒ͇ˇ ÔÂÏˡ I ÒÚÂÔÂÌË
(ÔÂ‚‡ˇ ÒÂˡ);
ñ œËÁ Ê˛Ë Á‡ ÎÛ˜¯Û˛
ÓÔÂ‡ÚÓÒÍÛ˛ ‡·ÓÚÛ (ÔÂ‚‡ˇ
ÒÂˡ) ñ Ãü‘ ‚ ÀÓ͇ÌÓ, 1946;
ñ œÓ ËÚÓ„‡Ï ÂÙÂẨÛχ ÍËÚËÍÓ‚,
Ôӂ‰ÂÌÌÓ„Ó ‡Ì„ÎËÈÒÍËÏ
ÊÛ̇ÎÓÏ ´—‡ÈÚ ˝Ì‰ —‡Û̉ª
(1962), ÙËÎ¸Ï (Ó·Â ÒÂËË) ̇Á‚‡Ì
Ò‰¸Ï˚Ï ‚ ‰ÂÒˇÚÍ ÎÛ˜¯Ëı
ÙËθÏÓ‚ ‚ ËÒÚÓËË ÍËÌÓËÒÍÛÒÒÚ‚‡;
ñ œÓ ËÚÓ„‡Ï ÓÔÓÒ‡ ÍËÌӂ‰ӂ ÏË‡,
Ôӂ‰ÂÌÌÓ„Ó ÏË·ÌÒÍËÏ
ËÁ‰‡ÚÂθÒÚ‚ÓÏ ´¿. ÃÓ̉‡‰Ó˪
(1978), ÙËÎ¸Ï (Ó·Â ÒÂËË) ̇Á‚‡Ì
‚ÓÒ¸Ï˚Ï ‚ ‰ÂÒˇÚÍ ÎÛ˜¯Ëı
ÙËθÏÓ‚ ÏËÓ‚Ó„Ó ÍËÌÓËÒÍÛÒÒÚ‚‡.
ñ Stalin Prize, 1st class (Part I);
ñ Jury Prize for best camera work
(Part I) ñ IFF in Locarno, 1946;
ñ According to the results of a criticsí
survey conducted by the British film
magazine ìSight and Soundî (1962),
the film (Parts I and II) is rated
7th among the ten best films in film
history;
ñAccording to a survey of world film
scholars conducted by the Milan
publishing house Mondadori (1978),
the film (Parts I and II) is ranked
8th among the ten best films of
world cinema.
50 ‚˚·Ë‡˛Ú 50 (˜‡ÒÚ¸ I)
50 choose 50 (part I)
Œü–¿»Õ¿
OUTSKIRTS
156
1933, ———–, 98 ÏËÌ., ˜/·
¿‚ÚÓ˚ ÒˆÂ̇ˡ üÓÌÒÚ‡ÌÚËÌ ‘ËÌÌ,
¡ÓËÒ ¡‡ÌÂÚ
–ÂÊËÒÒÂ ¡ÓËÒ ¡‡ÌÂÚ
ŒÔÂ‡ÚÓ˚ ÃËı‡ËÎ üËËÎÎÓ‚,
¿Ì‰ÂÈ —ÔËˉÓÌÓ‚
’Û‰ÓÊÌËÍ —Â„ÂÈ üÓÁÎÓ‚ÒÍËÈ
üÓÏÔÓÁËÚÓ —Â„ÂÈ ¬‡ÒËÎÂÌÍÓ
«‚ÛÍ ÀÂÓÌˉ Œ·ÓÎÂÌÒÍËÈ, ÕËÍÓ·È
ŒÁÓÌÓ‚
¬ ÓΡı: —Â„ÂÈ üÓχÓ‚, ≈ÎÂ̇
üÛÁ¸ÏË̇, –Ó·ÂÚ ›‰Ï‡Ì, ¿ÎÂÍ҇̉
◊ËÒÚˇÍÓ‚, ÕËÍÓÎ‡È ¡Ó„Óβ·Ó‚,
ÕËÍÓÎ‡È ü˛˜ÍÓ‚, ¿ÎÂÍ҇̉
≈χÍÓ‚, ÕËÍÓÎ‡È ¿ÍËÏÓ‚, ÃËı‡ËÎ
∆‡Ó‚, ÃËı‡ËÎ fl̯ËÌ, √‡ÌÒ
üÎÂËÌ„,
¿Ì‰ÂÈ ‘‡ÈÚ, ƒ‡ÌËËÎ ¬‚‰ÂÌÒÍËÈ,
¬Î‡‰ËÏË ”‡Î¸ÒÍËÈ
œÓËÁ‚Ó‰ÒÚ‚Ó ´ÃÂÊ‡·ÔÓÏÙËθϪ
¬ÓÒÒÚ‡ÌÓ‚ÎÂÌË üËÌÓÒÚÛ‰Ëˇ ËÏÂÌË
Ã.√Ó¸ÍÓ„Ó (1965)
1933, USSR, 98 min., b/w
Scriptwriters Konstantin Finn,
Boris Barnet
Director Boris Barnet
Director of Photography Mikhail
Kirillov, Andrei Spiridonov
Production Design Sergei Kozlovsky
Composer Sergei Vasilenko
Sound Leonid Obolensky, Nikolai
Ozornov
Cast: Sergei Komarov, Elena Kuzmina,
Robert Erdman, Alexander Chistiakov,
Nikolai Bogoliubov, Nikolai Kriuchkov,
Alexander Ermakov, Nikolai Akimov,
Mikhail Zharov, Mikhail Yanshin, Hans
Klering, Andrei Fait, Daniel Vvedensky,
Vladimir Uralsky
Production Mezhrabpomfilm
Restored by the Gorky Film Studio
(1965)
ƒ‡Ï‡ ÔÓ ÏÓÚË‚‡Ï Ó‰ÌÓËÏÂÌÌÓÈ
ÔÓ‚ÂÒÚË üÓÌÒÚ‡ÌÚË̇ ‘ËÌ̇.
√ÎÛı‡ˇ ÓÍ‡Ë̇ ˆ‡ÒÍÓÈ –ÓÒÒËË.
—ÓÌÌÛ˛ ÊËÁ̸ Ï¢‡Ì ÔÓ·Ûʉ‡ÂÚ
ÚÂ΄‡Ïχ: ´√ÂχÌˡ Ó·˙ˇ‚Ë·
‚ÓÈÌÛ –ÓÒÒË˪. –‡·Ó˜ËÈ ÕËÍÓ·È
ü‡‰ÍËÌ ÛıÓ‰ËÚ Ì‡ ÙÓÌÚ.
ƒÓ·Ó‚ÓθˆÂÏ ÛıÓ‰ËÚ Ë Â„Ó ·‡Ú
—Â̸͇. ¬ ·ÂÒÒÏ˚ÒÎÂÌÌÓ ̇ÒÚÛÔÎÂÌËÂ
„ÓÌˇÚ Ú˚Òˇ˜Ë Ë Ú˚Òˇ˜Ë ÒÓΉ‡Ú...
ÕÂ΄ÍÓ ÒÍ·‰˚‚‡˛ÚÒˇ ÒÛ‰¸·˚ „ÂÓ‚
ÙËθχ ñ ÕËÍÓ·ˇ, Â„Ó Ò˚ÌÓ‚ÂÈ,
‰Ó˜ÂË ıÓÁˇË̇ Ò‡ÔÓÊÌÓÈ Ï‡ÒÚÂÒÍÓÈ
ÇËË Ë ÌÂψÍÓ„Ó ‚ÓÂÌÌÓÔÎÂÌÌÓ„Ó
Ã˛ÎÎÂ‡Ö
ñ ´«ÓÎÓÚÓÈ ÍÛ·Óͪ Á‡ ÎÛ˜¯Û˛
ÔÓ„‡ÏÏÛ (´¬ÂÒÂÎ˚ ·ˇÚ‡ª,
´√ÓÁ‡ª, ´œÂÚÂ·Û„Ò͇ˇ ÌÓ˜¸ª,
´»‚‡Ìª, ´ŒÍ‡Ë̇ª, ´ÕÓ‚˚È
√ÛÎÎË‚Âª, ´œ˚¯Í‡ª, ´◊ÂβÒÍË̪ Ë
‰.), Ô‰ÒÚ‡‚ÎÂÌÌÛ˛ „ÓÒÛ‰‡ÒÚ‚ÓÏ
̇ ÙÂÒÚË‚‡Î ñ ÃÂʉÛ̇Ӊ̇ˇ
ÍËÌÂχÚÓ„‡Ù˘ÂÒ͇ˇ ‚˚ÒÚ‡‚͇ ‚
¬Â̈ËË, 1934.
ñ ìGolden Cupî for the best programme
(ìHappy Guysî, ìThe Stormî,
ìPetersburg Nightî, ìIvanî, ìOutskirtsî,
ìNew Gulliverî, ìBoule de Suifî,
ìChelyuskinî, etc.), represented by the
state at the festival ñ International
Cinema Exhibition in Venice, 1934.
Drama based on the story of the same
title by Konstantin Finn.
A remote area of imperial Russia. The
sleepy life of the petty bourgeoisie is
shaken by the telegram: ìGermany has
declared war on Russiaî. The worker
Nikolai Kadkin leaves for the front; his
brother Senka volunteers. Thousands
and thousands of soldiers are driven
into a senseless fight... The destinies of
the filmís heroes are complex: Nikolai
and his sons; Maria, the daughter of the
cobbler; and the German captive
MuellerÖ
THE BATTLESHIP POTEMKIN
50 ‚˚·Ë‡˛Ú 50 (˜‡ÒÚ¸ I)
50 choose 50 (part I)
¡–ŒÕ≈ÕŒ—≈÷ ´œŒ“≈Ãü»Õª
157
»ÒÚÓËÍÓ-‚ÓβˆËÓÌ̇ˇ ‰‡Ï‡ Ó
‚ÓÒÒÚ‡ÌËË Ì‡ ·ÓÌÂÌÓ҈ ´üÌˇÁ¸
œÓÚÂÏÍËÌ “‡‚˘ÂÒÍËȪ (Ë˛Ì¸ 1905
„Ó‰‡).
1925, ———–, 75 ÏËÌ., ˜/·
1925, USSR, 75 min., b/w
¿‚ÚÓ ÒˆÂ̇ˡ ÕË̇ ¿„‡‰Ê‡ÌÓ‚‡
¿‚ÚÓ ̇‰ÔËÒÂÈ ÕËÍÓÎ‡È ¿Ò‚
–ÂÊËÒÒÂ —Â„ÂÈ ›ÈÁÂ̯ÚÂÈÌ
—ÓÂÊËÒÒÂ √Ë„ÓËÈ ¿ÎÂÍ҇̉Ó‚
ŒÔÂ‡ÚÓ ›‰Û‡‰ “ËÒÒ˝
’Û‰ÓÊÌËÍ ¬‡ÒËÎËÈ –‡ı‡Î¸Ò
üÓÏÔÓÁËÚÓ˚ ›‰Û‡‰ ÇÈÁÂθ (1930),
ÕËÍÓÎ‡È ü˛ÍÓ‚ (1950), ƒÏËÚËÈ
ÿÓÒÚ‡Íӂ˘ (1976)
«‚ÛÍ ≈‚„ÂÌËÈ ü‡¯Í‚˘ (1930)
¬ ÓΡı: ¿ÎÂÍ҇̉ ¿ÌÚÓÌÓ‚,
¬Î‡‰ËÏË ¡‡ÒÍËÈ, √Ë„ÓËÈ
¿ÎÂÍ҇̉Ó‚, ÃËı‡ËÎ √ÓÏÓÓ‚,
ÇÛÒÓ‚, »‚‡Ì ¡Ó·Ó‚, –ÂÔÌËÍÓ‚‡,
¿ÎÂÍ҇̉ À‚¯ËÌ, ¿Ì‰ÂÈ ‘‡ÈÚ,
¬Î‡‰ËÏË ”‡Î¸ÒÍËÈ, ¬Â‡ ◊ÏÂ΂‡
œÓËÁ‚Ó‰ÒÚ‚Ó 1-ˇ Ù‡·Ë͇ √ÓÒÍËÌÓ
¬ÓÒÒÚ‡ÌÓ‚ÎÂÌË ´ÃÓÒÙËθϪ (1950,
1976)
Scriptwriter Nina Agadzhanova
Intertitles Nikolai Aseev
Director Sergei Eisenstein
Co-Director Grigori Alexandrov
Director of Photography Eduard Tisse
Production Design Vasili Rakhals
Composers Edmund Meisel (1930),
Nikolai Kriukov (1950), Dmitri
Shostakovich (1976)
Sound Evgeni Kashkevich (1930)
Cast: Alexander Antonov, Vladimir
Barsky, Grigori Aleksandrov, Mikhail
Gomorov, Marusov, Ivan Bobrov,
Repnikova, Alexander Levshin, Andrei
Fait, Vladimir Uralsky, Vera Chmeleva
Production First Factory of Goskino
Restored by Mosfilm (1950, 1976)
Historical revolutionary drama about
the uprising on the battleship ìPrince
Potemkin Tavricheskyî (June 1905).
ñ «ÓÎÓÚ‡ˇ ω‡Î¸ ñ ÃÂʉÛ̇Ӊ̇ˇ
‚˚ÒÚ‡‚͇ ‚ œ‡ËÊÂ, 1926;
ñ ´ÀÛ˜¯ËÈ ÙËθϪ ñ ¿ÏÂË͇ÌÒ͇ˇ
¿Í‡‰ÂÏˡ ÍËÌÓËÒÍÛÒÒÚ‚‡, 1926;
ñ œÂ‚˚È ‚ ˜ËÒΠ12 ÎÛ˜¯Ëı ÙËθÏÓ‚
‚ÒÂı ‚ÂÏÂÌ Ë Ì‡Ó‰Ó‚ ÔÓ
ÂÁÛÎ¸Ú‡Ú‡Ï ÏÂʉÛ̇Ó‰ÌÓ„Ó
ÓÔÓÒ‡ ÍËÚËÍÓ‚ ‚ ¡˛ÒÒÂΠ‚ 1958
„Ó‰Û (110 „ÓÎÓÒÓ‚ ËÁ 117);
ñ œÂ‚˚È ÒÂ‰Ë ÒÚ‡ ÎÛ˜¯Ëı ÙËθÏÓ‚
ÔÓ ÓÔÓÒÛ ÍËÌӂ‰ӂ ÏË‡ (1978,
ÓÔÓÒ Ôӂ‰ÂÌ ËڇθˇÌÒÍËÏ
ËÁ‰‡ÚÂθÒÚ‚ÓÏ ´¿.ÃÓ̉‡‰Ó˪ ‚
ÃË·ÌÂ);
ñ ´ÀÛ˜¯ËÈ Â‚ÓÔÂÈÒÍËı ÙËÎ¸Ï ‚ÒÂı
‚ÂÏÂ̪ ñ ÓÔÓÒ Â‚ÓÔÂÈÒÍËı
ÍËÌÂχÚÓ„‡ÙËÒÚÓ‚ (6000
ÂÒÔÓ̉ÂÌÚÓ‚) ñ ‘ÂÒÚË‚‡Î¸
‚ÓÔÂÈÒÍÓ„Ó ÍËÌÓ ‚ „ÓӉ Àˇ-¡Óθ,
‘‡ÌˆËˇ, 1990.
ñ Gold Medal ñ International
Exhibition in Paris, 1926;
ñ ìBest Filmî ñ American Academy of
Motion Pictures, 1926;
ñ First among the twelve best films of
all times and peoples according to
the results of an international
criticsí survey in Brussels in 1958
(110 votes of 117);
ñ First among 1000 best films
according to a survey of world film
scholars (1978, survey by the Italian
publishing house Mondadori in
Milan);
ñ ìBest European Film of All Timesî ñ
survey of European
cinematographers (6000
respondents) ñ Festival of European
Cinema in La Baule, France, 1990.
50 ‚˚·Ë‡˛Ú 50 (˜‡ÒÚ¸ I)
50 choose 50 (part I)
“–≈“‹fl Ã≈Ÿ¿Õ—ü¿fl
BED AND SOFA/ THREE IN LOVE (ìTretya Meshchanskayaî)
158
1927, ———–, 74 ÏËÌ., ˜/·
1927, USSR, 74 min., b/w
¿‚ÚÓ˚ ÒˆÂ̇ˡ ¬ËÍÚÓ ÿÍÎÓ‚ÒÍËÈ,
¿·‡Ï –ÓÓÏ
Scriptwriters Viktor Shklovsky,
–ÂÊËÒÒÂ ¿·‡Ï –ÓÓÏ
Abram Room
ŒÔÂ‡ÚÓ √Ë„ÓËÈ √Ë·Â
Director Abram Room
’Û‰ÓÊÌËÍË ¬‡ÒËÎËÈ –‡ı‡Î¸Ò, —Â„ÂÈ
Director of Photography Grigori Giber
fiÚÍ‚˘
Production Design Vasili Rakhals,
¬ ÓΡı: ÕËÍÓÎ‡È ¡‡Ú‡ÎÓ‚,
Sergei Yutkevich
À˛‰ÏË· —ÂÏÂÌÓ‚‡,
Cast Nikolai Batalov,
¬Î‡‰ËÏË ‘Ó„Âθ, ÀÂÓÌˉ fiÂÌ‚,
Liudmila Semenova, Vladimir Fogel,
≈ÎÂ̇ —ÓÍÓÎÓ‚‡,
Leonid Yurenev, Elena Sokolova,
Çˡ flӈ͇ˇ
Maria Yarotskaya
œÓËÁ‚Ó‰ÒÚ‚Ó ´—Ó‚ÍËÌÓª
Production Sovkino
ÃÂÎÓ‰‡Ï‡.
¬ÂÏÂ̇ Õ›œ‡. »Á ÔÓ‚Ë̈ËË ‚ ÃÓÒÍ‚Û
ÔËÂÁʇÂÚ Ô˜‡ÚÌËÍ ‘Ó„Âθ Ë ‚ÂÏÂÌÌÓ
ÔÓÒÂΡÂÚÒˇ ‚ ÍÓÏ̇Ú ҂ÓÂ„Ó ÙÓÌÚÓ‚Ó„Ó
‰Û„‡ ñ ËÌÊÂÌÂ‡-ÒÚÓËÚÂΡ ÕËÍÓ·ˇ
¡‡Ú‡ÎÓ‚‡. ¬Ó ‚ÂÏˇ ÍÓχ̉ËÓ‚ÍË
ÕËÍÓ·ˇ Â„Ó ÊÂ̇ À˛‰ÏË· ÒıÓ‰ËÚÒˇ Ò
‘Ó„ÂÎÂÏ. ¬ÂÌÛ‚¯ËÈÒˇ ¡‡Ú‡ÎÓ‚ ÛÁ̇ÂÚ Ó
ÚÓÏ, ˜ÚÓ ÔÓËÁÓ¯ÎÓ, Ë ÛıÓ‰ËÚ ËÁ ‰Óχ.
ÕÓ Ë‰ÚË ÂÏÛ ÌÂÍÛ‰‡. ŒÌ ‚ÓÁ‚‡˘‡ÂÚÒˇ.
≈„Ó ·˚‚¯‡ˇ ÊÂ̇ ÚÂÔÂ¸ ̇˜Ë̇ÂÚ
ËÁÏÂÌˇÚ¸ Ò ÌËÏ Ò‚ÓÂÏÛ Î˛·Ó‚ÌËÍÛ. ¬ÒÂ
ÚÓ ÔÓÌËχ˛Ú, ˜ÚÓ ÔÓËÒıÓ‰ËÚ, ÌÓ ÌÂ
ÏÓ„ÛÚ ‚˚ÈÚË ËÁ ÚÛÔËÍÓ‚ÓÈ ÒËÚÛ‡ˆËË. ü
ÚÓÏÛ Ê ‚˚ˇÒÌˇÂÚÒˇ, ˜ÚÓ À˛‰ÏË· ʉÂÚ
·ÂÌ͇, Ë ÌÂÔÓÌˇÚÌÓ, ÍÚÓ ÊÂ Â„Ó ÓÚˆÖ
Œ‰Ì‡ ËÁ Ò‡Ï˚ı ËÒÍÓ‚‡ÌÌ˚ı ÒÓ‚ÂÚÒÍËı
ÏÂÎÓ‰‡Ï Ó ÌÓ‚ÓÏ ·˚Ú (͇ÚË̇ ·˚·
Á‡Ô¢Â̇ Í ÔÓ͇ÁÛ ‚ ‡ÏËË). œÂ‚ÓÂ
̇Á‚‡ÌË ÙËθχ ñ ´À˛·Ó‚¸ ‚ÚÓÂϪ, ‚
√ÂχÌËË Ó̇ ¯Î‡ ÔÓ‰ ̇Á‚‡ÌËÂÏ
´üÓ‚‡Ú¸ Ë ÒÓÙ‡ª, ‚ ‰Û„Ëı ‚ÓÔÂÈÒÍËı
ÒÚ‡Ì‡ı ñ Í‡Í ´“Ó ‚ ÔÓ‰‚‡Îª.
Melodrama.
The time of NEP (New Economic Policy,
1921-24). The printer Fogel comes from
the province to Moscow and temporarily
settles in a room of his wartime friend,
the construction engineer Nikolai
Batalov. When Nikolai is away on a
business trip Fogel and Nikolaiís wife
Liudmila get closer. Upon his return,
Batalov finds out about their affair and
leaves the house. But he has no place to
go to, so he comes back. His former
wife now starts to betray her lover with
him. All three understand what is going
on, but they cannot leave this impasse.
Besides, it transpires that Liudmila is
expecting a child, but is not clear who
the father isÖ
One of the most risky Soviet
melodramas about the new life (the film
was banned from screenings to the
armed forces). The first title of the film
was ìThree in Loveî; in Germany and
other European countries it was released
under the title ìBed and Sofaî, or
ìThree in the Basementî.
50 ‚˚·Ë‡˛Ú 50 (˜‡ÒÚ¸ I)
50 choose 50 (part I)
—◊¿—“‹≈
HAPPINESS
159
1934, ———–, 66 ÏËÌ., ˜/·
1934, USSR, 66 min., b/w
„ÓÂÏ˚˜ÌÓÏ ÒÚˇÊ‡ÚÂΠ’Ï˚Â, Ó Â„Ó
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ
Scriptwriter and Director
ÊÂÌÂ-ÎÓ¯‡‰Ë ¿ÌÌÂ, Ó Ò˚ÚÓÏ ÒÓÒ‰Â
¿ÎÂÍ҇̉ É‚‰ÍËÌ
Alexander Medvedkin
‘ÓÍÂ, ‡ Ú‡ÍÊÂ Ó ÔÓÔÂ, Ó ÏÓ̇¯ÍÂ Ë Ó
ŒÔÂ‡ÚÓ √η “ÓˇÌÒÍËÈ
Director of Photography
‰Û„Ëı ˜Û˜Â·ı. "œÓÒ‚ˇ˘‡ÂÚÒˇ
’Û‰ÓÊÌËÍ ¿ÎÂÍÒÂÈ ”ÚÍËÌ
Gleb Troyansky
ÔÓÒΉÌÂÏÛ ÍÓÎıÓÁÌÓÏÛ ÎÓ‰˚˛".
üÓÏÔÓÁËÚÓ ¿ÎÂÍÒÂÈ ¿È„Ë (2000)
Production Design Alexei Utkin
‘ËÎ¸Ï "—˜‡ÒÚ¸Â" ÔËÌÂÒ ¿ÎÂÍ҇̉Û
¬ ÓΡı: œÂÚ «ËÌÓ‚¸Â‚,
Composer Alexei Aigi (2000)
É‚‰ÍËÌÛ ¯ËÓÍÛ˛ ËÁ‚ÂÒÚÌÓÒÚ¸, ÓÌ
≈ÎÂ̇ ≈„ÓÓ‚‡, Àˉˡ ÕÂ̇¯Â‚‡,
Cast: Petr Zinoviev, Elena Egorova,
·˚Î ‚˚ÒÓÍÓ ÓˆÂÌÂÌ ›ÈÁÂ̯ÚÂÈÌÓÏ,
¬.”ÒÔÂÌÒÍËÈ, √.ÃË„Ó¸ˇÌ,
Lidia Nenasheva, V. Uspensky,
œÛ‰Ó‚ÍËÌ˚Ï Ë ƒÓ‚ÊÂÌÍÓ. ¬ 70- „Ó‰˚
¬.À‡‚ÂÌڸ‚
G. Mirgorian, V. Lavrentiev
·˚Î ÔÓ͇Á‡Ì ÔÓ “¬ ‚ ÒÚ‡Ì‡ı ≈‚ÓÔ˚
œÓËÁ‚Ó‰ÒÚ‚Ó ´ÃÓÒÍËÌÓÍÓÏ·Ë̇ڪ
Production Moskinokombinat
Ë ¿ÏÂËÍË..
¬ÓÒÒÚ‡ÌÓ‚ÎÂÌËÂ Ë ÏÓÌÚ‡Ê Á‚Û͇
Restored and sound edited by
√ÓÒÙËθÏÓÙÓ̉ –‘, Œ–“ (2000)
Gosfilmofond of Russia and ORT (2000)
‘ËÎÓÒÓÙÒ͇ˇ Ò͇Á͇, ÒÌˇÚ‡ˇ ‚
˝ÒÚÂÚËÍ ÛÒÒÍÓ„Ó Î۷͇, Ó
A philosophical fairy tale made in the
style of Russian lubok, about the
hapless money-grubber Khmyr, his
horse-wife Anna, about the fat
neighbour Foka, and about the priest,
about the nun and other scarecrows.
"Devoted to last collective-farm idler".
The film "Happiness" brought Alexander
Medvedkin wide popularity, and it was
highly praised by Eisenstein, Pudovkin
and Dovzhenko. In the 1970s it was
shown on TV in Europe and America.
50 ‚˚·Ë‡˛Ú 50 (˜‡ÒÚ¸ I)
50 choose 50 (part I)
¬≈—Õ¿ Õ¿ «¿–≈◊ÕŒ… ”À»÷≈
SPRING ON ZARECHNAYA STREET
160
1956, ———–, 95 ÏËÌ., ˜/·
1956, USSR, 95 min., b/w
¿‚ÚÓ ÒˆÂ̇ˡ ‘ÂÎËÍÒ ÃËÓÌÂ
Scriptwriter Felix Mironer
ÔÓÏ˚¯ÎÂÌÌÓ„Ó ÔÓÒÂÎ͇ ÔÓˇ‚ΡÂÚÒˇ
–ÂÊËÒÒÂ˚ ‘ÂÎËÍÒ ÃËÓÌÂ,
Directors Felix Mironer,
ÌÓ‚‡ˇ Û˜ËÚÂθÌˈ‡ ñ ‚˚ÔÛÒÍÌˈ‡
ÇÎÂÌ ’ۈ˂
Marlen Khutsiev
Ô‰ËÌÒÚËÚÛÚ‡ “‡Ú¸ˇÌ‡ —Â„‚̇.
ŒÔÂ‡ÚÓ˚ –‡‰ÓÏË ¬‡ÒË΂ÒÍËÈ,
Directors of Photography
—ڇ΂‡˚, Í‡ÌÓ‚˘ËÍË, ¯ÓÙÂ˚ ñ
œÂÚ “Ó‰ÓÓ‚ÒÍËÈ
Radomir Vasilevsky, Petr Todorovsky
ÒÎÓÊÌ˚È, ÌÓ ËÌÚÂÂÒÌ˚È ´Ï‡ÚÂˇΪ
’Û‰ÓÊÌËÍ ¬‡ÒËÎËÈ «‡˜ËÌˇÂ‚
Production Design Vasili Zachiniayev
‰Îˇ ̇˜Ë̇˛˘Â„Ó Ô‰‡„Ó„‡.
üÓÏÔÓÁËÚÓ ¡ÓËÒ ÃÓÍÓÛÒÓ‚
Composer Boris Mokrousov
Õ‡ÒÚÓȘ˂˚ Ûı‡ÊË‚‡Ìˡ ¿ÎÂÍ҇̉‡
“ÂÍÒÚ ÔÂÒÂÌ ¿ÎÂÍÒÂÈ ‘‡Ú¸ˇÌÓ‚
Lyrics by Alexei Fatianov
—‡‚˜ÂÌÍÓ, ÔÓÒÚÓ„Ó, ÔˇÏÓÎËÌÂÈÌÓ„Ó
¬Ó͇ΠÕËÍÓÎ‡È –˚·ÌËÍÓ‚
Vocals by Nikolai Rybnikov
Òڇ΂‡‡-‡ˆËÓ̇ÎËÁ‡ÚÓ‡,
—ÓÎÓ Ì‡ „ËÚ‡ œÂÚ “Ó‰ÓÓ‚ÒÍËÈ
Guitar Solo Petr Todorovsky
ËÁ·‡ÎÓ‚‡ÌÌÓ„Ó ‚ÌËχÌËÂÏ ‰Â‚Û¯ÂÍ,
«‚ÛÍ ¬Î‡‰ËÏË üÛ„‡ÌÒÍËÈ
Sound Vladimir Kurgansky
ÛÒÎÓÊÌˇ˛Ú  ÊËÁ̸. ÕÓ ÂÒÎË ˝ÚÓ ÌÂ
¬ ÓΡı: ÕË̇ »‚‡ÌÓ‚‡,
Cast Nina Ivanova, Nikolai Rybnikov,
‚ÂÒ̇, ÚÓ ˜ÚÓ ÊÂ?..
ÕËÍÓÎ‡È –˚·ÌËÍÓ‚, ¬Î‡‰ËÏË √ÛΡ‚,
Vladimir Guliayev, Valentina
¬‡ÎÂÌÚË̇ œÛ„‡˜Â‚‡, √ÂÌ̇‰ËÈ
Pugacheva, Gennadi Yukhtin,
fiıÚËÌ, –ËÏχ ÿÓÓıÓ‚‡, ÕËÍÓ·È
Rimma Shorokhova, Nikolai Kliuchnev,
üβ˜Ì‚, Çˡ √‡‚ËÎÍÓ, fiËÈ
Maria Gavrilko, Yuri Belov,
¡ÂÎÓ‚, ¬‡ÎÂÌÚËÌ ¡˚΂, ¬ËÍÚÓ
Valentin Bryleev, Viktor Markin,
ÇÍËÌ, ≈ÎÂ̇ üÓ‚‡ÎÂÌÍÓ, À˛Òˇ
Elena Kovalenko, Liusya Maximova,
ÇÍÒËÏÓ‚‡, —‡¯‡ ÃÓÓÁ
Sasha Moroz
œÓËÁ‚Ó‰ÒÚ‚Ó Œ‰ÂÒÒ͇ˇ ÍËÌÓÒÚÛ‰Ëˇ
Production Odessa Film Studio
ÃÂÎÓ‰‡Ï‡.
¬ ¯ÍÓΠ‡·Ó˜ÂÈ ÏÓÎÓ‰ÂÊË
Melodrama.
A new teacher arrives at the school for
young workers in an industrial
settlement: Tatiana Sergeevna is a
graduate of a teacherís college. Steelworkers, crane operators, drivers make
complex, but interesting ìmaterialî for
a young, beginning teacher. The stern
courtship of Alexander Savchenko, a
ñ ¡ÓÌÁÓ‚‡ˇ ω‡Î¸ ñ Ãü‘ ‚
ÃÓÒÍ‚Â, Ôӂ‰ÂÌÌÓ„Ó ‚ ‡Ï͇ı
¬ÒÂÏËÌÓ„Ó ÙÂÒÚË‚‡Îˇ ÏÓÎÓ‰ÂÊË Ë
ÒÚÛ‰ÂÌÚÓ‚, 1957.
simple, straightforward steel-maker who
ñ Bronze Medal ñ IFF in Moscow, held
in the context of the International
Youth Festival, 1957.
is spoilt by the attention of girls,
complicates her life. But if this is not
spring, then?..
50 ‚˚·Ë‡˛Ú 50 (˜‡ÒÚ¸ I)
50 choose 50 (part I)
œŒ «¿üŒÕ”
BY THE LAW/ DURA LEX
161
œÒËıÓÎӄ˘ÂÒ͇ˇ ‰‡Ï‡ ÔÓ ÏÓÚË‚‡Ï
‡ÒÒ͇Á‡ ƒÊÂ͇ ÀÓ̉Ó̇
´ÕÂÓÊˉ‡ÌÌÓª.
Õ·Óθ¯‡ˇ „ÛÔÔ‡ ÁÓÎÓÚÓËÒ͇ÚÂÎÂÈ
̇ıÓ‰ËÚ ‚ üÎÓ̉‡ÈÍ ÁÓÎÓÚÓ.
–‡Á‡·ÓÚ͇ ÔËËÒ͇ ÔÓ‰ÓÎʇÂÚÒˇ ‚Ò˛
ÁËÏÛ ñ ÁÓÎÓÚ‡ ÏÌÓ„Ó. ÕÓ Ó‰Ì‡Ê‰˚ ‚Ó
‚ÂÏˇ ‡·ÓÚ˚ ÔÓËÒıÓ‰ËÚ
ÌÂÓÊˉ‡ÌÌÓÂ: ÇÈÍÎ ƒ‡ÈÌÂÌ ÔËıÓ‰ËÚ
Ò ÛʸÂÏ Ë Ì‡˜Ë̇ÂÚ ÒÚÂΡڸ ÔÓ
ÚÓ‚‡ˢ‡Ï. ŒÌ Ì ÛÒÔ‚‡ÂÚ Û·ËÚ¸
‰‚ÓËı ñ ÚÂı, ÍÓÚÓ˚ ·˚ÎË ÏÛÊÂÏ Ë
ÊÂÌÓÈ. ∆ÂÌ˘Ë̇ Â„Ó ı‚‡Ú‡ÂÚ Á‡
ÛʸÂ. Õ‡‰Ó ·˚ÎÓ ·˚ Â„Ó Û·ËÚ¸. ÕÓ
ÊÂÌ˘Ë̇ „Ó‚ÓËÚ, ˜ÚÓ Ì‡‰Ó ÒÛ‰ËÚ¸
˜ÂÎÓ‚Â͇. ¿ ÒÛ‰ËÚ¸ Â„Ó ÌÂÍÓ„‰‡, Ì„‰Â
Ë ÌÂÍÓÏÛ. ’ËÊË̇ Á‡Ò˚ԇ̇ ÒÌ„ÓÏ.
ÀÂÊËÚ Ò‚ˇÁ‡ÌÌ˚È ÔÂÒÚÛÔÌËÍ. —ˉˇÚ
‰‚Ó β‰ÂÈ. ŒÌË Â„Ó ÒÛ‰ˇÚ, Ô˘ÂÏ
ÓÌË Ò‡ÏË ñ Ë Ò‚Ë‰ÂÚÂÎË, Ë ÔÓÍÛÓÖ
Psychological drama based on the
motives of Jack Londonís story ìThe
Unexpectedî.
A small group of gold diggers find gold
in Klondike, Yukon. The exploitation of
the mine continues all winter, as there
is a lot of gold. But one day something
unexpected happens: Michael Dennen
arrives with a gun and begins to shoot
his comrades. The only two survivors
are husband and wife. The woman seizes
the gun. She should kill him. But the
woman says that he must be judged.
Yet there is no time to judge him, there
is no place and nobody. The hut is
covered in snow. The tied-up criminal
lies on the ground while the two people
sit court. They judge him, being both
witnesses and prosecutionÖ
1926, ———–, 61 ÏËÌ., ˜/·
1926, USSR, 61 min., b/w
¿‚ÚÓ ÒˆÂ̇ˡ ¬ËÍÚÓ ÿÍÎÓ‚ÒÍËÈ
Scriptwriter Viktor Shklovsky
–ÂÊËÒÒÂ À‚ üÛίӂ
Director Lev Kuleshov
ŒÔÂ‡ÚÓ üÓÌÒÚ‡ÌÚËÌ üÛÁ̈ӂ
Director of Photography Konstantin
’Û‰ÓÊÌËÍ »Ò‡‡Í ÇıÎËÒ
Kuznetsov
¬ ÓΡı: ¿ÎÂÍ҇̉‡ ’ÓıÎÓ‚‡,
Production Design Isaak Makhlis
—Â„ÂÈ üÓχÓ‚, ¬Î‡‰ËÏË ‘Ó„Âθ,
Cast: Alexandra Khokhlova,
œÓÙËËÈ œÓ‰Ó·Â‰, œÂÚ √‡Î‡‰Ê‚
Sergei Komarov, Vladimir Fogel,
œÓËÁ‚Ó‰ÒÚ‚Ó 1-ˇ Ù‡·Ë͇ √ÓÒÍËÌÓ
Porfiry Podobed, Petr Galadzhev
Production First Factory of Goskino
50 ‚˚·Ë‡˛Ú 50 (˜‡ÒÚ¸ I)
50 choose 50 (part I)
ÿÿ≈Õ‹ü¿
MASHENKA
162
1942, ———–, 77 ÏËÌ., ˜/·
1942, USSR, 77 min., b/w
¿‚ÚÓ˚ ÒˆÂ̇ˡ
Scriptwriters Evgeni Gabrilovich,
≈‚„ÂÌËÈ √‡·ËÎӂ˘,
Sergei Ermolinsky
—Â„ÂÈ ≈ÏÓÎËÌÒÍËÈ
Director Yuli Raizman
–ÂÊËÒÒÂ fiÎËÈ –‡ÈÁχÌ
Director of Photography
ŒÔÂ‡ÚÓ ≈‚„ÂÌËÈ ¿Ì‰Ë͇ÌËÒ
Evgeni Andrikanis
’Û‰ÓÊÌËÍË »ÓÒËÙ ÿÔËÌÂθ,
Production Design Iosif Shpinel,
ÃËı‡ËÎ “ËÛÌÓ‚
Mikhail Tiunov
ÃÛÁ˚͇ ¿ÎÂÍ҇̉ √·ÁÛÌÓ‚
Music Alexander Glazunov
«‚ÛÍ ¬ËÍÚÓ «ÓËÌ
Sound Viktor Zorin
¬ ÓΡı: ¬‡ÎÂÌÚË̇ ü‡‡‚‡Â‚‡,
Cast: Valentina Karavaeva, Michael
ÃËı‡ËÎ üÛÁ̈ӂ, ƒ.œ‡ÌÍ‡ÚÓ‚‡,
Kuznetsov, D. Pankratov, Vera
¬Â‡ ¿ÎÚ‡ÈÒ͇ˇ, √ÂÓ„ËÈ —‚ÂÚ·ÌË,
Altaiskaya, Georgy Svetlani, Nikolai
ÕËÍÓÎ‡È √ˈÂÌÍÓ, ¬Î‡‰ËÒ·‚
Gritsenko, Vladislav Strzhelchik
—ÚÊÂθ˜ËÍ
Production Mosfilm, TsOKS
œÓËÁ‚Ó‰ÒÚ‚Ó ´ÃÓÒÙËθϪ, ÷Œü—
Restored by Mosfilm (1985)
üËÌÓÔÓ‚ÂÒÚ¸ ‚ÓÂÌÌ˚ı ÎÂÚ.
ƒÌË ‚ÓÈÌ˚ Ò ·ÂÎÓÙËÌ̇ÏË
(1939ñ1940). —ÎÛʇ˘‡ˇ ÚÂ΄‡Ù‡
ǯ‡ —ÚÂÔ‡ÌÓ‚‡ ÔÓ ‚˜Â‡Ï
Á‡ÌËχÂÚÒˇ ̇ ÙÂθ‰¯ÂÒÍËı ÍÛÒ‡ı.
Œ‰Ì‡Ê‰˚ Ó̇ Á̇ÍÓÏËÚÒˇ Ò ¯ÓÙÂÓÏ
Ú‡ÍÒË ¿ÎÂÍÒÂÂÏ —ÓÎÓ‚¸Â‚˚Ï,
Í‡ÒË‚˚Ï Ë ÌÂÔÓÒÚ˚Ï Ô‡ÌÂÏ. ŒÌË
̇˜Ë̇˛Ú ‚ÒÚ˜‡Ú¸Òˇ. ǯ‡ Û·Âʉ‡ÂÚ
¿ÎÂ¯Û ‚ ÚÓÏ, ˜ÚÓ ÂÏÛ Ì‡‰Ó Û˜ËÚ¸Òˇ Ë
ÔÓÏÓ„‡ÂÚ ÂÏÛ Ò‰‡Ú¸ ‚ÒÚÛÔËÚÂθÌ˚Â
˝ÍÁ‡ÏÂÌ˚ ‚ ÚÂıÌËÍÛÏ. ÃËÏÓÎÂÚÌÓÂ
ۂΘÂÌË ¿ÎÂ¯Ë ‰Û„ÓÈ ‰Â‚Û¯ÍÓÈ
ÔË‚Ó‰ËÚ Í ÚÓÏÛ, ˜ÚÓ ÏÓÎÓ‰˚ β‰Ë
‡ÒÒÚ‡˛ÚÒˇ. ŒÌË ‚ÒÚÂÚˇÚÒˇ ÒÌÓ‚‡
‚ÒÂ„Ó Ì‡ ÌÂÒÍÓθÍÓ ÏËÌÛÚ Î˯¸ ÒÔÛÒÚˇ
ÏÌÓ„Ó ÏÂÒˇˆÂ‚ ̇ ÔÂ‰ӂÓÈ ÎËÌËË
ÙÓÌÚ‡Ö ‘ËÎ¸Ï ‚˚¯ÂÎ ‚ ÔÓÍ‡Ú ‚
‡ÔÂΠ1942 „Ó‰‡. ≈„Ó ÒÏÓÚÂÎË Ì‡
ÙÓÌÚÓ‚˚ı ˝Í‡Ì‡ı, ‚ „ÓÒÔËڇΡı, ‚
Ú˚ÎÓ‚˚ı „ÓÓ‰‡ı.
¬ÓÒÒÚ‡ÌÓ‚ÎÂÌË ´ÃÓÒÙËθϪ (1985)
ñ —Ú‡ÎËÌÒ͇ˇ ÔÂÏˡ II ÒÚÂÔÂÌË
(1943).
ñ Stalin Prize of the 2nd class (1943).
Wartime story
The time of the Russo-Finnish war
(1939-1940). The employee of telegraph
office Masha Stepanova studies in
evening classes to become a medical
assistant. She gets acquainted with the
taxi driver Alexei Soloviev, a handsome
and complex guy. They start to date
each other. Masha convinces Alexei that
he must study and helps him pass the
entrance exams to technical college. The
fleeting interest of Alexei in another
girl leads to their separation. They meet
again for some minutes only months
later, on the advanced front line Ö The
film was released in April 1942. It was
seen on cinema screens at the front, in
hospitals, in remote cities.
50 ‚˚·Ë‡˛Ú 50 (˜‡ÒÚ¸ I)
50 choose 50 (part I)
—“–Œ√»… fiÕŒÿ¿
A SEVERE YOUNG MAN
163
1936, ———–, 100 ÏËÌ., ˜/·
1936, USSR, 100 min., b/w
ÏÓÚË‚‡ÏË Óχ̇ fi.ü. ŒÎ¯Ë
¿‚ÚÓ ÒˆÂ̇ˡ fiËÈ ŒÎ¯‡
Scriptwriter Yuri Olesha
´«‡‚ËÒÚ¸ª. ¬ ˆÂÌÚÂ Ò˛ÊÂÚ‡ ñ
–ÂÊËÒÒÂ ¿·‡Ï –ÓÓÏ
Director Abram Room
β·Ó‚Ì˚È ÚÂÛ„ÓθÌËÍ, ‚ÓÁÌËͯËÈ ‚
ŒÔÂ‡ÚÓ fiËÈ ≈ÍÂθ˜ËÍ
Director of Photography Yuri Ekelchik
ÂÁÛθڇÚ ÒÚ‡ÒÚË, ‚ÌÂÁ‡ÔÌÓ
’Û‰ÓÊÌËÍË ¬Î‡‰ËÏË ü‡ÔÎÛÌÓ‚ÒÍËÈ,
Production Design Vladimir
Óı‚‡ÚË‚¯ÂÈ ˛ÌÓ„Ó ÒÔÓÚÒÏÂ̇-
ÃÓˈ ”χÌÒÍËÈ
Kaplunovsky, Moritz Umansky
ÍÓÏÒÓÏÓθˆ‡ ÔÓ ÓÚÌÓ¯ÂÌ˲ Í
üÓÏÔÓÁËÚÓ √‡‚ËËÎ œÓÔÓ‚
Composer Gavriil Popov
ÊÂÌ˘ËÌ ´·‡Î¸Á‡ÍÓ‚ÒÍÓ„Ó ‚ÓÁ‡ÒÚ‡ª,
«‚ÛÍ ¿Ì‰ÂÈ ƒÂÏˉÂÌÍÓ,
Sound Andrei Demidenko,
ÊÂÌÂ ÍÛÔÌÓ„Ó ÒÓ‚ÂÚÒÍÓ„Ó
¿ÎÂÍ҇̉ ¡‡·ËÈ
Alexander Baby
‚ÓÂ̇˜‡Î¸ÌË͇... ƒÂ͇‰ÂÌÚÒÍËÈ, Ò‡Ï˚È
¬ ÓΡı: ƒÏËÚËÈ ƒÓΡÍ,
Cast Dmitri Dorliak, Yuri Yuriev,
Ò‚ÓÂÓ·‡ÁÌ˚È ÙËÎ¸Ï ¿.Ã.–ÓÓχ
fiËÈ fi¸Â‚, ŒÎ¸„‡ ∆ËÁÌ‚‡,
Olga Zhizneva, Maxim Shtraukh,
(Ë ‚ÓÓ·˘Â ÒÓ‚ÂÚÒÍÓ„Ó ÍËÌÓ 30ñ50-ı)
ÇÍÒËÏ ÿÚ‡Ûı, √ÂÓ„ËÈ —Ә‚ÍÓ,
Georgy Sochevko, Valentina Serova,
·˚Î Ó·‚ËÌÂÌ ‚ ÙÓχÎËÁÏ Ë
¬‡ÎÂÌÚË̇ —ÂÓ‚‡, »Ë̇ ¬ÓÎÓ‰ÍÓ,
Irina Volodko, Alexander Chistiakov,
Á‡Ô¢ÂÌ Í ÔÓ͇ÁÛ.
¿ÎÂÍ҇̉ ◊ËÒÚˇÍÓ‚,
Ivan Kononenko-Kozelsky, Dmitri
»‚‡Ì üÓÌÓÌÂÌÍÓ-üÓÁÂθÒÍËÈ,
Golubinsky, Ivan Koval-Samborsky,
ƒÏËÚËÈ √ÓÎÛ·ËÌÒÍËÈ, »‚‡Ì üÓ‚‡Î¸-
Elena Melnikova, Peter Repnin
—‡Ï·ÓÒÍËÈ, ≈ÎÂ̇ ÃÂθÌËÍÓ‚‡,
Production Ukrainfilm
‘ËÎÓÒÓÙÒÍÓ-ÓχÌÚ˘ÂÒ͇ˇ ‰‡Ï‡,
‚ÌÛÚÂÌÌ ҂ˇÁ‡Ì̇ˇ Ò ÌÂÍÓÚÓ˚ÏË
œÂÚ –ÂÔÌËÌ
A philosophical-romantic drama,
connected to some motives of Yuri
Oleshaís novel ´Envyª. In the center of
the attention stands a love triangle
which has arisen as the result of a
passion that has suddenly seized a
young sportsman and komsomol member
in relation to a woman of Balzacian age,
the wife of a great Soviet military
leader... Roomís decadent, most original
film (in the context of Soviet cinema of
the 1930sñ50s) was accused of
formalism and banned from the screens.
œÓËÁ‚Ó‰ÒÚ‚Ó ´”Í‡ËÌÙËθϪ
50 ‚˚·Ë‡˛Ú 50 (˜‡ÒÚ¸ I)
50 choose 50 (part I)
ÿ»Õ≈À‹ (´üËÌÓÔÓ‚ÂÒÚ¸ ‚ χÌÂ √Ó„ÓΡª)
THE OVERCOAT
164
1926, ———–, 65 ÏËÌ., ˜/·
1926, USSR, 65 min., b/w
¿‚ÚÓ ÒˆÂ̇ˡ fiËÈ “˚ÌˇÌÓ‚
Scriptwriter Yuri Tynianov
´Õ‚ÒÍËÈ ÔÓÒÔÂÍÚª.
–ÂÊËÒÒÂ˚ √Ë„ÓËÈ üÓÁË̈‚,
Directors Grigori Kozintsev,
œÂÍ‡Ò̇ˇ ‰‡Ï‡ ñ Ô‰ÏÂÚ Ï˜ڇÌËÈ
ÀÂÓÌˉ “‡Û·Â„
Leonid Trauberg
˜ÂÒÚÌÓ„Ó Ë ÚÛ‰Óβ·Ë‚Ó„Ó ˜ËÌÓ‚ÌË͇
ŒÔÂ‡ÚÓ˚ ¿Ì‰ÂÈ ÃÓÒÍ‚ËÌ,
Director of Photography
¿Í‡Íˡ ¿Í‡ÍË‚˘‡ ¡‡¯Ï‡˜ÍË̇ ñ
≈‚„ÂÌËÈ ÃËı‡ÈÎÓ‚
Andrei Moskvin, Evgeni Mikhailov
Ó͇Á˚‚‡ÂÚÒˇ ‚ÒÂ„Ó Î˯¸ ´‰Â‚ˈÂÈ ËÁ
’Û‰ÓÊÌËÍ ≈‚„ÂÌËÈ ≈ÌÂÈ
Production Design Evgeni Yenei
ÌÓÏÂÓ‚ª. ¬˚ÌÂÒÂÌÌ˚È ÛÓÍ Ì‡ÔÓ˜¸
ÃÛÁ˚͇θÌÓ ÒÓÔÓ‚ÓʉÂÌËÂ
Musical Accompaniment Alexei Shelygin
ÓÚ·Ë‚‡ÂÚ Û ÌÂ„Ó Ê·ÌË Á̇ÍÓÏËÚ¸Òˇ
¿ÎÂÍÒÂÈ ÿÂÎ˚„ËÌ
Cast: Andrei Kostrichkin,
Ò ‰‡Ï‡ÏË. œÓıÓ‰ˇÚ „Ó‰˚, Ë Û Ì„Ó
¬ ÓΡı: ¿Ì‰ÂÈ üÓÒÚ˘ÍËÌ,
Antonina Eremeeva, Sergei Gerasimov,
ÓÒÚ‡ÂÚÒˇ ‰ËÌÒÚ‚ÂÌ̇ˇ Ϙڇ ñ ÌÓ‚‡ˇ
¿ÌÚÓÌË̇ ≈ÂÏ‚‡, —Â„ÂÈ √Â‡ÒËÏÓ‚,
Alexei Kapler, Vladimir Lepko,
¯ËÌÂθ. œÓÒΠÚÓ„Ó, Í‡Í ÓÌ Ì‡ÍÓ̈
¿ÎÂÍÒÂÈ ü‡ÔÎÂ, ¬Î‡‰ËÏË ÀÂÔÍÓ,
Yanina Zheimo, Viktor Plotnikov,
² Ó·Á‡‚Ó‰ËÚÒˇ, Â„Ó Ê‰ÂÚ ÌÓ‚˚È Û‰‡
flÌË̇ ∆ÂÈÏÓ, ¬ËÍÚÓ œÎÓÚÌËÍÓ‚,
Petr Sobolevsky, Oleg Zhakov,
ÒÛ‰¸·˚, ‚˚ÌÂÒÚË ÍÓÚÓ˚È ÓÌ ÛÊ Ì ‚
œÂÚ —Ó·Ó΂ÒÍËÈ, ŒÎ„ ∆‡ÍÓ‚,
Emile Gal, Sergei Barmichev,
ÒË·ıÖ
›ÏËθ √‡Î¸, —Â„ÂÈ ¡‡Ï˘‚,
Boris Shpis, Kirill Gun
¡ÓËÒ ÿÔËÒ, üËËÎÎ √ÛÌ
Production FEKS, Leningradkino
›ÍÒˆÂÌÚ˘ÂÒ͇ˇ ‰‡Ï‡ ÔÓ ÏÓÚË‚‡Ï
ÔÓ‚ÂÒÚÂÈ Õ.¬. √Ó„ÓΡ ´ÿËÌÂθª Ë
œÓËÁ‚Ó‰ÒÚ‚Ó ‘›ü—,
´ÀÂÌËÌ„‡‰ÍËÌÓª
Eccentric drama based on the motives of
Nikolai Gogolís stories ìThe Overcoatî
and ìNevsky Prospectî.
A Fine Lady is the subject of the
dreams of the hardworking clerk Akaky
Akakievich Bashmachkin; but she turns
out to be a ëwoman on demandí. Akaky
learns his lesson and fears from now on
the acquaintance with ladies. Years
pass, but one dream remains: a new
overcoat. After he finally gets this
garment, Akaky receives another blow
of fate, and this time he cannot bear it.
50 ‚˚·Ë‡˛Ú 50 (˜‡ÒÚ¸ I)
50 choose 50 (part I)
—“¿◊ü¿
STRIKE
165
1924, ———–, 66 ÏËÌ., ˜/·
1924, USSR, 66 min., b/w
ÍÛÔÌÂȯËı Á‡‚Ó‰Ó‚ –ÓÒÒËË, ÔÓ‚Ó‰ÓÏ
¿‚ÚÓ˚ ÒˆÂ̇ˡ ¬‡ÎÂËÈ œÎÂÚÌ‚,
Scriptwriters Valeri Pletnev,
‰Îˇ ÍÓÚÓÓÈ ÔÓÒÎÛÊËÎÓ Ò‡ÏÓÛ·ËÈÒÚ‚Ó
—Â„ÂÈ ›ÈÁÂ̯ÚÂÈÌ,
Sergei Eisenstein, Ilya Kravchunovsky,
‡·Ó˜Â„Ó, ÌÂÒÔ‡‚‰ÎË‚Ó Ó·‚ËÌÂÌÌÓ„Ó
»Î¸ˇ ü‡‚˜ÛÌÓ‚ÒÍËÈ,
Grigori Alexandrov
‡‰ÏËÌËÒÚ‡ˆËÂÈ Á‡‚Ó‰‡ ‚ Í‡ÊÂ
√Ë„ÓËÈ ¿ÎÂÍ҇̉Ó‚
Director Sergei Eisenstein
ËÌÒÚÛÏÂÌÚÓ‚.
–ÂÊËÒÒÂ —Â„ÂÈ ›ÈÁÂ̯ÚÂÈÌ
Directors of Photography
¬ ÙËθÏ ڇÍÊ ÒÌËχÎËÒ¸ ‡ÍÚÂ˚
ŒÔÂ‡ÚÓ˚ ›‰Û‡‰ “ËÒÒ˝,
Eduard Tisse, Vasili Khvatov
œÂ‚Ó„Ó ‡·Ó˜Â„Ó Ú‡Ú‡.
¬‡ÒËÎËÈ ’‚‡ÚÓ‚
Production Design Vasili Rakhals
œÓÎÌÓÏÂÚ‡ÊÌ˚È ‰Â·˛Ú —.Ã.
’Û‰ÓÊÌËÍ ¬‡ÒËÎËÈ –‡ı‡Î¸Ò
Cast Ivan Kliukvin, Alexander
›ÈÁÂ̯ÚÂÈ̇.
¬ ÓΡı: »‚‡Ì üβ͂ËÌ,
Antonov, Grigori Alexandrov,
¿ÎÂÍ҇̉ ¿ÌÚÓÌÓ‚, √Ë„ÓËÈ
Mikhail Gomorov, Maxim Shtraukh,
¿ÎÂÍ҇̉Ó‚, ÃËı‡ËÎ √ÓÏÓÓ‚,
Boris Yurtsev, Yufid Glizer,
ÇÍÒËÏ ÿÚ‡Ûı, ¡ÓËÒ fiˆÂ‚,
Vera Yanukova, Misha Mamin,
fi‰ËÙ¸ √ÎËÁÂ, ¬Â‡ flÌÛÍÓ‚‡,
Vladimir Uralsky
Ã˯‡ ÇÏËÌ, ¬Î‡‰ËÏË ”‡Î¸ÒÍËÈ
Production Goskino, Proletkult
œÓËÁ‚Ó‰ÒÚ‚Ó √ÓÒÍËÌÓ, ´œÓÎÂÚÍÛθڪ
Restored by the Gorky Film Studio
¬ÓÒÒÚ‡ÌÓ‚ÎÂÌË üËÌÓÒÚÛ‰Ëˇ ËÏÂÌË
(1969)
»ÒÚÓËÍÓ-‚ÓβˆËÓÌÌ˚È ÙËÎ¸Ï Ó·
Ó„‡ÌËÁ‡ˆËË ÒÚ‡˜ÍË Ì‡ Ó‰ÌÓÏ ËÁ
Ã.√Ó¸ÍÓ„Ó (1969)
Historical revolutionary film about the
organization of a strike in one of the
largest factories in Russia, triggered by
the suicide of a worker unfairly accused
of theft of tools by the factory
administration.
The actors of the First Workersí
Theatre feature. Eisensteinís full-length
feature film debut.
ñ «ÓÎÓÚ‡ˇ ω‡Î¸ ñ ÃÂʉÛ̇Ӊ̇ˇ
‚˚ÒÚ‡‚͇ ‰ÂÍÓ‡ÚË‚Ì˚ı ËÒÍÛÒÒÚ‚
‚ œ‡ËÊÂ, 1925.
ñ Gold Medal ñ International
Exhibition of Decorative Arts in
Paris, 1925.
50 ‚˚·Ë‡˛Ú 50 (˜‡ÒÚ¸ I)
50 choose 50 (part I)
Ã≈◊“¿
THE DREAM
166
1941, ———–, 100 ÏËÌ., ˜/·
1941, USSR, 100 min., b/w
¿‚ÚÓ˚ ÒˆÂ̇ˡ ≈‚„ÂÌËÈ
Script Evgeni Gabrilovich,
√‡·ËÎӂ˘, ÃËı‡ËÎ –ÓÏÏ
Mikhail Romm
–ÂÊËÒÒÂ ÃËı‡ËÎ –ÓÏÏ
Director Mikhail Romm
ŒÔÂ‡ÚÓ ¡ÓËÒ ¬ÓΘÂÍ
Director of Photography Boris Volchek
’Û‰ÓÊÌËÍ ¬Î‡‰ËÏË ü‡ÔÎÛÌÓ‚ÒÍËÈ
Production Design
üÓÒÚ˛Ï˚ üÓÌÒÚ‡ÌÚËÌ ≈ÙËÏÓ‚
Vladimir Kaplunovsky
üÓÏÔÓÁËÚÓ √ÂÌËÍ ¬‡Ò
Costume Design Konstantin Efimov
«‚ÛÍ ¬ˇ˜ÂÒ·‚ À¢‚,
Composer Genrik Vars
≈‚„ÂÌËÈ ü‡¯Í‚˘
Sound Viacheslav Leshchev,
¬ ÓΡı: ≈ÎÂ̇ üÛÁ¸ÏË̇,
Evgeni Kashkevich
¬Î‡‰ËÏË —ÓÎÓ‚¸Â‚, ¬ËÍÚÓ ŸÂ„ÎÓ‚,
Cast: Elena Kuzmina, Vladimir Soloviev,
‘‡Ë̇ –‡Ì‚Ò͇ˇ, ¿͇‰ËÈ üËÒΡÍÓ‚,
Viktor Shcheglov, Faina Ranevskaya,
¿‰‡ ¬ÓȈËÍ, ÃËı‡ËÎ ¿Òڇ̄ӂ,
Arkadi Kisliakov, Ada Voitsik, Michael
ÃËı‡ËÎ ¡ÓΉÛχÌ, –ÓÒÚËÒ·‚ œÎˇÚÚ,
Astangov, Mikhail Bolduman, Rostislav
¬ËÍÚÓ À‡Á‡‚
Pliatt, Viktor Lazarev
œÓËÁ‚Ó‰ÒÚ‚Ó ´ÃÓÒÙËθϪ
Production Mosfilm
¬ÓÒÒÚ‡ÌÓ‚ÎÂÌË ´ÃÓÒÙËθϪ (1972)
Restored by Mosfilm (1972)
ƒ‡Ï‡.
1933 „Ó‰. »Á ÌˢËı ÒÂÎ «‡Ô‡‰ÌÓÈ
”Í‡ËÌ˚ ‚ ÔÓËÒ͇ı Ò˜‡ÒÚ¸ˇ Ë ‡·ÓÚ˚
ÔË·˚‚‡˛Ú ‚ „ÓÓ‰ Ú˚Òˇ˜Ë β‰ÂÈ.
—Â‰Ë ÌËı ÍÂÒÚ¸ˇÌÒ͇ˇ ‰Â‚ۯ͇
¿Ì̇ üÓΘÍÓ. ¬ „ÓӉ ÂÈ ÔÓ‚ÂÁÎÓ:
Ó̇ ÔÓÎۘ˷ ÏÂÒÚÓ ¯‚ÂȈ‡‡
ÂÒÚÓ‡Ì‡ Ë ÍÓÈÍÛ ‚ Ï·ÎËÓ‚‡ÌÌ˚ı
ÍÓÏ̇ڇı ´Ã˜ڇª χ‰‡Ï –ÓÁ˚
—ÍÓÓıÓ‰. –‡ÁÌ˚ β‰Ë ÒÓ·‡ÎËÒ¸ ‚
ÚÂÒÌ˚ı Ë Ô˚θÌ˚ı ÍÓÏ̇Úۯ͇ı
´ÓÚÂΡª: ËÁ‚ÓÁ˜ËÍ flÌÂÍ,
‚˚ÌÛʉÂÌÌ˚È ÎÛ‰ËÚ¸ ͇ÒÚ˛ÎË
ıÛ‰ÓÊÌËÍ-„‡‚Â ƒÓÏ·ÂÍ, ÔÓ‰‡˛˘‡ˇ
‚ ÓÊˉ‡ÌËË ·Ó„‡ÚÓ„Ó ÊÂÌËı‡ Ò‚ÓÂ
Ôˉ‡ÌÓ Ì‚ÂÒÚ‡ ¬‡Ì‰‡ Ë Ì‡ÍÓ̈ Ò˚Ì
ıÓÁˇÈÍË ñ ڇ·ÌÚÎË‚˚È ËÌÊÂÌÂ
À‡Á‡¸ —ÍÓÓıÓ‰, ‚ÓÚ ÛÊ 15 ÎÂÚ
·ÂÁÂÁÛθڇÚÌÓ Ó·Ë‚‡˛˘ËÈ ÔÓÓ„Ë
‡ÍˆËÓÌÂÌ˚ı Ó·˘ÂÒÚ‚, Ô‰·„‡ˇ
ÔÓÂÍÚ˚ ÌÓ‚˚ı Á‡‚Ó‰Ó‚. ¬ÒÂı ÊËθˆÓ‚
ÓÚÂΡ Ó·˙‰ËÌˇÂÚ ÒÚ‡ÒÚÌÓ Ê·ÌËÂ
‚˚·‡Ú¸Òˇ ËÁ ‰Û¯Ì˚ı Ï·ÎË‡¯ÂÍ,
„ÎÓÚÌÛÚ¸ Ò‚ÂÊÂ„Ó ‚ÓÁ‰Ûı‡ ·Óθ¯ÓÈ,
̇ÒÚÓˇ˘ÂÈ ÊËÁÌËÖ
Drama.
1933. Thousands of people from the
poor villages of Western Ukraine arrive
in the city in search of happiness and
work. Among them is the country girl,
Anna Kolechko. She is lucky in the city:
she finds a place as doorkeeper of a
restaurant and a bed in the lodging
house ìDreamî of Madame Rosa
Skorokhod. Different people have found
shelter in the close and dusty rooms of
the ìhotelî: the cabdriver Yanek, forced
to tin saucepans; the former artist and
engraver Dombek; the bride Vanda, who
is eating up her dowry while waiting
for a rich husband; and, at last, the
mistressís son, the talented engineer
Lazar Skorokhod, who has for 15 years
been trying to interest companies in his
projects for new factories. All the
tenants are united by their passionate
desire to get out of the stuffy rooms
and breathe the fresh air of real lifeÖ
50 ‚˚·Ë‡˛Ú 50 (˜‡ÒÚ¸ I)
50 choose 50 (part I)
Œ“≈÷ —≈–√»…
FATHER SERGIUS
167
1918, –ÓÒÒˡ, 70 ÏËÌ., ˜/·
1918, Russia, 70 min., b/w
üÌˇÁ¸ ü‡Ò‡ÚÒÍËÈ ·˚Î ·Ó„‡Ú Ë
¿‚ÚÓ ÒˆÂ̇ˡ ¿ÎÂÍ҇̉ ¬ÓÎÍÓ‚
Script Alexander Volkov
˜ÂÒÚÓβ·Ë‚. ŒÌ ÏÂ˜Ú‡Î Ó ‚ÓÂÌÌÓÈ
–ÂÊËÒÒÂ flÍÓ‚ œÓÚ‡Á‡ÌÓ‚
Director Yakov Protazanov
͇¸ÂÂ Ë Ó Î˛·‚Ë Ò‚ÂÚÒÍÓÈ Í‡Ò‡‚ˈ˚
ŒÔÂ‡ÚÓ˚ ÕËÍÓÎ‡È –Û‰‡ÍÓ‚,
Director of Photography
Ã˝Ë, ÓÎˈÂÚ‚ÓÂÌËË Î˛·‚Ë Ë
‘‰Ó ¡Û„‡ÒÓ‚
Nikolai Rudakov, Fedor Burgasov
˜ËÒÚÓÚ˚. » ÓÌ ·˚Πβ·ËÏ. Œ‰Ì‡ÍÓ
’Û‰ÓÊÌËÍË ¬Î‡‰ËÏË ¡‡ÎβÁÂÍ,
Production Design Vladimir Balliuzek,
͇̇ÌÛÌ ҂‡‰¸·˚ Ã˝Ë ¯Ë·
¿ÎÂÍ҇̉ ÀÓ¯‡ÍÓ‚
Alexander Loshakov
ÔËÁÌ‡Ú¸Òˇ ÂÏÛ ‚ ÚÓÏ, ˜ÚÓ ·˚·
üÓÒÚ˛Ï˚ ¬.¬ÓÓ·¸Â‚
Costume Design V. Vorobiev
β·Ó‚ÌˈÂÈ ËÏÔÂ‡ÚÓ‡. ¬ ÓÚ˜‡ˇÌËË
ÃÛÁ˚͇θÌÓ ÒÓÔÓ‚ÓʉÂÌËÂ
Musical Accompaniment Evgeni Bukke
ÍÌˇÁ¸ ÓÚÂÍÒˇ ÓÚ ÏË‡ Ë Û¯ÂÎ ‚
≈‚„ÂÌËÈ ¡ÛÍÍÂ
Cast: Ivan Mozzhuhin, Olga Kondorova,
ÏÓ̇ÒÚ˚¸. ´œÓÒÚÛÔ‡ˇ ‚ ÏÓ̇ıË, ÓÌ
¬ ÓΡı: »‚‡Ì ÃÓÁÊÛıËÌ,
Vera Dzhnneva, Vladimir Gaidarov,
ÔÓ͇Á˚‚‡Î, ˜ÚÓ ÔÂÁË‡ÂÚ ‚Ò ÚÓ, ˜ÚÓ
ŒÎ¸„‡ üÓ̉ÓÓ‚‡, ¬Â‡ ƒÊÂÌ‚‡,
Nikolai Panov, Natalia Lisenko, Iona
͇Á‡ÎÓÒ¸ ÒÚÓθ ‚‡ÊÌ˚Ï ‰Û„ËÏ Ë ÂÏÛ
¬Î‡‰ËÏË √‡È‰‡Ó‚, ÕËÍÓÎ‡È œ‡ÌÓ‚,
Talanov, Vera Orlova, Peter Baksheev,
Ò‡ÏÓÏÛ ‚ ÚÓ ‚ÂÏˇ, Í‡Í ÓÌ ÒÎÛÊËÎ, Ë
Õ‡Ú‡Îˡ ÀËÒÂÌÍÓ, »Ó̇ “‡Î‡ÌÓ‚, ¬Â‡
Polikarp Pavlov, Nikolai Rimsky
ÒÚ‡ÌÓ‚ËÎÒˇ ̇ ÌÓ‚Û˛ Ú‡ÍÛ˛ ‚˚ÒÓÚÛ, Ò
ŒÎÓ‚‡, œÂÚ ¡‡Í¯Â‚, œÓÎË͇Ô œ‡‚ÎÓ‚,
Production Ermolieff Company
ÍÓÚÓÓÈ ÓÌ ÏÓ„ Ò‚ÂıÛ ‚ÌËÁ ÒÏÓÚÂÚ¸
ÕËÍÓÎ‡È –ËÏÒÍËÈ
̇ ÚÂı β‰ÂÈ, ÍÓÚÓ˚Ï ÓÌ ÔÂʉÂ
œÓËÁ‚Ó‰ÒÚ‚Ó “Ó‚‡ˢÂÒÚ‚Ó ´».≈ÏÓ肪
œÒËıÓÎӄ˘ÂÒ͇ˇ ‰‡Ï‡ ÔÓ
Ó‰ÌÓËÏÂÌÌÓÈ ÔÓ‚ÂÒÚË À.Õ. “ÓÎÒÚÓ„Ó.
Á‡‚ˉӂ‡ÎªÖ
Psychological drama based on L. N.
Tolstoyís story of the same title.
Prince Kasatsky was rich and
ambitious. He dreamt of a military
career and about the worldly beauty
Mary, embodying love and cleanliness.
She responds to his love. However,
before the wedding Mary confesses that
she was the emperorís mistress. In
despair, the prince renounces from the
world and goes into a monastery.
ìEntering priesthood, he showed that he
despised everything that seemed so
important to others and to himself
while he served, and he reached such
height that he could look down on those
people whom he envied beforeî.
50 ‚˚·Ë‡˛Ú 50 (˜‡ÒÚ¸ I)
50 choose 50 (part I)
ƒŒÃ Õ¿ “–”¡ÕŒ…
THE HOUSE ON TRUBNAYA SQUARE
168
1928, ———–, 64 ÏËÌ., ˜/·
1928, USSR, 64 min., b/w
¿‚ÚÓ˚ ÒˆÂ̇ˡ ¡Âη «Ó˘,
Scriptwriters Bella Zorich,
ƒÓÏ Ì‡ “Û·ÌÓÈ Á‡ÒÂÎÂÌ Ï¢‡ÌÒÍÓÈ,
¿Ì‡ÚÓÎËÈ Ã‡ËÂÌ„ÓÙ, ¬‡‰ËÏ
Anatoli Mariengof, Vadim
Ì˝ÔχÌÓ‚ÒÍÓÈ ÔÛ·ÎËÍÓÈ. ÃÂÎÍËÂ
ÿÂ¯ÂÌ‚˘, ¬ËÍÚÓ ÿÍÎÓ‚ÒÍËÈ,
Shershenevich, Viktor Shklovsky,
‰ÂÎ˯ÍË, ‡„Ó‚Ó˜ËÍË, ÒÔÎÂÚÌË.
ÕËÍÓÎ‡È ›‰Ï‡Ì
Nikolai Erdman
œ‡ËÍχıÂ √ÓÎËÍÓ‚ ¯‡ÂÚ Ì‡ÌˇÚ¸
–ÂÊËÒÒÂ ¡ÓËÒ ¡‡ÌÂÚ
Director Boris Barnet
‰ÓÏ‡·ÓÚÌˈÛ, ÌÓ ÚÓθÍÓ Ì ˜ÎÂ̇
ŒÔÂ‡ÚÓ ≈‚„ÂÌËÈ ¿ÎÂÍÒ‚
Director of Photography Evgeni Alexeev
ÔÓÙÒÓ˛Á‡. ≈„Ó ‚˚·Ó Ô‡‰‡ÂÚ Ì‡
’Û‰ÓÊÌËÍ —Â„ÂÈ üÓÁÎÓ‚ÒÍËÈ
Production Design Sergei Kozlovsky
ÔËÂı‡‚¯Û˛ ËÁ ‰Â‚ÌË ‚ ÃÓÒÍ‚Û
üÓÏÔÓÁËÚÓ˚ ÓÁ‚Û˜‡Ìˡ
Composers of the re-recording Taras
œ‡‡¯Û...
“‡‡Ò ¡Û‚ÒÍËÈ (1995),
Buyevsky (1995), Alexei Aigi (1997)
¿ÎÂÍÒÂÈ ¿È„Ë (1997)
Sound Irina Moiseeva (1997)
«‚ÛÍ »Ë̇ ÃÓËÒ‚‡ (1997)
Producer of restored version
œÓ‰˛ÒÂ ‚ÓÒÒÚ‡ÌÓ‚ÎÂÌˡ
Sergei Titenkov (1997)
—Â„ÂÈ “ËÚÂÌÍÓ‚ (1997)
Director of the restored version
–ÂÊËÒÒÂ ‚ÓÒÒÚ‡ÌÓ‚ÎÂÌˡ
Marianna Kireeva
ÇˇÌ̇ üË‚‡
Cast: Vera Maretskaya, Vladimir Fogel,
¬ ÓΡı: ¬Â‡ Çˆ͇ˇ,
Elena Tiapkina, Sergei Komarov,
¬Î‡‰ËÏË ‘Ó„Âθ, ≈ÎÂ̇ “ˇÔÍË̇,
Anelle Sudakevich, Ada Voitsik,
—Â„ÂÈ üÓχÓ‚, ¿ÌÂθ —Û‰‡Í‚˘,
Vladimir Batalov, Alexander Gromov,
¿‰‡ ¬ÓȈËÍ, ¬Î‡‰ËÏË ¡‡Ú‡ÎÓ‚,
Vladimir Uralsky, Peter Baksheev,
¿ÎÂÍ҇̉ √ÓÏÓ‚,
Boris Barnet
¬Î‡‰ËÏË ”‡Î¸ÒÍËÈ, œÂÚ ¡‡Í¯Â‚,
Production ìMezhrabpom-Rusî
¡ÓËÒ ¡‡ÌÂÚ
Sound restoration (1995)
œÓËÁ‚Ó‰ÒÚ‚Ó ´ÃÂÊ‡·ÔÓÏ-–ÛÒ¸ª
Gorky Film Studio
ÃÓÌÚ‡Ê Á‚Û͇ (1995) üËÌÓÒÚÛ‰Ëˇ
Restoration and editing of sound
ËÏÂÌË Ã.√Ó¸ÍÓ„Ó
(1997) Gosfilmofond of Russia, ORT
¬ÓÒÒÚ‡ÌÓ‚ÎÂÌËÂ Ë ÏÓÌÚ‡Ê Á‚Û͇
with support of Goskino
ÀË˘ÂÒ͇ˇ ÍÓωˡ Ò ˝ÎÂÏÂÌÚ‡ÏË
Ò‡ÚË˚.
(1997) √ÓÒÙËθÏÓÙÓ̉ –‘, Œ–“ ÔË
ÔÓ‰‰ÂÊÍ √ÓÒÍËÌÓ –‘
Lyrical comedy with elements of satire.
The house on Trubnaya Square is
populated by petty-bourgeois citizens
and NEP-men. Small deals, affairs,
gossip. The hairdresser Golikov decides
to hire a housekeeper, but not a member
of the trade union. His choice falls on
Parasha, who has arrived in Moscow
from the village...
50 ‚˚·Ë‡˛Ú 50 (˜‡ÒÚ¸ I)
50 choose 50 (part I)
—Œ–Œü œ≈–¬¤…
FORTY-FIRST
169
1956, ———–, 93 ÏËÌ., ˆ‚.
1956, USSR, 93 min., col.
√‡Ê‰‡ÌÒ͇ˇ ‚ÓÈ̇. œÓ ·ÂÎ˚Ï ÔÂÒ͇Ï
¿‚ÚÓ ÒˆÂ̇ˡ √Ë„ÓËÈ üÓÎÚÛÌÓ‚
Scriptwriter Grigori Koltunov
—‰ÌÂÈ ¿ÁËË ‰‚ËÊÂÚÒˇ ÓÚˇ‰
–ÂÊËÒÒÂ √Ë„ÓËÈ ◊Ûı‡È
Director Grigori Chukhrai
Í‡ÒÌÓ‡ÏÂȈ‚. Õ‡ ·Ó‚ÓÏ Ò˜ÂÚÛ Û
’Û‰ÓÊÂÒÚ‚ÂÌÌ˚È ÛÍÓ‚Ó‰ËÚÂθ
Artistic Director Mikhail Romm
Ç˛ÚÍË, ÎÛ˜¯Â„Ó ÒÚÂÎ͇ ÓÚˇ‰‡,
ÃËı‡ËÎ –ÓÏÏ
Director of Photography
ÒÓÓÍ Û·ËÚ˚ı ·ÂÎÓ„‚‡‰ÂȈ‚. ¬
ŒÔÂ‡ÚÓ —Â„ÂÈ ”ÛÒ‚ÒÍËÈ
Sergei Urusevsky
ÔÓÒΉÌÂÈ ÔÂÂÒÚÂÎÍ ‚ÁˇÚ ‚ ÔÎÂÌ
’Û‰ÓÊÌËÍË ¬Î‡‰ËÏË ü‡ÏÒÍËÈ,
Production Design Vladimir Kamsky,
ÔÓÛ˜ËÍ √Ó‚ÓÛı‡-ŒÚÓÍ. ŒÌ ÒÚ‡ÌÂÚ
üÓÌÒÚ‡ÌÚËÌ —ÚÂÔ‡ÌÓ‚
Konstantin Stepanov
ÒÓÓÍ ÔÂ‚˚Ï ‚  ÔÓÒÎÛÊÌÓÏ ÒÔËÒÍÂ,
üÓÒÚ˛Ï˚ ¿ÎÂÍ҇̉ ƒ‡Ì‰ÛˇÌ
Costume Design Alexander Dandurian
‡ ÔÓ͇ ÓÌË, Ó‰ËÌ Ì‡ Ó‰ËÌ, ÓÒÚ‡˛ÚÒˇ ‚
üÓÏÔÓÁËÚÓ ÕËÍÓÎ‡È ü˛ÍÓ‚
Composer Nikolai Kriukov
ÔÓÒÚ‡ÌÒÚ‚Â ÔÂÒ͇, Ì·‡, ÏÓˇ Ë
«‚ÛÍ ÀÂÓÌˉ ¡Û΄‡ÍÓ‚
Sound Leonid Bulgakov
ÒËθÌ˚ı ÔÓÚË‚Ó˜˂˚ı ˜Û‚ÒÚ‚Ö
¬ ÓΡı: »ÁÓ艇 »Á‚ˈ͇ˇ,
Cast: Izolda Izvitskaya,
ŒÎ„ —ÚËÊÂÌÓ‚, ÕËÍÓÎ‡È ü˛˜ÍÓ‚,
Oleg Strizhenov, Nikolai Kriuchkov,
ÕËÍÓÎ‡È ƒÛÔ‡Í, √ÂÓ„ËÈ ÿ‡ÔÓ‚‡ÎÓ‚,
Nikolai Dupak, Georgy Shapovalov,
œÂÚ À˛·Â¯ÍËÌ, ƒ‡ÌËËÎ ÕÂÚ·ËÌ,
Petr Liubeshkin, Daniel Netrebin,
¿Ò‡Ì·ÂÍ ”ÏÛ‡ÎË‚, ¿Ì‡ÚÓÎËÈ
Asanbek Umuraliev, Anatoli Kokorin,
üÓÍÓËÌ, ¬‡‰ËÏ «‡ı‡˜ÂÌÍÓ,
Vadim Zakharchenko, Alexander
¿ÎÂÍ҇̉ √˜‡Ì˚È,
Grechany, Muratbek Ryskulov
ÃÛ‡Ú·ÂÍ –˚ÒÍÛÎÓ‚
Production Mosfilm
ƒ‡Ï‡ ÔÓ Ó‰ÌÓËÏÂÌÌÓÏÛ ‡ÒÒ͇ÁÛ
¡ÓËÒ‡ À‡‚ÂÌ‚‡.
Drama based on Boris Lavrenevís story
of the same title.
œÓËÁ‚Ó‰ÒÚ‚Ó ´ÃÓÒÙËθϪ
The Civil War. Across the white sand of
Central Asia travels a Red Army
detachment. According to the battle
count, Maryutka is the best shooter in
the detachment: he has killed 40 White
Guards. In last fight, lieutenant
Govorukha has been taken captive. He
becomes the forty-first in Maryutkaís
track record, but for now they remain
alone, one to one, in the sand, under
the sky and by the sea, with their
strong and contradictory feelingsÖ
ñ —Ôˆˇθ̇ˇ ÔÂÏˡ ´«‡
ÓË„Ë̇θÌ˚È ÒˆÂ̇ËÈ, „ÛχÌËÁÏ
Ë ÓχÌÚ˘ÂÒÍÓ ‚ÂÎ˘Ëª ñ Ãü‘
‚ ü‡ÌÌÂ, 1957;
ñ œÓ˜ÂÚÌ˚È ‰ËÔÎÓÏ ñ Ãü‘ ‚
›‰ËÌ·Û„Â, 1957.
ñ Special Prize ìFor original script,
humanism and romantic magnitudeî
ñ IFF in Cannes, 1957;
ñ Honorary Diploma ñ IFF in
Edinburgh, 1957.
50 ‚˚·Ë‡˛Ú 50 (˜‡ÒÚ¸ I)
50 choose 50 (part I)
œŒ“ŒÃŒü ◊»Õ√»—-’¿Õ¿
STORM OVER ASIA
170
1928, ———–, 89 ÏËÌ., ˜/·
1928, USSR, 89 min., b/w
¿‚ÚÓ ÒˆÂ̇ˡ ŒÒËÔ ¡ËÍ
Scriptwriter Osip Brik
¿‚ÚÓ˚ ‰ËÍÚÓÒÍÓ„Ó ÚÂÍÒÚ‡
Text read by Lev Slavin,
À‚ —·‚ËÌ, ¬Î‡‰ËÏË √Ó̘ÛÍÓ‚ (1949)
Vladimir Gonchukov (1949)
–ÂÊËÒÒÂ ¬Ò‚ÓÎÓ‰ œÛ‰Ó‚ÍËÌ
Director Vsevolod Pudovkin
ŒÔÂ‡ÚÓ ¿Ì‡ÚÓÎËÈ √ÓÎÓ‚Ìˇ
Director of Photography
’Û‰ÓÊÌËÍË —Â„ÂÈ üÓÁÎÓ‚ÒÍËÈ,
Anatoli Golovnia
Ã. ¿ÓÌÒÓÌ
Production Design Sergei Kozlovsky,
ÃÛÁ˚͇ ÕËÍÓÎ‡È ü˛ÍÓ‚ (1949)
M. Aronson
«‚ÛÍ ≈‚„ÂÌËÈ ü‡¯Í‚˘ (1949)
Music Nikolai Kriukov (1949)
¬ ÓΡı: ¬‡ÎÂË‡Ì »ÌÍËÊËÌÓ‚,
Sound Evgeni Kashkevich (1949)
À.ƒÂ‰Ë̈‚, À.¡ÂÎËÌÒ͇ˇ, ¿ÌÂθ
Cast: Valerian Inkizhinov, L. Dedintsev,
—Û‰‡Í‚˘, ¬Î‡‰ËÏË ÷ÓÔÔË,
L. Belinskaya, Anelle Sudakevich,
ü‡Î √ÛÌˇÍ, ¡ÓËÒ ¡‡ÌÂÚ,
Vladimir Tsoppi, Karl Gurniak, Boris
¿ÎÂÍ҇̉ ◊ËÒÚˇÍÓ‚, ¬.œÓ,
Barnet, Alexander Chistiakov, V. Pro,
‘.»‚‡ÌÓ‚, ÀÂÓÌˉ Œ·ÓÎÂÌÒÍËÈ
F. Ivanov, Leonid Obolensky
œÓËÁ‚Ó‰ÒÚ‚Ó ´ÃÂÊ‡·ÔÓÏÙËθϪ
Production Mezhrabpomfilm
ÃÓÌÚ‡Ê Á‚Û͇ ´ÃÓÒÙËθϪ (1949)
Sound restoration Mosfilm (1949)
¬ÓÒÒÚ‡ÌÓ‚ÎÂÌË üËÌÓÒÚÛ‰Ëˇ ËÏÂÌË
Restored by the Gorky Film Studio
Ã.√Ó¸ÍÓ„Ó (1964)
(1964)
ƒ‡Ï‡ ÔÓ ÏÓÚË‚‡Ï Ó‰ÌÓËÏÂÌÌÓ„Ó
Óχ̇ »‚‡Ì‡ ÕÓ‚ÓͯÓÌÓ‚‡.
ÃÓÎÓ‰ÓÈ ÏÓÌ„ÓÎ ÒÚ‡ÌÓ‚ËÚÒˇ ÊÂÚ‚ÓÈ
ÒÍÛÔ˘Ë͇ ¯ÍÛ. Œ˜Â̸ ˆÂÌ̇ˇ ¯ÍÛ‡
˜ÂÌÓ·ÛÓÈ ÎËÒˈ˚ ÔËÂÏ˘ËÍÓÏ
·ÓÒ‡ÂÚÒˇ ‚ ÍÛ˜Û. «‡ Ì ÔÎ‡ÚˇÚ ÌÂ
̇ÒÚÓˇ˘Û˛ ˆÂÌÛ. üÛ„ÓÏ ıÓÁˇÂ‚‡,
ÓÍÍÛÔ‡ÌÚ˚. ÃÓÌ„ÓÎ ‡ÌËÎ ÒÍÛÔ˘Ë͇.
ŒÌ ÔÂÒÚÛÔÌËÍ, Â„Ó ‡ÂÒÚÓ‚˚‚‡˛Ú, „Ó
‡ÒÒÚÂÎË‚‡˛Ú. –‡ÒÒÚÂÎ ÌÂÓıÓÚÌÓ
ÔÓËÁ‚Ó‰ËÚ ˇ‰Ó‚ÓÈ ÒÓΉ‡Ú. Õ‡ „Û‰Ë
ÏÓÌ„Ó· ̇ȉÂ̇ ·‰‡Ì͇, ‚ ·‰‡ÌÍÂ
Ó‰ÓÒÎӂ̇ˇ ñ ÏÓÌ„ÓÎ ÔË̇‰ÎÂÊËÚ Í
Ó‰Û ◊ËÌ„ËÒ-ı‡Ì‡. ¬ÓÁÌË͇ÂÚ Ë‰Âˇ
҉·ڸ Â„Ó „·‚ÓÈ Ï‡ËÓÌÂÚÓ˜ÌÓ„Ó
„ÓÒÛ‰‡ÒÚ‚‡. ÕÓ ÏÓÎÓ‰ÓÈ ÏÓÌ„ÓÎ ÛÊÂ
‡ÒÒÚÂΡÌ. œÓÒ˚·˛Ú ̇ ÏÂÒÚÓ Í‡ÁÌË
ÚÓ„Ó Ò‡ÏÓ„Ó ÒÓΉ‡Ú‡, ÍÓÚÓ˚È
‡ÒÒÚÂΡΠÏÓÌ„Ó·. ü‡ÁÌÂÌÌ˚È Â˘Â
ÊË‚, Â„Ó Î˜‡Ú, Á‡ ÌËÏ Ûı‡ÊË‚‡˛Ú. ŒÌ
ÌË˜Â„Ó Ì ÔÓÌËχÂÚ. ≈„Ó Ó‰Â‚‡˛Ú ‚Ó
Ù‡Í, ÔÂ‰ ÌËÏ „Ó‚ÓˇÚ ˜Ë. ŒÌ
‚ˉËÚ Ì‡ ‰‡ÏÂ, Òˉˇ˘ÂÈ Á‡ ÒÚÓÎÓÏ, ÚÛ
¯ÍÛÛ, ÍÓÚÓÛ˛ Û ÌÂ„Ó ÓÚÌˇÎË; ÓÌ
Ò˚‚‡ÂÚ ˝ÚÛ ¯ÍÛÛ. ¬ ÙË̇ÎÂ
ÔÓËÒıÓ‰ËÚ ·Ûˇ, Á‡ ÍÓÚÓÛ˛ ÙËθÏ
̇Á‚‡ÎË Ì‡ «‡Ô‡‰Â ´¡Ûˇ ̇‰ ¿ÁËÂȪ
(¬ËÍÚÓ ÿÍÎÓ‚ÒÍËÈ. ´›ÈÁÂ̯ÚÂÈ̪).
Drama based on the motives of Ivan
Novokshonovís novel of the same title.
A young Mongol is cheated by a fur
trader: his valuable fur of a silver fox
is thrown onto a heap, without the real
price being paid. Landlords and
invaders surround the place. The
Mongol wounds the fur trader: he is a
criminal, arrested and shot. The
execution is carried out reluctantly by
an ordinary soldier. On the Mongolís
chest they find an amulet with the
family tree: the Mongol belongs to the
tribe of Chinghis Khan. They decide to
make him the head of a puppet state,
but the young Mongol has already been
shot. They send the very soldier who
carried out the execution to the place of
execution. The Mongol is still alive; he
is treated and looked after. He
understands nothing. They dress him in
a coat, make speeches before him. Then
he sees a lady sitting at a table wearing
the fur which was taken away from
him; he tears off the fur. In the end
there is a storm, which is the reason for
the film being entitled ìStorm over
Asiaî in the West (Viktor Shklovsky,
´Eisensteinª).
50 ‚˚·Ë‡˛Ú 50 (˜‡ÒÚ¸ I)
50 choose 50 (part I)
«ŒÀ”ÿü¿
CINDERELLA
171
1947, ———–, 84 ÏËÌ., ˜/·
1947, USSR, 84 min., b/w
ÚÛ‰Óβ·Ë‚ÓÈ «ÓÎÛ¯ÍÂ, ÁÎÓÈ Ï‡˜Âı Ë
¿‚ÚÓ ÒˆÂ̇ˡ ≈‚„ÂÌËÈ ÿ‚‡ˆ
Scriptwriter Evgeni Schwarz
ÎÂÌË‚˚ı ÒÂÒÚ‡ı.
–ÂÊËÒÒÂ˚ Õ‡‰Âʉ‡ üӯ‚ÂÓ‚‡,
Directors Nadezhda Kosheverova,
ÀˉÂ ÔÓ͇ڇ (1947, 4- ÏÂÒÚÓ) ñ
ÃËı‡ËÎ ÿ‡ÔËÓ
Mikhail Shapiro
18.27 ÏÎÌ. ÁËÚÂÎÂÈ.
ŒÔÂ‡ÚÓ ≈‚„ÂÌËÈ ÿ‡ÔËÓ
Director of Photography Evgeni Shapiro
’Û‰ÓÊÌËÍ »Ò‡‡Í ÇıÎËÒ
Production Design Isaak Makhlis
ƒÂÍÓ‡ˆËË ÕËÍÓÎ‡È ¿ÍËÏÓ‚ (˝ÒÍËÁ˚)
Set Nikolai Akimov (sketches)
üÓÒÚ˛Ï˚ “‡Ï‡‡ À‚ˈ͇ˇ,
Costume Design Tamara Levitskaya,
≈.ÿË·ËÌÒ͇ˇ, ÕËÍÓÎ‡È ¿ÍËÏÓ‚
E. Shibinskaya, Nikolai Akimov (sketches)
(˝ÒÍËÁ˚)
Composer Antonio Spadavecchia
üÓÏÔÓÁËÚÓ ¿ÌÚÓÌËÓ —Ô‡‰‡‚ÂÍ͡
Sound Alexander Ostrovsky
«‚ÛÍ ¿ÎÂÍ҇̉ ŒÒÚÓ‚ÒÍËÈ
Cast: Yanina Zheimo,
¬ ÓΡı: flÌË̇ ∆ÂÈÏÓ,
Alexei Konsovsky, Erast Garin,
¿ÎÂÍÒÂÈ üÓÌÒÓ‚ÒÍËÈ, ›‡ÒÚ √‡ËÌ,
Vasili Merkuriev, Faina Ranevskaya,
¬‡ÒËÎËÈ ÃÂÍÛ¸Â‚, ‘‡Ë̇ –‡Ì‚Ò͇ˇ,
Elena Yunger, Varvara Miasnikova, Igor
≈ÎÂ̇ fiÌ„Â, ¬‡‚‡‡ ÃˇÒÌËÍÓ‚‡,
Klimenkov, Sergei Filippov, Alexander
»„Ó¸ üÎËÏÂÌÍÓ‚, —Â„ÂÈ ‘ËÎËÔÔÓ‚,
Rumnev, Tatiana Sezenevskaya
¿ÎÂÍ҇̉ –ÛÏÌ‚,
Production Lenfilm
‘ËθÏ-Ò͇Á͇ ÔÓ ÏÓÚË‚‡Ï
Ú‡‰ËˆËÓÌÌÓ„Ó Ò͇ÁÓ˜ÌÓ„Ó Ò˛ÊÂÚ‡ Ó
Fairy tale film based on the motives of
the traditional fairy-tale plot about the
hardworking Cinderella, her malicious
stepmother and her lazy sisters.
Box Office Leader (1947, 4th place) ñ
18.27 million spectators.
“‡Ú¸ˇÌ‡ —ÂÁÂÌ‚Ò͇ˇ
œÓËÁ‚Ó‰ÒÚ‚Ó ´ÀÂÌÙËθϪ
50 ‚˚·Ë‡˛Ú 50 (˜‡ÒÚ¸ I)
50 choose 50 (part I)
œ”“≈¬ü¿ ¬ ∆»«Õ‹
ROAD TO LIFE
172
1931, ———–, 95 ÏËÌ., ˜/·
1931, USSR, 95 min., b/w
¿‚ÚÓ˚ ÒˆÂ̇ˡ ÕËÍÓÎ‡È ›ÍÍ,
Scriptwriters Nikolai Ekk,
·Ó¸·‡ Ò ·ÂÒÔËÁÓ˘ËÌÓÈ Ë
–„Ë̇ flÌۯ͂˘,
Regina Yanushkevich, Alexander Stolper
ÔÂ‚ÓÒÔËÚ‡ÌË ÔÓ‰ÓÒÚÍÓ‚ ‚ ÚÛ‰Ó‚ÓÈ
¿ÎÂÍ҇̉ —ÚÓÎÔÂ
Director Nikolai Ekk
ÍÓÏÏÛÌ ‚ ÔÂ‚˚ „Ó‰˚ ÒÓ‚ÂÚÒÍÓÈ ‚·ÒÚË.
–ÂÊËÒÒÂ ÕËÍÓÎ‡È ›ÍÍ
Director of Photography Vasili Pronin
œÂ‚˚È ÒÓ‚ÂÚÒÍËÈ Á‚ÛÍÓ‚ÓÈ ÙËθÏ,
ŒÔÂ‡ÚÓ ¬‡ÒËÎËÈ œÓÌËÌ
Production Design Ivan Stepanov,
ÔÓÎۘ˂¯ËÈ ÏËÓ‚Ó ÔËÁ̇ÌËÂ
’Û‰ÓÊÌËÍË »‚‡Ì —ÚÂÔ‡ÌÓ‚,
Alexander Evmenenko
(ÍÛÔÎÂÌ 26 ÒÚ‡Ì‡ÏË).
¿ÎÂÍ҇̉ ≈‚ÏÂÌÂÌÍÓ
Composer Yakov Stoliar
üÓÏÔÓÁËÚÓ flÍÓ‚ —ÚÓΡ
Vocals Mikhail Zharov (ìI Left and
¬Ó͇ΠÃËı‡ËÎ ∆‡Ó‚ (´¬˚¯Î‡ ˇ Ë
Stamped wit my Footî, first ed.),
ÌÓÊÍÓÈ ÚÓÔÌÛ·...ª, 1-ˇ ‰.),
Evgeni M. Zharov (third ed.)
≈‚„ÂÌËÈ Ã.∆‡Ó‚ (3-ˇ ‰.)
Sound Evgeni Nesterov
«‚ÛÍ ≈‚„ÂÌËÈ ÕÂÒÚÂÓ‚
Cast: Nikolai Batalov, Jyvan Kyrlia,
¬ ÓΡı: ÕËÍÓÎ‡È ¡‡Ú‡ÎÓ‚,
Mikhail Dzhagofarov,
…˚‚‡Ì ü˚Ρ, ÃËı‡ËÎ ƒÊ‡„ÓÙ‡Ó‚,
Vladimir Vesnovsky,
¬Î‡‰ËÏË ¬ÂÒÌÓ‚ÒÍËÈ,
Regina Yanushkevich, Mikhail Zharov,
–„Ë̇ flÌۯ͂˘, ÃËı‡ËÎ ∆‡Ó‚,
Maria Gonta, Alexander Novikov,
Çˡ √ÓÌÚ‡, ¿ÎÂÍ҇̉ ÕÓ‚ËÍÓ‚,
Maria Antropova, Rina Zelenaya,
Çˡ ¿ÌÚÓÔÓ‚‡, –Ë̇ «ÂÎÂ̇ˇ,
Viktor Lazarev, Nikolai Romanov
¬ËÍÚÓ À‡Á‡‚, ÕËÍÓÎ‡È –ÓχÌÓ‚
Authorís text and verses read by Vasili
“ÂÍÒÚ ÓÚ ‡‚ÚÓ‡ Ë ÒÚËıË ˜ËÚ‡ÂÚ
Kachalov
¬‡ÒËÎËÈ ü‡˜‡ÎÓ‚
Production ìMezhrabpomfilmî
œÓËÁ‚Ó‰ÒÚ‚Ó ´ÃÂÊ‡·ÔÓÏÙËθϪ
Restored by Gorky Film Studio (1957,
¬ÓÒÒÚ‡ÌÓ‚ÎÂÌË üËÌÓÒÚÛ‰Ëˇ ËÏÂÌË
1977)
ƒ‡Ï‡.
¬ ÓÒÌÓ‚Â Ò˛ÊÂÚ‡ ñ ̇˜‡Ú‡ˇ ‚ 1923 „Ó‰Û
Ã.√Ó¸ÍÓ„Ó (1957, 1977)
Drama.
At the heart of the plot lies the fight
against ìneglectedî children, begun in
1923 with the re-education of teenagers
in a labour commune in the first years
of the Soviet regime.
The first Soviet sound film, which
received world recognition (bought by
26 countries).
ñ ÀÛ˜¯ËÈ ÂÊËÒÒÂ (ÕËÍÓÎ‡È ›ÍÍ)
ÔÓ ÓÔÓÒÛ Ó„ÍÓÏËÚÂÚ‡ I Ãü‘ ‚
¬Â̈ËË (¬˚ÒÚ‡‚͇
ÍËÌÓËÒÍÛÒÒÚ‚‡), 1932.
ñ Best Director (Nikolai Ekk)
according to a survey of the
organizing committee of the First
IFF in Venice (Exhibition of Motion
Pictures), 1932.
HAPPY GUYS/ JOLLY FELLOWS (aka ´Moscow Laughsª)
50 ‚˚·Ë‡˛Ú 50 (˜‡ÒÚ¸ I)
50 choose 50 (part I)
¬≈—≈À¤≈ –≈¡fl“¿
173
1934, ———–, 96 ÏËÌ., ˜/·
1934, USSR, 96 min, b/w
ÏÛÁ˚͇ÌÚ üÓÒÚˇ ÒڇΠ‰ËËÊÂÓÏ
¿‚ÚÓ˚ ÒˆÂ̇ˡ ¬Î‡‰ËÏË ÇÒÒ,
Scriptwriters Vladimir Mass,
‰Ê‡ÁÓ‚Ó„Ó ÓÍÂÒÚ‡, ‡ ‰Óχ¯Ìˇˇ
ÕËÍÓÎ‡È ›‰Ï‡Ì,
Nikolai Erdman, Grigori Alexandrov
‡·ÓÚÌˈ‡ ¿Ì˛Ú‡ ñ Ô‚ˈÂÈ Ë Á‚ÂÁ‰ÓÈ
√Ë„ÓËÈ ¿ÎÂÍ҇̉Ó‚
Director Grigori Alexandrov
˝ÒÚ‡‰˚. ‘ËθÏ, ÔÂÂÔÓÎÌÂÌÌ˚È
–ÂÊËÒÒÂ √Ë„ÓËÈ ¿ÎÂÍ҇̉Ó‚
Director of Photography
Ú‚Ó˜ÂÒÍÓÈ ˝ÌÂ„ËÂÈ Ë Á‡‰ÓÌ˚Ï
ŒÔÂ‡ÚÓ ¬Î‡‰ËÏË ÕËθÒÂÌ
Vladimir Nilsen
ıÛÎË„‡ÌÒÚ‚ÓÏ ‚ ‡‰ÂÒ Ï¢‡ÌÒÍÓ„Ó
’Û‰ÓÊÌËÍ ¿ÎÂÍÒÂÈ ”ÚÍËÌ
Production Design Alexei Utkin
·˚Ú‡ Ì˝ÔÓ‚ÒÍÓ„Ó ‚ÂÏÂÌË, ÌÂÒÏÓÚˇ ̇
üÓÏÔÓÁËÚÓ »Ò‡‡Í ƒÛ̇‚ÒÍËÈ
Composer Isaak Dunaevsky
ÊÂÒÚÍÓ ÌÂÔˡÚË ˜ËÌÓ‚ÌËÍÓ‚,
“ÂÍÒÚ ÔÂÒÂÌ ¬‡ÒËÎËÈ À·‰‚-üÛχ˜
Lyrics Vasili Lebedev-Kumach
Ó·‚ËÌˇ‚¯Ëı ÂÊËÒÒÂ‡ ‚ ÔÓÔ‡„‡Ì‰Â
œÂÒÌË ËÒÔÓÎÌˇ˛Ú ÀÂÓÌˉ ”ÚÂÒÓ‚,
Songs performed by Leonid Utesov,
·ÛÊÛ‡ÁÌÓÈ ÏÓ‡ÎË, ·˚Î ·Î‡„ÓÒÎÓ‚ÎÂÌ
À˛·Ó‚¸ ŒÎÓ‚‡ (1-ˇ ‰.); ¬Î‡‰ËÏË
Liubov Orlova (first ed.); Vladimir
—Ú‡ÎËÌ˚Ï, ÍÓÚÓ˚È Ë ÔˉÛχΠÂÏÛ
“Ó¯ËÌ, ÀÂÓ͇‰Ëˇ ÇÒÎÂÌÌËÍÓ‚‡ (3-ˇ ‰.)
Troshin, Leokadiya Maslennikova (third ed.)
̇Á‚‡ÌË ´¬ÂÒÂÎ˚ ·ˇÚ‡ª. ü‡ÚË̇
«‚ÛÍ ÕËÍÓÎ‡È “ËχˆÂ‚
Sound Nikolai Timartsev
ËÏ· ·Óθ¯ÓÈ ÛÒÔÂı Í‡Í Û Ì‡Ò, Ú‡Í Ë
¬ ÓΡı: ÀÂÓÌˉ ”ÚÂÒÓ‚,
Cast: Leonid Utesov, Liubov Orlova,
Á‡ Û·ÂÊÓÏ (´ÃÓÒÍ‚‡ ÒÏÂÂÚÒˇª).
À˛·Ó‚¸ ŒÎÓ‚‡, Çˡ —ÚÂÎÍÓ‚‡,
Maria Strelkova, Elena Tiapkina,
œÂ‚‡ˇ ÒÓ‚ÂÚÒ͇ˇ ÏÛÁ˚͇θ̇ˇ
≈ÎÂ̇ “ˇÔÍË̇, ‘‰Ó üÛËıËÌ,
Fedor Kurikhin, Emmanuil Geller,
ÍÓωˡ Òڇ· Í·ÒÒËÍÓÈ ÏËÓ‚Ó„Ó
›ÏχÌÛËÎ √ÂÎÎÂ, ¿ÌÓθ‰ ¿ÌÓθ‰,
Arnold Arnold, Robert Erdman,
ÍËÌÓËÒÍÛÒÒÚ‚‡.
–Ó·ÂÚ ›‰Ï‡Ì, —Â„ÂÈ ü‡¯ÚÂΡÌ,
Sergei Kashtelian, Nikolai Pavlovsky
œÂ‚˚È ÔÓÎÌÓÏÂÚ‡ÊÌ˚È ÙËθÏ
ÕËÍÓÎ‡È œ‡‚ÎÓ‚ÒÍËÈ
Production Moskinokombinat
√Ë„Óˡ ¿ÎÂÍ҇̉Ó‚‡ Ë ÔÂ‚‡ˇ
œÓËÁ‚Ó‰ÒÚ‚Ó ´ÃÓÒÍËÌÓÍÓÏ·Ë̇ڪ
Restored and re-edited for sound by
ÎËËÍÓ-ÍÓωËÈ̇ˇ Óθ À˛·Ó‚Ë
¬ÓÒÒÚ‡ÌÓ‚ÎÂÌËÂ Ë ÔÂÂÏÓÌÚ‡Ê Á‚Û͇
Mosfilm (1968, 1978)
ŒÎÓ‚ÓÈ.
´ÃÓÒÙËθϪ (1968, 1978)
ÃÛÁ˚͇θ̇ˇ ÎË˘ÂÒ͇ˇ ÍÓωˡ Ó
ÚÓÏ, Í‡Í Ú‡Î‡ÌÚÎË‚˚È Ô‡ÒÚÛı-
Lyrical musical comedy about a talented
shepherd and musician, Kostya, who
became the conductor of a jazz
orchestra, and the maid Anyuta who
turned into a singer and stage star. The
film, overflowing with creative energy
and fervent hooliganism against the
petty-bourgeois lifestyle of the NEP
period, was ñ despite the officialsí
strong dislike and their accusation of
propaganda of bourgeois morals ñ
blessed by Stalin, who suggested the
title ìHappy Guysî. The film made a
big splash in the USSR and abroad. This
first Soviet musical comedy became a
classic of world cinema.
Grigori Aleksandrovís first feature film
and the first lyrical comedy role for
Liubov Orlova.
ñ ´«ÓÎÓÚÓÈ ÍÛ·Óͪ Á‡ ÎÛ˜¯Û˛
ÔÓ„‡ÏÏÛ (´¬ÂÒÂÎ˚ ·ˇÚ‡ª,
´√ÓÁ‡ª, ´œÂÚÂ·Û„Ò͇ˇ ÌÓ˜¸ª,
´»‚‡Ìª, ´ŒÍ‡Ë̇ª, ´ÕÓ‚˚È
√ÛÎÎË‚Âª, ´œ˚¯Í‡ª, ´◊ÂβÒÍË̪ Ë
‰.), Ô‰ÒÚ‡‚ÎÂÌÌÛ˛ „ÓÒÛ‰‡ÒÚ‚ÓÏ
̇ ÙÂÒÚË‚‡Î ñ ÃÂʉÛ̇Ӊ̇ˇ
ÍËÌÂχÚÓ„‡Ù˘ÂÒ͇ˇ ‚˚ÒÚ‡‚͇ ‚
¬Â̈ËË, 1934;
ñ ¡Ó‚ÓÈ Ó‰ÂÌ ü‡ÒÌÓÈ Á‚ÂÁ‰˚ ñ
´«‡ ı‡·ÓÒÚ¸ Ë ÒÏÂÎÓÒÚ¸ ‚ ·Ó¸·Â
Ò ÚÛ‰ÌÓÒÚˇÏË ÍËÌÓÍÓωË˪
(√Ë„ÓËÈ ¿ÎÂÍ҇̉Ó‚), 1935.
ñ ìGolden Cupî for the best programme
(ìHappy Guysî, ìThe Stormî,
ìPetersburg Nightî, ìIvanî,
ìOutskirtsî, ìNew Gulliverî, ìBoule
de Suifî, ìChelyuskinî, etc.),
represented by the state at the
festival ñ International Cinema
Exhibition in Venice, 1934.
ñ Military Order of the Red Star ìFor
bravery and boldness in the struggle
with difficulties in a comedy filmî
(Grigori Alexandrov), 1935.
50 ‚˚·Ë‡˛Ú 50 (˜‡ÒÚ¸ I)
50 choose 50 (part I)
Œ¡ÀŒÃŒü »Ãœ≈–»»
A FRAGMENT OF EMPIRE
174
1929, ———–, 80 ÏËÌ., ˜/·
1929, USSR, 80 min., b/w
¿‚ÚÓ˚ ÒˆÂ̇ˡ
Scriptwriters Katerina Vinogradskaya,
—ÚÓÓÊ Ì·Óθ¯ÓÈ ÊÂÎÂÁÌÓ‰ÓÓÊÌÓÈ
ü‡ÚÂË̇ ¬ËÌÓ„‡‰Ò͇ˇ, ‘ˉËı ›ÏÎÂ
Fridrikh Ermler
Òڇ̈ËË ‘ËÎËÏÓÌÓ‚, ÍÓÌÚÛÊÂÌÌ˚È ‚Ó
–ÂÊËÒÒÂ ‘ˉËı ›ÏÎÂ
Director Fridrikh Ermler
‚ÂÏˇ ÔÂ‚ÓÈ ÏËÓ‚ÓÈ ‚ÓÈÌ˚,
ŒÔÂ‡ÚÓ ≈‚„ÂÌËÈ ÿÌÂȉÂ
Director of Photography
Ӊ̇ʉ˚ ‚ˉËÚ ‚ ÓÍÌ ÔÓıÓ‰ˇ˘Â„Ó
’Û‰ÓÊÌËÍ ≈‚„ÂÌËÈ ≈ÌÂÈ
Evgeni Schneider
ÔÓÂÁ‰‡ ÊÂÌ˘ËÌÛ Ë ÛÁ̇ÂÚ ‚ ÌÂÈ Ò‚Ó˛
üÓÏÔÓÁËÚÓ ¬Î‡‰ËÏË ƒÂ¯Â‚Ó‚ (1967)
Production Design Evgeni Enei
ÊÂÌÛ. ›ÚÓ ÒÓ·˚ÚË ÔÓ·Ûʉ‡ÂÚ Â„Ó
«‚ÛÍ √Ë„ÓËÈ ›Î¸·ÂÚ (1967)
Composer Vladimir Deshevov (1967)
Ô‡ÏˇÚ¸. Œ‰Ì‡ÍÓ ÓÌ ‚ÒÔÓÏË̇ÂÚ Î˯¸
–ÂÊËÒÒÂ ‚ÓÒÒÚ‡ÌÓ‚ÎÂÌˡ
Sound Grigori Elbert (1967)
ÚÓ, ˜ÚÓ ÔÓËÁÓ¯ÎÓ Ò ÌËÏ ‰Ó ÍÓÌÚÛÁËË.
‘‰Ó ÕËÍËÚËÌ
Cast: Fedor Nikitin, Liudmila
ŒÌ ¯‡ÂÚ ÔÓÂı‡Ú¸ ‚ œÂÚÂ·Û„,
¬ ÓΡı: ‘‰Ó ÕËÍËÚËÌ,
Semenova, Valeri Solovtsov, Yakov
‡Á˚Ò͇ڸ ÊÂÌÛ, ıÓÁˇË̇ Á‡‚Ó‰‡ Ë
À˛‰ÏË· —ÂÏÂÌÓ‚‡,
Gudkin, Viacheslav Viskovsky, Varvara
ÛÒÚÓËÚ¸Òˇ Í ÌÂÏÛ Ì‡ ‡·ÓÚÛ.
¬‡ÎÂËÈ —ÓÎÓ‚ˆÓ‚, flÍÓ‚ √Û‰ÍËÌ,
Miasnikova, Sergei Gerasimov
ŒÍ‡Á‡‚¯ËÒ¸ ‚ ÀÂÌËÌ„‡‰Â, ÓÌ ‰Ó΄ÓÂ
¬ˇ˜ÂÒ·‚ ¬ËÒÍÓ‚ÒÍËÈ,
Director of restored version
‚ÂÏˇ Ì ÏÓÊÂÚ ÔÓÌˇÚ¸, ˜ÚÓ
¬‡‚‡‡ ÃˇÒÌËÍÓ‚‡, —Â„ÂÈ √Â‡ÒËÏÓ‚
Fedor Nikitin
ÔÓËÁÓ¯ÎÓ ‚ ÒÚ‡Ì Á‡ Ôӯ‰¯ËÂ
œÓËÁ‚Ó‰ÒÚ‚Ó ´—Ó‚ÍËÌÓª (ÀÂÌËÌ„‡‰)
Production Sovkino (Leningrad)
„Ó‰˚Ö
¬ÓÒÒÚ‡ÌÓ‚ÎÂÌËÂ Ë ÏÓÌÚ‡Ê Á‚Û͇
Restored and re-edited for sound by
´ÀÂÌÙËθϪ (1967)
Lenfilm (1967)
ŒÔÚËÏËÒÚ˘ÂÒ͇ˇ ‰‡Ï‡ ÔÓ Ó˜ÂÍÛ
Õ.‘. œÓ„Ó‰Ë̇ ´√ÓÒÚ¸ Ò ÚÓ„Ó Ò‚ÂÚ‡ª.
Optimistic drama based on N. Pogodinís
sketch ìThe Guest from the Other
Worldî.
The watchman of a small railway station
Filimonov lost his memory due to
injuries sustained in the First World
War. One day he sees a woman through
the window of a passing train and
recognizes his wife in her. This event
brings back his memory, but he can
only what happened to him before his
trauma. He decides to go to Petersburg
to find his wife, and gets himself a job
at a factory. When he arrives in
Leningrad he cannot, for a long time,
understand what happened in the
country in recent yearsÖ
50 ‚˚·Ë‡˛Ú 50 (˜‡ÒÚ¸ I)
50 choose 50 (part I)
ü¿–Õ¿¬¿À‹Õ¿fl ÕŒ◊‹
CARNIVAL NIGHT
175
1956, ———–, 77 ÏËÌ., ˆ‚.
1956, USSR, 77 min., col.
ü˚ÎÓ‚ÓÈ ‚ÓÔÂÍË ‚ÂÏÂÌÌÓ
¿‚ÚÓ˚ ÒˆÂ̇ˡ ¡ÓËÒ À‡ÒÍËÌ,
Scriptwriters Boris Laskin,
ËÒÔÓÎÌˇ˛˘ÂÏÛ Ó·ˇÁ‡ÌÌÓÒÚË
¬Î‡‰ËÏË œÓΡÍÓ‚
Vladimir Poliakov
̇˜‡Î¸ÌË͇ ƒÓχ ÍÛθÚÛ˚ ñ
–ÂÊËÒÒÂ ›Î¸‰‡ –ˇÁ‡ÌÓ‚
Director Eldar Ryazanov
·˛ÓÍ‡ÚÛ Œ„ÛˆÓ‚Û ñ ¯‡˛Ú
ŒÔÂ‡ÚÓ ¿͇‰ËÈ ü‡Î¸ˆ‡Ú˚È
Director of Photography
Ó„‡ÌËÁÓ‚‡Ú¸ ÔÓ-̇ÒÚÓˇ˘ÂÏÛ ‚ÂÒÂÎ˚È
’Û‰ÓÊÌËÍË üÓÌÒÚ‡ÌÚËÌ ≈ÙËÏÓ‚,
Arkadi Kaltsaty
ÌÓ‚Ó„Ó‰ÌËÈ ·‡Î. » ˝ÚÓ ËÏ Û‰‡ÂÚÒˇ.
ŒÎ„ √ÓÒÒÂ
Production Design Konstantin Efimov,
ÀˉÂ ÔÓ͇ڇ (1956, 1- ÏÂÒÚÓ) ñ
üÓÏÔÓÁËÚÓ ¿Ì‡ÚÓÎËÈ ÀÂÔËÌ
Oleg Grosse
45.64 ÏÎÌ. ÁËÚÂÎÂÈ.
“ÂÍÒÚ ÔÂÒÂÌ ¬Î‡‰ËÏË ÀËٯˈ,
Composer Anatoli Lepin
¬‡‰ËÏ üÓÓÒÚ˚΂
Lyrics Vladimir Lifshits,
«‚ÛÍ ¬ËÍÚÓ «ÓËÌ
Vadim Korostylev
¬ ÓΡı: »„Ó¸ »Î¸ËÌÒÍËÈ,
Sound Viktor Zorin
À˛‰ÏË· √Û˜ÂÌÍÓ, fiËÈ ¡ÂÎÓ‚,
Cast: Igor Ilyinsky, Liudmila
√ÂÓ„ËÈ üÛÎËÍÓ‚, —Â„ÂÈ ‘ËÎËÔÔÓ‚,
Gurchenko,Yuri Belov, Georgy Kulikov,
ŒÎ¸„‡ ¬Î‡ÒÓ‚‡, ¿Ì‰ÂÈ “ÛÚ˚¯ÍËÌ,
Sergei Filippov, Olga Vlasova, Andrei
“‡Ï‡‡ ÕÓÒÓ‚‡, √ÂÌ̇‰ËÈ fi‰ËÌ,
Tutyshkin, Tamara Nosova, Gennadi
¬Î‡‰ËÏË «Âθ‰ËÌ, ¡ÓËÒ œÂÚÍÂ,
Yudin, Vladimir Zeldin, Boris Petker,
¬‡ÎÂÌÚËÌ ¡˚΂, ¿ÎÂÍÒÂÈ œÓ΂ÓÈ,
Valentin Bryleev, Alexei Polevoy,
¬Î‡‰ËÏË œËˆÂÍ
Vladimir Pitsek
œÓËÁ‚Ó‰ÒÚ‚Ó ´ÃÓÒÙËθϪ
Production Mosfilm
ñ ƒËÔÎÓÏ Ãü‘ ‚ ›‰ËÌ·Û„Â, 1957;
ñ ¬ÚÓ‡ˇ ÔÂÏˡ ÙËθÏÛ,
ÔÂÒÓ̇θÌ˚ ÔÂÏËË ‡ÍÚÂÛ
(»„Ó¸»Î¸ËÌÒÍËÈ) Ë
Á‚ÛÍÓÂÊËÒÒÂÛ ñ ¬ü‘ ‚ ÃÓÒÍ‚Â,
1958;
ñ Œ‰ËÌ ËÁ ÎÛ˜¯Ëı (˜ÂÚ‚ÂÚ˚È ËÁ
82) ÙËθÏÓ‚, ‚˚ÔÛ˘ÂÌÌ˚ı ‚
ÔÓÍ‡Ú ‚ 1956 „Ó‰Û, ÔÓ
ÂÁÛÎ¸Ú‡Ú‡Ï ÓÔÓÒ‡ ˜ËÚ‡ÚÂÎÂÈ
„‡ÁÂÚ˚ ´—Ó‚ÂÚÒ͇ˇ ÍÛθÚÛ‡ª.
ñ Diploma ñ IFF in Edinburgh, 1957;
ñ Second Prize for the film, personal
prizes for the actor (Igor Ilyinsky)
and the sound producer ñ FF in
Moscow, 1958;
ñ One of the best (4th out of 82) films
in distribution in 1956, according to
a survey of the readers of the
newspaper ìSovetskaya Kulturaî.
ÕÓ‚Ó„Ó‰Ìˇˇ ÏÛÁ˚͇θ̇ˇ ÍÓωˡ.
ÃÓÎÓ‰˚ ˝ÌÚÛÁˇÒÚ˚ ‚Ó „·‚Â Ò ÀÂÌÓÈ
New Yearís musical comedy.
Some young enthusiasts, led by Lena
Krylova, go against the will of the
acting head of the House of Culture, the
bureaucrat Ogurtsov, when they decide
to organize a rather cheerful New
Yearís ball. And it is possible.
Box Office Leader (1956, 1st place) ñ
45.64 million spectators.
50 ‚˚·Ë‡˛Ú 50 (˜‡ÒÚ¸ I)
50 choose 50 (part I)
¿À≈ü—¿Õƒ– Õ≈¬—ü»…
ALEXANDER NEVSKY
176
1938, ———–, 111 ÏËÌ., ˜/·
1938, USSR, 111 min., b/w
¿‚ÚÓ˚ ÒˆÂ̇ˡ œÂÚ œ‡‚ÎÂÌÍÓ,
Scriptwriters Peter Pavlenko,
‚Ó‰ËÚÂθÒÚ‚ÓÏ ¿ÎÂÍ҇̉‡ Õ‚ÒÍÓ„Ó
—Â„ÂÈ ›ÈÁÂ̯ÚÂÈÌ
Sergei Eisenstein
Ó‰ÌÛ˛ ÁÂÏβ ‚ ·ËÚ‚Â Ò ˚ˆ‡ˇÏË
–ÂÊËÒÒÂ˚ —Â„ÂÈ ›ÈÁÂ̯ÚÂÈÌ,
Directors Sergei Eisenstein,
Ú‚ÚÓÌÒÍÓ„Ó Ó‰Â̇ ̇ ◊Û‰ÒÍÓÏ ÓÁÂ ‚
ƒÏËÚËÈ ¬‡ÒËθ‚
Dmitri Vasiliev
1242 „Ó‰Û.
ŒÔÂ‡ÚÓ ›‰Û‡‰ “ËÒÒ˝
Director of Photography Eduard Tisse
’Û‰ÓÊÌËÍ-ÔÓÒÚ‡ÌÓ‚˘ËÍ
Production Design Iosif Shpinel
»ÓÒËÙ ÿÔËÌÂθ
Designers Sergei Eisenstein,
’Û‰ÓÊÌËÍË —Â„ÂÈ ›ÈÁÂ̯ÚÂÈÌ,
Nikolai Soloviev
ÕËÍÓÎ‡È —ÓÎÓ‚¸Â‚
Costume Design Sergei Eisenstein,
üÓÒÚ˛Ï˚ —Â„ÂÈ ›ÈÁÂ̯ÚÂÈÌ,
Konstantin Eliseev
üÓÌÒÚ‡ÌÚËÌ ≈ÎËÒ‚
Composer Sergeiy Prokofiev
üÓÏÔÓÁËÚÓ —Â„ÂÈ œÓÍÓٸ‚
Lyrics Vladimir Lugovskoy
“ÂÍÒÚ ÔÂÒÂÌ ¬Î‡‰ËÏË ÀÛ„Ó‚ÒÍÓÈ
Sound Vladimir Bogdankevich
«‚ÛÍ ¬Î‡‰ËÏË ¡Ó„‰‡ÌÍ‚˘
Cast: Nikolai Cherkasov, Nikolai
¬ ÓΡı: ÕËÍÓÎ‡È ◊Â͇ÒÓ‚, ÕËÍÓ·È
Ohlopkov, Andreu Abrikosov, Dmitri
ŒıÎÓÔÍÓ‚, ¿Ì‰ÂÈ ¿·ËÍÓÒÓ‚,
Orlov, Vasili Novikov, Nikolai Arsky,
ƒÏËÚËÈ ŒÎÓ‚, ¬‡ÒËÎËÈ ÕÓ‚ËÍÓ‚,
Varvara Massalitinova, Valentina
ÕËÍÓÎ‡È ¿ÒÍËÈ, ¬‡‚‡‡ ÇÒÒ‡ÎËÚËÌÓ‚‡,
Ivasheva, Alexandra Danilova, Vladimir
¬‡ÎÂÌÚË̇ »‚‡¯Â‚‡, ¿ÎÂÍ҇̉‡
Ershov, Sergei Blinnikov, Ivan Lagutin,
ƒ‡ÌËÎÓ‚‡, ¬Î‡‰ËÏË ≈¯Ó‚,
Naum Rogozhin, Fedor Odinokov, Lev
—Â„ÂÈ ¡ÎËÌÌËÍÓ‚, »‚‡Ì À‡„ÛÚËÌ,
Fenin, Ivan Kliukvin, Leonid Yudov
Õ‡ÛÏ –Ó„ÓÊËÌ, ‘‰Ó Œ‰ËÌÓÍÓ‚,
Production Mosfilm
Œ Ô‡ÚËÓÚ˘ÂÒÍÓÏ ÔÓ‰‚Ë„Â ÛÒÒÍËı
‰ÛÊËÌ, ÓÚÒÚÓˇ‚¯Ëı ÔÓ‰
À‚ ‘ÂÌËÌ, »‚‡Ì üβ͂ËÌ,
ÀÂÓÌˉ »Û‰Ó‚
œÓËÁ‚Ó‰ÒÚ‚Ó ´ÃÓÒÙËθϪ
ñ —Ú‡ÎËÌÒ͇ˇ ÔÂÏˡ I ÒÚÂÔÂÌË
(1941);
ñ œÓ ÓÔÓÒÛ ÍËÌӂ‰ӂ ÏË‡,
Ôӂ‰ÂÌÌÓÏ ËÁ‰‡ÚÂθÒÚ‚ÓÏ
´¿.ÃÓ̉‡‰Ó˪ ‚ 1978 „Ó‰Û
(ÃË·Ì), ÙËÎ¸Ï ‚Íβ˜ÂÌ ‚ ÒÔËÒÓÍ
ÒÚ‡ ÎÛ˜¯Ëı ÙËθÏÓ‚ ‚ ËÒÚÓËË
ÍËÌÓ.
ñ Stalin Prize of the 1st Class (1941);
ñ According to a survey of world film
critics conducted by the publishing
house Mondadori in Milan (1978),
among hundred best films in cinema
history
About the patriotic feat of the Russians
who defended, under the guidance of
Alexander Nevsky, the native land in a
fight with the Teutonic knights on Lake
Chud in 1242.
50 ‚˚·Ë‡˛Ú 50 (˜‡ÒÚ¸ I)
50 choose 50 (part I)
fiÕŒ—“‹ ÿü—»Ã¿
THE YOUTH OF MAXIM
177
1934, ———–, 98 ÏËÌ., ˜/·
1934, USSR, 98 min., b/w
ÚËÎÓ„ËË (ÔÓ‰ÓÎÊÂÌËÂ: ´¬ÓÁ‚‡˘ÂÌËÂ
¿‚ÚÓ˚ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ˚
Scriptwriters and directors
ÇÍÒËχª Ë ´¬˚·Ó„Ò͇ˇ ÒÚÓÓ̇ª).
√Ë„ÓËÈ üÓÁË̈‚, ÀÂÓÌˉ “‡Û·Â„
Grigori Kozintsev, Leonid Trauberg
1910 „Ó‰. œÓÒÚÓ‚‡Ú˚È Ë ‚ÂÒÂÎ˚È
ŒÔÂ‡ÚÓ ¿Ì‰ÂÈ ÃÓÒÍ‚ËÌ
Director of Photography
ÔÂÚÂ·Û„ÒÍËÈ ‡·Ó˜ËÈ Ô‡ÂÌÂÍ Ò
’Û‰ÓÊÌËÍ ≈‚„ÂÌËÈ ≈ÌÂÈ
Andrei Moskvin
Õ‡‚ÒÍÓÈ Á‡ÒÚ‡‚˚ ÔÓ ËÏÂÌË Ã‡ÍÒËÏ
üÓÏÔÓÁËÚÓ ƒÏËÚËÈ ÿÓÒÚ‡Íӂ˘
Production Design Evgeni Eney
ÔÓÒΠÌÂÓÔ‡‚‰‡ÌÌÓÈ „Ë·ÂÎË Ò‚Ó„Ó
«‚ÛÍ »Î¸ˇ ¬ÓÎÍ
Composer Dmitri Shostakovich
Á‡‚Ó‰ÒÍÓ„Ó ‰Û„‡ ¿Ì‰¡ Ò‚ˇÁ˚‚‡ÂÚÒˇ Ò
¬ ÓΡı: ¡ÓËÒ ◊ËÍÓ‚,
Sound Ilya Volk
ÔÓ‰ÔÓθ˘Ë͇ÏË ˜ÂÂÁ Û˜ËÚÂθÌˈÛ
—ÚÂÔ‡Ì ü‡˛ÍÓ‚, ¿ÎÂÍ҇̉ üÛ·ÍÓ‚,
Cast: Boris Chirkov, Stepan Kayukov,
Õ‡Ú‡¯Û Ë Ì‡˜Ë̇ÂÚ ÂÈ ÔÓÏÓ„‡Ú¸ ‚
¬‡ÎÂÌÚË̇ üË·‡‰Ë̇,
Alexander Kulakov,
‚ÓβˆËÓÌÌÓÈ ‰ÂˇÚÂθÌÓÒÚË. ¬ÏÂÒÚ Ò
ÃËı‡ËÎ “‡ı‡ÌÓ‚, œ‡‚ÂÎ ¬ÓÎÍÓ‚,
Valentina Kibardina,
ƒÂÏÓÈ ÓÌ ÔÓÔ‡‰‡ÂÚ ‚ Ú˛¸ÏÛ. œÓÒÎÂ
¬Î‡‰ËÏË —·‰ÍÓÔ‚ˆÂ‚, ¡ÓËÒ ¡ÎËÌÓ‚
Mikhail Tarkhanov, Pavel Volkov,
‡ÒÒÚ· ‚ÚÓÓ„Ó ‰Û„‡ ÇÍÒËÏ
œÓËÁ‚Ó‰ÒÚ‚Ó ´ÀÂÌÙËθϪ
Vladimir Sladkopevtsev, Boris Blinov
‚˚·Ë‡ÂÚ ÔÛÚ¸ ÔÓÙÂÒÒËÓ̇θÌÓ„Ó
¬ÓÒÒÚ‡ÌÓ‚ÎÂÌË ´ÃÓÒÙËθϪ (1965)
Production Lenfilm
ÀËËÍÓ-˝Ô˘ÂÒ͇ˇ ‰‡Ï‡.
œÂ‚˚È ÙËÎ¸Ï ËÒÚÓËÍÓ-‚ÓβˆËÓÌÌÓÈ
Restored by Mosfilm (1965)
‚ÓβˆËÓÌÂ‡Ö
Lyrical epic drama.
The first film of the historical
revolutionary trilogy (continued with
ìThe Return of Maximî and ìThe
Vyborg Sideî).
1910. The simple and cheerful
Petersburg guy Maxim, who works for
the Narva guard, joins the underground
workers with the help of the teacher
Natasha after the unjustified death of
his factory friend Andrei. He starts to
help her with her revolutionary activity.
Together with the comrade Dema he
ends up in prison. After the execution
of his second best friend Maxim turns
into a professional revolutionaryÖ
ñ œÂ‚‡ˇ ÔÂÏˡ Ê˛Ë ñ
´—Â·ˇÌ˚È ÍÛ·Óͪ (Ò ÙËθχÏË
´◊‡Ô‡Â‚ª Ë ´üÂÒÚ¸ˇÌª) ñ Ãü‘ ‚
ÃÓÒÍ‚Â, 1935;
ñ —Ú‡ÎËÌÒ͇ˇ ÔÂÏˡ I ÒÚÂÔÂÌË
(1941, Á‡ ÍËÌÓÚËÎӄ˲).
ñ First Jury Prize ìSilver Cupî
(jointly with ìChapaevî and
ìPeasantsî) ñ IFF in Moscow, 1935;
ñ Stalin Prize of the 1st Class (1941,
for the trilogy).
"œËÁ Á‡ ÏÌÓ„ÓÎÂÚÌ ÔÓ‰‚ËÊÂÌË ÓÒÒËÈÒÍÓ„Ó ÍËÌÂχÚÓ„‡Ù‡ Ë ‚ÂÌÓÒÚ¸ ÂÏÛ"
"Prize for Long-standing Promotion of and Loyalty to Russian Cinema"
ÇÍÓ Ã˛ÎÎÂ
≈ÒÎË ·˚ Ì ·˚ÎÓ ÍËÚ‡ÈÒÍÓ„Ó ÍËÌÓ, ÍÓÚÓÓ ÇÍÓ Ã˛ÎÎÂ ‰ÓÒÍÓ̇θÌÓ
ËÁÛ˜ËÎ ‚ÏÂÒÚÂ Ò ˇÁ˚ÍÓÏ Ë Â„Ó ‰Ë‡ÎÂÍÚ‡ÏË, ̇‚ÂÌÓÂ, ÓÌ ·˚ ÒڇΠ„·‚Ì˚Ï
ÒÔˆˇÎËÒÚÓÏ ‚ ÏË ÔÓ ÛÒÒÍÓÏÛ ÍËÌÓ. — Ò‡ÏÓ„Ó Ì‡˜‡Î‡ Ò‚ÓÂÈ ‰ÂˇÚÂθÌÓÒÚË
˝ÚÓÚ ˜ÂÎÓ‚ÂÍ ÒÏÓÚÂΠ̇ ¬ÓÒÚÓÍ, „ÎÛ·ÓÍÓ ÔÓÌË͇ˇ ‚ ËÒÚÓ˘ÂÒÍËÂ
Ô‡‡‰ÓÍÒ˚ ÛÒÒÍÓÈ Ë ÒÓ‚ÂÚÒÍÓÈ ÍÛθÚÛ˚, ÌËÍÓ„‰‡ Ì ‰Ó‚ÓθÒÚ‚ÛˇÒ¸
Òڇ̉‡ÚÌ˚ÏË Á‡Ô‡‰Ì˚ÏË Ô‰ÒÚ‡‚ÎÂÌˡÏË Ó ´Á‡„‡‰Ó˜ÌÓÈ ÛÒÒÍÓÈ ‰Û¯Âª.
≈ÒÎË ÍÓÏÛ ˝Ú‡ ‰Û¯‡ Ë ÓÚÍ˚· Ò‚Ó˛ Á‡„‡‰ÍÛ, ÚÓ Ã‡ÍÓ Ã˛ÎÎÂÛ. ŒÌ Ò‡ÁÛ
ÒÏÓ„ ۂˉÂÚ¸ ‚ ÙËθχı üË˚ ÃÛ‡ÚÓ‚ÓÈ Ò‚ˇÁ¸ Ò Ú‡‰ËˆËÂÈ ‡‚‡Ì„‡‰‡ 20-ı
„Ó‰Ó‚, ‚ ¿ÎÂÍ҇̉ —ÓÍÛÓ‚Â ‡ÒÔÓÁ̇ڸ ıÛ‰ÓÊÌË͇ ·Óθ¯Ó„Ó ÒÚËΡ, ‡ ‚
—‚ÂÚ·Ì œÓÒÍÛËÌÓÈ ñ ̘ÚÓ ·Óθ¯ÂÂ, ˜ÂÏ ËÁ˚ÒÍË ´ÊÂÌÒÍÓÈ ÂÊËÒÒÛ˚ª.
Ã˛ÎÎÂ ñ ÍÓÒÏÓÔÓÎËÚ, ÏÛθÚËÍÛθÚÛÌ˚È ˜ÂÎÓ‚ÂÍ, ÔÓ‰˛ÒÂ,
ÙÂÒÚË‚‡Î¸Ì˚È ÍÛ‡ÚÓ Ë ÍËÌÂχÚÓ„‡Ù˘ÂÒÍËÈ ‰ÂˇÚÂθ ñ ÔÓ‰‰ÂÊË‚‡Î
ÒÓ‚ÂÚÒÍÓÂ, ÛÒÒÍÓÂ Ë ÔÓÒÚÒÓ‚ÂÚÒÍÓ ÍËÌÓ ‚Ò˛‰Û, „‰Â ·˚ ÓÌ ÌË ‡·ÓÚ‡Î, ñ ̇
ÙÂÒÚË‚‡Îˇı ‚ œÂÁ‡Ó, –ÓÚÚÂ‰‡ÏÂ, ÀÓ͇ÌÓ, ¬Â̈ËË, ‚ Ò‚ÓËı
ÏÂʉÛ̇Ó‰Ì˚ı ÔÓÂÍÚ‡ı ÍÓÏÔ‡ÌËË ´‘‡·Ë͇ª. ÃÓÊÌÓ ·˚ÎÓ ·˚ ̇Á‚‡Ú¸ „Ó
̇¯ËÏ ‡„ÂÌÚÓÏ ‚ÎˡÌˡ ‚ ÏËÂ, ÂÒÎË ·˚ Ì ӉÌÓ ´ÌÓª. ÇÍÓ Ã˛ÎÎÂ
‚Ò„‰‡ ÔÓ‰‰ÂÊË‚‡Î ıÓÓ¯ÂÂ Ë ıÛ‰ÓÊÂÒÚ‚ÂÌÌÓ ÍËÌÓ, ͇ÍÓÈ ·˚
̇ˆËÓ̇θÌÓÒÚË ÓÌÓ ÌË ·˚ÎÓ.
¿Ì‰ÂÈ œÎ‡ıÓ‚,
ÔÂÁˉÂÌÚ ‘»œ–≈——»
ÇÍÓ Ã˛ÎÎÂ
Ó‰ËÎÒˇ ‚ –ËÏ 7 Ë˛Ìˇ 1953
„Ó‰‡, ÓÚˆ ¯‚ÂȈ‡ˆ, χڸ ËÚ‡ÎÓ-·‡ÁËθÒÍÓ„Ó
ÔÓËÒıÓʉÂÌˡ. Ã˛ÎÎÂ ÓÍÓ̘ËÎ Ù‡ÍÛθÚÂÚ ÍËڇ‚‰ÂÌˡ Ë
ÔÓ‚ÂÎ ÌÂÒÍÓθÍÓ ÎÂÚ ‚ üËÚ‡Â, ÒÚ‡‚ Ó‰ÌËÏ ËÁ ÔÂ‚˚ı
Á‡Ô‡‰Ì˚ı ÒÚÛ‰ÂÌÚÓ‚ ‚ ˝ÚÓÈ ÒÚ‡ÌÂ. «‡ÌËχÎÒˇ
ËÒÒΉӂ‡ÌˡÏË ‚ ӷ·ÒÚË ˝ÚÌÓÎÓ„ËË, ˝ÚÌÓÏÛÁ˚Íӂ‰ÂÌˡ,
‚ËÁۇθÌÓÈ ‡ÌÚÓÔÓÎÓ„ËË. — 1980 „Ó‰‡ ÓÌ Ì‡˜Ë̇ÂÚ
‰ÂˇÚÂθÌÓÒÚ¸ ÍËÚË͇ Ë ÍËÌӂ‰‡, ÔÛ·ÎËÍÛÂÚ ÒÚ‡Ú¸Ë Ë
ËÒÒΉӂ‡Ìˡ ‚ ËڇθˇÌÒÍËı ËÁ‰‡Ìˡı, ‡ Ú‡ÍÊ ‚Ó
‘‡ÌˆËË, ÕˉÂ·̉‡ı, ÿ‚ÂȈ‡ËË.
¬ ÍÓ̈ ÒÂÏˉÂÒˇÚ˚ı „Ó‰Ó‚ Ã˛ÎÎÂ ̇˜Ë̇ÂÚ ÒÓÚÛ‰Ì˘ÂÒÚ‚Ó Ò
ÍËÌÓÙÂÒÚË‚‡ÎˇÏË ‚ »Ú‡ÎËË Ë Á‡ „‡ÌˈÂÈ. —ÍÓÓ ÓÌ
ÒÚ‡ÌÓ‚ËÚÒˇ Ó‰ÌÓÈ ËÁ ‚Â‰Û˘Ëı ÙË„Û ̇ ÏÂʉÛ̇Ó‰ÌÓÈ ‡ÂÌÂ
ÙÂÒÚË‚‡ÎÂÈ. ŒÌ ̇˜Ë̇ÂÚ ‡·ÓÚÛ ÔÓ ÓÚÍ˚Ú˲ ÌÓ‚˚ı
ÚÂËÚÓËÈ ‚ ÍËÌÓ, Û„ÎÛ·Îˇˇ ˝ÚË ËÒÒΉӂ‡Ìˡ Á‡ ÏÌÓ„Ë „Ó‰˚
‡·ÓÚ˚ ‰ËÂÍÚÓÓÏ ÙÂÒÚË‚‡ÎÂÈ ‚ œÂÁ‡Ó, –ÓÚÚÂ‰‡ÏÂ, ÀÓ͇ÌÓ
Ë ÒÂȘ‡Ò ‚ ¬Â̈ËË. ¬ÏÂÒÚÂ Ò ‰Û„ÓÏ Ë Û˜ËÚÂÎÂÏ ƒÊÓ‚‡ÌÌË
¡ÛÚÚ‡Ù‡‚‡ (1940ñ1991) Ã˛ÎÎÂ Ó·ÂÒÔ˜˂‡ÂÚ ÔÓÒÚÓˇÌÌÓÂ
Û˜‡ÒÚË ÒÓ‚ÂÚÒÍËı ÙËθÏÓ‚ ‚ Ú˜ÂÌË ÌÂÒÍÓθÍËı ÎÂÚ ‚
ÔÓ„‡ÏÏ ÙÂÒÚË‚‡Îˇ ‚ œÂÁ‡Ó. ŒÌ ÓÚÍ˚‚‡ÂÚ ËڇθˇÌÒÍÓÏÛ
ÁËÚÂβ ÍËÌÓ Ò‰Ì‡ÁˇÚÒÍËı ÂÒÔÛ·ÎËÍ, ÒÓ‚Â¯ÂÌÌÓ
ÌÂËÁ‚ÂÒÚÌÓ ̇ Á‡Ô‡‰Â. ¬ ˝ÚË „Ó‰˚ Ã˛ÎÎÂ ÒÓÚÛ‰Ì˘‡ÂÚ Ò
üÓÌÙÎËÍÚÌÓÈ ÍÓÏËÒÒËÂÈ —Ó˛Á‡ ÍËÌÂχÚÓ„‡ÙËÒÚÓ‚ Ë ÔÓÒÎÂ
ÛÚÓÏËÚÂθÌ˚ı ‰Û˝ÎÂÈ Ò ÒÓ‚ÂÚÒÍÓÈ ÒËÒÚÂÏÓÈ ˆÂÌÁÛ˚ ‚˚‚ÓÁËÚ ‚
≈‚ÓÔÛ ¯Â‰Â‚˚ ÒÓ‚ÂÚÒÍÓ„Ó ÍËÌÓ. ›ÚÓ ·˚ÎË ÙËθÏ˚ üË˚
ÃÛ‡ÚÓ‚ÓÈ Ë ¿ÎÂÍ҇̉‡ —ÓÍÛÓ‚‡, ÔÂ‚˚È ÏËÓ‚ÓÈ ÔÓ͇Á
ÔÓÒΠ˜ÂÚ˚Âı ÎÂÚ ÔÂ„ӂÓÓ‚ ´»ÒÚÓËË ¿ÒË üΡ˜ËÌÓȪ
¿Ì‰Ó̇ üÓ̘‡ÎÓ‚ÒÍÓ„Ó ‚ œÂÁ‡Ó, ÔÓ͇Á Á‡Ô¢ÂÌÌ˚ı
¯Â‰Â‚Ó‚ ÛÍ‡ËÌÒÍÓ„Ó, ÔË·‡ÎÚËÈÒÍÓ„Ó Ë Ò‰Ì‡ÁˇÚÒÍÓ„Ó
ÍËÌÂχÚÓ„‡Ù‡. Õ‡˜Ë̇ˇ Ò œÂÁ‡Ó, ÂÚÓÒÔÂÍÚË‚˚ ÒÓ‚ÂÚÒÍÓ„Ó
ÍËÌÓ Ã˛ÎÎÂ‡ ÒÓÔÓ‚Óʉ‡˛ÚÒˇ ÔÛ·ÎË͇ˆËˇÏË ËÒÒΉӂ‡ÌËÈ Ë
χÚÂˇÎÓ‚, ÍÓÚÓ˚ ÒÚ‡ÌÓ‚ˇÚÒˇ ‚‡ÊÌÓÈ ‚ÂıÓÈ ‰Îˇ Á‡Ô‡‰Ì˚ı
ËÒÚÓËÍÓ‚ ÍËÌÓ. ≈„Ó Î˛·Ó‚¸ Í ÓÚÍ˚ÚËˇÏ Ú‡ÈÌÓÈ ËÒÚÓËË
ÍËÌÂχÚÓ„‡Ù‡ ÒÚ‡ÌÓ‚ËÚÒˇ Ó‰ÌËÏ ËÁ ÓÒÌÓ‚Ì˚ı ̇Ô‡‚ÎÂÌËÈ Â„Ó
‡·ÓÚ˚ Í‡Í ‰ËÂÍÚÓ‡ ‡Á΢Ì˚ı ÙÂÒÚË‚‡ÎÂÈ, Ú‡Í Ë ‡ÁÌ˚ı
ÙÓ̉ӂ. Õ‡ ÙÂÒÚË‚‡Î ‚ –ÓÚÚÂ‰‡ÏÂ, „‰Â ÓÌ ·˚Î ‰ËÂÍÚÓÓÏ Ò
1989 ÔÓ 1991 „Ó‰, ÓÌ ÔÓ͇Á˚‚‡ÂÚ ÎÂÌÚ˚ ÎÛ˜¯Ëı ÒÓ‚ÂÚÒÍËı
ÂÊËÒÒÂÓ‚, ÍÓÚÓ˚ ËÏÂÎË ÔÓ·ÎÂÏ˚ Ò ÓÙˈˇθÌ˚Ï
ÔËÁ̇ÌËÂÏ ‚ –ÓÒÒËË. œÎÓ‰ ÛÚÓÏËÚÂθÌ˚ı ‰Û˝ÎÂÈ Ò ÒÓ‚ÂÚÒÍÓÈ
ÒËÒÚÂÏÓÈ ˆÂÌÁÛ˚. ÇÍÓ ˜‡ÒÚÓ Ô˄·¯‡ÂÚ Í Ò· ‡ÍÚÂÓ‚,
ÂÊËÒÒÂÓ‚, ÓÚÍ˚‚ Ò‚ÓÈ ‰ÓÏ ‰Îˇ ‚ÒÂı. ¬ ˝ÚË „Ó‰˚ ¿ÎÂÍ҇̉
ü‡È‰‡ÌÓ‚ÒÍËÈ, ÔÓθÁÛˇÒ¸ ÔÓÏÓ˘¸˛ Ã˛ÎÎÂ‡ Ë ÔÓ‰‰ÂÊÍÓÈ
–ÓÚÚÂ‰‡ÏÒÍÓ„Ó ÙÂÒÚË‚‡Îˇ, Á‡Í‡Ì˜Ë‚‡ÂÚ Ò‚ÓÈ ÙËÎ¸Ï Ó
ÍÓÌÚÂÍÒÚ‡ ´ÎÂÌËÌ„‡‰ÒÍÓÈ ¯ÍÓÎ˚ª Ë ÔÛ·ÎËÍÛÂÚ ÔÂ‚Û˛,
‚˚¯Â‰¯Û˛ ̇ Á‡Ô‡‰Â ÍÌË„Û Ó —ÓÍÛÓ‚Â Ë ‡‚ÚÓÒÍÓÏ ÍËÌÓ
ÔÓËÁ‚Ó‰ÒÚ‚‡ ÍËÌÓÒÚÛ‰ËË ´ÀÂÌÙËθϪ. ¬ ÚÓ Ê ‚ÂÏˇ ÓÌ ÊË‚Ó
ËÌÚÂÂÒÛÂÚÒˇ ‡·ÓÚ‡ÏË ÒÓ‚ÒÂÏ ÏÓÎÓ‰˚ı Ô‰ÒÚ‡‚ËÚÂÎÂÈ
ÒÓ‚ÂÚÒÍÓ„Ó ÍËÌÓ, ‚ÌËχÚÂθÌÓ ÒΉˇ Á‡ ÍÓÓÚÍÓÏÂÚ‡ÊÌ˚ÏË Ë
‰ËÔÎÓÏÌ˚ÏË ÙËθχÏË ¬√»ü‡. ¡Î‡„Ó‰‡ˇ ˝ÚÓÏÛ Ì‡
ÏÂʉÛ̇Ó‰ÌÓÈ Ô‡ÌÓ‡Ï ÔÓˇ‚Ρ˛ÚÒˇ ËÏÂ̇ ÚÓ„‰‡ ¢ ÌËÍÓÏÛ
ÌÂËÁ‚ÂÒÚÌ˚ı ÂÊËÒÒÂÓ‚ ñ ÓÚ ÎËÚÓ‚ˆ‡ ÿ‡Û̇҇ ¡‡Ú‡Ò‡ ‰Ó
ÛÒÒÍÓ-χ‚ËÚ‡ÌÒÍÓ„Ó ¿·‰Û‡ıχ̇ —ËÒÒ‡ÍÓ. ≈‰ËÌÒÚ‚ÂÌÌ˚È
ÒÂ‰Ë ‰ËÂÍÚÓÓ‚ ÙÂÒÚË‚‡ÎÂÈ, ÓÌ Á‡‰ÛÏ˚‚‡ÂÚ Ë ‡ÎËÁÛÂÚ
‚‡ÊÌÂȯËÈ ‰Îˇ ÓʉÂÌˡ ÌÓ‚˚ı ÙËθÏÓ‚ ÔÓÂÍÚ: Ò̇˜‡Î‡
ÒÓÁ‰‡ÂÚ ‚ –ÓÚÚÂ‰‡Ï ‘Ó̉ ’Û·ÂÚ‡ ¡ÓÎÒ‡ Ë –˚ÌÓÍ
ÍÓÔÓ‰Û͈ËË (ÍÓÚÓ˚È ÒÂ„Ó‰Ìˇ ̇Á˚‚‡ÂÚÒˇ ´—ËÌÂχÚª). ›ÚÓ ñ
‰‚‡ ‚‡ÊÌÂȯËı ˝ÎÂÏÂÌÚ‡ ‰Îˇ ÙË̇ÌÒÓ‚ÓÈ Ë ÍÛθÚÛÌÓÈ
ÔÓ‰‰ÂÊÍË ÔÓÂÍÚÓ‚ ÌÂÁ‡‚ËÒËÏÓ„Ó ÍËÌÓ ‚ÓÒÚÓ˜ÌÓÈ ≈‚ÓÔ˚. ¬
1991ñ2000 „. Ã˛ÎÎÂ ÛÍÓ‚Ó‰ËÚ ÙÂÒÚË‚‡ÎÂÏ ‚ ÀÓ͇ÌÓ Ë
Ô‡‡ÎÎÂθÌÓ ÒÓÁ‰‡ÂÚ ÔÓ ÚÓÈ Ê ÏÓ‰ÂÎË, ÛÊ ËÒÔÓθÁÓ‚‡ÌÌÓÈ
ËÏ ‚ √Óη̉ËË, ‘Ó̉ ÃÓÌÚ˜ËÌÂχ ¬ÂËÚ‡, ÍÓÚÓ˚È
ÔÓ‰ÓÎʇÂÚ ÔÓ‰‰ÂÊË‚‡Ú¸ ÍËÌÓ ¬ÓÒÚÓ˜ÌÓÈ ≈‚ÓÔ˚.
‘ÂÒÚË‚‡Î¸ ‚ ÀÓ͇ÌÓ ÒÚ‡ÌÓ‚ËÚÒˇ ‚ ˝ÚË „Ó‰˚ ‚ËÚËÌÓÈ ‡·ÓÚ
ÌÓ‚˚ı, ÌÂËÁ‚ÂÒÚÌ˚ı ÂÊËÒÒÂÓ‚, ÓÚ ÓÒÒËÈÒÍËı ‰Ó
‡ÁˇÚÒÍËı, ÍÓÚÓ˚ı Ã˛ÎÎÂ ÓÚÍ˚‚‡ÂÚ ‚ ıӉ ҂ÓËı
ÔÓÂÁ‰ÓÍ ÔÓ ÔÓÒÚÒÓ‚ÂÚÒÍÓÏÛ ÔÓÒÚ‡ÌÒÚ‚Û, ‚ ıӉ ÍÓÚÓ˚ı,
ÔÓÏËÏÓ ÛÒÒÍÓ„Ó, ÓÌ Ó‚Î‡‰Â‚‡ÂÚ Ë ÏÂÒÚÌ˚ÏË ˇÁ˚͇ÏË.
»ÏÂ̇ ƒ‡Âʇ̇ ŒÏË·‡Â‚‡, ≈ÏÂ͇ ÿË̇·‡Â‚‡, ¿Íڇ̇
¿·‰˚͇Î˚ÍÓ‚‡ ÓÚÍ˚‚‡˛ÚÒˇ ‚ ÀÓ͇ÌÓ. Õ‡˜‡Ú‡ˇ Ò ƒÊ‡ÌÌË
¡ÛÚÚ‡Ù‡‚‡ ‡·ÓÚ‡ ÔÓ ÂÚÓÒÔÂÍÚË‚Ì˚Ï ÔÓ͇Á‡Ï ÒÓ‚ÂÚÒÍÓ„Ó
ÍËÌÓ ÔÓ‰ÓÎʇÂÚÒˇ ‚ 2000 „Ó‰Û Ï‡Ò¯Ú‡·ÌÓÈ ÂÚÓÒÔÂÍÚË‚ÓÈ
´“‡È̇ˇ ËÒÚÓËË ÒÓ‚ÂÚÒÍÓ„Ó ÍËÌÓª, ÓÚ ¡‡ÌÂÚ‡ ‰Ó
’ʇÌÓ‚ÒÍÓ„Ó. — 1998 „Ó‰‡ Ã˛ÎÎÂ ̇˜Ë̇ÂÚ ‰ÂˇÚÂθÌÓÒÚ¸
‰ËÂÍÚÓ‡ ƒÂÔ‡Ú‡ÏÂÌÚ‡ ÔÓ ÍËÌÓ Ë ‚ˉÂÓ ´‘‡·Ë͇ª
(»ÒÒΉӂ‡ÚÂθÒÍËÈ ˆÂÌÚ ÍÓÏÔ‡ÌËË ´¡ÂÌÂÚÚÓ̪) Ë
ÒÚ‡ÌÓ‚ËÚÒˇ ÔÓ‰˛ÒÂÓÏ. ´‘‡·Ë͇ ◊ËÌÂχª Û˜‡ÒÚ‚ÛÂÚ ‚
ÒÓÁ‰‡ÌËË ÙËθÏÓ‚ ´ÃÓÎÓıª ¿ÎÂÍ҇̉‡ —ÓÍÛÓ‚‡ Ë
´¿Ì„· ÒÔ‡‚‡ª ƒÊ‡Ï¯Â‰‡ ”ÒÏÓÌÓ‚‡. — ÌÓ‚ÓÈ ÍÓÏÔ‡ÌËÂÈ
´ƒ‡ÛÌÚ‡ÛÌ œËÍÚÛÂÒª Ã˛ÎÎÂ ÔÓ‰˛ÒËÛÂÚ ´—ÓÎ̈ª,
ÚÂÚ¸˛ ˜‡ÒÚ¸ ÚÂÚ‡ÎÓ„ËË —ÓÍÛÓ‚‡.
— 2004 „Ó‰‡ Ã˛ÎÎÂ ÛÍÓ‚Ó‰ËÚ ¬Â̈ˇÌÒÍËÏ
ÍËÌÓÙÂÒÚË‚‡ÎÂÏ, ÔÓ‰ÓÎʇˇ ÔÓ‰Ú‚Âʉ‡Ú¸ Ò‚ÓÈ ÌÂËÁÏÂÌÌ˚È
ËÌÚÂÂÒ Í ÍËÌÓ –ÓÒÒËË, ÍÓÚÓÓ ۘ‡ÒÚ‚ÛÂÚ ‚ ÓÒÌÓ‚ÌÓÏ Ë
Ô‡‡ÎÎÂθÌÓÏ ÍÓÌÍÛÒ‡ı, ‡ Ú‡ÍÊ ÔÓ‚Ó‰ËÚ ÂÚÓÒÔÂÍÚË‚Û
ÒÓ‚ÂÚÒÍÓ„Ó ÏÛÁ˚͇θÌÓ„Ó ÍËÌÓ. ¬ ̇ÒÚÓˇ˘ËÈ ÏÓÏÂÌÚ Ã‡ÍÓ
Ã˛ÎÎÂ „ÓÚÓ‚ËÚ ÌÓ‚Û˛ ÛÒÒÍÓ-ËڇθˇÌÒÍÛ˛ ÍÓÔÓ‰ÛÍˆË˛.
œ‡‡‰Ê‡ÌÓ‚Â. Ã˛ÎÎÂ ÔÂ‚˚Ï Ó„‡ÌËÁÓ‚˚‚‡ÂÚ ÔÓÎÌÛ˛
ÂÚÓÒÔÂÍÚË‚Û ÙËθÏÓ‚ ¿ÎÂÍ҇̉‡ —ÓÍÛÓ‚‡, ‚ ‡Ï͇ı
¿ÎÂ̇ ÿÛχÍÓ‚‡
ÙÂÒÚË‚‡Î¸Ì˚È ÍÓÌÒÛθڇÌÚ Ãü‘ ‚ ¬Â̈ËË, ÔÓ‰˛ÒÂ
If there were no Chinese cinema, which he studied thoroughly together with the language and its
dialects, Marco Muller would probably have become the worldís expert in Russian cinema. From
the very beginning of his activity he looked eastwards, deeply engaging with the historical
paradoxes of Russian and Soviet culture, never content with standard western notions of the
ìmysterious Russian soulî. If this soul ever opened up for anyone, it is for Marco Muller. He
could see at once the connection with the tradition of the avant-garde of the 1920s in the films
of Kira Muratova, distinguish the artist of great style in Alexander Sokurov, and see something
greater than ìsearches of womenís cinemaî in the films of Svetlana Proskurina.
Muller is a cosmopolitan, a multicultural person, a producer, a festival curator and a film figure
who has supported Soviet, Russian and post-Soviet cinema everywhere he has worked: at
festivals in Pesaro, Rotterdam, Locarno, Venice, through the international projects of the
company ìFabricaî. He could be called our influential agent in the world, if there were not one
ìbutî: Marco Muller always supported good artistic cinema, whatever its nationality.
Andrei Plakhov
President of FIPRESCI
..
Marco M uller
‚orn in Rome on 7 June 1953 to a
..
Swiss father and an Italo-Brazilian mother. M uller graduated
from the faculty of sinology and spent some years in China,
becoming one of the first western students in this country.
Research in ethnology, ethnomusicology, and visual
anthropology. From 1980 onwards film criticism and film
scholarship: articles and research with Italian publications, as
well as in France, Netherlands, Switzerland.
..
At the end of the 1970s M uller begins cooperation with film
festivals in Italy and abroad. He soon becomes one of leading
figures in the international festival circuit. He devoted his
work to the discovery of new territories in cinema, deepening
this research during many years as festival director in Pesaro,
Rotterdam, Locarno and now in Venice. Together with his
..
friend and teacher Giovanni Buttafava (1940-1991) M uller
ensures the regular participation of Soviet films in the
festival program of Pesaro during several years. He uncovers
for the Italian audiences the cinema of the Central Asian
republics, completely unknown in the West. In these years
..
M uller cooperates with the Conflict Commission of the Union
of Cinematographers and, after tiresome battles with the
Soviet censorship system, brings the masterpieces of Soviet
cinema to Europe: the films of Kira Muratova and Alexander
Sokurov, the world premiere of ìThe Story of Asya Kliachinaî
by Andron Konchalovsky in Pesaro ñ after four years of
negotiations, the screenings of forbidden masterpieces of
Ukrainian, Baltic and Central Asian cinema. Since Pesaro,
..
M ullerís retrospectives of Soviet cinema are accompanied by
publications of research and materials, which have become a
major landmark for western film historians. His love for
discoveries from the secret history of cinema is one of the
basic directions of his work, both as director of various
festivals and of different funds. At the Rotterdam festival,
which he heads from 1989 to 1991, he shows films of the best
Soviet directors, which had not been officially recognized in
Russia: the fruit of more tiresome duels with the Soviet
censorship. Marco frequently invites actors and directors,
opening his house to everybody. In these years Alexander
Kaidanovsky finishes his film about Paradzhanov, with
..
M ullerís help and the support of the Rotterdam festival.
..
M uller first organizes a full retrospective of the films of
Alexander Sokurov within the framework of the ìLeningrad
schoolî and publishes the first book in the West about
Sokurov and auteur cinema at Lenfilm. At the same time he is
very interested in the works of young representatives of
Soviet cinema, watching attentively both short and diploma
films at the Film Institute VGIK. Due to his activity, the
names of then still unknown directors, from the Lithuanian
Sharunas Bartas to the Russo-Mauritanian Abderrahmane
Sissako appear in the international panorama. He is the only
festival director to conceive and realize a major project for the
inception of new films: first he creates in Rotterdam the
Hubert Bals Fund and the Market of co-production (today
known as ìCinemartî). These are two major sources for
financial and cultural support of independent cinema projects
..
from Eastern Europe. From 1991-2000 M uller presides over
the festival in Locarno, and in parallel creates (on the same
model used in Holland) the Fondazione Montecinemaverita,
which supports cinema of Eastern Europe. In these years the
festival in Locarno becomes a showcase for works of new,
..
unknown directors from Russian and Asia, which M uller
discovers during his trips to the post-Soviet countries during
which, besides Russian, he also acquires local languages. The
names of Darejan Omirbaev, Ermek Shinarbaev, Aktan
Abdykalykov are discovered in Locarno. The work on
retrospectives of Soviet cinema, begun with Gianni Buttafava,
continues in 2000 and develops into a major retrospective of
the ìSecret History of Soviet cinemaî, from Barnet to
..
Khrzhanovsky. In 1998 M uller takes up the post of director of
the Department on cinema and video of ìFabricaî (Research
Centre of the company ìBenettonî) and becomes a producer.
ìFabrica Cinemaî participates in the creation of Alexander
Sokurovís ìThe Molochî and Djamshed Usmonovís ìAngel on
the Rightî. With his new company, ìDowntown Picturesî,
..
M uller produces ìThe Sunî, the third part of Sokurovís
tetralogy.
..
Since 2004 M uller heads the Venice film festival, continuing
his interest in Russian cinema, which has participated in the
main and parallel competitions; he also runs a retrospective of
..
Soviet musical cinema. At the moment Marco M uller prepares
a new Russian-Italian co-production.
Alena Shumakova
Festival consultant for the IFF Venice, producer
"œËÁ Á‡ ÏÌÓ„ÓÎÂÚÌ ÔÓ‰‚ËÊÂÌË ÓÒÒËÈÒÍÓ„Ó ÍËÌÂχÚÓ„‡Ù‡ Ë ‚ÂÌÓÒÚ¸ ÂÏÛ"
"Prize for Long-standing Promotion of and Loyalty to Russian Cinema"
..
Marco Muller
ËÌÙÓχˆËÓÌÌ˚È ÔÓ͇Á
information screening
œ–»Ã≈◊¿Õ»fl ü œ–ŒÿÀŒÃ”
NOTES TO THE PAST
180
2006, –ÓÒÒˡ, 59 ÏËÌ., ˆ‚., 35 ÏÏ, ‰ÓÍ.
2006, Russia, 59 min., col., 35 mm, doc.
¿‚ÚÓ ÒˆÂ̇ˡ Ë ÂÊËÒÒÂ
Scriptwriter and Director
√‡ÎË̇ ƒÓÎχÚÓ‚Ò͇ˇ
Galina Dolmatovskaya
ŒÔÂ‡ÚÓ˚ ¬ËÍÚÓ üÒÂÌÓÙÓÌÚÓ‚,
Directors of Photography
»„Ó¸ ÃÓ‰ÏËÎÎӂ˘
Viktor Ksenofontov, Igor Mordmillovich
üÓÏÔÓÁËÚÓ ¿Ì‰ÂÈ ›¯Ô‡È
Composer Andrei Eshpai
œÂÒÌ˛ ¿.›¯Ô‡ˇ ̇ ÒÚËıË ≈‚„.
Song by A. Eshpai to the lyrics of Evg.
ƒÓÎχÚÓ‚ÒÍÓ„Ó ÔÓÂÚ —Â„ÂÈ ÿÌÛÓ‚
Dolmatovsky, performed by
«‚ÛÍ ¬‡ÎÂÌÚË̇ √ÂÓ„Ë‚Ò͇ˇ,
Sergei Shnurov
ÕËÍÓÎ‡È ”ÒÚËÏÂÌÍÓ
Sound Valentina Georgievskaya, Nikolai
ÃÓÌÚ‡Ê “‡Ú¸ˇÌ‡ ՇȉÂÌÓ‚‡
Ustimenko
œÓ‰˛ÒÂ˚ Շڇθˇ »‚‡ÌÓ‚‡,
Editing Tatiana Naidenova
√‡ÎË̇ ƒÓÎχÚÓ‚Ò͇ˇ
Producers Natalia Ivanova,
œÓËÁ‚Ó‰ÒÚ‚Ó ´’ÓÓ¯Ó œÓ‰‡Í¯Ìª
Galina Dolmatovskaya
√‡ÎË̇
ƒÓÎχÚÓ‚Ò͇ˇ
ÂÊËÒÒÂ-ÔÓÒÚ‡ÌÓ‚˘ËÍ (‰ÓÍ.):
1992 ....¬ ÔÂÂÛÎÓÍ ÒıÓ‰Ë
“ÂıÔÛ‰Ì˚È...
1993 ....—‚‡ı‡
1995 ....¬ ‰‡ÎÂÍËÈ Í‡È...
1996 ....¿‰ÂÒ ÍËÌÓ ñ ü‡ÒÌÓ„ÓÒÍ
1999 ....»‚‡Ì ÃÓÁÊÛıËÌ, ËÎË ƒËÚˇ
͇̇‚‡Î‡
2001 ....ƒÂÊÛÒÚ‚Ó
2002 ....∆ÂÌ˘Ë̇ ̇ Ç‚ÁÓÎÂÂ
2003 ....»Î¸Ù ñ ‰‚ÓÈ̇ˇ ˝ÍÒÔÓÁËˆËˇ
2005 ....¬.—. ¬ÓÁβ·ÎÂÌ̇ˇ ÒÓΉ‡Ú‡
2006 ....œËϘ‡Ìˡ Í ÔÓ¯ÎÓÏÛ
Production ìKhorosho Productionî
≈„Ó ÒÌËÏÍË Á̇ÂÚ ‚ÂÒ¸ ÏË ñ «Ì‡Ïˇ
His photos are known around the world ñ
œÓ·Â‰˚ ̇‰ ¡ÂÎËÌÓÏ, „ÛÎËÓ‚˘Ëˆ‡,
the Banner of Victory over Berlin, the
Ô‡‡‰ œÓ·Â‰˚. Õ‡Ô˜‡Ú‡ÌÌ˚Â
traffic controller, the Victory Parade.
ÏËÎÎËÓÌÌ˚ÏË ÚË‡Ê‡ÏË, ÓÚ˜Â͇ÌÂÌÌ˚Â
Printed in millions, minted on golden
̇ ÁÓÎÓÚ˚ı ÏÓÌÂÚ‡ı, ‚ӯ‰¯Ë ‚Ó ‚ÒÂ
coins, included in encyclopedias and
˝ÌˆËÍÎÓÔ‰ËË Ë Û˜Â·ÌËÍË, ÓÌË ÒÚ‡ÎË
textbooks, they became signs and symbols
Á͇̇ÏË, ÒËÏ‚Ó·ÏË ¬ÚÓÓÈ ÏËÓ‚ÓÈ.
of the Second World War. Only few
“ÓθÍÓ Ï‡ÎÓ ÍÚÓ ÔÓÏÌËÚ ËÏˇ Ëı
people remember the name of their
‡‚ÚÓ‡.
author.
≈„Ó ÁÓ‚ÛÚ ≈‚„ÂÌËÈ ’‡Î‰ÂÈ. ¬ÓÒÔÂÚ˚È ‚
His name is Evgeni Khaldei. Although
ÍÌË„‡ı Ë ÙËθχı Á‡ Û·ÂÊÓÏ, ‚
he was celebrated in books and films
ÒÂ‰ËÌ 90-ı ÓÌ Ó͇Á‡ÎÒˇ ÔÓ˜ÚË
abroad, in Russia of the mid 90s he was
Á‡·˚Ú˚Ï Û Ì‡Ò (ÚÓ„‰‡-ÚÓ Â„Ó Ë ÒÌËχÎË
almost forgotten (it was then that he
ÒÓÁ‰‡ÚÂÎË ˝ÚÓ„Ó ÙËθχ). ÕÓ ’‡Î‰ÂÈ
was visited by the makers of this film).
Ì ÚÓθÍÓ ‚ÓÈ̇ ñ Ú˚Òˇ˜Ë ÙÓÚÓ„‡ÙËÈ
But Khaldei photographed not only the
ÓÚÍ˚ÎËÒ¸ ÒÂ„Ó‰Ìˇ ‚ ‡ı˂ ÇÒÚÂ‡.
war: thousands of photos have been
´œËϘ‡Ìˡ Í ÔÓ¯ÎÓÏÛª ñ ˝ÚÓ Ë Â„Ó
discovered in the masterís archive.
ÒÓ·ÒÚ‚ÂÌÌ˚È ÍÓÏÏÂÌÚ‡ËÈ Í
ìNotes to the Pastî is Khaldeiís own
ËÁ‚ÂÒÚÌ˚Ï Ë ÌÂËÁ‚ÂÒÚÌ˚Ï ˝ÔËÁÓ‰‡Ï
comment on better and lesser known
ÊËÁÌË ÒÚ‡Ì˚, Á‡Ô˜‡ÚÎÂÌÌ˚Ï
episodes of the countryís life, captured
͇ÏÂÓÈ ’‡Î‰Âˇ Ë ËÒÚÓˡ ‚ÂÏÂÌË ÒÓ
by his camera; it is also the history of
‚ÒÂÏË Â„Ó „ÂÓ˘ÂÒÍËÏË Ë ÔÓÓÈ
an era with all its heroic, but often not
ÓÚÌ˛‰¸ ÌÂÔÂÁÂÌÚ‡·ÂθÌ˚ÏË ˜ÂÚ‡ÏË.
at all representative features. Now
“ÂÔÂ¸ Á‡ ˝ÚË ÒÌËÏÍË ·Ó˛ÚÒˇ
collectors are bidding for these photos
ÍÓÎÎÂ͈ËÓÌÂ˚ ̇ ‡Û͈ËÓ̇ı.
at auctions
Galina
Dolmatovskaja
film director (doc.):
1992 ....In a Lane like Trekhprudny...
1993 ....The Matchmaker
1995 ....In the Far Corner...
1996 ....Address of Cinema:
Krasnogorsk
1999 ....Ivan Mozzhukhin, or the
Carnival Child
2001 ....Watch
2002 ....The Woman on the Mausoleum
2003 ....Ilf ñ A Double Exposition
2005 ....V.S. ñ The Soldierís Beloved
2006 ....Notes to the Past
üÛ‡ÚÓ ÔÓ„‡ÏÏ-ÒÂÏË̇Ó‚ ´üËÌÓÚ‡‚‡ª ñ
¿Ì̇ √Û‰ÍÓ‚‡
œÓ„‡Ïχ ´ÍÛ„Î˚ı ÒÚÓÎÓ‚ª Ë Ó·ÒÛʉÂÌËÈ ÙÂÒÚË‚‡Îˇ ‚ ˝ÚÓÏ
„Ó‰Û ‚Íβ˜‡ÂÚ ‚ Ò·ˇ Í‡Í Ú‡‰ËˆËÓÌÌ˚Â, Ú‡Í Ë ‚ÔÓÎÌ ÌÓ‚˚Â
‰Îˇ Ì‡Ò ÏÂÓÔˡÚˡ. 10 Ë˛Ìˇ ‚ „ÓÒÚËÌˈ ´∆ÂϘÛÊË̇ª
ÔÓȉÂÚ ´ÍÛ„Î˚È ÒÚÓΪ ̇ ÚÂÏÛ ´–ÓÒÒËÈÒ͇ˇ
ÍËÌÓ‰‡Ï‡ÚÛ„ˡ: ÍËÁËÒ ÔÓÙÂÒÒËË ËÎË ÍËÁËÒ Ë̉ÛÒÚËË?ª.
ŒÚÒÛÚÒÚ‚Ë ڇ·ÌÚÎË‚˚ı ÒˆÂ̇Ë‚ ‚ ÒÓ‚ÂÏÂÌÌÓÏ
ÓÚ˜ÂÒÚ‚ÂÌÌÓÏ ÍËÌÓ ñ ÔÓ·ÎÂχ ‰‡ÎÂÍÓ Ì ÌÓ‚‡ˇ. “ÂÏ Ì ÏÂÌÂÂ
‚ ÛÒÎӂˡı ·ÛÌÓ ‡Á‚Ë‚‡˛˘ÂÈÒˇ Ë̉ÛÒÚËË ÌÂı‚‡Ú͇ Ò‚ÂÊËı
Ò˛ÊÂÚÓ‚, ˇÍËı Ë ÊË‚˚ı „ÂÓ‚ ÏÓÊÂÚ Ó·ÂÌÛÚ¸Òˇ ̇ÒÚÓˇ˘ÂÈ
͇ڇÒÚÓÙÓÈ. —ÔÓÒ Ì‡ ͇˜ÂÒÚ‚ÂÌÌÓ ÍËÌÓ ‰Îˇ ÍËÌÓÚ‡ÚÓ‚, ÌÂ
„Ó‚Óˇ Ó ÌÂÓ·ıÓ‰ËÏÓÏ ÍÓ΢ÂÒÚ‚Â ˜‡ÒÓ‚ ‰Îˇ ÚÂ΂ˉÂÌˡ,
ÒÂ¸ÂÁÌÓ Ô‚˚¯‡ÂÚ Ô‰ÎÓÊÂÌË ‚ ÚÓÏ ˜ËÒÎÂ Ë ËÁ-Á‡
ÓÚÒÛÚÒڂˡ ÓË„Ë̇θÌ˚ı ˉÂÈ Ë Ú‡Î‡ÌÚÎË‚˚ı ‡‚ÚÓÓ‚. ¬ ˝ÚÓÈ
ÒËÚÛ‡ˆËË ÒÚ‡‰‡˛Ú ‚ÒÂ: ÔÓ‰˛ÒÂ˚, ÍÓÚÓ˚Ï ÔËıÓ‰ËÚÒˇ
‰Ó‚ÓθÒÚ‚Ó‚‡Ú¸Òˇ ‚ÂҸχ Ò‰ÌËÏ ÛÓ‚ÌÂÏ ËÒÚÓËÈ, ‡ ÔÓÓÈ
‰‡Ê Òӄ·¯‡Ú¸Òˇ ̇ Á‡ÔÛÒÍ ÙËθχ ‚ ÔÓËÁ‚Ó‰ÒÚ‚Ó ‚ ÏÓÏÂÌÚ,
ÍÓ„‰‡ ÒˆÂ̇ËÈ Â˘Â ‰ÓÔËÒ˚‚‡ÂÚÒˇ; ÂÊËÒÒÂ˚, ÍÓÚÓ˚Ï ‚ÒÂ
˜‡˘Â ÔËıÓ‰ËÚÒˇ Ò‡ÏËÏ ·‡Ú¸Òˇ Á‡ ÔÂÓ ñ ‰Îˇ ÚÓ„Ó, ˜ÚÓ·˚
ËÏÂÚ¸ ‚ÓÁÏÓÊÌÓÒÚ¸ ÒÌËχڸ ÚÓ, ˜ÚÓ ıÓ˜ÂÚÒˇ, Ë Ì‡ÍÓ̈
ÁËÚÂθ, ÍÓÚÓÓÏÛ ÔËıÓ‰ËÚÒˇ ‰Ó‚ÓθÒÚ‚Ó‚‡Ú¸Òˇ
ÍËÌÓÙËθχÏË, ‚ ÍÓÚÓÓÏ ÍÓ̈˚ Ò ÍÓ̈‡ÏË Ì ÒıÓ‰ˇÚÒˇ.
10 Ë˛Ìˇ ‚ 15.00 ̇ ´ÍÛ„ÎÓÏ ÒÚÓΪ, ÍÓÚÓ˚È Ôӂ‰ÂÚ
„·‚Ì˚È ‰‡ÍÚÓ ÊÛ̇· ´»ÒÍÛÒÒÚ‚Ó ÍËÌÓª ƒ‡ÌËËÎ
ƒÓ̉ÛÂÈ, ÔÓ·ÎÂÏ˚ ÓÚ˜ÂÒÚ‚ÂÌÌÓÈ ÍËÌÓ‰‡Ï‡ÚÛ„ËË, Ô˘ËÌ˚
Ë ÒÔÓÒÓ·˚ ÔÂÓ‰ÓÎÂÌˡ ÒˆÂ̇ÌÓ„Ó ÍËÁËÒ‡ Ó·ÒÛ‰ˇÚ „·‚˚
ÚÂÎÂ͇̇ÎÓ‚, ÍÛÔÌÂȯË ÓÒÒËÈÒÍË ÔÓ‰˛ÒÂ˚ Ë ËÁ‚ÂÒÚÌ˚Â
ÍËÌÓ‰‡Ï‡ÚÛ„Ë ñ Í‡Í ´ÒÓ‚ÂÚÒÍÓ„Óª, Ú‡Í Ë ´ÌÓ‚Âȯ„Ӫ
ÔÓÍÓÎÂÌËÈ.
¡ÂÒ‰‡ ·Û‰ÂÚ ÔÓÎÌÓÒÚ¸˛ ÓÔÛ·ÎËÍÓ‚‡Ì‡ ‚ ÊÛ̇Π´»ÒÍÛÒÒÚ‚Ó
ÍËÌÓª.
ƒËÒÍÛÒÒˡ, ÍÓÚÓÛ˛ 11 Ë˛Ìˇ ‚ 14.00 Ôӂ‰ÂÚ ÍËÌÓÍËÚËÍ,
ÔÂÁˉÂÌÚ ‘»œ–≈——» ¿Ì‰ÂÈ œÎ‡ıÓ‚, ÔÓÒ‚ˇ˘Â̇ ¢ ӉÌÓÈ
‚‡ÊÌÓÈ ÚÂÏ ñ ´≈ÒÚ¸ ÎË ‚ –ÓÒÒËË ‡ÍÚۇθÌÓ ÍËÌÓ?ª.
œËÒÛÚÒÚ‚Ë ÌÓ‚˚ı ÓÚ˜ÂÒÚ‚ÂÌÌ˚ı ͇ÚËÌ ‚ ÔÓ„‡Ïχı
ÏËÓ‚˚ı ÍËÌÓÙÂÒÚË‚‡ÎÂÈ ÚÛ‰ÌÓ Ì‡Á‚‡Ú¸ „ÛΡÌ˚Ï. “ÂÏ ÌÂ
ÏÂÌ ÓÚ‰ÂθÌ˚ ÙËθÏ˚ Ì ÚÓθÍÓ ÔÓ˚‚‡˛ÚÒˇ ̇
ÍÛÔÌÂȯË ‚ÓÔÂÈÒÍË ÒÏÓÚ˚, ÌÓ Ë ÔÓÎÛ˜‡˛Ú Ú‡Ï ‚˚Ò¯ËÂ
̇„‡‰˚. ¬ ˜ÂÏ Ô˘Ë̇ Ú‡ÍÓ„Ó ´ÌÂ‡‚ÌÓÏÂÌÓ„Óª Û˜‡ÒÚˡ
–ÓÒÒËË ‚ ÏËÓ‚ÓÏ ÍËÌÓÔÓˆÂÒÒÂ? ≈ÒÚ¸ ÎË ÌÂÍËÈ ´ˆÂÔÚª
Á‡‚Ó‚‡Ìˡ β·‚Ë Á‡Ô‡‰Ì˚ı ÁËÚÂÎÂÈ Ë ÔÓÙÂÒÒËÓ̇ÎÓ‚? ÃÓ„ÛÚ
ÎË Ë‰ÂË ÓÚ˜ÂÒÚ‚ÂÌÌ˚ı χÒÚÂÓ‚ ÍËÌÓ ÒÓ‚Ô‡ÒÚ¸ Ò Ó·˘ËÏ
̇Ô‡‚ÎÂÌËÂÏ ‡Á‚ËÚˡ ÏËÓ‚Ó„Ó ÍËÌÓÔÓˆÂÒÒ‡ ñ ËÎË Ì‡Ï
ÒΉÛÂÚ ËÒ͇ڸ Ò‚ÓÈ ÒÓ·ÒÚ‚ÂÌÌ˚È ÔÛÚ¸, Ì ӄΡ‰˚‚‡ˇÒ¸ ̇
˜ÛÊË ‚ÍÛÒ˚ Ë ÒıÂÏ˚ ‡·ÓÚ˚? Õ‡ ˝ÚË ‚ÓÔÓÒ˚ ÔÓÔÓ·Û˛Ú
̇ÈÚË ÓÚ‚ÂÚ˚ Ó„‡ÌËÁ‡ÚÓ˚ Ë ÓÚ·Ó˘ËÍË ÍÛÔÌÂȯËı
‚ÓÔÂÈÒÍËı ÍËÌÓÙÂÒÚË‚‡ÎÂÈ, ‚Â‰Û˘Ë ÍËÌӂ‰˚ Ë
ÍËÌÓÍËÚËÍË.
œÓÎÌÓÒÚ¸˛ χÚÂˇÎ˚ ´ÍÛ„ÎÓ„Ó ÒÚÓ·ª ·Û‰ÛÚ ÓÔÛ·ÎËÍÓ‚‡Ì˚ ‚
ÊÛ̇Π´üËÌÓÔÓˆÂÒÒª.
≈ÒÎË ´ÍÛ„Î˚ ÒÚÓÎ˚ª ÛÊ ÒÚ‡ÎË ÌÂÓÚ˙ÂÏÎÂÏÓÈ ˜‡ÒÚ¸˛
ÍËÌÓÙÂÒÚË‚‡Îˇ ‚ —Ó˜Ë, ÚÓ ÔÓ‰˛ÒÂÒÍËÈ ÔËÚ˜ËÌ„ ‰Îˇ
ÓÒÒËÈÒÍÓÈ Ë̉ÛÒÚËË ñ ÒÓ·˚ÚË ÒÓ‚Â¯ÂÌÌÓ ÌÓ‚ÓÂ.
œËÚ˜ËÌ„ ñ Ó„‡Ì˘ÂÌ̇ˇ ‚Ó ‚ÂÏÂÌË ÔÂÁÂÌÚ‡ˆËˇ ÔÓÂÍÚ‡,
ÍÓÚÓÛ˛ ‰Â·ÂÚ ÔÓ‰˛ÒÂ ñ ËÎË ´ÒÓÎÓª, ËÎË ‚ ÒÓÒÚ‡‚Â
´ÍÓχ̉˚ª, ‚Íβ˜‡˛˘ÂÈ ‚ Ò·ˇ ÂÊËÒÒÂ‡, ‡ ‚ÓÁÏÓÊÌÓ, Ë
ÒˆÂ̇ËÒÚ‡. ‘Óχ ÔËÚ˜ËÌ„‡ ‰‡ÂÚ ‚ÓÁÏÓÊÌÓÒÚ¸ ÔÓ‰˛ÒÂÛ ˇÍÓ
Á‡ˇ‚ËÚ¸ Ó Ò‚ÓÂÏ ÌÓ‚ÓÏ ´‰ÂÚË˘Âª, Ì ÔÂ‰‡‚‡ˇ ÌÂÓ·ıÓ‰ËÏÛ˛
ËÌÙÓχˆË˛ ´ËÁ ÛÒÚ ‚ ÛÒÚ‡ª Ë ËÁ Ó‰ÌÓ„Ó ÏÓ·ËθÌÓ„Ó ÚÂÎÂÙÓ̇
‚ ‰Û„ÓÈ. ¬ ÒËÎÛ Ó„‡Ì˘ÂÌÌÓÒÚË ‚Ó ‚ÂÏÂÌË ÔËÚ˜ËÌ„
‰ËÒˆËÔÎËÌËÛÂÚ „Ó‚Óˇ˘Â„Ó, Á‡ÒÚ‡‚Ρˇ ‚˚‰ÂÎËÚ¸ ̇˷ÓÎÂÂ
Á̇˜ËÏ˚Â, Íβ˜Â‚˚ Ù‡„ÏÂÌÚ˚ ‚ ÒÓ·ÒÚ‚ÂÌÌÓÏ ÒˆÂ̇ËË.
œ‰ÒÚ‡‚Ρˇ ÔÓÂÍÚ ËÒÍÛ¯ÂÌÌÓÈ Ë ÔÓÙÂÒÒËÓ̇θÌÓÈ
‡Û‰ËÚÓËË, ̇·Î˛‰‡ˇ Á‡  ‡͈ËÂÈ, ÔÓ‰˛ÒÂ ̇˜Ë̇ÂÚ
‚ˉÂÚ¸ ‚Ò ‰ÓÒÚÓËÌÒÚ‚‡, ‚˚Ë„˚¯Ì˚ ˝ÔËÁÓ‰˚ ñ Ë, ̇ÔÓÚË‚,
ÔÓ‚‡Î¸Ì˚ Ù‡„ÏÂÌÚ˚ Ò‚ÓÂÈ ·Û‰Û˘ÂÈ Í‡ÚËÌ˚ Á‡‰ÓÎ„Ó ‰Ó
Ò˙ÂÏÓÍ, ˜ÚÓ ÔÓÁ‚ÓΡÂÚ ÂÏÛ ÔË ÌÂÓ·ıÓ‰ËÏÓÒÚË ÒÍÓÂÍÚËÓ‚‡Ú¸
ÔÓÂÍÚ. ¬ ͇ÍÓÏ-ÚÓ ÒÏ˚ÒΠ‡Û‰ËÚÓˡ ÔËÚ˜ËÌ„‡ ñ ˝ÚÓ
ˉ‡θ̇ˇ ÙÓÍÛÒ-„ÛÔÔ‡, Á‡ËÌÚÂÂÒÓ‚‡Ì̇ˇ Ë
ÔÓÙÂÒÒËÓ̇θ̇ˇ, ‡ Ò‡Ï ÔËÚ˜ËÌ„ ñ ˜ÂÁ‚˚˜‡ÈÌÓ ˝ÙÙÂÍÚË‚Ì˚È
ËÌÒÚÛÏÂÌÚ ‡Ì‡ÎËÁ‡.
œ‰ÔÓ·„‡Âχˇ ÒıÂχ ÏÂÓÔˡÚˡ, ÍÓÚÓÓ ÔÓȉÂÚ 9 Ë˛Ìˇ,
Ú‡ÍÓ‚‡. —ÂÏÂ˚Ï ÏÓÎÓ‰˚Ï ÔÓ‰˛ÒÂ‡Ï ·Û‰ÂÚ ‰‡ÌÓ ÔÓ 10ñ15
ÏËÌÛÚ Ì‡ ÔÂÁÂÌÚ‡ˆË˛ Ò‚ÓÂ„Ó ÔÓÂÍÚ‡. «‡ ˝ÚÓ ‚ÂÏˇ ÓÌË
‰ÓÎÊÌ˚ ·Û‰ÛÚ Ì ÚÓθÍÓ ˝ÙÙÂÍÚÌÓ Ë Û·Â‰ËÚÂθÌÓ Ô‰ÒÚ‡‚ËÚ¸
ÓÒÌÓ‚ÌÛ˛ ˉ², ´ÔÓÒ·Ì˪ Ò‚ÓÂ„Ó ‰ÂÚˢ‡, ÌÓ Ë ËÁÎÓÊËÚ¸
ÓÒÌÓ‚ÌÛ˛ ‰ÂÎÓ‚Û˛ ËÌÙÓχˆË˛ ñ ÓÁ̇ÍÓÏËÚ¸ ‡Û‰ËÚÓ˲ Ò
Ô‰‚‡ËÚÂθÌ˚Ï Í‡ÒÚËÌ„ÓÏ, ‰‡Ú¸ Ô‰ÒÚ‡‚ÎÂÌËÂ Ó Ò˙ÂÏÓ˜Ì˚ı
Ó·˙ÂÍÚ‡ı Ë Ì‡ÚÛÂ, ‡ Ú‡ÍÊ ÒÓÓ·˘ËÚ¸ Ó ÙË̇ÌÒÓ‚˚ı
Ó·ÒÚÓˇÚÂθÒÚ‚‡ı ÔÓÂÍÚ‡. —‚ÓË ÌÓ‚˚ ÔÓÂÍÚ˚ Ô‰ÒÚ‡‚ˇÚ
ÔÓ‰˛ÒÂ˚ Շڇθˇ ÃÓÍˈ͇ˇ (´»ÁÓ·‡Ê‡ˇ ÊÂÚ‚Ûª), ŒÎ¸„‡
¬‡ÒË肇 (´ŒÒÚÓ‚ª), –ÓÏ‡Ì ¡ÓËÒ‚˘ (´—‚Ó·Ó‰ÌÓÂ
Ô·‚‡Ì˪), ≈ÎÂ̇ √ÎËÍÏ‡Ì (´œËÚÂ FMª) Ë ‰Û„Ë ÏÓÎÓ‰˚Â,
ÌÓ ÛÊ ‰ÓÒÚË„¯Ë ÓÔ‰ÂÎÂÌÌÓ„Ó ÛÓ‚Ìˇ ÔÓÙÂÒÒËÓ̇Î˚.
—ÎÛ¯‡ÚÂΡÏË ÔËÚ˜ËÌ„‡ ÒÚ‡ÌÛÚ ÍÛÔÌÂȯË ˄ÓÍË ÓÒÒËÈÒÍÓ„Ó
ÍËÌÓ˚Ì͇: ÔÓ‰˛ÒÂ˚, ‰ËÒÚË·¸˛ÚÓ˚, Ô‰ÒÚ‡‚ËÚÂÎË
ÚÂÎÂ͇̇ÎÓ‚. –ÂÁÛθڇÚÓÏ ÔËÚ˜ËÌ„‡ ‰ÓÎÊÌÓ ÒÚ‡Ú¸ ÒÓÁ‰‡ÌËÂ
ÌÓ‚˚ı Ô‡ÚÌÂÒÍËı Ó·˙‰ËÌÂÌËÈ, ÛÒÚ‡ÌÓ‚ÎÂÌË ‡·Ó˜Ëı Ë
΢Ì˚ı ÍÓÌÚ‡ÍÚÓ‚ ñ Ë, Í‡Í ÒΉÒÚ‚Ë ñ ÔÓˇ‚ÎÂÌË ̇
ÓÚ˜ÂÒÚ‚ÂÌÌÓÏ ˝Í‡Ì ҂ÂÊËı, ˇÍËı Ë Ú‡Î‡ÌÚÎË‚˚ı
ÍËÌÓÙËθÏÓ‚.
ü ÔËÚ˜ËÌ„Û ËÁ‰‡Ì ÓÚ‰ÂθÌ˚È Í‡Ú‡ÎÓ„, ‚ ÍÓÚÓÓÏ ÒÓ‰ÂÊËÚÒˇ
ËÌÙÓχˆËˇ Ó· Û˜‡ÒÚÌË͇ı Ë Ëı ÔÓÂÍÚ‡ı.
ROUND TABLES
ÍÛ„Î˚Â ÒÚÓÎ˚
round tables
ü–”√À¤≈ —“ŒÀ¤
ìKinotavrî Seminar Programme Curator ñ Anna Gudkova
This year the programme of round tables and discussions of the
festival includes both traditional and innovative events. There will be
a round table on the theme of ìThe Russian script writing: crisis of
the profession or crisis of the industry?î in the hotel ìZhemchuzhinaî
on 10 June. The lack of talented scripts in modern Russian cinema is
not a new problem. Nevertheless, under the conditions of a
turbulently developing industry the shortage of fresh stories and
striking and vivid heroes can turn into a real disaster. The demand
for good films for cinemas, not to speak about the required amount of
hours for television, significantly exceeds the offers ñ for lack of
original ideas and talented authors. In this situation everybody
suffers. Producers have to be content with average stories and often
have to agree to begin film production before the script is completed;
directors more and more often have to take the pen in their own
hands in order to have adequate material for realising their cinematic
ideas. Finally, the spectator more and more frequently has be
satisfied with films where the plotlines donít add up.
On 10 June at 15.00 at the round table, which will be lead by the
editor-in-chief of the journal Iskusstvo kino (Film Art) Daniel
Dondurei, the heads of television channels, important Russian
producers and well-known script writers of both the ìSovietî and
ìnewî generation will talk about the reasons for and ways of
overcoming this crisis in scriptwriting, which for the last fifteen
years has attained quite disturbing proportions.
The conversation will be published in full in the journal
ìIskusstvo kinoî.
On 11 June at 14.00 a discussion will be led by the film critic and
FIPRESCI president Andrei Plakhov. It is devoted to another
important theme: whether there is topical cinema in Russia. The
presence of new Russian films in the programmes of international
film festivals can hardly be called regular. Nevertheless, individual
films not only break through to the largest European screenings, but
they also receive top awards there. What is the reason for such a
non-uniform participation of Russia in the global film-process? Is
there a recipe for gaining the love of western spectators and
professionals? Can national masters of cinema fit into the overall
direction of the development of world cinema, or should we search
for our own way, not looking at othersí tastes and work habits?
These questions will be discussed within the framework of the round
table on 11 June at 14.00 by the foreign visitors of ìKinotavrî, the
directors and selectors of the largest European film festivals, leading
film scholars and critics.
The materials of this round table will be published in the journal
ìKino-Processî.
If the round tables have already became an integral part of the film
festival in Sochi, then the producersí pitching is an entirely new
event for the Russian industry. Pitching is the presentation of a
project in a limited amount of time, delivered by the producer,
either on his own or with the creative team, including the director
and possibly the script writer. The form of the pitching firstly
enables the producer to speak about his new creation without
having to rely word-of-mouth propaganda of mobile phone
conversations. By virtue of the time limit, the format of pitching
disciplines the speaker, forcing him to concentrate on the most
significant aspects of his script. Presenting the project to an
experienced and professional audience and observing its reaction,
the producer begins to see the advantages and effective episodes,
and also on the contrary, the flawed fragments of the future film
long before the shooting, which allows him to correct the project, if
necessary. In some sense the audience of a pitching is an ideal focus
group: interested and professional; the pitching itself becomes an
extremely effective tool for analysis.
The prospective schedule of events, which will take place on 9 June
is thus: seven young producers will have 10-15 minutes for the
presentation of their project. In this time they should not only
present effectively and convincingly the basic idea, the ´messageª of
the project, but also state the basic business information, such as
preliminary casting, choice of location, and financial situation of the
project. New projects are presented by the producers Natalia
Mokritskaya (ìPlaying the Victimî), Olga Vasilieva (ìIslandî),
Roman Borisevich (ìFree Floatingî), Elena Glikman (ìPiter FMî) and
other young professionals who have already achieved a certain level.
The audience of the pitchings will include the key players in the
Russian film-market: producers, distributors, representatives of
television channels. The result of the pitching should be the
creation of new associations, the establishment of both working
and personal contacts, and, as a consequence, the appearance of
fresh, impressive and talented films on the national screens.
For the pitching a separate catalogue with information on
participants and their projects will be issued.
181
ƒÊÂÈÏË ¡˝‰¯ÓÛ/ Jamie Bradshaw
182
»Ì̇ “͇˜ÂÌÍÓ/ Inna Tkachenko
—≈ûտ–
´ü»ÕŒ–≈üÀ¿Ã¿:
”œ–¿¬À≈Õ»≈
œŒÀ≈“ŒÃª
ÃÓ‰Â‡ÚÓ ñ »Ì̇ “͇˜ÂÌÍÓ
—ÓÁ‰‡ÌË Ô·͇ڇ ÙËθχ Ë Ì‡ÛÊÌÓÈ ÂÍ·Ï˚.
œÓËÁ‚Ó‰ÒÚ‚Ó ÍËÌÓÓÎË͇.
√η ¿ÎÂÈÌËÍÓ‚/ Gleb Aleinikov
—ÓÒÚ‡‚ÎÂÌË ÂÍ·ÏÌÓ„Ó ÚÂÍÒÚ‡.
—Â„Ó‰Ìˇ ÔÓ‰˛ÒÂ˚ Ë ÔÓ͇ÚÌ˚ ÍÓÏÔ‡ÌËË Ô‰˙ˇ‚Ρ˛Ú
‚˚ÒÓÍË Ú·ӂ‡Ìˡ Í Í‡˜ÂÒÚ‚Û ÂÍ·ÏÌÓ„Ó Ô‡ÍÂÚ‡,
ÒÚ‡‚¯Â„Ó „·‚Ì˚Ï ˝ÎÂÏÂÌÚÓÏ ÔÓ‰‚ËÊÂÌˡ ͇ÚËÌ˚. ÕÓ
ËÏÂÌÌÓ ´Í‡˜ÂÒÚ‚Óª Í‡Í ÒÛ·˙ÂÍÚË‚ÌÓ ÔÓÌËχÂÏÓ ´Ì˜ÚÓª
ˇ‚ΡÂÚÒˇ Ô‰ÏÂÚÓÏ ÒÔÓÓ‚ ÏÂÊ‰Û Á‡Í‡Á˜Ë͇ÏË
ÍËÌÓÂÍ·Ï˚ Ë Â ‡‚ÚÓ‡ÏË-ÔÓËÁ‚Ó‰ËÚÂΡÏË.
ü‡ÍËÏË ÒÓÓ·‡ÊÂÌˡÏË ÛÍÓ‚Ó‰ÒÚ‚Û˛ÚÒˇ ‰ËÁ‡ÈÌÂ˚ Ë
ÂÊËÒÒÂ˚, ‰Â·ˇ Ò‚ÓË Ô‰ÎÓÊÂÌˡ ÔÓ‰˛ÒÂ‡Ï Ë
ÔÓ͇ÚÌ˚Ï ÍÓÏÔ‡ÌˡÏ?
Õ‡ÒÍÓθÍÓ Û‚ÂÂÌÌÓ ÒÓÁ‰‡ÚÂÎË ÓÚ˜ÂÒÚ‚ÂÌÌÓÈ ÍËÌÓÂÍ·Ï˚
ÓËÂÌÚËÛ˛ÚÒˇ ‚ ÏËÓ‚ÓÏ Ë ËÒÚÓ˘ÂÒÍÓÏ ÍÓÌÚÂÍÒÚ‡ı
¡ÓËÒ fiı‡Ì‡ÌÓ‚/ Boris Yukhananov
‰‡ÌÌÓÈ Ó·Î‡ÒÚË?
√·‚Ì˚ ÔÓËÁ‚Ó‰ËÚÂÎË Ë ÎÛ˜¯Ë ‡‚ÚÓ˚ ÓÚ˜ÂÒÚ‚ÂÌÌÓÈ
ÍËÌÓÂÍ·Ï˚ Ô‰ÒÚ‡‚ˇÚ Ò‚ÓË ‡·ÓÚ˚, Á̇Ìˡ Ë Ë‰ÂË ‚
ÙÓÏ ¯ÓÛ-χÒÚÂ-Í·ÒÒÓ‚ ÔÓ ÏÓÌÚ‡ÊÛ Ë ‰ËÁ‡ÈÌÛ.
—ÔˆˇθÌÓ ÒÓ·˚ÚË ÒÂÏË̇‡ ñ χÒÚÂ-Í·ÒÒ ƒÊÂÈÏË
¡˝‰¯ÓÛ (Jamie Bradshaw, —ÿ¿), Í‡ÚË‚ÌÓ„Ó ‰ËÂÍÚÓ‡ Ë
Òӂ·‰Âθˆ‡ ÍÓÏÔ‡ÌËË Ignition Creative, Ó‰ÌÓ„Ó ËÁ ÎˉÂÓ‚
ÂÍ·ÏÌÓ„Ó ˚Ì͇ √ÓÎÎÛ‚Û‰‡. —Â‰Ë ÔÓÂÍÚÓ‚ ƒÊÂÈÏË
¡˝‰¯ÓÛ: ´√ÓÓ‰ „ÂıÓ‚ª (Sin City), ´¿‚ˇÚÓª (The
Aviator), ´«‚ÂÁ‰Ì˚ ‚ÓÈÌ˚: ›ÔËÁÓ‰ 2ª (Star Wars: Episode
2), ´ÃËÒÚÂ Ë ÏËÒÒËÒ —ÏËÚª (Mr. And Mrs. Smith),
´◊ÂÎÓ‚ÂÍ-Ô‡ÛÍ 1ñ2ª (Spiderman, Spiderman 2), ´“ÛÔ
Ì‚ÂÒÚ˚ª (Tim Burtonís Corpse Bride), ´”·ËÚ¸ ¡Ëη 1ñ2ª
(Kill Bill (Volís 1ñ2)), ´√ÂÓȪ (Hero), ´—ÚÂÎÓͪ (Shooter).
≈‚„ÂÌËÈ –‡ÈˆÂÒ/ Evgeni Raitses
183
SEMINAR
ìFILM ADVERTISING:
FLIGHT
MANAGEMENTî
ÇڂÂÈ ≈‚ÒÚË„Ì‚/ Matvei Yevstigneyev
Moderator ñ Inna Tkachenko
The creation of film posters and outdoor advertising.
The production of trailers.
The drafting of the advertising text.
¿Ì‰ÂÈ —Ëθ‚ÂÒÚÓ‚/ Andrei Silvestrov
Today producers and distributors demand high quality of the
advertising package, which has become the main element in
the promotion of a film. But ìqualityî as a subjectively
understood ìsomethingî often becomes an issue of dissent
between the customers of film advertising and its authorsproducers.
What are the motives that guide designers and directors who
make suggestions to producers and distributors?
How well versed are the makers of domestic film advertising
in the global and historical context of a given area?
The main producers and the authors of the best Russian film
advertising will present their work, knowledge and ideas in
the form of a show-seminar on editing and design.
A special event of the seminar is a masterclass by Jamie
Bradshaw, USA, creative director and the co-owner of the
company Ignition Creative, one of the leaders in the
Hollywood advertising market. Among Jamie Bradshawís
projects are ìSin Cityî, ìThe Aviatorî, ìStar Wars: Episode
2î, ìMr. and Mrs. Smithî, ìSpidermanî, ìSpiderman 2î, ìTim
Burtonís Corpse Brideî, ìKill Billî (Vols 1ñ2), ìHeroî,
ìShooterî.
—Â„ÂÈ ÿ‡Ìӂ˘/ Sergei Shanovich
»Ì‰ÂÍÒ ÙËθÏÓ‚
Index of films
184
$8 1/2 ..............................................................................................141
14 02 ..............................................................................................46
9:00 œŒ÷≈À”… ..............................................................................45
¿ — ƒ≈“‹Ã» - ÿ≈—“≈–Œ ..............................................................129
¿À≈ü—¿Õƒ– Õ≈¬—ü»… ................................................................176
¿À≈ü—¿Õƒ–¿ ................................................................................10
¿ÀÀ≈-Œœ! ....................................................................................116
¿–“≈À‹ ........................................................................................117
¡≈— ..............................................................................................130
√≈– ..............................................................................................131
¡–ŒÕ≈ÕŒ—≈÷ "œŒ“≈Ãü»Õ"..........................................................157
¬ Œ∆»ƒ¿Õ»» ◊”ƒ¿......................................................................86
¬≈—≈À¤≈ –≈¡fl“¿ ........................................................................173
¬≈—Õ¿ Õ¿ «¿–≈◊ÕŒ… ”À»÷≈ ....................................................160
¬Õ”ü √¿√¿–»Õ¿ ..........................................................................88
¬ŒÀü ............................................................................................74
¬ŒÀüŒƒ¿¬ »« –Œƒ¿ —≈–¤’ œ—Œ¬ ................................................90
¬–≈Ãfl ∆¿“¬¤ ............................................................................142
√¿ÀŒœŒÃ œŒ ≈¬–Œœ¿Ã ................................................................47
√≈–¡¿–»… ....................................................................................48
√ÀflÕ≈÷ ..........................................................................................8
√–”« 200 ........................................................................................16
ƒ¬¿ ¬ ŒƒÕŒÃ ................................................................................18
ƒ≈¬Œ◊ü¿ ƒ”–¿ ............................................................................49
ƒ≈Õ‹ «Õ¿Õ»… ..............................................................................50
ƒ≈Õ‹ –Œ∆ƒ≈Õ»fl »Õ‘¿Õ“¤ ........................................................20
ƒ≈–«ü»≈ ƒÕ» ..............................................................................92
ƒ≈“» ¿ƒ¿Ã¿ ................................................................................51
ƒ«›Õ-ƒ–¿…¬ ..................................................................................52
ƒŒÀ√Œ≈ œ–ŒŸ¿Õ»≈ ....................................................................143
ƒŒÃ Õ¿ “–”¡ÕŒ…........................................................................168
ƒ–”√¿fl ∆»«Õ‹ ..........................................................................117
ƒ–”√¿fl ÃŒ—ü¬¿ ..........................................................................53
ƒ–”√»≈ –”——ü»≈ ........................................................................118
∆¿–¿ ............................................................................................94
∆≈À≈«Õ¿fl œfl“¿ ŒÀ»√¿–’»» ..................................................144
∆≈—“ŒüŒ—“‹ ................................................................................22
∆»«Õ‹ ¬–¿—œÀŒ’ ........................................................................96
∆»À-¡¤À ” ƒ≈ƒ”ÿü»Ö ............................................................118
«¬ŒÕŒü ........................................................................................54
«ŒÀ”ÿü¿ ....................................................................................171
»¬¿Õ √–Œ«Õ¤… ..........................................................................155
»ƒ»Œ“ ..........................................................................................55
»«√Õ¿Õ»≈ ....................................................................................12
»Õ«≈≈Õ‹-ÿÀ»Õ¿ ........................................................................24
ü¿Ã≈ÕÕ¤… ÷¬≈“Œü (1944 - 1956) ..............................................124
ü¿–Õ¿¬¿À‹Õ¿fl ÕŒ◊‹ ................................................................175
üŒ¬◊≈√ ........................................................................................132
üŒ«¿..............................................................................................56
üŒÀŒ¡Œü ......................................................................................57
üŒÀ¤¡≈À‹Õ¿fl ............................................................................58
ü–≈Ã≈Õ‹ ......................................................................................26
ü–”∆≈Õ»≈ ¬ œ–≈ƒ≈À¿’ üŒÀ‹÷≈¬Œ… ......................................145
ü–¤—ü» » üÕ»√¿ ........................................................................59
ü”ü¿ ............................................................................................28
À¿—“Œ◊ü» œ–»À≈“≈À» ................................................................76
À≈Õ»Õ üŒÕ‹ » À≈Õfl ................................................................119
À≈“fl“ ∆”–¿¬À» ........................................................................153
ÀŒ¬» ¬ŒÀÕ” ................................................................................98
Àfi¡¿ ..........................................................................................133
Àfi¡Œ¬‹-ÃŒ–üŒ¬‹ ......................................................................100
Àfiƒ» »« ü¿ÃÕfl..........................................................................60
ÿÀ‹◊»ü»..................................................................................134
ÿ–“ 1943 √Œƒ¿ ............................................................................61
ÿÿ≈Õ‹ü¿ ................................................................................162
Ã≈’¿Õ»◊≈—ü¿fl —fi»“¿ ............................................................146
Ã≈◊“¿ ........................................................................................166
ÃŒ—ü¬¿ ........................................................................................62
Õ¿“”–Ÿ»÷¿ ................................................................................30
Õ≈¬¿Àflÿü¿ ..............................................................................102
Õ≈∆Õ¤… ¬Œ«–¿—“ ......................................................................147
Õ»ü»“¿ » Õ»ü»“¿ ....................................................................135
Œ¡ÀŒÃŒü »Ãœ≈–»»....................................................................174
Œƒ»Õ ............................................................................................63
ŒƒÕ¿ Àfi¡Œ¬‹ Õ¿ ûÀÀ»ŒÕ ....................................................104
Œü–¿»Õ¿ ....................................................................................156
Œ“≈÷ —≈–√»… ..............................................................................167
Œ“–¤¬ ..........................................................................................32
Œ“—“¿¬ÕŒ… ”◊»“≈À‹..................................................................119
œ¿ƒ≈Õ»≈ ¬ Õ≈¡≈—¿......................................................................78
œ¿–¿√–¿‘ 78 ..............................................................................106
œ»–¿“¤ ü¿–»¡—üŒ√Œ ÃŒ–fl: Õ¿ ü–¿fi —¬≈“¿ ........................108
œŒ «¿üŒÕ” ..................................................................................161
œŒ¬Œƒ¤–‹ ..................................................................................110
œŒÕ≈ƒ≈À‹Õ»ü ............................................................................120
œŒ“ŒÃŒü ◊»Õ√»—-’¿Õ¿ ............................................................170
œ–»Ã≈◊¿Õ»fl ü œ–ŒÿÀŒÃ” ......................................................180
œ–Œ—“¤≈ ¬≈Ÿ» ............................................................................34
œ–ŒŸ¿…, fi∆Õ¤… √Œ–Œƒ ............................................................80
œ”“≈¬ü¿ ¬ ∆»«Õ‹ ....................................................................172
œ¤À‹ ..........................................................................................136
œfl“‹ ûՔ“ ................................................................................64
–ŒÃ¿Õ— Õ¿ƒ»–¿ ........................................................................120
–Œ——Œÿ‹Ö –≈√“¿…à ..................................................................121
–”—¿Àü¿ ......................................................................................36
—ü¿«ü¿, –¿——ü¿«¿ÕÕ¿fl Õ¿ ÕŒ◊‹ ............................................65
—ü–»œ¿◊ ......................................................................................66
—Œ–Œü œ≈–¬¤… ..........................................................................169
—“¿◊ü¿........................................................................................165
—“–Œ√»… fiÕŒÿ¿ ........................................................................163
—◊¿—“‹≈ ......................................................................................159
“¿Õ√Œ ƒÀfl "«ü" ..........................................................................121
“»—ü» ..........................................................................................38
“–≈“‹fl Ã≈Ÿ¿Õ—ü¿fl ..................................................................158
“–»”Ñ ¡ŒÀ» ............................................................................137
”≈’¿À ..........................................................................................67
÷≈À”… Ã≈Õfl ü–≈œ◊≈ ................................................................122
◊¿œ¿≈¬ ......................................................................................154
◊≈ÀŒ¬≈ü-¬≈“≈– ............................................................................82
◊”∆»≈ ƒ≈“» (1955 - 1963) ..........................................................124
ÿ≈–ÀŒü ’ŒÀ× » ƒŒü“Œ– ¬¿“—ŒÕ ............................................68
ÿ»Õ≈À‹ ......................................................................................164
›—œ–≈——Œ ......................................................................................69
fiÕŒ—“‹ ÿü—»Ã¿......................................................................177
fi–»… ¿–¿¡Œ¬. Ã≈’¿Õ»ü¿ —”ƒ‹¡¤ ..........................................70
fl Œ—“¿fi—‹ ..................................................................................112
flœ“»ü-’›—≈ ................................................................................122
fl– ..................................................................................................40
$8 1/2 ..............................................................................................141
14 02 ..............................................................................................46
ALEXANDER NEVSKY ..................................................................176
ALEXANDRA ..................................................................................10
ALLEZ-HOP! ..................................................................................116
ALONE............................................................................................63
ARK..............................................................................................132
ARTEL ..........................................................................................117
AWAITING THE MIRACLE ..............................................................86
BANISHMENT, THE ........................................................................12
BATTLESHIP POTEMKIN, THE ......................................................157
BED AND SOFA (Three in Love) ......................................................158
BESAME MUCHO ..........................................................................122
BOYS ............................................................................................134
BY THE LAW (Dura Lex) ................................................................161
CALL, THE ......................................................................................54
CARGO 200 ....................................................................................16
CARNIVAL NIGHT ........................................................................175
CHAPAEV......................................................................................154
CHILDREN OF ADAM ......................................................................51
CHILDREN OF OTHERS (1955 - 1963), THE......................................124
CINDERELLA ................................................................................171
CRANES ARE FLYING, THE ..........................................................153
CRUELTY ........................................................................................22
DARING DAYS ................................................................................92
DAY OF KNOWLEDGE ....................................................................50
DEMON ........................................................................................130
GER ..............................................................................................131
DIFFERENT LIFE, A ......................................................................117
DREAM, THE ................................................................................166
DUST ............................................................................................136
ESPRESSO ......................................................................................69
FALLING INTO HEAVEN..................................................................78
FATHER SERGIUS ........................................................................167
FIVE MINUTES ................................................................................64
FORTY-FIRST ................................................................................169
FRAGMENT OF EMPIRE, A ............................................................174
GAGARIN'S GRANDSON ..................................................................88
GALLOP ACROSS EUROPE ..............................................................47
GENTLE AGE, THE ........................................................................147
GLOSS ..............................................................................................8
GOAT ..............................................................................................56
GOOD BYE, SOUTHERN CITY ..........................................................80
GUIDE-DOG, THE ..........................................................................110
HAPPINESS ..................................................................................159
HAPPY GUYS/ JOLLY FELLOWS ....................................................173
HARD-HEARTED ............................................................................26
HARVEST TIME ............................................................................142
HEAT..............................................................................................94
HERBARIUM ..................................................................................48
HE'S GONE ....................................................................................67
HOLLOW, THE ................................................................................40
HOUSE ON TRUBNAYA SQUARE, THE............................................168
I STAY ..........................................................................................112
IDIOT..............................................................................................55
INFANTE'S BIRTHDAY ....................................................................20
INSPIRING ......................................................................................30
INZEEN-RASPBERRY ......................................................................24
IRON HEEL OF OLIGARCHY, THE ..................................................144
IVAN THE TERRIBLE ....................................................................155
KISS ME O-NINE HUNDRED ............................................................45
KOLOBOK ......................................................................................57
KUKA ............................................................................................28
LIFE BY SURPRISE ........................................................................96
LONG FAREWELL..........................................................................143
LOVEY-DOVEY ..............................................................................100
LULLABY........................................................................................58
LYONYA'S HORSE AND LYONYA ..................................................119
LYUBA..........................................................................................133
MARCH 1943 ..................................................................................61
MASHENKA ..................................................................................162
MECHANICAL SUITE, A ................................................................146
MERMAID, THE ..............................................................................36
MONDAY ......................................................................................120
MOSCOW ........................................................................................62
NEVALYASHKA ("Tumbler Toy")......................................................102
NIKITA AND NIKITA ....................................................................135
NOTES TO THE PAST ....................................................................180
ONE LOVE IN A MILLION ..............................................................104
OTHER MOSCOW, THE ....................................................................53
OTHER RUSSIANS, THE ................................................................118
OUTSKIRTS ..................................................................................156
OVERCOAT, THE............................................................................164
PARAGRAPH 78 ............................................................................106
PAYING GUEST ............................................................................118
PIRATES OF THE CARIBBEAN: AT WORLD'S END ..........................108
RATS AND THE BOOK ....................................................................59
RETIRED TEACHER, THE ..............................................................119
ROAD TO LIFE ..............................................................................172
ROMANCE OF NADIR, THE ............................................................120
ROSSOSHÖ RAGTIMEÖ ..................................................................121
SEVERE YOUNG MAN, A ..............................................................163
SHERLOCK HOLMES AND DOCTOR WATSON ....................................68
SILLY GIRL, THE ............................................................................49
SIMPLE THINGS ..............................................................................34
SIX WITH THE CHILDREN ............................................................129
SOAR ..............................................................................................32
SPINNING INSIDE THE RING ROAD ..............................................145
SPRING ON ZARECHNAYA STREET................................................160
STONE FLOWER (1944 - 1956), THE ................................................124
STONE PEOPLE ..............................................................................60
STORM OVER ASIA ........................................................................170
STRIKE ........................................................................................165
SURF'S UP ......................................................................................98
SWALLOWS HAVE ARRIVED, THE ..................................................76
TALE TOLD BY NIGHT, A ................................................................65
TANGO FOR A CONVICT ................................................................121
TRIUMPH OF PAIN ........................................................................137
TWO IN ONE ..................................................................................18
VICE ..............................................................................................38
VIOLINIST, THE ..............................................................................66
WIND-MAN ....................................................................................82
WOLF ............................................................................................74
WOLFHOUND ..................................................................................90
YAPTIK-HASSE..............................................................................122
YOUTH OF MAXIM, THE ................................................................177
YURI ARABOV. MECHANICS OF FATE ............................................70
ZEN DRIVE ....................................................................................52
Akhmatov, Pulad ........................................................................121
Akhmetov, Khuat ....................................................................82, 83
Alexandrov, Grigori ....................................................................173
Bakuradze, Bakur..........................................................................62
Balabanov, Alexei ....................................................................16, 17
Balayan, Valeri............................................................................120
Baltser, Ruslan........................................................................92, 93
Barbe, Vlad ..................................................................................57
Barnet, Boris ......................................................................156, 168
Bartenev, Edgar ..........................................................................122
Basalaeva, Daria ..........................................................................137
Bashirov, Alexander..........................................................74, 75, 144
Bedarev, Evgeni ......................................................................86, 87
Bosenko, Sergei ..........................................................................118
Brannon, Ash ..............................................................................98
Brunkovsky, Alexander ............................................................96, 97
Bubnov, Alexander ........................................................................68
Buck, Chris ..................................................................................98
Chevazhevsky, Yaroslav ............................................................28, 29
Chukhrai, Grigori ........................................................................169
Davletshin, Rashid ......................................................................121
Demidova, Elena..........................................................................132
Dolmatovskaya, Galina ................................................................180
Eisenstein, Sergei ..................................................155, 157, 165, 176
Eisner, Vladimir ..........................................................................117
Ekk, Nikolai ..............................................................................172
Ermler, Fridrikh..........................................................................174
Galazov, Aslan ........................................................................76, 77
Germanika, Valeria-Gai ................................................20, 21, 67, 134
Gigineishvili, Rezo ..................................................................94, 95
Gorodetskaya, Olga ........................................................................65
Ivanov, Konstantin ........................................................................64
Kachanov, Roman ................................................................102, 103
Kalatozov, Mikhail ......................................................................153
Khlebnikov, Boris..........................................................................67
Khleborodov, Mikhail............................................................106, 107
Khutsiev, Marlen ........................................................................160
Khvan, Alexander ................................................................110, 111
Kireeva, Marianna ................................................................124, 125
Kireeva, Zoya ..............................................................................49
Klevtsov Viacheslav ......................................................................61
Kliukin, Alexei............................................................................131
Kogan, Arkadi ..............................................................................70
Konchalovsky, Andrei ................................................................ 8, 9
Konstantinopolsky, Grigori ..........................................................141
Korshunov, Filipp ........................................................................45
Korzhan, Irina ..............................................................................54
Kosheverova, Nadezhda ................................................................171
Kozintsev, Grigori ................................................................164, 177
Kuleshov, Lev ............................................................................161
Lavrov, Viacheslav ........................................................................52
Lebedev, Nikolai ......................................................................90, 91
Litovets, Sergei ............................................................................66
Liubakova, Marina ..................................................................22, 23
Loban, Sergei ..............................................................................136
Loznitsa, Sergei ..........................................................................117
Malinin, Alexander ..............................................................129, 130
Medvedkin, Alexander..................................................................159
Melikian, Anna........................................................................36, 37
Meshchaninova, Natalia ................................................................48
Meskhiev, Dmitri ........................................................................146
Mindadze, Alexander................................................................32, 33
Mironer, Felix ............................................................................160
Mitroshina, Natalia ..................................................................78, 79
Mizgiryov, Alexei ....................................................................26, 27
Morozov, Igor ..............................................................................47
Muratova, Kira........................................................................18, 19
Nekrasova, Marina ......................................................................118
Nilova, Natalia ............................................................................59
Oganesian, Karen ................................................................112, 113
Panasenko Yulia............................................................................55
Panin, Andrei..........................................................................88, 89
Paradzhanov, Georgi......................................................................51
Peretrukhina, Ksenia ....................................................................58
Popogrebsky, Alexei ................................................................34, 35
Protazanov, Yakov ......................................................................167
Pudovkin, Vsevolod......................................................................170
Raizman, Yuli ............................................................................162
Razbezhkina, Marina ........................................................40, 41, 142
Reutsky, Alexander ......................................................................63
Romm, Mikhail ..........................................................................166
Room, Abram ......................................................................158, 163
Rudnitskaya, Alina ......................................................................122
Ryazanov, Eldar ..........................................................................175
Rybakov, Leonid ..........................................................................60
Safaraliev, Oleg ......................................................................80, 81
Salakhutdinov, Ramil ..................................................................145
Shapiro, Mikhail..........................................................................171
Shchegolkov, Vladimir ..........................................................104, 105
Sidelnikova, Elena ......................................................................133
Sivkov, Vladimir......................................................................24, 25
Skabard, Tatiana ........................................................................120
Sokurov, Alexander..................................................................10, 11
Soloviev, Sergei ..........................................................................147
Statsky, Konstantin ......................................................................46
Strelnikova Svetlana ......................................................................55
Strizhenov, Alexander ..........................................................100, 101
Tiuliaeva, Maria ..........................................................................135
Todorovsky, Valeri ..................................................................38, 39
Toth, Tamas ............................................................................74, 75
Trakhtengerts, Iosif ....................................................................119
Trauberg, Leonid ..................................................................164, 177
Trofimenko, Mikhail ......................................................................50
Tsalikov, Vadim ..........................................................................119
Ursuliak, Sergei ..........................................................................143
Vasiliev, Dmitri ..........................................................................176
Vasiliev, Georgy ..........................................................................154
Vasiliev, Sergei ..........................................................................154
Verbinsky, Gore ..........................................................................108
Vladimirtseva, Tamara..............................................................88, 89
Volkova, Natalia ..........................................................................69
Voloshin Igor ................................................................................56
Voronetskaya, Tatiana ..............................................................30, 31
Yusupova, Mairam ......................................................................118
Zinoviev, Sergei ..........................................................................116
Zverkov, Omari ............................................................................53
Zviagintsev, Andrei..................................................................12, 13
»Ì‰ÂÍÒ ÂÊËÒÒÂÓ‚
Index of directors
¿ÎÂÍ҇̉Ó‚ √Ë„ÓËÈ ................................................................173
¿ıχÚÓ‚ œÛ·‰ ..........................................................................121
¿ıÏÂÚÓ‚ ’Û‡Ú ........................................................................82, 83
¡‡Í, üËÒ ....................................................................................98
¡‡ÍÛ‡‰Á ¡‡ÍÛ ..........................................................................62
¡‡Î‡·‡ÌÓ‚ ¿ÎÂÍÒÂÈ..................................................................16, 17
¡‡Î‡ˇÌ ¬‡ÎÂËÈ..........................................................................120
¡‡Î¸ÚˆÂ –ÛÒÎ‡Ì ....................................................................92, 93
¡‡·˝ ¬Î‡‰ ..................................................................................57
¡‡ÌÂÚ ¡ÓËÒ ......................................................................156, 168
¡‡ÚÂÌ‚ ›‰„‡ ..........................................................................122
¡‡Ò‡Î‡Â‚‡ ƒ‡¸ˇ ........................................................................137
¡‡¯ËÓ‚ ¿ÎÂÍ҇̉ ........................................................74, 75, 144
¡Â‰‡‚ ≈‚„ÂÌËÈ ....................................................................86, 87
¡ÓÒÂÌÍÓ —Â„ÂÈ ..........................................................................118
¡Û̸ÍÓ‚ÒÍËÈ ¿ÎÂÍ҇̉ ........................................................96, 97
¡˝ÌÌÓÌ, ›¯ ................................................................................98
¡Û·ÌÓ‚ ¿ÎÂÍ҇̉ ........................................................................68
¬‡ÒËθ‚ √ÂÓ„ËÈ........................................................................154
¬‡ÒËθ‚ ƒÏËÚËÈ ......................................................................176
¬Â·ËÌÒÍË, √Ó ..........................................................................108
¬Î‡‰ËÏËˆÂ‚‡ “‡Ï‡‡ ............................................................88, 89
¬ÓÎÍÓ‚‡ Õ‡Ú‡Îˡ..........................................................................69
¬ÓÎÓ¯ËÌ »„Ó¸ ............................................................................56
¬ÓÓ͇̈ˇ “‡Ú¸ˇÌ‡ ................................................................30, 31
√‡Î‡ÁÓ‚ ¿ÒÎ‡Ì ........................................................................76, 77
√ÂχÌË͇ ¬‡ÎÂˡ-√‡È ..............................................20, 21, 67, 134
√Ë„ËÌÂȯ‚ËÎË –ÂÁÓ ................................................................94, 95
√ÓӉˆ͇ˇ ŒÎ¸„‡ ........................................................................65
ƒ‡‚ÎÂÚ¯ËÌ –‡¯Ë‰ ......................................................................121
ƒÂÏˉӂ‡ ≈ÎÂ̇..........................................................................132
ƒÓÎχÚÓ‚Ò͇ˇ √‡ÎË̇..................................................................180
«‚ÂÍÓ‚ ŒÏ‡Ë ............................................................................53
«‚ˇ„Ë̈‚ ¿Ì‰ÂÈ ..................................................................12, 13
«ËÌÓ‚¸Â‚ —Â„ÂÈ ........................................................................116
»‚‡ÌÓ‚ üÓÌÒÚ‡ÌÚËÌ ......................................................................64
ü‡Î‡ÚÓÁÓ‚ ÃËı‡ËÎ ......................................................................153
ü‡˜‡ÌÓ‚ –ÓÏ‡Ì ....................................................................102, 103
üË‚‡ «Óˇ ................................................................................49
üË‚‡ ÇˇÌ̇ ..............................................................124, 125
ü΂ˆÓ‚ ¬ˇ˜ÂÒ·‚ ........................................................................61
üβÍËÌ ¿ÎÂÍÒÂÈ ........................................................................131
üÓ„‡Ì ¿͇‰ËÈ ............................................................................70
üÓÁË̈‚ √Ë„ÓËÈ..............................................................164, 177
üÓÌÒÚ‡ÌÚËÌÓÔÓθÒÍËÈ √Ë„ÓËÈ ..................................................141
üÓ̘‡ÎÓ‚ÒÍËÈ ¿Ì‰ÂÈ ................................................................8, 9
üÓÊ‡Ì »Ë̇ ............................................................................54
üÓ¯ÛÌÓ‚ ‘ËÎËÔÔ ......................................................................45
üӯ‚ÂÓ‚‡ Õ‡‰Âʉ‡ ..................................................................171
üÛίӂ À‚ ..............................................................................161
À‡‚Ó‚ ¬ˇ˜ÂÒ·‚ ..........................................................................52
À·‰‚ ÕËÍÓÎ‡È ....................................................................90, 91
ÀËÚӂˆ —Â„ÂÈ ............................................................................66
ÀÓ·‡Ì —Â„ÂÈ..............................................................................136
ÀÓÁÌˈ‡ —Â„ÂÈ ..........................................................................117
À˛·‡ÍÓ‚‡ ÇË̇ ..................................................................22, 23
ÇÎËÌËÌ ¿ÎÂÍ҇̉ ............................................................129, 130
ÇÏÛÎˡ ƒÏËÚËÈ........................................................................62
É‚‰ÍËÌ ¿ÎÂÍ҇̉ ................................................................159
ÃÂÎËÍˇÌ ¿Ì̇........................................................................36, 37
ÃÂÒıË‚ ƒÏËÚËÈ ......................................................................146
â‡ÌËÌÓ‚‡ Õ‡Ú‡Îˡ ..................................................................48
ÃËÁ„Ë‚ ¿ÎÂÍÒÂÈ ..................................................................26, 27
ÃË̉‡‰Á ¿ÎÂÍ҇̉ ..............................................................32, 33
ÃËÓÌÂ ‘ÂÎËÍÒ ........................................................................160
ÃËÚÓ¯Ë̇ Շڇθˇ ..............................................................78, 79
ÃÛ‡ÚÓ‚‡ üË‡ ......................................................................18, 19
ÕÂÍ‡ÒÓ‚‡ ÇË̇ ......................................................................118
ÕËÎÓ‚‡ Շڇθˇ ..........................................................................59
Œ„‡ÌÂÒˇÌ ü‡ÂÌ ..................................................................112, 113
œ‡Ì‡ÒÂÌÍÓ fiÎˡ ..........................................................................55
œ‡ÌËÌ ¿Ì‰ÂÈ ........................................................................88, 89
œ‡‡‰Ê‡ÌÓ‚ √ÂÓ„ËÈ ....................................................................51
œÂÂÚÛıË̇ üÒÂÌˡ ....................................................................58
œÓÔÓ„·ÒÍËÈ ¿ÎÂÍÒÂÈ ............................................................34, 35
œÓÚ‡Á‡ÌÓ‚ flÍÓ‚ ........................................................................167
œÛ‰Ó‚ÍËÌ ¬Ò‚ÓÎÓ‰ ....................................................................170
–‡Á·ÂÊÍË̇ ÇË̇ ........................................................40, 41, 142
–‡ÈÁÏ‡Ì fiÎËÈ ..........................................................................162
–ÂÛˆÍËÈ ¿ÎÂÍ҇̉ ......................................................................63
–ÓÏÏ ÃËı‡ËÎ ............................................................................166
–ÓÓÏ ¿·‡Ï ........................................................................158, 163
–Û‰Ìˈ͇ˇ ¿ÎË̇ ......................................................................122
–˚·‡ÍÓ‚ ÀÂÓÌˉ ..........................................................................60
–ˇÁ‡ÌÓ‚ ›Î¸‰‡ ..........................................................................175
—‡Î‡ıÛÚ‰ËÌÓ‚ –‡ÏËθ..................................................................145
—‡Ù‡‡ÎË‚ ŒÎ„ ....................................................................80, 81
—Ë‚ÍÓ‚ ¬Î‡‰ËÏË....................................................................24, 25
—ˉÂθÌËÍÓ‚‡ ≈ÎÂ̇....................................................................133
—͇·‡‰ “‡Ú¸ˇÌ‡ ........................................................................120
—ÓÍÛÓ‚ ¿ÎÂÍ҇̉ ................................................................10, 11
—ÓÎÓ‚¸Â‚ —Â„ÂÈ..........................................................................147
—Ú‡ÚÒÍËÈ üÓÌÒÚ‡ÌÚËÌ....................................................................46
ÃÓÓÁÓ‚ »„Ó¸ ............................................................................47
—ÚÂθÌËÍÓ‚‡ —‚ÂÚ·̇ ................................................................55
—ÚËÊÂÌÓ‚ ¿ÎÂÍ҇̉ ..........................................................100, 101
“Ó‰ÓÓ‚ÒÍËÈ ¬‡ÎÂËÈ ..............................................................38, 39
“ÓÚ, “‡Ï‡¯ ............................................................................74, 75
“‡Û·Â„ ÀÂÓÌˉ..................................................................164, 177
“‡ıÚÂÌ„Âˆ »ÓÒËÙ ....................................................................119
“ÓÙËÏÂÌÍÓ ÃËı‡ËÎ ....................................................................50
“˛ÎˇÂ‚‡ Çˡ ..........................................................................135
”ÒÛÎˇÍ —Â„ÂÈ ..........................................................................143
’‚‡Ì ¿ÎÂÍ҇̉ ..................................................................110, 111
’ηÌËÍÓ‚ ¡ÓËÒ..........................................................................67
’ηÓÓ‰Ó‚ ÃËı‡ËÎ ............................................................106, 107
’ۈ˂ ÇÎÂÌ ..........................................................................160
÷‡ÎËÍÓ‚ ¬‡‰ËÏ ..........................................................................119
◊‚‡Ê‚ÒÍËÈ flÓÒ·‚ ............................................................28, 29
◊Ûı‡È √Ë„ÓËÈ ........................................................................169
ÿ‡ÔËÓ ÃËı‡ËÎ ........................................................................171
ŸÂ„ÓθÍÓ‚ ¬Î‡‰ËÏË ..........................................................104, 105
›ÈÁÂ̯ÚÂÈÌ —Â„ÂÈ................................................155, 157, 165, 176
›ÈÒÌÂ ¬Î‡‰ËÏË........................................................................117
›ÍÍ ÕËÍÓ·È..............................................................................172
›ÏÎÂ ‘ˉËı ........................................................................174
fiÒÛÔÓ‚‡ ÇÈ‡Ï ........................................................................118
185
Œ„‡ÌËÁ‡ˆËË/ üÓÌÚ‡ÍÚ˚
Companies/ Contacts
A-Film (Ekaterinburg)/ ¿-ÙËθÏ
Tel.: (343) 350-00-94; e-mail: a-film@sky.ru
Andrei Konchalovsky Foundation (Moscow)
‘Ó̉ ¿Ì‰¡ üÓ̘‡ÎÓ‚ÒÍÓ„Ó
Tel.: (495) 737-88-03;
E-mail: info@konchalovsky.ru; onikola@konchalovsky.ru
www.konchalovsky.ru
ARPvision Studio (St. Petersburg)/¿–œvision
Tel.: (812) 315-68-40
Mob.: (812) 922-26-97; 8-911-230-6628
E-mail: alexfilm@yandex.ru.
Art Chance (Moscow)
Tel.: (495) 922-04-93; 960-29-39
E-mail: asharova@npcp.ru, asharova@artchance.ru
www.artchance.ru
ArtDesign (Moscow)/ ¿ÚƒËÁ‡ÈÌ
Tel.: (495) 143-91-62
Mob.: 8 926-528-5345
E-mail: marfunt@yandex.ru
Art Pictures Group (Moscow)
Tel.: (495) 143-49-44; e-mail: artpict@co.ru
Artima Studio (Moscow)/ ¿ÚËχ
Mob. (495) 792-76-73; e-mail: marinatrush@mtu-net.ru
186
ASDS (St. Petersburg)/ ¿—ƒ—
Tel.: (812) 233-10-51
info@proline-film.ru, pr@proline-film.ru
www.proline-film.ru
Atlantic Studio (Moscow)/ ¿Ú·ÌÚËÍ
Tel./ fax: (495) 181-03-86; e-mail: studio_atlantic@mail..ru
August (Moscow)/ ¿‚„ÛÒÚ
Tel.: (495) 707-27-99; mob.: 8-905 719-07-25
E-mail: mayram49@mail.ru
Azerbaijanfilm Studio (Baku, Azerbaijan)/
¿ÁÂ·‡È‰Ê‡ÌÙËθÏ
Tel./fax: (412) 430-17-91; e-mail: ket41@mail.ru
Azia-Film Studio (Novosibirsk)/ ¿Áˡ-‘ËθÏ
Tel.: (383) 361-06-42; e-mail: film-azia@online.nsk.su
BFG-Media Production (Moscow)
Tel.: (495) 241-74-28, 241-15-99
E-mail: bfg@bfgmedia.ru; www.bfgmedia.ru
Cascade Film (Moscow)/ ü‡Ò͇‰ ÙËθÏ
Tel.: (495) 241-16-02; 241-30-16
Fax: (495) 241-25-05
E-mail: filmcasc@online.ru; www. cascadefilm.ru
Central Partnership (Moscow)/ ÷ÂÌÚ‡Î œ‡ÚÌÂ¯ËÔ
Tel: (495) 777-49-53, 777-49-61; fax: (495) 799-56-70
E-mail: part@centpart.ru; www.centpart.ru
Cinema Without Frontiers (Moscow)/ üËÌÓ ·ÂÁ „‡Ìˈ
Tel: (495) 980-75-68; fax: (495) 681-63-44
E-mail: info@arthous.ru; www.arthouse.ru
CTB (Moscow - St. Petersburg)
Tel./ fax (Moscow): (495) 688-88-48, 684-58-17, 631-02-45;
Tel. (St. Petersburg): (812) 326-83-30, 8289;
fax: (812) 326-83-31
E-mail: msk@ctb.ru, pr@ctb.ru; www.ctb.ru
For Cinema Production (Moscow)/ ‘Ó —ËÌÂχ œÓ‰‡Í¯Ì
Tel.: (495) 916-90-51; fax: (495) 916-90-93
E-mail: cinemafor@mail.ru
Gala Production (Moscow)/ √ÛÔÔ‡ ÍÓÏÔ‡ÌËÈ GP
Tel.: (495) 291-47-87, 291-87-13, 291-16-63
Fax: (495) 291-89-60
E-mail: sh@gpfilm.ru; kino@gpfilm.ru; www.gpfilm.ru
Goramo Films (Moscow)
Mob. 8-910-434-7476; e-mail: goramo@mail.ru
Gemini Film Company (Moscow)/ √ÂÏËÌË ‘ËθÏ
Tel.: (495) 780-01-04; fax: (495) 780-01-05
E-mail: press-room@geminifilm.ru; www.geminifilm.ru
Globus Studio (Moscow)/ √ÎÓ·ÛÒ
Tel.: (495) 916-93-72; 916-90-36
E-mail: globus_film@mail.ru
Gubernia (Moscow)/ √Û·ÂÌˡ
Tel.: (495) 995-10-75, 406-52-14
E-mail: tengiz_semenov@animose.ru
www.masterfilm.ru
HCSF - High Courses of Scriptwriters and Film Directors
(Moscow)
¬ü—– - ¬˚үˠÍÛÒ˚ ÒˆÂ̇ËÒÚÓ‚ Ë ÂÊËÒÒÂÓ‚
Tel.: (495) 253-64-88, 253-39-57; fax: (495) 253-87-09
E-mail: hcsf@aha.ru; http://www.kinobraz.ru
Ibrus Film Studio (Moscow)/ »·ÛÒ
Tel./fax: (495) 699-70-20, 699-38-80
E-mail: galina@online.ru; gverevkina@mail.ru
Illuzion Studio (Moscow)/ »ÎβÁËÓÌ
Tel.: (495)181-04-28, 181-04-19
Fax: (495) 181-04-19
E-mail: kino@illuzia.ru
Karoprokat (Moscow)/ ü‡ÓÔÓ͇Ú
Tel.: (495) 209-26-67, www.karofilm.ru
Kazan Film Studio (Kazan, Tatarstan Republic, RF)
ü‡Á‡ÌÒ͇ˇ ÍËÌÓÒÚÛ‰Ëˇ (ü‡Á‡Ì¸)
Tel./ fax: (843) 542-28-20
E-mail: kazan_docstudio@mail.ru
Khorosho Production (Moscow)/ ’ÓÓ¯Ó œÓ‰‡Í¯Ì
Tel.: (495) 252-40-13; 252-44-64
E-mail: info@horprod.ru; andreeva@horprod.ru
Kinoforum 2000 (Moscow)/ üËÌÓÙÓÛÏ 2000
Tel.: (495) 291-7050, 291-16-63; 203-36-84
E-mail: film@asvt.ru; www.gpfilm.ru
Kinoproba (Moscow)/ üËÌÓÔÓ·‡
Tel.: (495) 181-35-29
E-mail: ttk@gorkyfilm.ru
Kinoteatr.DOC (Moscow)/ üËÌÓÚ‡Ú.DOC
Tel./fax: (495) 143-94-68; mob: +7 910-409-4081
E-mail: sinev@kinoteatrdoc.ru; beretova@kinoteatrdoc.ru
inter@kinoteatrdoc.ru; www.kinoteatrdoc.ru
Klassika (Moscow)/ ü·ÒÒË͇
E-mail: studioklassika@rambler.ru
Koktebel Film Company (Moscow)/ üÓÍÚ·Âθ
Tel.: (495) 107-05-95
E-mail: koktebel@cinemax.ru; www.koktebel.cinemax.ru
CTC Television (Moscow)
Tel/: (495) 797-41-00; fax: (495) 797-41-01
E-mail: ctc@ctc-tv.ru; www.ctc-tv.ru
Krasnaia Strela ("Red Arrow", Moscow)/ ü‡Ò̇ˇ —Ú·
Tel.: (495) 981-00-76; fax: (495) 725-73-05
E-mail: davidenko@kinofilmkvid.com
Deboshir-Film-Studio (St. Petersburg)/
ƒÂ·Ó¯Ë-ÙËθÏ-ÒÚÛ‰Ëˇ
(812) 572-10-63
E-mail: debosh@hhg.ru; www.deboshirfilm.ru
Lemonfilms Studio (Moscow)/ ÀÂÏÓÌ-ÙËÎÏÁ
Tel.: (495) 699-32-90
Federal Agency for Culture and Cinematography (Moscow)
‘‰Â‡Î¸ÌÓ ‡„ÂÌÚÒÚ‚Ó ÔÓ ÍÛθÚÛÂ Ë ÍËÌÂχÚÓ„‡ÙËË
Tel.: (495) 629-37-04; 707-27-99
www.mkmk.ru; www.roskultura.ru
Lenfilm (St. Petersburg)/ ÀÂÌÙËθÏ
Tel.: (812) 326-83-83/81; 326-82-24
Tel./fax: (812) 237-05-57; 233-88-81
F‡x: (812) 232-88-81
E-mail: mtm@lenfilm.ru; prdept@lenfilm.ru
www.lenfilm.ru
Film-Pro (Moscow)/ ‘ËÎÏ-œÓ
Tel./fax: (495) 502-98-53
E-mail: filmpro@rol.ru; filmseu@rol.ru
Lungin Studio (Moscow)/ —ÚÛ‰Ëˇ œ‡‚· ÀÛÌ„Ë̇
Tel.: (495) 143-93-88, 143-91-27
E-mail: info@lunginstudio.ru; www.lunginstudio.ru
Magnum Studio (Moscow)
Tel.: (495) 143-95-93, 143-93-90
E-mail: magnum@centpart.ru
MB Production (Moscow)
Tel.: (495) 540-91-60; 540-66-36
Mob.: +7 909-904-0182; icq: 308 022 069
E-mail: p14@mbpro.ru; deep@mbpro.ru
www.mbpro.ru
M-Film Studio (Moscow)/ Ã-ÙËθÏ
Tel.: (495) 631-32-78; e-mail: m-film@yandex.ru
Mosfilm (Moscow)/ ÃÓÒÙËθÏ
Tel.: +495 143-91-18, -19; fax: (495) 938-20-83
E-mail: mosfilm@mosfilm.ru
Nart-Art Studio (Vladikavkaz)/ Õ‡Ú-¿Ú
Tel.: (8672) 532-195
E-mail: cinematografist@mail.ru
Narti Movies Studio (Moscow)
Tel.: (495) 207-72-92, 798-34-67
Mob.: 8-926-242-18-15 (Olga Kochetkova)
E-mail: info@narti-movies.ru
www.narti-movies.ru
Nashe Kino (Moscow)/ Õ‡¯Â ÍËÌÓ
Tel./fax: (495) 681-51-41
Mob.: 8-916-532-4643
E-mail: nashekino@ctb.ru; www.nashekino.ctb.ru
Nikola Film International (St. Petersburg)/
ÕËÍÓ· ‘ËÎ¸Ï »ÌÚÂÌ˝¯ÌÎ
Tel: (812) 933-02-44; fax: (812) 714-57-17
E-mail: sales@nikolafilm.ru; www.nikolafilm.ru
Noviy Kurs (Perm, Russia)/ ÕÓ‚˚È ÍÛÒ
Tel.: (342) 216-93-81; fax: (342) 216-00-58
E-mail: nkstudio@perm.ru
Paradise Group (Moscow)/ œ‡‡‰ËÁ
Tel./fax: (495) 916-90-18; (495) 916 92 20 (+558)
Fax: (495) 924-13-31
E-mail: pr@ paradisegroup.ru
www.paradisegroup.ru
Passenger Studio (Moscow)/ œ‡ÒÒ‡ÊË
www.passengerstudio.ru
Proba Studio (Moscow)/ œÓ·‡
Tel.: (495) 143-92-21
ProFIT (Igor Tolstunov's Studio, Moscow)/
œÓ‘»“ (œÓ‰˛ÒÂÒ͇ˇ ÙËχ »„Óˇ “ÓÎÒÚÛÌÓ‚‡)
Tel.: (495) 915-33-01; 916-93-49
E-mail: info@ntvprofit.ru; pr@ntvprofit.ru
Proline-film (St. Petersburg)
Tel.: (812) 233-10-51
Mob.: +7 911-132-2310
icq 227-777-478
pr@proline-film.com
www.proline-film.ru
Real-Dakota (Moscow)/ –‡Î-ƒ‡ÍÓÚ‡
Tel.: (495) 917-24-86; 916-32-61
Mob.: 8-903-160-57-63 (Roman Gorelkin)
E-mail: real-dakota@mail.ru; roman@miff.ru
Red Arrow (Krasnaia Strela, Moscow)/ ü‡Ò̇ˇ —Ú·
Tel.: (495) 981-00-76; fax: (495) 725-73-05
E-mail: davidenko@kinofilmkvid.com
Rekun-Cinema (Moscow)/ –ÂÍÛÌ-—ËÌÂχ
Tel.: (495) 143-91-99
E-mail: davidenko@kinofilmkvid.com
SDF (St. Petersburg Studio of Documentary Films)
—ƒ‘ (—ÚÛ‰Ëˇ ‰ÓÍÛÏÂÌڇθÌ˚ı ÙËθÏÓ‚, —œ·)
Tel: (812) 714-53-12, 714-08-06
E-mail: cinedoc@peterstar.ru
Sever Studio (St. Petersburg)/ —‚Â
Tel.: (812) 236-83-58, 236-82-96
E-mail: sever@pief.sp.ru
Slavfilm Studio (St. Petersburg)/ —·‚ÙËθÏ
Mob.: 921-390-8889; e-mail: slavfilm@yandex.ru
Slon Studio (Moscow)/ —ÎÓÌ
Tel.: (495) 181-03-86, 181-33-24
Fax: (495) 181-03-86
E-mail: studio_slon@bk.ru
Slovo, Producer's Company (Moscow)
œÓ‰˛ÒÂÒ͇ˇ ÍÓÏÔ‡Ìˡ "—ÎÓ‚Ó"
Tel.: (495) 143-49-17; 143-97-25; 143-91-60
E-mail: kinoslovo@kinoslovo.ru; smsval@mail.ru
Sony Pictures Releasing CIS (Moscow)
Tel.: (495) 225-85-43
Mob.: +7 903 674 11 24
E-mail: Natalia.Shtaleva@disney.com
Sota Cinema Group (Kiev)
Tel.: (38 044) 537-09-45, 278-60-95
www.sota.net.ua
SPbGUKiT (St. Petersburg)/ —œ·√”üË“
Tel.: (812) 315-71-42, 315-72-85
Fax: (812) 315-01-72
E-mail: rgukit@mail.ru; zlata_pavlova@mail.ru
www.gucit.spb.ru
Staralis (Moscow)
Tel.: (495) 510-58-48 (+105)
E-mail: film@staralis.ru
www.staralis.ru
Swoi 2000 (Moscow)/ —‚ÓË 2000
E-mail: swoi2000@pisem.net
Tomart Studio (Budapest, Hungary)
Tel./ Fax: 361-3262782
E-mail: mail@tomartstudio.hu
www.tomartstudio.hu
TriTe Studio (Moscow)/ “Ë“˝
Tel.: (495) 299-98-08; 299-31-02, 299-52-78
E-mail: info@trite.ru; www.trite.ru
Tvindie (Moscow)/ “‚Ë̉Ë
Tel.: (495) 255-71-12; 255-71-14
Fax: (495) 255-71-13
E-mail: pr@tvindie.ru
Twentieth-Century Fox CIS (Moscow)
20-È ‚ÂÍ ‘ÓÍÒ —Õ√
Tel.: (495) 780-01-04; e-mail: info@gemini.ru
www.gemini.ru
Ugra (Khanty-Mansiysk)/ fi„‡
Tel.: (34671) 93-706; 93-821, 93-804
Fax: (34671) 93-886
E-mail: bossotrk@ugra-tv.ru; pr1@ugra-tv.ru
www.ugra-tv.ru
United Multimedia Projects - UMP (Moscow)
Tel.: (495) 181-16-42; 181-14-29
E-mail: info@umpstudio.com; www.umpstudio.com
Valeri Balaian's Studio (Moscow)
E-mail: vbalayan@mail.ru
ReproduÒer Video (Viatka)/ –ÂÔÓ‰ÛÍÚÓ
Tel.: (8332) 386-412, e-mail: reproducer@mail.ru
VGIK(Moscow)/ ¬√»ü
Tel.: (495) 181-38-68; 181-17-60; 181-26-80
Fax: (495) 187-71-74
E-mail: vgikfest@mail.ru; kinovgik@mail.ru
www.vgik-edu.ru
Risk (Moscow)/ –ËÒÍ
Tel.: (495) 650-40-55
E-mail: movie@riskstudio.ru
Vstrecha (Moscow)/ ¬ÒÚ˜‡
Tel./fax: (495) 251-28-96
E-mail: vstrecha-film@yandex.ru
Rossfilm (Moscow)/ –ÓÒÒÙËθÏ
Tel.: (495) 688-40-66, 911-91-29; fax: (495) 911-91-26
E-mail: rossfilm@mtu-net.ru
Vviss (Moscow)/ ¬‚˚Ò¸
Tel.: (495) 143-92-16
E-mail: vviss@mail.ru
Russian Fund of Culture (Moscow)
–ÓÒÒËÈÒÍËÈ ‘Ó̉ üÛθÚÛ˚
Tel.: (495) 204-36-94; 748-85-08
E-mail: max@redspot..ru
Œ„‡ÌËÁ‡ˆËË/ üÓÌÚ‡ÍÚ˚
Companies/ Contacts
Maxim Gorky Film Studio (Moscow)
üËÌÓÒÚÛ‰Ëˇ ËÏÂÌË Ã‡ÍÒËχ √Ó¸ÍÓ„Ó (ÃÓÒÍ‚‡)
Tel.: (495) 181-04-34; 181-01- 83, 181-04-30
E-mail: info@gorkyfilm.ru; press@gorkyfilm.ru
www.gorkyfilm.ru
187
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188
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SPECIAL
THANKS TO:
GOVERNOR OF THE KRASNODAR REGION
ALEXANDER TKACHIOV
HEAD OF THE CITY OF SOCHI
VIKTOR KOLODIAZHNY
FEDERAL AGENCY OF CULTURE AND
CINEMATOGRAPHY:
MIKHAIL SHVYDKOI
ALEXANDER GOLUTVA
SERGEI LAZARUK
GALINA STROCHKOVA
IRINA SOROKINA
CREATIVE ASSOCIATION
ìSOCHI PHILHARMONIC SOCIETYî:
SERGEI TSEDRIK
GENNADI IVOLGA
NATALIA BEZNOSIUK
YURI DMITRIEV
AEROFLOT AIRLINES:
HEAD OF RUSSIA AND CIS INCOMES
EVGENI SKOROBOGATOV
HEAD OF GROUP TRAVEL
SVETLANA KUZINA
GOSFILMOFOND OF RUSSIA:
NIKOLAI BORODACHIOV
VLADIMIR DMITRIEV
AGENCY TRANSTOUR TRAVEL
VICE-PRESIDENT IN AIR TRAVEL AND
AIRLINE TICKET SALES
MIKHAIL ABRAMOV
DEPUTY HEAD OF THE KRASNODAR
REGIONAL ADMINISTRATION
GALINA ZOLINA
CAR TRANSPORT AGENCY ìAGATHAî
IRINA ALADDINA
CULTURAL DEPARTMENT
OF THE KRASNODAR REGION:
HEAD OF CULTURAL DEPARTMENT OF
KRASNODAR REGION
NATALIA PUGACHEVA
HEAD OF CINEMA SECTION IN THE
CULTURAL DEPARTMENT OF THE
KRASNODAR REGION
TATIANA ARTASHEVICH
DEPUTY HEAD OF THE CITY OF SOCHI,
HEAD OF THE EDUCATION AND CULTURE
ADMINISTRATION
IRINA BADAYAN
CULTURAL ADMINISTRATION OF SOCHI
HEAD OF THE CULTURAL DIRECTORATE OF
SOCHI CITY ADMINISTRATION
RUZANNA BARSEGIAN
CHIEF EXPERT OF THE CULTURAL
DIRECTORATE OF SOCHI CITY
ADMINISTRATION
IGOR SMOLENTSEV
HOTEL COMPLEX ìZHEMCHUZHINAî:
YURI ARINTSEV
SERGEI GRUSHKO
GENNADI KOVALIOV
ELVIRA MRTCHIAN
ELENA MAKAROVA.
COMPANY ìKINOPROEKT ì
ALEXANDER RUBIN
COMPANY SOUD SOCHI EXHIBITIONS:
YURI ZAKHARCHENKO
INNA ZAKHARCHENKO
SOCHI AIRPORT:
ALEXEI BLIZNIUKOV
SVETLANA KUNAKHOVA
PRODUCTION BURO EXIT:
ANTON KALINKIN
VLADIMIR PONOMARIOV
SECURITY AGENCY ìKARAT-TSî,
GENERAL DIRECTOR
VALERI SVETLOV
ADVERTISING SERVICES SOCHI, PERSONALLY
TATIANA BOIKO
ADVERTISING AGENCY SLON
RUSSIAN CINEMA SECTION AT THE FILM
INSTITUTE VGIK,
NATALIA CHERTOVA
189
MANAGEMENT
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» —À”∆¡¤ ‘≈—“»¬¿Àfl AND SERVICES
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IGOR TOLSTUNOV
General Producer
JULIA AIZENBERG
Head of Moscow Office
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SITORA ALIEVA
Programme Director
ANNA GUDKOVA
Curator of Seminar Programmes
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EVGENI MARGOLIT
EVGENI GUSIATINSKY
Selection Commission
EKATERINA KRASNOVSKAYA
Head of International
Department
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ELENA LAPINA
Director
OLGA PERVUSHINA
Head of Co-Ordination of Film
Delegations
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VIP-ÒÎÛÊ·‡
COMMERCIAL DIRECTION:
POLINA ZUEVA
Commercial Director
NIKITA GALIUZOV
EKATERINA SHASHKOVA
IRINA CHESTNOVA
Administrative Director
FINANCIAL AND JURIDICIAL
SERVICES:
VITALI BUCHINSKY
Financial Director
OLEG DZHUNUSOV
NINA KUZNETSOVA
IRINA KULIKOVA
LARISA KAZANINA
LIUBOV LOBANOVA
PR SERVICE:
ANASTASIA BULGAKOVA
Head of PR-Service
ELENA KUPRIANOVA
Head of Press Centre
MARGARITA MIKHALEVA
SVETLANA PESHEKHONOVA
IRINA KARDASH
INNA TKACHENKO
Moderator of Press Conferences
DARIA KROVIAKOVA
Head of Promotion
ELIZAVETA KASIAN
Information Service
NADEZHDA KOLESNIKOVA
Accommodation Service
MARIA AKTAEVA
Projection Coordinator
GENNADI ANISKO
Projection Service
ANGELINA FEDOROVSKAYA
Head of Translation Department
IRINA MYSHKINA
Grand Jury Secretary
MARTHA KHUSHVAKHTOVA
Secretary of the Jury of the
Competition "Kinotavr. Shorts"
VSEVOLOD KOSARENKOV
Technical Director
IT DEPARTMENT:
ILYA EGOROV
ROMAN SHUSTOV
CATERING SERVICE:
ELENA KOVRYGINA
Head of Catering
MARIA FATIUSHINA
ILONA METELNIKOVA
SERGEI LOS
Head of
Transport Service
VALERI CHIGAREV
Coordinator
of Festival Services
ALLA KUZNETSOVA
Kinotavr-Television
PROTOCOL SERVICE:
NATALIA YAKUSHKINA
Head of Protocol
TATIANA LIVANKOVA
NATALIA BARABANOVA
VIP - Service
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CATALOGUE
ÿÂÙ-‰‡ÍÚÓ
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Chief editor
MIROSLAVA SEGIDA
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Translation
BIRGIT BEUMERS
Œ·ÎÓÊ͇
"SHAN-DESIGN"
Cover Design
"SHAN-DESIGN"
ÇÍÂÚ Ë ‚ÂÒÚ͇
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Layout and Typesetting
DMITRY IVLIANOV
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Proof-Reader
ELENA KOPYLEVA