SUMMARY

Daniil Dondurei — Andrei Plakhov — Lev Karakhan
A closed can and open space
Cannes-2011

Oleg Zintsov
Continuity
Review of Terrence Malick's THE TREE OF LIFE (USA)
Detailed analysis of Terrence Malick's THE TREE OF LIFE's poetics specified by separate chapters: subject matter, space, symphony, religion, movement. Counterpoint of memory's fragmentariness and continuity of movement as the spot of the film's nativity; the way the film fixes momentarily cutoffs of reality, making the viewer feel that the world around is in the process of constant formation and decay.
Poetics, THE TREE OF LIFE, space, subject matter, symphony, movement, memory's fragmentariness

Zara Abdullayeva
Twilight of aestheticism
Review of Lars von Trier's MELANCHOLIA (Denmark — Sweden — France — Germany).
Analysis of Lars von Trier's directing method exemplified by his latest work MELANCHOLIA with a special accent upon the reasons of his dissatisfaction with his chef d'ouvre, which the great provocateur called «cream of creams». Summing up, that Trier made a film not about the coming end of the world, but about the tragedy of aestheticism, the author minutely explores all the aspects and mechanisms of creation of this «anticonsumerist» fairy-tale.
MELANCHOLIA, tragedy of aestheticism, rupture of communication, «anticonsumerist» fairy-tale, end of the world

Vika Smirnova
Endless story
Review of Nuri Bilge Ceylan's BIR ZAMANLAR ANADOLU'DA (Turkey — Bosnia and Herzegovina).
Evolution of the noted Turkish filmmaker Nuri Bilge Ceylan's creation is investigated through his BIR ZAMANLAR ANADOLU'DA. The author accentuates such peculiarities as delusive fortuity of subplots, compositional proximity to the genre of fugue and formal deviation from customary subdivision into genres of detective, western, road-movie, documentary. Impact of Chekhov in various modifications is specially considered due to Ceylan's confession that he'd experienced the Russian writer's influence.
BIR ZAMANLAR ANADOLU'DA, evolution of creation, fugue, genre, delusive fortuity

Elena Plakhova
Comedy of solidarity
Review of Aki Kaurismaki's LE HAVRE (Finland — France — Germany).
Major peculiarities of the creative method of Aki Kaurismaki — the Finnish classic and hoodlum — are investigated as they are manifested in his
LE HAVRE: interest toward the personages-outsiders, sarcastic humour, turn to minimalism and symbolism, humanistic subtext.
Personages-outsiders, minimalism, symbolism, humanistic subtext

Olga Shakina
From the life of marionettes
Review of Paolo Sorrentino's THIS MUST BE THE PLACE (Italy — France — Ireland).

Alexei Medvedev
Where there's no way back
Review of Andreas Dresen's HALT AUF FREIER STRECKE (Germany — France).
Typology of the most actual German filmmaker Andreas Dresen's creation is explored. The former «ossi» managed to convert his previous life's experience and adaptation to the new conditions. Analyzing HALT AUF FREIER STRECKE, shown at the Cannes' Film festival, through the reputation of Dresen as an optimist, the critic comes to conclusion, that, when telling of death and fixing dying of the protagonist, the director stays the creator of life-asserting art.
Typology of creation, adaptation, optimism, dying, Dresen

Olga Shakina
Saga of a Viking
Review of Nicolas Winding Refn's DRIVE (USA).
Nicolas Winding Refn's DRIVE, the winner of Cannes' prize for the best direction is considered in the context of different stages of the unique Danish filmmaker's creation. The main traits of his aesthetics are marked, such as both epical and subjectivist kind of approach, celebration
of masculine heroes, visionary, enthralment with the passing away.
Epical, masculine, VALHALLA RISING, visionary, DRIVE, subjective method

Nicolas Winding Refn: «Genre cinema makes free»
Interview with the Danish filmmaker.

Nina Tsyrkun
Ecce homo
Review of Nanny Moretti's HABEMUS PAPAM (Italy — France).
Nanny Moretti's HABEMUS PAPAM is considered through the two authour's allusions: at Hermann Melville's MOBY DICK and at Jean-Pierre Melville as the maker of film noir. The newly elected Pope exemplifies impotence of responsible power while the fact of his pontification manifests indifference of the Lord.
HABEMUS PAPAM, MOBY DICK, Jean-Pierre Melville, film noir, impotence of responsible power, indifference of the Lord

Igor Sukmanov
The skin, he lives in
Review of Pedro Almodovar's LA PIEL QUE HABITO (Spain).
The article is devoted to Pedro Almodovar's LA PIEL QUE HABITO. The author considers as his usual motives and images in the customary construction of labyrinth, as well as manifesting themselves blind allies of the director's trade mark. According to Sukmanov, the latter maybe mainly explained by the fact, that provocative escapades aimed at sanctimonious morals, cult of machismo and repression of private freedom, lost their primary recusant nature and appeared a self-parody. The reason for this is concession to the audience which, as he thinks, awaits from him only what he has trained it to.
Construction of labyrinth, provocation, cult of machismo, parody, recusant nature

Anton Dolin
Proper name
Review of Andrei Zvyagintsev's ELENA (Russia).
One of the most titled Russian director, favourite of the international film festivals, including Cannes, Andrei Zviagintsev's ELENA, which evoked hot ideological and aesthetical discussions among professionals, is considered as the maker's of THE RETURN and THE BANISHMENT refusal from parable in the name of socio-psychological drama. Anyhow while using a chamber criminal story the helmer reflects over such a complex notion as Apocalypse, placing Armageddon within a person's soul.
Socio-psychological drama, Apocalypse, parable, ELENA, reflection

Sergei Medvedev
Veneer happiness
Emigration as national idea

Lev Karakhan
Russian «field»

Anton Dolin
Silence of goats
Portrayal of Michelangelo Frammartino — the actual Italian filmmaker, favoutite of cinefils, critics and film festivals. The main components of this minstrel of Calabria's poetics are considered: travel as territory of the banal, minimalism, materialization of a metaphor «suspended time» and primarily the idea of unity of all elements of nature. A man dying is reborned into an animal, an animal into fertilizing for a tree, a tree turns into coals which heats man's dwelling.
Calabria, territory of the banal, minimalism, «suspended time», unity of all elements of nature

Andrei Fomenko
Laocoon: new, revised
Whereas the art-critic sees in visual arts exceptionally «signs», but never «things» as implied by the Semiotic tradition, the film-critic considers one's subject «naively», reasoning the screen world as a real one. The author argues, the difference in the guideline bears institutional and historical character. Cinema undertook some functions formerly performed by arts, which refused from them in the Postmodern.
Signs, things, visual arts, Semiotic tradition, film language, Postmodern

Marina Toropygina
Paris, Melancholia
Intersection and coincidence of the same themes, images, motives, heroes in creation of three different directors are considered. Von Trier's MELANCHOLIA, Woody Allen's MIDNIGHT IN PARIS and Kim
Ki-duk's ARIRANG are specified. Categories of opposition of sense and sensibilia, romantic collision of man and element, reflection over creation, etc are investigated.
Lars von Trier, image, opposition, reflection, Woody Allen, Kim Ki-duk, characters

Aleksandra Yurgeneva
Laughter and Eros
The comic side of erotic imagery in art history and cinema; transformation of visual realization of the sexual in accordance with development of European culture; nature of comprehension of the ludicrous in cinema as a carnival action, where the frontier between the obscene and ridiculous is erased, and return to early ritual traditions.
Ritual laughter, playful attitude towards sexual theme, carnival culture, erotic photography, collective experience, pornography as a separate cinema genre

Lars von Trier: «All the ideas are stolen»
Conversed by Ann Thompson.

Lars von Trier: «I'm tortured by doubts as before»
Conversed by Andrew O'Hehir.

Vladimir Seryshev
Personal space
Criminal drama.

Alexei Slapovsky
What You do is very important
Cinema without words.

SUMMARY

Oleg Kovalov
A Metaphysician
Creative work of the noted Russian filmmaker Aleksandr Sokurov is investigated. While analyzing his documentaries and feature films the author accentuates the fundamentals of his world outlook having a propensity towards metaphysical component of the individual.
Through the original poetics of the master Kova-lov shows how intensity of his spiritual seeking, deep interest in methodology of the screen implementation of the most visually elusive, that is man's inner world, are reflected.
Sokurov, Metaphysics, documentaries and feature films, poetics, visualization of inner world

A trip into oneself
Foreign press on Aleksandr Sokurov's films.
Zara Abdullayeva
Four seasons
Review of Mike Leigh's Another Year (Gr. Britain).
Mike Lee's Another Year is being analyzed as an example of the helmer's techniques also specifying some traditions of the English indies. The critic shows topicality of Leigh's seemingly non-radical poetics as far as modes of acting, transforming achievements of the national theatre school into cinematic existence, or typology of characters, mise en scene making, etc are concerned.
Helming, English indies, national theatre school, non-radical, mise en scene making

Katerina Tarkhanova
Generation first, tenth, hundredth…
Review of Viktor Ginzburg's Generation P (Russia).
Principles and peculiarities of screen adaptation of such a difficult in this sense Viktor Pelevin's novel are considered. Methodology of writing Generation P is seen as following traditions of the great classics Thackeray and Gogol who managed to make a commoner the epic's hero. The author shows originality of this tradition's metamorphosis nowadays and dwells on the ways of screen interpretation of this literature-centered writing by the film's helmer.
Viktor Pelevin, Generation P, methodology, classics, commoner, epic, literature-centered

Nina Tsyrkun
Childhood. Apprenticeship
Review of Matthew Vaughn's X-Men: First Class (USA).
Mathew Vaughn's X-Men: First Class is analyzed as genre hybrid of comics and spy thriller like Bond series, inscribing American mythology into European cultural context.
Genre hybrid, comics, American mythology

Sergei Anashkin
The Hong Kong trace
Review of Susanna Oorzhak's Leaving the sweet-smelling harbour (Russia).
Review of Sergei Potapov's As long as wind blows (Russia).
Through the Yakut movie Leaving the sweet-smelling harbour The author investigates the modes of screen adaptation of one of the main ethnic community's major subject matter — that is retrograde mythologem of man's return to the origins. Analyzing the pic's aesthetics, based upon recognition of dream reality and exploiting the method of the heroine's repatriation into the world of her dreams as well as considering the modes of composition, symbols, motives, etc, the critic marks the influence of the Hong Kong cinema upon the makers of this film about the ethnic memory and creative force of the Sakha people.
Ethnic community, retrograde mythologem, the Sakha people, repatriation into the world of dreams, origins

Tamara Dondurei
The great performance of life
Review of Kevin Macdonald's Life in a Day (USA).
The unique experiment undertaken by Kevin MacDonald in cooperation with YouTube, which resulted in documentary A Life in a Day shot by filmmakers all over the world that serves as a time capsule to show future gene-rations what it was like to be alive on the 24th of July, 2010 is analyzed. The critic explores the principle of structuring amateurs' stuff based on the end-to-end motive — the answers of the personages to varied and sudden director's questions. This questionnaire helped MacDonald to demonstrate how the world without borders manifests itself in the individual and national bounds, that is in the characters.
Unique experiment, structuring the amateurs' stuff, end-to-end motive, character

Sergei Medvedev
A fence as a principle of Russian life
A fence as a metaphor of certain peculiarities of Russian mentality is investigated. Its archetypal nature is stressed referring to the traditions of its functioning in the past and to the reasons for its arising nowadays, to its various types and kinds.
All types of fencing are considered, from a simple one in the country hut up to the main one of the state — that is the Kremlin's wall, assuming the symbol of the general scale, both a defence construction and the border between people and the power.
Fencing, archetypal nature, Russian mentality, metaphor, symlol, border

Yury Solodov
I like cinema
An article devoted to Coen brothers and Sydney Lumet.

Ayur Sandanov
A zombie-apocalypse
Transformation of the role model of survival in the context of history of zombie-movies. Zombie-texts as possibility of valuation of productivity of different role models under circumstances of decay of social medium and for the sake of individual identification.
A zombie-apocalypse, zombie-discourse, apocalyptical dread, redundant equivocation

Maria Semendyaeva
Dance of life
Aesthetics of contemporary Indian Cinema.
An attempt at viewing contemporary Indian mainstream in the context of the world cinema, western one in particular. Singling out and analyzing its characteristic traits and traditional substantial and formal schemes as well as the set up system of values, the author portrays unique cinema culture though upon the influence of Hollywood.
Indian cinema, Bollywood, poetical figuration, rasa, psychological development of a character

Oleg Zintsov
Video in theatre: a tool and a metaphor
Aims and modes of using video on stage are investigated basing on the main principle of its exploitation in modern theatre, that is directing the view out or inside. In the first case the space widens, in the second one it deepens. The difference of these principles assumingly helps to single out four main types of video usage: video as text, video as reality show, video as sets, video as close-up (a face).
Video on stage, basics, video as text, video as reality show, video as sets, video as close-up

Lars Henrik Gass
A place for alternative audience
Interview with the director of Internationale Kurzfilmtage Oberhausen. Conducted by Anjelika Artyukh.

Rule of a game
Resume of the conference «Development of domestic cinema industry as a part of national culture».
Publication of the reports delivered at the closing session of the planning and practical conference held in April 2011 as a business game.
Conference, business game, workshops «Trade unions in improvement of cinema production», «Problems of distribution», «Alternative modes of promotion — TV, Internet, festivals, critics», «State politics of development of domestic film culture», «Problems of film education»

Joёl Chapron
France is the motherland of cinema
Interview with the vice-president of UniFrance Joёl Chapron on the arrangement of the French system of cinema industry. Conducted by Daniil Dondurei.

Simona Bauman
Without central power
Mechanism of support of cinema in Germany.

Agniezhka Odorowicz
Poland: everything in a new style
Interview with the general director of Polish Film Institute (PISF) Agniezhka Odorowicz. Conducted by Dina Nazarova.

Aleksandr Chernyshov
A melody for a trap
Mediamusical manifestations of cinema.
The forms of musical design of cinema production are considered in connection with electronic mass media. Alongside with usual use of broadcasting-music in films the media-musical art is investigated in TV series, film baits and film trailers.
Media-music, TV-series, trailer, teaser, bait, overture, podcasting

Tatyana Bogatyryova
Refugees
A script.

Ksenia Dragunskaya
Reconstruction of a skeleton
A script.

SUMMARY

Editor-in-chief address
Vadim Abdrashitov, Sitora Aliyeva, Yury Arabov, Bakur Bakuradze, Roman Balayan, Harry Bardin, Yury Bogomolov, Anatoly Vasilyev, Artyom Vasilyev, Alexandre Gelman, Alexey German, Alexandre Gonorovsky, Elena Gremina, Alla Demidova, Anton Dolin, Denis Dragunsky, Tatyana Drubich
Noted filmmakers and cultural professionals congratulate IK on occasion of 80-year jubilee.
Requests and answers
Conversation about contemporary role of film criticism. Contributors: Zara Abdullayeva, Daniil Dondurei, Oleg Zintsov, Alexey Medvedev, Xenia Rozhdestvenskaya.

Andrey Zvyagintsev, Alexandre Zeldovich, Nina Ignatyeva, Alexandre Kabakov, Naum Kleiman, Viktor Kosakovsky, Maxim Kurochkin, Sergey Loznitsa, Oleg Lukichov, Dmitry Mamulia, Vitaly Mansky, Viktor Matizen, Anna Melikian, Alexey Mizgiryov, Alexandre Mindadze, Vladimir Mirzoyev
Noted filmmakers and cultural profes-sionals congratulate IK on occasion of 80-year jubilee.
Russian film theory: outside perspective
American film theorists on film theory and film criticism in Russia.

Vladimir Padunov
How we discovered Russian cinema

Vida Johnson
Without cross-fertilization
Russian and Western film theory through Tarkovsky's creation.

Nancy Condee
On «regional raw product»

Rimgaila Salis
Film criticism in crisis?

Alexander Prokhorov
Public sphere: film theory in the realm of discussion
Kira Muratova, Yury Norshtein, Ludmila Petrushevskaya, Alexey Popogrebsky, Anatoly Prokhorov, Marina Razbezhkina, Alexandre Rastorguyev, Alexandre Rodionov, Lev Rubinshtein, Natalia Ryazantseva, Kirill Serebryannikov, Vasily Sigarev, Andrey Smirnov, Sergey Solovyov
Noted filmmakers and cultural professionals congratulate IK on occasion of 80-year jubilee.

Film criticism: version 2.0
Internet-criticism: perspectives, problems, dead ends and advantages
Andrey Stempkovsky, Mikhail Trofimenkov, Maya Turovskaya, Pavel Finn, Chulpan
Khamatova, Boris Khlebnikov, Nikolai Khomeri, Andrey Khrzhanovsky, Ilya Khrzhanovsky, Pavel Chukhrai
Noted filmmakers and cultural professionals congratulate IK on occasion of 80-year jubilee.

Armen Medvedev: «The magazine didn't let Soviet cinema switch off»
Memoirs of the former IK editor-in-chief, later Chairman of Goskino USSR.

Nina Zarkhi — Tatyana Iensen — Lev Karakhan
Speaking frankly
Elena Paisova and Anastasia Dementyeva converse with the critics who entered IK in 1975.

Elena Stishova
Stitch-up
About openness in criticism
The film critic recalls the case of one of the most scandalous IK publications — Bogomolov's
article about Georgian cinema and its discussion with participation of Georgia's film leaders

Rakhman Badalov
What use of «Film art»?
The Azerbaijanian film theorist and critic on connections with Russian colleagues and cooperation with IK.

Sergey Trimbach
Film artization
The Ukrainian film theorist and critic recalls some periods of cooperation with the magazine.

Vyacheslav Shmyrov
Romancing transperancy
Editor-in-chief of Film Process magazine on his master, former IK editor-in-chief Evgeny Surkov.

Yaroslava Pulinovich
Gone for a burton
One-act piece

SUMMARY

Elena Stishova
Marriage banquet with a vengeance
Analysis of a unique aesthetic form of the actual narration about Chernobyl tragedy by helmer Alexandre Mindadze. Different approaches to the Competition entry of Berlinale are considered. According to the article, whereas Western press referred to INNOCENT SATURDAY as catastrophe movie, it is rather a profound metaphorical parable.
INNOCENT SATURDAY, metaphor, Alexandre Mindadze, parable, Chernobyl, catastrophe movie

Alexandre Mindadze: «We were making our film about «always»
Interview by Nina Zarkhi

Zara Abdullayeva
Novel-fantasy
The Berlin Panorama entry TARGET by Alexandre Zeldovich is treated in various aspects of the fresh in Russian cinema trend of art-mainstream. Style of the first post-Soviet futurological film is primarily seen as both the focus and contents of the picture.
Art-mainstream, Berlinale, Alexandre Zeldovich, conflict, TARGET, style, futurological film

Alexandre Zeldovich: «Not to become crowfoot»
Interview by Elena Paisova
UFO and dances on the volcano
International press on Russian entries at Berlinale (INNOCENT SATURDAY, TARGET).

Nina Tsyrkun
Sending up to the wilds
Coverage of the latest Berlinale-2011. Observing mostly the Official selection, the author argues that ideologically the films in Programme are united by the cut-through theme of sending up to the wilds as testing humankind and insistent calling for missionary in the world of overwhelming chaos and prognostication of Apocalypse.
Berlinale-2011,TRUE GRIT, KHODORKOVSKY, SLEEPING SICKNESS, A TORINOI LO, sending up to the wilds, mission, prognostication

Jeanna Vasilyeva
Divorce in Iranian style
Review of Asghar Farhadi's NADER AND SIMIN,
A SEPARATION (Iran).
The Golden Bear winner by the Iranian filmmaker Asghar Farhadi's NADER AND SIMIN. A SEPARATION is considered as the attempt at rare synthesis of art-house and genre cinema, uniting intricate polyphonic structure of intelligent idea with melodramatic or criminal comedies. The film is seen in the context of the helmer's creation against the background of the nowadays Iranian cinema.
Berlinale, NADER AND SIMIN, A SEPARATION, The Golden Bear, ambiguity, political gesture, psychological thriller, frame, Asghar Farhadi

Anton Dolin
A story (not) about a horse
Review of Bela Tarr's A TORINOI LO (Hungary — France — Germany — Switzerland — USA).
Artistic texture and the intricate philosophical concept of the Hungarian helmer Bela Tarr's A TORINOI LO is analyzed. A true episode from Friedrich Nietzsche's biography as the starting point of the conception ushers in consideration of the vital metaphysical and moral problems as they appear not only in the Tarr's fim, but also in creation of such great Russian writers as Tolstoy and Dostoevsky.
Apocalypse, Bela Tarr, Berlinale, Nietzsche, CRIME AND PUNISHMENT, the last film, A TORINOI LO

Vika Smirnova
After Apocalypse
Review of Bela Tarr's A TORINOI LO (Hungary — France — Germany — Switzerland — USA).
Two major methodological principles of Bela Tarr's creation are treated through A TORINOI LO — that is minimalistic cut and theatricality, which allows him create metaphorical stories. Through the examples of the other Tarr's films the author dwells on such important peculiarities of his aesthetics as the sense of spontaneity, symbolic mediation of the image, endless prolongation of the image, refrains, circular sliding, etc.
Bela Tarr, story, minimalism, parable of Apocalypse, theatricality, A TORINOI LO, extinction of life, entropy

Zara Abdullayeva
Trial of anonymity
Review of Rodrigo Moreno's UN MUNDO MISTERIOSO (Argentine — Germany)
The nature of screen simulation of time is analyzed through the reviewing of Rodrigo Moreno's UN MUNDO MISTERIOSO. Improvisation as the structure-forming of daily routine is the key condition of the style of contemporary post-Impressionism and the Argetinean helmer as its adherent.
Berlinale, Buenos Aires, time, cinema observation, Rodrigo Moreno, daily routine, habitation, UN MUNDO MISTERIOSO, a man of background

Olga Shakina
Visit of Minotaur
Review of Michael R. Roskam's RUNDSKOP (Belgium — Holland).
The possibilities of genre cinema, mainly criminal thriller are analyzed as singling out the problem of man's self-identification in radically changed global world. Basing on Michael R. Roskam's RUNDSKOP, the author concentrates on transformation of existentional theme of 'a deadman cruising' into epic of a hero's survival in post-polar world devoid of clear-cut notions of god and evil.
Belgium, RUNDSKOP, heroic epic, hormone mob, Michael R. Roskam, post-polar world, self-identification, false

Andrei Plakhov
Post-totalitarian Impressionism
Review of Paula Markovitch's EL PREMIO (Mexico — France — Poland — Germany).
Characteristic features of modern Argentinean cinema are specified on the example of Berlinale-2011's winner EL PREMIO by Paula Markovitch.'s: ardour of phenomenology of province, its imagination with a shift towards Surrealism, sentiment and sluggishness of inner movement.
Argentinean school, Berlinale, junta, secrecy, Paula Markovitch, political protest, EL PREMIO

Tamara Dondurei
Against interpretation
Review of Wim Wenders' PINA (Germany — France — Gr. Britain).
Evolution and implementation of the original conception by Wim Wenders in his PINA presented at Berlinale-2011. Various phases of work by Pina Bausch, from etudes with the dancers on the themes suggested, up to the complete stage construction are analyzed as well as the method of Wenders himself. The author arrives at the conclusion about the isomorphism of the approaches to the comprehension of human behavior, imagining a character, portrayal of people and townscapes.
Pina Bausch, Wim Wenders, Le Sacre du printemps, category of momentariness, Caf? Mueller, Kontakthof, Pina in 3D, Harvest moon, involvement, experiment

Igor Sukmanov
Towards Swans
Review of Hugo Vieira da Silva, Heidi Wilm's SWANS (Germany — Portugal).
Various forms of contemporary cinema's interest towards its own nature are analyzed. An intellectual drama SWANS by Hugo Vieira da Silva and Heidi Wilm is treated as phenomenological study of verbal nonsense and search of sense through contemplation of things and human body. The author argues, that the film in question is the experiment, proving subject matter as the evidence of cinema as moving pictures par excellance.
Berlinale, intellectual melodrama, SWANS, tactile, contemplation, body, estrangement

Elena Plakhova
A wrong film
Review of Jonathan Sagall's LIPSTIKKA (Izrael — Gr. Britain).
When analyzing the Jonathan Sagall's LIPSTIKKA with its leftist Radicalism the author points out to nowadays festival market condition overshadowing the artistic value
in favor of political scandal. Treatment of aesthetic and ideological nature of the film clears up ambiguous interpretation and polar characterizations of the helmer's message.
Berlinale, Lipstick, Jonathan Sagall, Izrael, lesbian love, Palestine, psychoanalytical thriller, scandal

Olga Shakina
In search of Erich
Review of J.C. Chandor's MARGIN CALL (USA).
The extention of frontiers primarily framed by thriller as genre is analyzed. The new stuff of economic and financial problems implies the change in rules of ideal narration; interrelations become the only catalyst of suspense.
Human-unhuman, antagonistic pairs, MARGIN CALL, rules of narration, J.C. Chandor

Marina Drozdova
Archeologists under the big top
Review of Werner Herzog's CAVE OF FORGOTTEN DREAMS (Canada — USA — France — Germany —
Gr. Britain).

Dmitry Desyaterik
Mother, lies and camera
Review of Milcho Manchevski's MOTHERS (Macedonia).

Kirill Razlogov
Bergman in the context of Berlinale
An outline of Ingmar Bergman's creative work as a meditation on his major retrospective in Berline.

Larisa Malyukova
Paper games
Portrayal of the animation classic, legend of silhouette cinema Michel Ocelot. Basing on his latest full-length LES CONTES DE LA NUIT in 3D, presented at Berlinale, the author studies evolution of style and method by Ocelot, his innovations such as cutting out of plain paper, work with mirrors, computer graphics, stereocinema and 3D.
Michel Ocelot, tale, LES CONTES DE LA NUIT, silhouette animation, universalism, cinema installation

Sergei Fomenko
Taboo revived
Freak-culture and FREAKSHOW of Drew Bell.

Roman Gutek: «One school move forward»
Interviewed and commented by Dina Nazarova.

Alexandra Novozhenova
«How soon is now»
Symposium stuff.

Tarin Simon: «We just repeat the ever existed»
Conversed by Hans Ulrich Obrist.

David Weiss: «We act as hunters»
Conversed by Beatrix Ruff.

Leigh Ledare
Portrait of interrelations
Conversed by Tom Eccles.

Gilad Ratman — Andre Rotman — Alex Klein: «Not everyone catches up with one's works»
Conversed by Tim Griffin.

Marina Abramovich
The place of a spectator is sacred

Andrei Shcherbinin
A revolver
A script.

Daniil Dresvyannikov
Waftage
A script.

SUMMARY

Why I don't watch TV
Round table talk moderated by Daniil Dondurei

Vika Smirnova
Words, words, words…
Review of Tom Hooper's THE KING'S SPEECH (USA-Gr Britain-Australia)
Analysis of philosophical and psychological meta-subject matter as the base of the Oscar-winner's THE KING'S SPEECH. The author specially dwells on the stages of intrinsic evolution of relationship between the protagonist and power through the nuances of interrelation of the politician and the word, a phrase and sense, speech freedom and freedom of decision influencing the fate both of a single person and nation in whole.
Power, declamation, elocution, «The King's Speech», copycat king, monarch, myth, Tom Hooper

Inna Kushnaryova
Bloodbath
Review of Darren Aronofsky's BLACK SWAN (USA)
Hypersexuality as one of the injunctions of contemporary artistic culture and horror as stuffed in music of THE SWAN LAKE ballet are considered exemplified by Darren Aronofsky's BLACK SWAN. The mechanism of transition of directly manifested high art into trash, a lower genre and idiocy is also traced.
Aronofsky, ballet, hypersexualized world, «hysteria cinema», transcendence, trash, horror, frigidity, «Black Swan», outsider

Nina Tsyrkun
I'M CEO, BITCH!
Review of David Fincher's THE SOCIAL NETWORK (USA)
When analyzing filmic and real history of creating Facebook, one of the most widespread and mushrooming social networks of today, the author states, that — against the purposes declared, the host Mark Zuckerberg actually erases the boundaries of privacy making the users voluntarily face pervasive total control.
Facebook, genius, Mark Zuckerberg, «new new journalism», «The Social Network», sociopathy, thriller

Elena Paisova
The lower depth
Review of Danny Boyle's 127 HOURS (USA-Gr Britain)
Investigation of a fresh character type in American cinema through the Danny Boyle's 127 HOURS. Peculiarities of the author's narration and his innovative techniques of screen adaptation are also treated. Actuality of rapid fuzzy fusion of elements of mainstream and art-house is specified.
«127 hours», Danny Boyle, heroism, time and space unity, cinema of «living through», superhero comics, inescapable eventuality, pseudologic, action

Denis Dragunsky
Revolution of women

Vladimir Mirzoyev
«Swamp and oil are our major metaphors»

Inna Kushnaryova
The last modernist
Comprehensive analysis of Jean-Luc Godard's creation of the middle and late periods. The author specially dwells on dynamics of ethical and political in Godard's radical outlook, which estranged a considerable part of spectators and colleagues from him.
Antiamericanism, Jean-Luc Godard, deconstructor, viewer's pleasure, History, representation criticism, narrativity, modernism, opposition, postmodernism, citation principle, Oeuvre

Dmitry Desyaterik
Socialism
Investigation of the cardinal theme in Godard's creation, that is confrontation of personality, idea and ultimately cinema and the system, law, order, society, authorizing this order and law. Evolution of aesthetical methods of screen implementation characteristic of the radical filmmaker is considered as seen through the camerawork, topography, infraction of frame composition, sequence or sound and paradoxical angles of shooting.
Author, visual metatext, Jean-Luc Godard, genre and plot deconstruction, Maoist period, political films, Stranger, sense ruptures, reality resistances, camera movement, utopia, ultraleft period

Evgeny Slivkin
Escape to space
Different aspects of symbolic and real characteristics of Soviet and Russian life and culture, diametrically divided by the axis «centre- periphery». In this context through the films A PAPER SOLDIER and DREAMING OF SPACE filmic representation of metaphorical senses of such notions as outer space, GULAG, zone, freedom and human dignity is treated.
GULAG, biocosmists, «Paper Soldier», Ilya Kabakov, cosmic myth, «Dreaming of Space», Viktor Pelevin, periphery, centre

Evgeny Gusyatinsky
Remembrances and story
Rotterdam-2011
Analysis of the newest trends of the world cinema d'auteur in debuts and second films selected by the Rotterdam annual. Dynamics of transition of some promising aesthetical trends into stereotyped specimen encouraged by film festivals that is ethnics, primitive, raw reality, neglect of narration are considered.
Сoming of age stories, Rotterdam-2011, debuts, art of open editing, quasiart, caricature, «exotic texture»

Tom Hooper — Colin Firth: «To become a king is a nightmare incarnated»
Conversed by Michael Leader

Joel Cohen, Ethan Cohen: «We've got nothing in common with John Ford»
Conversed by Cole Haddon

Pulat Akhmatov
Jugi
A script

Andrey Shcherbinin
Guppy
A script

Leonid Vodolazov
King Lear from Yasnaya Polyana
Film-novel. Film one

SUMMARY

Zara Abdullayeva — Kristina Matvienko — Alexei Medvedev
There will be no catharsis
Scripts' Competition «Private Matter»-2010. Results. Moderated by Daniil Dondurei.

Anna Yablonskaya
The Pagans
A play.

Sergei Medvedev
It's all common here around

Vladimir Mirzoyev
Old senses nesting anew

IK enquette
Scripwriters’ answers,

Tatyana Bogatyryova
I know how to knit
A script.

Sergei Anashkin
Tales true and untrue

Denis Osokin
In fact let’s throw away all that jazz
Conversed by sergei Anashkin.

Denis Osokin
A duck on a drum
A book.

Natalya Repina
Маl'aria
A script.

IK enquette
Directors’ answers.

SUMMARY

Victor Matizen — Sergei Ursulyak
Sorting things out with socialism
The filmmaker tells of his work on TV-series LIFE AND DESTINY.

Alexander Rodionov
Script is a prosthetic device
Conversation between critic Kristina Matvienko and the script-writer in demand.

Andrei Migachyov
Why I work as a script-writer
The winner of competition «Private matter»-2010 on his work: pros and contras.

Paul Laverty
To listen and to hear
From experience of the noted script-writer.
Moderator Dave Calhoun.

Christopher Vogler
Voyage of a Hero
An excerpt from the book on script-writing.

Kristina Matvienko
Looking on boots
Review of Pavel Pryazhko, Elizaveta Snagovskaya, Ivan Nikolayev, Alena Starostina's I WALK LOOKING ON BOOTS (Russia).

Pavel Pryazhko
Three days in hell
A play.

Tatyana Rakhmanova
Transformations of the genre
Farce and western in brothers Cohen's dramaturgy.

Cormac McCarthy — Joel Cohen — Ethan Cohen
To choose priorities
Noted filmmakers on various stages of film production.

Olga Larionova
A skinhead
A script.

Andrei Dementyev
Reincarnation
A script for a short.

Alexander Arkhipov
Land of one's own
A script.

SUMMARY

Roman Korneyev
Film critics from torrents
The author investigates the phenomenon of amateur Internet criticism. This new trend, broadly extended during digital epoch, is analyzed from sociological, psychological and cultural points of view. Its reasons and peculiarities as well as prognostica-tion in the possible future are considered
Film criticism, torrents, psychology, digital epoch, Internet

Maria Davydova
«Creeps knocking catharsis»
Unprofessional, «everyday» film criticism as a socio-cultural phenomenon, spread within the Web 2.0 conception is considered. Pointing out major formal features of the phenomenon, the sociologist investigates activities of critics-amateurs in domestic social networks.
Film criticism, Web 2.0, unprofessional criticism, social media, socio-cultural phenomenon

Katerina Tarkhanova
Open music
Review of TV-series DISPENSE WITH WITNESSES, Russian remake of popular Israeli BE TIPUL. Comparing the Russian version with the original one and analyzing its contents and screen features, the author concludes, that the «image-building» project of the First channel has not much to do with Russian reality.
DISPENSE WITH WITNESSES, Be Tipul, Hagai Levy, Ilya Malkin, The First channel, psychology, Russian reality

Nina Tsyrkun
A summer story
Review of Juris Poskus' KOLKA COOL (Latvia), the prize-winner of the XIX International Film festival Listapad in Minsk. The critic considers key motives and themes of the Latvian pseudo-documentary, its semantics, specifics and aesthetical aspects, investigates peculiar director method's features.
KOLKA COOL, Juris Poskus, International Film festival Listapad, pseudo-documentary, specifics

Elena Stishova
Hedge between keeps friendship green
Review of the St-Petersburg's International film forum, unionized this year several festivals: «Message to Man», «Vivat, Russian cinema!», «Start up». The critic sums up the Film forum's returns, analyzing both its programs and managerial problems.
III St-Petersburg's International film forum, festival, culture, Russian cinema

Olga Andreyeva
Gerbil on a treadmill

Semyon Ekshtut
Geographical blusters
The author analyzes peculiarities of reflection of the token historical events in Russian poetry, as well as the phenomenon of creating of poetical myths itself. Also gradual changes in reception and interpretation of certain historical phenomena by poets are traced down.
Russian poetry, history, poetical myth, war

Mikhail Kalik
Another perception of life
Interview by Natalya Balandina.

Larisa Malyukova
A hen and a bird
The author explores creation of the director, artist, animator Igor Kovalyov, analyzes his life and career, considers the most prominent filmmaker's works, marking his unique artistic language and style, peculiarities of his creative approach.
Igor Kovalyov, animation, artistic language, style

Alain Resnais: «I'm rather an amateur-artisan»
Interview by Eric Libiot.

Sergei Tsyrkun
Socially bound
The author analyzes peculiarities of representation of criminal topics in the Soviet and Russian cinema and characteristic features of the pictures depending on certain epoch, focusing on the specific nuances of relation of the political power toward the criminal underworld.
Criminal topics, Russian cinema, political power, censorship, criminal underworld

Elena Baraban
On nostalgia and war
The author investigates models of conversion of the Soviet war discourse in post-Soviet cinema, considers various screen adaptations of the historical past and also analyzes receptional changes in the notions of «nostalgia», «patriotism», «heroism» and others in war films.
Soviet war discourse, post-Soviet cinema, historical past, nostalgia, patriotism

Michael Glawogger. «Documentary is the way of life for me»
Conversed by Sergei Sychev.

Antoine Cattin: «Something close to PROBA D'ORCHESTRA»
Conversed by Sergei Sychev.

Vasily Sigarev: «I have no time to think about glory»
Conversed by Dilyara Tasbulatova.

Bakur Bakuradze
The third dimension
Master class.

Denis Osokin
Angels and Revolution
Tales for city of Vologda.
People's commissariat
Album of proletarian poetry

SUMMARY

Daniil Dondurei — Andrei Erofeyev
It's not a war
Punk-service as an actual cultural practice.

Dmitry Desyaterik
Situation: Riot
The author analyzes creation of Pussy Riot group in the context of art of action history, finds components of actionism, situationism, punk-culture and other trends in art of the 20th century. Investigating subtext of Pussy Riot's actions, the author marks actuality of such art in contemporary artistic as well as political situation.
Pussy Riot, situationism, actionism, art of the 20th century, politics, culture

Xenia Rozhdestvenskaya
Your son isn't like he used to be
Review of Ki-duk Kim's PIETA (South Korea). Basing on the picture's stuff the critic analyzes unique artistic reality and a peculiar director's language, marks actuality of his new work abound in allusions to antique tragedy.
PIETA, Ki-duk Kim, artistic reality, actuality, antique tragedy

Anton Dolin
Faith detector
Review of Paul Thomas Anderson's THE MASTER (USA). The critic analyzes aesthetical, semantic and philosophical aspects of the picture, marks peculiarity of its characters and composition as well as details of working with the material. Juxtaposing the new film with other works by the filmmaker, the critic remarks, that THE MASTER is a film about inevitability and tragic nature of freedom to which a contemporary personality is doomed.
THE MASTER, Paul Thomas Anderson, philosophy, inevitability, a contemporary personality

Stas Tyrkin
Better past
Review of Olivier Assayas' APRES MAI/SOMETHING IN THE AIR (France), devoted to the period after May 1968. The critic analyzes the new, mostly autobiographical work of the director, investigates it from historical, formal and aesthetical points of view, marking peculiarities of the director's approach to the theme and singling out unique features of postdoc realism.
APRES MAI/SOMETHING IN THE AIR, Olivier Assayas, May 1968, autobiography, post-doc realism, history

Maria Kuvshinova
Guilty pleasure
Review of Brian De Palma's PASSION (Germany — France). Considering the picture in context of the director's creation, the critic singles out peculiarities of its aesthetics, composition and special construction as well as special stylistics and atmosphere of the 80s, characteristic of all the works by De Palma.
PASSION, Brian De Palma, aesthetics of 80s, atmosphere, guilty pleasure

Tamara Dondurei
Beach noir
Review of Harmony Korine's SPRING BREAKERS (USA). The critic analyzes a new work by the director, a pop-ballad full of violence, marking peculiarities of its rhythmical, stylistic and plot structure, investigating characters and unique illusionist space, constructed by the filmmaker.
SPRING BREAKERS, Harmony Korine, rhythm, pop-ballad, illusion, violence

Olga Shakina
Hot-blooded
Review of Kirill Serebrennikov's BETRAYAL (Russia). The critic analyzes semantic, formal and aesthetical aspects of the picture, where the problem of the author's split personality into alter ego and observer becomes especially evident. The author marks peculiarities of the new work by the filmmaker, as if suspended between an attempt at temperamental expression and rational socio-anthropological experience.
BETRAYAL, Kirill Serebrennikov, split personality, author, socio-anthropological experience

Xenia Rozhdestvenskaya
Nothing about my mother
Review of Sarah Polley's STORIES WE TELL (Canada). The critic investigates whimsical space of the picture, situated between feature and non-feature cinema, between family saga, reconstruction and pure fiction. The author also investigates motive of reconstruction in documentaries and marks multiple aesthetical and structural peculiarities of the film.
STORIES WE TELL, Sarah Polley, chronicle, non-feature films, reconstruction

Andrei Plakhov
Like in a mirror
Review of Lyubov Arkus' ANTON'S RIGHT HERE (Russia).

Vadim Rutkovsky
Over the horizon
Venice-2012. The author analyzes the program Horizons of the 69th Venice International film festival, tracing down actual trends, stylistic and formal features of the films, the most part of which can be divided into «portraits» and «landscapes» as far as genre is concerned, and also marks unique features of the directors' language.
Venice International film festival, Horizons, actual trends, portrait, landscape

Zara Abdullayeva
Together
Review of Alexei Balabanov's ME TOO (Russia). The critic investigates the space of «fantastic realism» of the director's new film, its characters and their interrelations and relation towards reality, discloses multiple layers of this polyphonic «tale about happy end», analyzes its peculiar aesthetics, philosophy and composition.
ME TOO, Alexei Balabanov, multiple layers, tale, fantastic realism

Nina Tsyrkun
Talented Master Hoffman
Portrayal of the American actor Philip Seymour Hoffman. When analyzing creation and filmography of the actor, the author discloses peculiarities of his method, his unique naturalness, as well as treats his personages — always both funny and tragic, boasting of extraordinary features.
Philip Seymour Hoffman, actor's method, naturalness, tragic

Zara Abdullayeva
Hell. Love
Review of Ulrich Seidl's PARADIES: GLAUBE (Austria — Germany — France). The author in detail investigates unique space constructed by the filmmaker on the border of documentary and feature cinema, his extremely ascetic poetics, marking cruelty, depth and tragic overtone of the new work. The critic also analyzes the picture's characters and its complex semantic construction.
PARADIES: GLAUBE, Ulrich Seidl, documentaries, feature films, asceticism, tragic
Seidl. The method

Ulrich Seidl: «Scandal is a useful thing»
Elfriede Jelinek
Stimulated

Maria Hofstatter: «Working with Seidle is always a trip»
PARADIES: GLAUBE. Director Ulrich Seidl.

Martha Rosler
From gentrification towards occupation
Revolution in art form. The author investigates the phenomenon of Revolution in sociological, historical, artistic and philosophical contexts, tracing down its path of evolution and marking its controversies. Basing on the works of different philosophers, the author analyzes the role of Revolution (also in the artistic sphere) in society, different understandings of its gist by various social strata, as well as its possible historical and cultural consequences.
Revolution, gentrification, occupation, philosophy, creative class

Paul Thomas Anderson: «I always followed my characters»
Interview with the director.

Olivier Assayas: «I believe in filming real life»
Interview with the director.

Julia Loktev: «I'm afraid to be bored by myself»
Conversed and commented by Anjelika Artyukh.

Elena Dolgopyat
Alien life
Three short stories.

Yaroslava Pulinovich
How I became…
A cinematic play.

SUMMARY

Anatoly Golubovsky — Nikita Sokolov — Yury Pivovarov
The church has lost its chance

Natalya Sirivlya
Tales of the former USSR folks
Anapa-2012. Review of Kinoshock film festival. The critic marks unique features of nowadays fest, analyzes pictures in Competition, investigates peculiarities of new cinema space of the countries of the former USSR.
Anapa-2012, Kinoshock, USSR, Competition, cinema space

Katerina Tarkhanova
Where the West and East got together
Reviews of Algimantas Puipa's THE CASTLE OF THE SLEEPING BUTTER-FLIES (Lithua). The critic analyzes Competition programme of XXI Kinoshock film festival, marking its peculiarities, actual motives and especially the general importance of the festival. THE CASTLE OF THE SLEEPING BUTTER-FLIES by Algimantas Puipa is particularly singled out as the fork tuning of the fest's atmosphere.
Kinoshock-2012, Competition programme, THE CASTLE OF THE SLEEPING BUTTER-FLIES, Algimantas Puipa

Zara Abdullayeva
Behind the limits of shock
The author analyzes the brightest pictures from the short films Limits of Shock at the XXI Kinoshock festival, investigating the peculiarities of cinema language and the creative method of young directors.
Kinoshock-2012, cinema language, short films, creative method

Yury Bogomolov
Implying Russian cinema
Viborg-2012. The author considers the most remarkable pictures from the festival's programmes, analyzes peculiarities of this season in general, marking, that in 2012 it appeared reflexive to both cinema industry and contemporaneity itself, its trends and demands.
Viborg-2012, cinema industry, contemporaneity

Nina Tsyrkun
General practitioner
Review of Vladimir Pankov's DOCTOR (Russia). The critic analyzes peculiarities of the film's structure, which is an adaptation of the stage performance, its stylistics, subject matter, genre specifics and characters as well as unique artistic method of the director.
Vladimir Pankov, DOCTOR, theatre, subject matter, timing, adaptation

Nina Sputnitskaya
Contempt, or Odnazhde v Rossii
Review of Maria Saakian's ENTROPY (Russia). The critic analyzes stylistic and structural peculiarities of the film, its characters, imagery and principal imitativeness, which becomes the main method of the director in in-buil-ding an absurd world of freaks into a traditional compositional structure.
Maria Saakian, ENTROPY, imagery, freak, absurd, imitativeness

Elena Stishova
Carlovy Vary. Reloading
Review of Carlovy Vary International. The critic analyzes Competition and other programmes of 2012, singles out new tendencies in European cinema and also traces down changes in the building of cultural politics of the festival.
Carlovy Vary-2012, European cinema, cultural politics, tendences

Vladimir Lukin
Chamber vanguard
Review of the 65-th Locarno International. The critic analyzes actual trends and considers the most remarkable pictures of Competition and other programmes, analyzes their forms, stylistics and semantic aspects.
Locarno-2012, actual trends, semantic aspects, chamber vanguard

Denis Dragunsky
A dark side of freedom
The author reflects over important changes in the thought in contemporary Russia, investigates mechanisms of a new type of consciousness, freed from the burden of Soviet totalitarianism, as well as hidden danger tied up with the loss of an ability to rational thinking.
Freedom, modern, totalitarianism, rational thinking, Russia

Olga Andreyeva
Advice to a traveler
Personal rubric.

Alexei Smirnov
Brothers Cohen's tales
The author analyzes contemporary Russian cinema from formal and aesthetical points of view, investigates its most typical subject matter, methods and tricks, juxtaposing it with successful Western cinema. Change in spectators' preferences is also considered. Stating cinema crisis in Russia, the author puts forward some solutions which are capable to improve the position of Russian cinema on the world market.
Russian cinema, Western cinema, spectators' preferences, crisis, world market

What's good of Kinoshock?
Anapa-2012. Round table talk

Sergei Anashkin
Crossroads and blind alleys
7 1/2 films by Edward Young. Investigation of the cinema by Taiwanese filmmaker Edward Young, the prominent representative of the Taiwanese «new wave». Basing on seven works of the director the author analyzes his unique cinematic world, artistic strategies, aesthetical and stylistic methods, polyphony of plots and key motives of his creation.
Edward Young, Taiwanese «new wave», strategy, key motive, polyphony

Andrei Fomenko
Leopard and brontosaurus
The author analyzes cinema of epoch of classical Hollywood, considering the most distinguished works of the period and marking their specifics in comparison to the contemporary arthouse and mainstream. Basing of Howard Hawks' BRINGING UP BABY, he analyzes features of screwball comedy, its unique stylistic and semantic aspects.
Hollywood, BRINGING UP BABY, Howard Hawks, screwball comedy, burlesque

Evgeny Maizel
God is everywhere?
A detailed analytical treatment of the notion of religious cinema. The author strives at singling out its characteristics, formal and stylistic features, making up its typology. Basing on certain pictures he analyzes motives of theomachy, pantheism, transcendence, etc., which are traced down in religious cinema.
Religious cinema, typology, theomachy, pantheism, transcendence

Lev Karakhan
In search of metaphysics lost
Profound investigation of Alexander Sokurov's FAUST. Considering various aspects of the film, the critic analyzes its specific stuff, stylistics, composition, interprets characters in his own way, discloses deep philosophical and religious sense and investigates peculiarities of artistic language of the fimmaker.
Alexander Sokurov, FAUST, stylistics, religious sense, artistic language

Roman Perelstein
Hell is hand-made
Alexander Sokurov's FAUST.

Mumin Shakirov
Oriental express
A script.

SUMMARY

Spectators don't watch our films. Why?
Round table talk.

Bakur Bakuradze — Nina Zarkhi
Cinema which is not lacking
Kinotavr-2012.

Igor Sukmanov
Through the glass darkly
Review of Vasily Sigarev's TO LIVE (Russia). The critic analyzes artistic realm and unique author's language, considers the tragic gist of the film about a personal apocalypse, experiencing death and loss, disclosing the most complex themes not in the frame of universum, but within a chamber space of sentiments.
TO LIVE, Vasily Sigarev, artistic realm, apocalypse, death, space of sentiments

Katerina Tarkhanova
Victory of faith
Review of Pavel Ruminov's I'LL BE AROUND (Russia — Ukraine), the winner of Kinotavr-2012. The critic analyzes the subject structure, aesthetical and semantic aspects of the picture; actors' performance; considers the film from philosophical and sociological points of view.
I'LL BE AROUND, Pavel Ruminov, Kinotavr-2012, subject matter, structure, sociology

Zara Abdullayeva
Shatters
Review of Mikhail Segal's SHORT STORIES (Russia). Analyzing the film, the critic discloses peculiarities of the unique language of the director, demonstrating both stylistic splendour and sagacity of an anthropologist with inborn edged sense of humour.
SHORT STORIES, Mikhail Segal, language of the director, style, anthropology, comedy

Elena Stishova
Shrove Sunday
Review of Alexander Proshkin's EXPIATION (Russia), an adaptation of Friedrikh Gorenstein's novel. The author in detail analyzes methods chosen by the filmmaker, narrative structure, input senses and philosophical subtexts.
EXPIATION, Alexander Proshkin, Friedrikh Gorenstein, adaptation, narrative structure

Elena Plakhova
Bad Captain
Review of Alexei Mizgiryov's THE CONVOY (Russia). The author investigates a certain space of the film in the context of the filmmaker's creation in whole, marking its stylistic, structural and semantic features, as well as drawing parallels with Abel Ferrara's BAD LEUTENANT.
THE CONVOY, Alexei Mizgiryov, BAD LEUTENANT, Abel Ferrara, context

Katerina Tarkhanova
Is there life behind Moscow?
Review of Pavel Kostomarov and Alexander Rastorguyev's I DON'T LOVE YOU (Russia — Estonia). The author discloses originality of the filmmakers' methods in working with the stuff, aesthetical, stylistic and narrative features of the picture balancing on the verge of feature and documentary cinema.
I DON'T LOVE YOU, Pavel Kostomarov and Alexander Rastorguyev, feature films, documentaries

Larisa Malyukova
«Let's talk about weird love»
Review of Avdotia Smirnova's KOKOKO (Russia). The critics considers the picture from sociological and aesthetical points of view, discloses originality of the director's tricks while working with ordinary plots, extraordinary interpretation of the motive of the clash of representatives of absolutely different realms.
KOKOKO, Avdotia Smirnova, Kinotavr-2012, plot, clash, trick

Lylia Nemchenko
Waiting for Marx
Review of Svetlana Baskova's FOR MARX… (Russia). The critic marks specifics of this conceptual work, which doesn't find room neither in the genre frame of contemporary cinema, nor within its generic frontiers, and suggests a variant of political cinema, which has not been in domestic cinema since Eisenstein. The author analyzes aesthetical, conceptual and philosophical aspects of the picture.
FOR MARX…, Svetlana Baskova, conceptualistic work, genre frame, Eisenstein

Andrei Plakhov
Proletarian without lumpen
Review of Svetlana Baskova's FOR MARX… (Russia). Basing on Svetlana Baskova's FOR MARX… the critic investigates the image of a worker, proletarian in contemporary Russian cinema. Marking an extraordinary approach and unique artistic method of the director, the author shows importance of her film in the context of the up-to-date politically alternative cinema.
FOR MARX…, Svetlana Baskova, proletariat, political alternative

Andrei Shemiakin
Protestant cinema arrived

Nancy Condee
The cinema format of the year

Alexander Shpagin
Rise or stagnation

Victor Matizen
Notes of a chronicler

Sergei Lavrentyev
Sparkling imitation
Film critics on Kinotavr-2012.

Andrei Migachyov
Go to hell

Zara Abdullayeva
Be happy
Reviews of Philipp Yuriev's THE SONG OF THE MECHANICAL FISH (Russia), Taisia Igumentseva's A ROAD TO (Russia) and Mikhail Mestetsky's LEGS — ATAVISM (Russia) — the entrees of the Competition programme of short feature films at Kinotavr-2012. The critic traces dramatic, stylistical and narrative features of the young directors' films as well as their hidden sense and messages.
Kinotavr-2012, THE SONG OF THE MECHANICAL FISH, A ROAD TO, LEGS — ATAVISM, Philipp Yuriev, Taisia Igumentseva, Mikhail Mestetsky, shorts

Evgeny Gindilis — Yulia Mishkinene: No one occasional work
Kinotavr. Shorts. Conversed by Nina Zarkhi and Daniil Dondurei.

Alexandra Mashukova «A girl named Olya Lapshina's lost!»
Portrayal of actress Olga Lapshina. The author explores creative career of the actress, her evolution in theatre and in cinema, disclosing peculiarities of her style, mode of performance and specific naturalness. Through examples of her roles, including that in Vasily Sigarev's TO LIVE, the author shows singularity of the performer's talent, her ability to transforming and in the limits of one type.
Olga Lapshina, Vasily Sigarev, theatre, naturalness, TO LIVE

Anna Gudkova
A mirror without a hero
Pitching. Lessons.
The author analyzes the returns of the pitching of projects which took place at Kinotavr-2012, investigates evolution of this event and peculiarities of this year's applications/projects/pictures. The author also dwells on the figure of a contemporary producer as one of the key participants of the cinema process, mainly shaping the future of a film.
Kinotavr-2012, pitching, producer, Russian film industry, cinema process

Xenia Leontyeva
Where and how we watch cinema
The author analyzes returns of the all-Russia investigation of the film theatre audience, held by Nevafilm Research company in 2011. Considering the results of the polling, the author singles out some peculiarities of film consumering, analyzes dynamics of contemporary Russian film market and suggests some strategic solutions, which are capable of improving understanding of today's theatrical audience.
Nevafilm Research, investigation of the film theatre audience, film consumering, dynamics, cinema theatre

Alexei Mizgiryov: «Freedom for…»
Conversed by Tamara Dondurei.

Pavel Kostomarov: «Stranglehold of dust kills me»
Conversed by Dilyara Tasbulatova.

Katya Shagalova
Quarter Shoes
A script.

SUMMARY

Screening. Re-loading
Cinema theatre: Russian films out TV — savior or gravedigger?
Internet: «Who will pay, if it’s possible not to pay?»
Returns of KinoSoyus’ conference (Voskresenskoye, April 2012)

Alexei Anastasyev
God and Tolk
Review of Andrei Proshkin’s THE HORDE (Russia).
The author analyzes flaws and merits of the film, its characters, key plot twists; investigates it in the historical context and discloses peculiarities of the director’s manner of reconstruction of the certain epoch.
THE HORDE, Andrei Proshkin, reconstruction of the epoch, historical context, subject matter

Olga Ziborova
Not the happy mean
Review of Stefano Sollima’s A.C.A.B.: ALL COPS ARE BASTARDS (Italy) after Carlo Bonini’s novel.
The author discloses key motives of the film, analyzes problems of tolerance and intolerance towards immigrants in contemporary European society, as they are formulated by the helmer.
Political subcontext is also investigated.
A.C.A.B.: ALL COPS ARE BASTARDS, Stefano Sollima, Carlo Bonini, tolerance, European society, political subcontext

Katerina Tarkhanova
Stillness in Lessу
Review of Roman Prygunov’s DUKHLESS (Russia), adaptation of the novel by Sergei Minayev.
The critic considers the film’s stuff, its hidden allusions and juxtaposes it with the literary source. Also composition and characters are analyzed, and the picture is viewed in the context of contemporary Russian reality.
DUKHLESS, Roman Prygunov, Sergei Minayev, allusions, Russian cinema

Nina Sputnitskaya
I’ll be beside
Review of Renata Litvinova’s THE LAST SAGA OF RITA (Russia).
The critic considers the picture as synthetic surreal fantasy about early passing away, analyzes peculiarities of the director’s artistic language, compositional mechanism andpersonages, as well as features of her visual and narrative stylistics.
THE LAST SAGA OF RITA, Renata Litvinova, surrealism, the other world, artistic language, compositional mechanism

Maxim Lyubovich
Death and other sentiments
Review of Renata Litvinova’s THE LAST SAGA OF RITA (Russia).
The author analyzes unique illusory space of the film, its specific aura and mythology, peculiarities of the director’s method of constructing parallel world on the ground of images and plots of real life.
THE LAST SAGA OF RITA, Renata Litvinova, illusionism, aura, mythology, reality

Dmitry Desyaterik
Antipode
Review of Malik Bendjelloul’s documentary SEARCHING FOR SUGAR MAN (Sweden — Gr. Britain).
The author considers the film as the story of the greatest antipode in the history of rock music — American singer and composer Sixto Rodriguez, investigates its stylistics, narrative structure and features of direction in interpretation of the mythologized past.
SEARCHING FOR SUGAR MAN, Malik Bendjelloul, Rodriguez, narration, myth, interpretation

Sergei Sytchev
World in front of us
Moscow International Film Festival: Non-feature Competition.
Documentary Competition and Free Thought programs of the Moscow International Film Festival are analyzed, dwelling on the brightest films presented. Also general situation of actual non-feature films in Russian distribution is considered.
Moscow International Film Festival, Free Thought, non-feature cinema, Competition program, actuality

Ilya Bobylyov
Frames — sense — theses
Review of Ekaterina Eremenko’s COLORS OF MATH (Russia — Germany).
The author investigates peculiarities of composition and subject matter of the film, its anthropomorphic imagery, aesthetical aspects, characters and unique directional method and
cinematography.
COLORS OF MATH, Ekaterina Eremenko, structure, anthropomorphic’s imagery, visuality

Janna Vasilyeva
Arrival of «express»
Moscow International Film Festival: Media Forum.

Nina Tsyrkun
Moon in champagne
Moscow International Film Festival: Lubitsch’ Touch. Cinema of Ernst Lubitsch is investigated; the features of his unique style, aesthetics and energy of his movies, principles of composition and work with performers, building of screen space, as well as characteristic modes and devices. Lubitsch is viewed in a broad cinema context. Also his impact on the world screen art is specified.
Ernst Lubitsch, energetics, German cinema, Hollywood, Lubitsch Touch

Lydia Kuzmina
Pass for one
Moscow International Film Festival: Hector Babenco.

Anton Dolin
Nolan and Batman. Prestidigitators
Cinema world of Christopher Nolan is investigated, his approach towards adaptation of the famous comics about Batman, major motives of his creation, peculiarities of work with cinematic and literary stuff, specific aesthetics and fresh stylistics of his films.
Christopher Nolan, Batman, comics, literary stuff, aesthetics

Olga Artemyeva
Of the Eternal Wanderings and the Earth
Cinema of Ridley Scott is investigated.
The author analyzes unique approach of the director towards sci-fi genre, features of his style, personages created by him and narrative constructions, extraordinary mainstream aesthetics of his cinema.
Ridley Scott, American cinema, sci-fi, narrative construction, mainstream

Ridley Scott: «I’m robot, of course»
Conversed by Roth Cornet.

Roman Korneyev
There will be no market ever
The author analyzes the today’s situation in Russian cinema, attempting at disclosing reasons for absence of effectivelyl functioning film industry; considers main problems of Russian cinema business as well ascontemporary Russian cinema in the context of the world cinema industry.
Russian cinema, cinema industry, cinema business, crisis, plots

Zara Abdullayeva
The miserables
Review of Aki Kaurismaki’s LE HAVRE (Finland — France — Germany).
The critic thoroughly analyzes this uncharacteristic for the filmmaker work, a ‘tale’, in which he demonstrates his deeply and desperately tragic world outlook. Also aesthetical and stylistic features of the picture are considered, as well as characters’ interrelations and the compositional structure of the film.
Aki Kaurismaki, LE HAVRE, tale, world outlook, aesthetics, drama

Alexandra Novozhenova
Porn and sensibility
Review of Maja Milos’ KLIP (Serbia).

Boris Groys
Performing theory
Boris Groys in his lecture considers changing functions of art, its social relevance, correlation of theory and practice within it, its interrelations with contemporary world, the demands which are introduced to it. Also art as an instrument of political struggle is considered.
Boris Groys, art, social relevance, theory, political struggle

Elena Nekrasova
What’s behind co-production
The author sums up business program Moscow Business Square (MBS), which took place at the 34-th Moscow International and was devoted to international co-production. Analyzing peculiarities of the program in 2012, the author investigates main problems of Russian cinema industry and the modes of their solutions, proposed by both domestic and foreign professionals.
Moscow International Film Festival, Moscow Business Square, Russian cinema industry, co-production

Evgeny Golubenko
Home video
An essay.

Tatyana Bogatyryova
Marian depression
A script.

SUMMARY

Daniil Dondurei — Lev Karakhan — Andrei Plakhov
Festival of despair?
Cannes-2012.

Zara Abdullayeva
The Authentist
Review of Michael Haneke's AMOUR (Germany — France — Austria). The author analyzes the subtle texture of the film, pointing out its profound semantic layers, stressing peculiar Haneke's innovation — that of not stylistic, but notional order. The critic argues, that historism of the helmer — being a conductor-authentist — actualizes his world outlook in an ethical key.
AMOUR, Michael Haneke, innovation, historism, authentist, ethical key

Anton Dolin
Out of private zone
Review of Cristian Mungiu's DUPA DEALURI (Romania), based on a real fact, described in Tatiana Niculescu Bran's non-fiction story. Investigating aesthetical and notional aspects of this contemporary drama about love, estrangement and interrelations of man and religion, as well as its characters, the critic discloses features of the artistic world of the Romanian filmmaker.
DUPA DEALURI, Cristian Mungiu, Tatiana Niculescu Bran, contemporary drama, estrangement, religion, love

Oleg Zintsov
To imagine
Review of Leos Carax' HOLY MOTORS (France — Germany). Analyzing multilayered magical realm of the picture, the critic specifies unique features of the director's creation and peculiarities of his characters; the relations of game and reality, life and non-being built in the screen space.
HOLY MOTORS, Leos Carax, magic realm, creation, game, reality, non-being

Elena Plakhova
Batalla en el cielo
Review of Carlos Reygadas' POST TENEBRAS LUX
(Mexico — France — Netherlands — Germany). The critic accentuates flavours of the helmer's newest work — absolutely poetical cinema of images; considers its formal, aesthetical and notional aspects, a whimsical logic of cutting and analyzes through it a bizarre surrealistic realm, created by the director.
POST TENEBRAS LUX, Carlos Reygadas, poetical cinema of images, interpretation, logic of cutting, surrealism

Larisa Malyukova
The Alien
Review of Thomas Vinterberg's JAGTEN (Denmark). The author traces down evolution of the Danish director and analyzes his new actual work, in which Vinterberg explores habits of contemporary society, dependent on rituals, paralyzing magic of words as well as a certain number of socio-psychological problems, motives of guilt and innocence, truth and lies, cruelty and humility.
JAGTEN, Thomas Vinterberg, evolution, contemporary society, socio-psychological problems, ritual, lies

Igor Sukmanov
Mathematical impressionism
Review of Sang-soo Hong's DA-REUN NA-RA-E-SUH (South Korea). The author studies unique multilateral, almost mathematically controlled cinema space, created by the director in every new film, uniqueness of his methods and techniques, peculiarities of the aesthetics and problems he treats; investigates the characters of the picture in question, its key psychological nuances within this space.
DA-REUN NA-RA-E-SUH, Sang-soo Hong, multilateral, mathematics, aesthetics, psychological nuances

Zara Abdullayeva
Change
Review of Ulrich Seidl's PARADIES: LIEBE (Germany — France — Australia) — the first part of trilogy. The critic analyzes specific visual space of the picture, its aesthetical and notional aspects, stressing ambiguity of its interpretation. Exploring the film's key theme of total loneliness, the critic marks ruthlessness of the helmer's position, absence of lyricism and sympathy in his attitude.
PARADIES: LIEBE, Ulrich Seidl, visual space, aesthetics, total loneliness, lyricism, sympathy

Stas Tyrkin
Heaven can wait
Review of Ken Loach's THE ANGEL'S SHARE (Gr Britain — France — Belgium — Italy). The critic considers the space of the new work by the British director, peculiarities of his personages, their psychology and behavior; examines the picture from social, psychological and aesthetical points of view and analyzes it in the context of the filmmaker's creation in a whole.
THE ANGEL'S SHARE, Ken Loach, personage, psychology, social aspects

Nina Sputnitskaya
Welcome, or For personnel only
Review of Wes Anderson's MOONRISE KINGDOM (USA). The author investigates unique hermetic world of the helmer as a certain ecosystem of its own, inhabited by almost fairy-tale characters. The critic also considers major plot twists and intrigues, characters and personages' interrelations, psychological and emotional aspects of the new film by Anderson.
MOONRISE KINGDOM, Wes Anderson, ecosystem, fairy-tale characters, intrigues, character

Igor Sukmanov
After God
Review of Michel Franco's DESPUES DE LUCIA (Mexico — France), devoted to consideration of artistic world of the director and profound analysis of his new social and psychological drama. Thorougly investigating the film's texture, the key motives of love, revenge, cruelty, loneliness and guilt, the author remarks, that the film overcomes the boundaries of socio-critical document, turning into an allegoric statement.
DESPUES DE LUCIA, Michel Franco, psychological drama, revenge, cruelty socio-critical document an allegoric statement

Olga Shakina
Road in beautiful emptiness
Review of Jeff Nichols' MUD (USA). The critic investigates artistic realm and features of the American filmmaker's creative method. It is specified, that the director deals not with the existential, but with the transcendental. Also evolution of the personages of MUD is traced down in the context of the helmer's creative perspective.
MUD, Jeff Nichols, creative method, evolution, the transcendental

Alexander Rubtsov
Great spectacle for adults
The author investigates contemporary political and ideological situation in Russia, drawing parallels with theatrical spectacle, though considering political theatre of power in this country in a broader historical context. Viewing genre features, scale, quality and targets of this whimsical production, Rubtsov records, that it cannot become a strategy in itself.
Political situation, theatre of power, Russia, schemes of development, strategy

Andrei Dementyev
Granny Sonya and Eisenstein
Personal rubric.

Carlos Reygadas: «If I explain everything, I'll ruin Your freedom»
Interviewed by Marina Toropygina.

Carlos Reygadas: «Form and contents are the same»
Conversed by Tatyana Iensen.

Elena Stishova
Ghost of Judas. Triptych
Investigation of Sergei Loznitsa's IN THE FOG. The critic examines the new work of the filmmaker from various points of view and in a broad cinema context, comparing it to the films ROAD CHECK by Alexei German and ASCENT by Larisa Shepitko, disclosing its deep ideas, narrative features and unique qualities of the director's minimalist poetics. Also methods of creating of unique spiritual realm and work with historical and literary stuff are considered.
IN THE FOG, Sergei Loznitsa, cinema context, narrative features, spiritual realm, poetics

Michael Haneke: «I'm glad to have shot a simple film»
Interviewed by Dennis Lim.

Cristian Mungiu: «Everything should be subject to hesitation»
Director on his movies.

Thomas Vinterberg: «I've returned to myself»
Director on his movies.

Sergei Muratov
Cultural counterrevolution TV
The author treats phenomenon of contemporary TV documentaries, its features, merits and flaws, traces down its evolution and attempts at defying of the major processes which form it. Remarking, that today documentaries appear as continuation of the TV broadcasting policy, its strategic weapon, the author states, that TV-cinema as social and aesthetical phenomena do not exist anymore.
TV documentaries, broadcasting policy, TV, social phenomenon, journalism

Ekaterina Mavromatis
Shame
A script.

Andrei Migatchev
VHS
A script.

Marina Sasina
Among fish, or A girl's best friends
The cockeyed
Short stories.

SUMMARY

IK questionnaire
Internet — what is it for you?
Don't be afraid
IK round table talk.

Yury Bogomolov
Art culture's rendezvous with Internet
Phenomenon of Internet as a special cultural fact and a forming fundamental of contemporary reality is treated. Analyzing specifics of Internet, the realm of its functions, its structural and other features, Bogomolov states that Internet is a «massovised author», challenging tremendous remolding of habitual explorational approaches.
Internet, contemporary reality, «massovised author», explorational approaches

Katerina Tarkhanova
Cinema — down!
Review of Andrei Malyukov's THE MATCH (Russia — Ukraine).
Critic analyzes major plot twists, stylistic and structural peculiarities of the picture, considering it in the context of Russian historical war cinema. Also specifics of the helmer's approach towards history is taken into consideration.
MATCH, Andrei Malyukov, plot twists, historical cinema

Evgeny Maizel
1+1: body-composition and subtraction
Review of INTOUCHABLES («1+1») by Olivier Nakache and Eric Toledano (France).
Critic investigates the texture of the picture, its socio-cultural subtext and concealed philosophical motives, demonstrating how deceptively superficial European mainstream cinema may seem.
INTOUCHABLES, Olivier Nakache, Eric Toledano, socio-cultural context, European cinema, mainstream

Viktor Matizen
Fights without rules
Review of Karen Shakhnazarov's WHITE TIGER (Russia), adapted from Ilya Boyashov's TANKMAN, OR WHITE TIGER.
The author analyzes the picture in the context of war and period genre, dwells on its artistic features and sense layers as well as on the unique creative method of the filmmaker.
WHITE TIGER, Karen Shakhnazarov, Ilya Boyashov, TANKMAN, OR WHITE TIGER, war and period genre

Natalia Venger
Civilization in gamer-time
Review of Oleg Sentsov's GAMER (Russia).
Concentrating on philosophical motives of the film, sociopsychological motivations of the characters and peculiarities of the creative manner of the newcomer, critic considers the picture as a certain generational portrayal, constituting a new species of mankind — homo ludens.
GAMER, Oleg Sentsov, generational portrayal, homo ludens, philosophical motives, socio-psychological motivations

Katerina Tarkhanova
Red spots of flags
Review of Daniel Nettheim's THE HUNTER (Australia) after Julia Leigh.
The author concentrates on the texture and stylistic traits of dramaturgy, direction and especially the protagonist performed by Willem Dafoe; also philosophical ideas and problems hidden in the shadow of the seemingly standard plot.
THE HUNTER, Daniel Nettheim, Julia Leigh, Willem Dafoe, texture, stylistic traits

Nina Tsyrkun
Armageddon on Manhattan
Review of Joss Whedon's THE AVENGERS (USA).
Critic analyzes in detail both stylistic and substantial construction of the film, innovations in adaptation of comic strips and creating specific crossover according to the rules of Marvel creative code.
THE AVENGERS, Joss Whedon, comics crossover, superheroes, Marvel code

Olga Andreyeva
Dust and time
Personal rubric.

Denis Volkov
To live in parallel systems
Analysis of preconditions and social context of the latest political events in Russia after the elections. Carefully investigating the situation from sociological point of view and analyzing condition of contemporary Russian society as a whole, the author marks, that the starting process of strengthening of independent civil initiatives may lead towards forming of the urgently necessary infrastructure of broad ties amongst various social groups.
Social context, elections, Russian society, civil initiatives, infrastructure of ties
Words, words, words...
Internet-lexicon.

Nick Brandestini
Social darwinism
On Nick Brandestini's DARWIN. Conversed by Evgeny Maizel.

Andrei Fomenko
Unordinary fascism
Theoretical and culturological analysis of Pier Paolo Pasolini's SALO, OR 120 DAYS OF SODOM. Admitting multiplicity of interpretations of this picture, the author investigates its narrative structure, plot, stylistics and contents; considers it in the context of a number of philosophical and theoretical conceptions, pointing out specifics of the screen realm created by the director.
SALO, OR 120 DAYS OF SODOM, Pier Paolo Pasolini, narrative structure, contents screen realm

Dmitry Golynko-Volfson
Demotivators
Phenomenon of Internet-meme and its versions is considered. The author traces down evolution of this event in on-line terrain, investigates its peculiarities from sociological and culturological points of view as well as its key functions and sense-generating mechanisms.
Internet-meme, demotivators, on-line terrain, sense-generating mechanisms, sociological context

Words, words, words...
Internet-lexicon.

Public TV: a cracking monolith
Round table talk.

Evgeny Golubenko
Home video
An essay.

Pavel Finn, Vladimir Fokin
Poetry by Yuly Kim
Island of wonders
A script.

SUMMARY

Constantin Ernst
Smell of time
A new TV language has not been created yet
Analyzing global world changes in the information span, the author explores changing practices of viewers' reception, features of spectators's psychology and inevitable transformations of the language of contemporary mediasphere. Various types of TV and Internet contents, their impact on audience of different age groups are also considered.
Information span, psychology, mediasphere, content, Internet, TV

Daniil Dondurei
People of the day and people of the night
Language taboos life
Peculiarities of new times, challenges facing mankind as well as global civilizational, technological and cultural shifts, modifying a contemporary individual's consciousness, one's sensuality, mechanisms of perception and understanding reality are considered.
Cultural shifts, consciousness, contemporaneity, mechanisms of perception, reality

Nina Sputnitskaya
The most charming and attractive
Review of Valeria Gai Germanika's A SHORT COURSE OF A HAPPY LIFE (Russia).
The author thoroughly treats the plot and motives as well as the themes of the TV series, discovers characters' psychology, analyzes its features as a specific cultural product aimed at a certain audience.

A SHORT COURSE OF A HAPPY LIFE, Valeria Gai Germanika, themes, TV series, a cultural product
Katerina Tarkhanova
Sympathy for Lady Vengeance
Review of Valeria Gai Germanika's A SHORT COURSE OF A HAPPY LIFE (Russia).
Texture, sociological and psychological aspects of the latest work by Germanika, its personages, hidden senses and subtexts are analyzed. The critic investigates the TV series as a certain pastiche on the theme of TV series, appearing rather an anti-series.

A SHORT COURSE OF A HAPPY LIFE, Valeria Gai Germanika, pastiche, antiformat
Nina Tsyrkun
Soviet park
Review of Alexei Andrianov's A SPY (Russia).
The author thoroughly investigates the adaptation of Boris Akunin's novel; its structure, stuff and narrative features of the movie; its retrofuturistic stylistics and peculiar aesthetics of diesel-punk. Considering the film in various aspects the critic shows how the fundamentals to which the helmer adheres, help Russian film production to enter a realm of its own.

THE SPY, Alexei Andrianov, Boris Akunin, adaptation, narration, retrofuturism, Russian film production
Lydia Kuzmina
Modern of our life
Review of Vladimir Mirzoyev's BORIS GODUNOV (Russia).
The author carefully analyzes the adaptation of Alexander Pushkin's tragedy about drama of a personality and power. The film's stylistic and aesthetical features, themes, key psychological collisions and senses are investigated as well as historical and cultural aspects.
BORIS GODUNOV, Vladimir Mirzoyev, Alexander Pushkin, drama, psychological collisions, historical context

Vladimir Mirzoyev
Godunov, «an effective manager»
The helmer of BORIS GODUNOV ponders over the destiny of Alexander Pushkin's work, its hidden senses, problems and persistent actuality, as well as the history of the film's origin, peculiarities of dealing with the literary source and the chosen narrative style.
BORIS GODUNOV, Vladimir Mirzoyev, actuality, idea, history, narrative style

Anton Dolin
Lift underneath the scaffold
Review of Drew Goddard's THE CABIN IN THE WOODS. The critic thoroughly analyzes the complex multilevel structure of the movie, its' genre peculiarities, metaphoric range and its' characters, as well as explores the very fabric of the film and the erratic philosophy of horror genre itself.
THE CABIN IN THE WOODS, Drew Goddard, multilevel structure, horror, genre peculiarities

Boris Lokshin
Elford's confession
The author analyzes documental trilogy PARADISE LOST by Joe Berlinger and Bruce Sinofsky, a courtroom drama about American nonconformists convicted of murder. Basing on the stuff of the film the critic dwells on specifics of American justice, problems of guilt and innocence, the gist of crime and complicated trajectories of interrelations between cinema and reality.
PARADISE LOST, Joe Berlinger, Bruce Sinofsky, documentary, courtroom drama, crime, justice

Sergei Yurizditsky: «Cinema is a cultivated picture»
Conversed by Elena Madden.

Oleg Zintsov — Inna Kushnaryova — Evgeny Gusyatinsky
Taboo
McQueen-variations.

Back to future
Old man: a new vector of the Kazakh cinema
Discussion on Ermek Tursunov's OLD MAN (SHAL) moderated by Gulnara Abikeeva.

Sergei Anashkin
Violence as a mode of communication
Fundamental investigation of the theme of violence and aggression in South Korean cinema. Analyzing creation of some filmmakers and tracing down the history of development of Korean film art, the critic specifies its key features and characteristic motives, specifics of imagery and original aesthetics of violence, which has been shaped under the influence of peculiar mythology and unique collisions of historical drama of the country.

South Korean cinema, violence, aesthetics, mythology, imagery

Andrei Zvyagintsev
No symbolic sense
Conversation with students and teachers of directing department of Moscow Institute of contemporary art.

Bela Tarr: «Filmmaker is an unhappy profession»
Director's master-class.

Ella Manzheeva
Seagulls
A script.

Anastasia Istomina
A butterfly's wing

A script.

Olga Andreyeva
Protest as a genre
Analyzing actual political events and meetings in the end of 2011 and beginning of 2012, the author treats revolution as a history genre and attempts at defying specifics of Russian revolution, its forms and aims. The balance of political forces in Russia is also investigated as well as peculiarities of the new type of consciousness, shaping revolutionary trends and their development in the society.
Meeting, revolution, history genre, political forces, new type of consciousness

Sergei Medvedev
Phenomenology of the scum
The author analyzes the widespread word «scum» which universally crosses all the class differences. The notion as the diagnosis of the collapsed society is being treated, as well as its sources and main features and necessity of critically revision of the discourse.
Scum, class differences, diagnosis, collapsed society, discourse

Denis Dragunsky
Vertical of power and horizontal of society
The author analyzes political and economical situation in Russia, the changes which have taken place recently, explores new political reality shaping the vector of the country's development. Problems of interrelations between the power and people and peculiarities of contemporary political conceptualization in general are also considered.
Political reality, vector of development, power, political conceptualization

Nina Tsyrkun
In forms of life itself
Analytical coverage of Berlinale-2012. The critic analyzes peculiarities of the Festival's policy and the newest artistic trends. The most prominent pictures are considered in detail as far as their form, stylistics and sense contents are concerned.
Berlinale-2012, politics, actual tendencies, Competition, realism, stylistics

Andrei Plakhov
Landscape in twilight
Matthias Glasner's GNADE is reviewed. The critic traces down and analyzes the main motives, aesthetics and structure of the film, which dwells on the territory once explored by Ingmar Bergman's Scandinavian school.
GNADE, Mattias Glasner, aesthetics, structure, Ingmar Bergman, Scandinavian school

Vika Smirnova
Nostalgia
Miguel Gomes' TABU is reviewed. The author analyzes stylistics and the plot of the film, its structure and imagery, particularly against Michel Hazanavicius' THE ARTIST. Basing on TABU the critic demonstrates how the director manages to disclose the mechanics of producing illusions whereas multiplying the illusion itself.
TABU, Miguel Gomes, plot, imagery, THE ARTIST, illusion

Jeanna Vasilyeva
Don Rumata in Danish kingdom
Review of Nikolaj Arcel's EN KONGELIG AFFAERE. Specifying indisputable merits of this period drama, the critic accentuates the weak points of the director's and the writer's work. Analyzing dramatic construction, main motives, stylistics and characters, the critic points out that the filmmaker managed to unify historical novel and dystopia.
EN KONGELIG AFFAERE, Nikolaj Arcel, period drama, dramatic construction, dystopia

Elena Plakhova
Life of the has-beens
Review of Christian Petzold's BARBARA. The critic analyzes the picture where the fairy-tale and reality are fused, as well as melodrama and docudrama in the historical context; considers main themes and plot schemes, stylistics and artistic specifics. Marking strong and weak sides of the picture the critic also parallels it with Florian Henckel von Donnersmarck's DAS LEBEN DER ANDEREN.
BARBARA, Christian Petzold, fairy-tale, docudrama, plot schemes, DAS LEBEN DER ANDEREN

Olga Shakina
An empty home
Review of Hans-Christian Schmid's WAS BLEIBT. The critic considers a new picture by the helmer in the context of his creation and within the frontiers of German cinema. The author analyzes formal and stylistic features of the film, specifics of its imagery, uniting the elements of the realistic and magic.
WAS BLEIBT, Hans-Christian Schmid, German cinema, imagery, realistic elements

Tamara Dondurei
Not far from Jakarta
Comparing some films from the Competition program of Berlinale, the critic dwells on KEBUN BINATANG by Edwin. Analyzing the subtle texture of the film the critic marks its visionary and central motives, mastery with which the helmer develops the theme of intimate contact with reality.
KEBUN BINATANG, Edwin, visionary, Berlinale, contact with reality

Marina Drozdova
Death of goddesses
Review of Billy Bob Thornton's JAYNE MANSFIELD'S CAR. Singling out motives from Chekov and Faulkner, the critic explores its stylistics, dramaturgy, characters and metaphors, and accentuates its antimilitarist message.
JAYNE MANSFIELD'S CAR, Billy Bob Thornton, Chekov's motives, stylistics, metaphors, antimilitarist message

Zara Abdullayeva
Between politics and art
Review of Andrei Gryazev's TOMORROW, devoted to the activities of the VOYNA group. Disclosing contradictions contained in the film, the critic analyzes central themes of the picture, its stylistics and structure, specifics of the author's conception who retells the story of the group through the optics of the personal, though interested, but neutral and even anonymous view.
TOMORROW, Andrei Gryazev, group VOYNA, contradictions, optics of anonymous view

Dmitry Desyaterik
Enclosure
Review of Bence Fliegauf's CZAK A SZEL. The critic investigates main themes of the picture, especially that of racism; analyzes imagery and conceptual layers, specifying particular infernal energetic of the screen space created by the helmer.
CZAK A SZEL, Bence Fliegauf, theme of racism, conceptual layers, infernal energetic, screen space

Bence Fliegauf
Racism is folly
Director's comments on his film CZAK A SZEL.

Boris Lokshin
In execution style
The author analyzes Werner Herzog's documentary DEATH ROW, treating the theme of death penalty. Analyzing its stylistics, images, sense and formal methods, the author considers the picture in the context of the helmer's creation. The author marks specifics of the Herzog's work with controversial stuff and his mastery to deeply penetrate into human nature.
DEATH ROW, Werner Herzog, death penalty, images, human nature

Semyon Ekshtut
«On the tsar's will»
Borodino's battle as the milestone in Russia's history which became a national myth. Analyzing the event in various aspects as well as its historical context, the author remarks, that a historical event is actually an equation with many unknowns and never meets a single answer.
Borodino's battle, milestone, Russia's history, national myth, historical context

Miguel Gomes: «The main rule is no rules at all»
Interview by Anton Dolin.

Oleg Zintsov — Marina Davydova
Theatre: «junk», «heavy action» and «sacred cows»
Conversed by Elena Paisova.

Anna Bronovitskaya — Alexei Muratov: «There is no mainstream in Russia»
Conversed by Elena Paisova.

Dmitry Bavilsky
A new format of seriousness
The author considers the state of contemporary Russian literature, attempts to define the phenomenon of literary mainstream and analyzes actual trends, mutations and metamorphoses. Considering literature in the context of contemporary culture, the author specifies modern notions and criteria of quality, as well as investigates changes in comprehension of literature by readers.
Сontemporary literature, mainstream, actual tendencies, mutations, contemporary culture, criteria of quality

Darya Zhukova
Music in the pocket
The author analyzes role of music in contemporary world considering it in historical, aesthetical, philosophical, culturological, sociological contexts. Particularly the change in processes of comprehension of music is treated. The author traces down how contemporary technologies create unlimited possibilities for including music as art into daily routine.
Music, sociological context, processes of comprehension, contemporary technologies, art

Tatyana Dolmatovskaya
Mythology of fashion: throng and elite
The author analyzes fashion as phenomenon — its origin and evolution, its philosophy, aesthetics and language, mechanisms of its working and specific hierarchic structure. The author minutely explores the role of fashion, changing through ages, its fluidity and reception in society and transformation in contemporary world.
Fashion, evolution, society, hierarchy, transformation, language

Kira Bogoslovskaya
TV-hero — who's he?
Analysis of the phenomenon of contemporary TV and its inner processes as well as quality testation of TV audience via focus-group method. The author analyzes collective conceptions of mass audience about TV hero, his origin, peculiarities as well as viewers' expectations and preferences tied up with TV stuff.
TV, hero, focus-group, mass audience, viewers' expectations

Anton Bilzho, Xenia Kiyashko
Attractions of Nabuchodonosor
A script.

SUMMARY

IK questionnaire

The quick and the dead

Round table talk on Russian box-office champions.

Elena Nekrasova
Battle of the giants
The structure of Russian film industry as a whole and the results of the latest reform of its state funding are considered. The role of media majors in functioning of Russian film industry is specially accentuated as well as their structure, functions and working mechanisms.

Reform, state funding system, film industry, media majors, functions

Nina Tsyrkun
The Times They are a-Changin'
Review of the first-comer Tate Taylor's THE HELP. The author analyzes the film structure, characters, composition, message and subtexts as well as culturological aspects of this partly controversial picture, which is a specimen of classical American mainstream.
THE HELP, Tate Taylor, composition, subtext, American mainstream

Katerina Tarkhanova
A legitimate successor
Review of Alexander Payne's THE DESCENDANTS. Considering the picture in sociological, philosophical and aesthetical contexts, the critic minutely analyzes the texture of narration about dying and fragility of human ties, marking its flaws and merits.
THE DESCENDANTS, Alexander Payne, drama, sociological, philosophical and aesthetical contexts

Nina Sputnitskaya
Arrival at the Moon
Analysis of Martin Scorcese's HUGO. The critic thoroughly considers the semantics of the picture, its hidden mechanisms, imagery and multiple allusions at the history of world cinema as well as its role in the helmer's creation, who serves in his latest work as a magician.
HUGO, Martin Scorcese, hidden mechanisms, tale, cinema magician

Alexander Pavlov
Seven conflicts of the blond beast
Review of Simon Curtis' MY WEEK WITH MARYLIN. The author marks the peculiarities of the picture, specifying that it cannot be labeled neither as drama, nor as melodrama, but rather a sketch, «photo-album of the middle of the 20th century». Underlying outstanding performance, the critic considers some conflicts which constitute the composition and help to fully expand the characters and their interrelations.
MY WEEK WITH MARYLIN, Simon Curtis, sketch, conflict, Marilyn Monroe

Elena Stishova
Syndrome of «great expectations»
The situation in Russian cinema, the process of its spontaneous transition into commercial frame and the consequences of this process for our film culture are considered. The author traces down the way of development of Russian mainstream basing on particular examples, dwelling on the most urgent problems of film industry.

Commercial cinema, film culture, Russian mainstream, urgent problems

Angelika Artyukh
Marketing of style
The author thoroughly analyzes hidden mechanisms of contemporary Hollywood which are the pledge of its success, and the impact of marketing on the cinema industry as a whole. The notion of «high concept film» is particularly treated, which reflects the gist of the main body of the Hollywood production. Also domineering in Hollywood conceptual matrix is investigated in juxtaposition with Russian one.
Hollywood, marketing, success, «high concept film», conceptual matrix

Mark Harris
The Day the Movies Died
On the (potential) death of the great American art form.

Olga Andreyeva
In ten years

Personal rubric.

Anton Dolin
On the run
Portrayal of Steven Spielberg through prism of his new work — animation THE ADVENTURES OF TINTIN after Herge popular comic book series. Analyzing history of filmmaking and considering it in the context of Spielberg's creation, the author discloses characteristics of his method, the onliness of his vision and traces process of his evolution.
THE ADVENTURES OF TINTIN, Steven Spielberg, Herge, comic book, animation, the author's method

Lydia Kuzmina
One flew over the nest
Portrayal of George Clooney. The author traces down career of the actor and director, evolution of his roles and helming, details of the characters and unique qualities of Clooney himself. Also the function of the actor in contemporary American cinema is being touched upon against the background of his creative style and method.
George Clooney, character, creative style, American cinema

Dmitry Komm
Showstoppers
Phenomenon of a showstopper, a special stylistic element of construction of key episodes in genre cinema. The author traces down the way of development of this device from the moment of its origin up today, analyzing mechanisms of its functioning in various movie genres and particularities of its usage by different filmmakers.
Showstoppers, genre cinema, stylistic element, key episodes

Nina Tsyrkun
Co-mix: heroic epic as genre hybrid
Comics in cinema are treated in their historical, culturological and philosophical aspects, as well as the genre's nature, characteristic features and reasons for success. Evolution of comics and their stylistic diffusion, of their characters and means of narration is also traced.
Co-mix, popular genre, narration, stylistics, cinema

Inna Kushnaryova
Blood group
Through the stuff of a popular vampire saga TWILIGHT the critic analyzes peculiarities of genre of fantasy and the vampire theme itself from culturological, aesthetical, mythological, sociological points of view. Minutely analyzing the hidden senses and subtexts of the saga, the author discloses reasons for special magnetism of the genre for public at large.
TWILIGHT, vampire theme, fantasy, public at large, hidden senses

Ayur Sandanov
A useful thing
Juxtaposition of western and post-apocalypse; analysis of their structure, special culture, mythology, body of problems, mechanism of composition and perception, the role in cinema. The author also analyzes characteristics, traditions and motives of both genres.
Western, post-apocalypse, mythology, tradition, body of problems

Larisa Malyukova
Incredible changes, never-seen profits
Situation in the province of Russian full-length commercial animation. Through examples of popular pictures and animation franchises of the latest period the author considers specifics of the genre and process of its development in Russia, reasons for success and failures and also attempts to define major trends in contemporary animation.
Commercial animation, franchise, trends, genre

Russian majors: «We are satisfied»
The returns of state funding of Russian cinema in 2011.

SUMMARY

Maya Turovskaya
Documentality
The notion of documentality is treated as a characteristic of a new aesthetic quality, which has taken shape with the apparition of new technical means of information transmission. The author considers documentality as one of the culture-building phenomena of the 20th century and analyzes its nature and evolution process.
Documentality, aesthetic quality, culture-building, evolution
Postdoc. About the new term.
Round table talk during «Artdocfest»

Inna Kushnaryova
A dressed-up life
Review of Madina Mustafina's MILANA. The film critic analyzes a documentary particularly from socio-anthropological point of view, marking the presence and development of traditional patterns of family relations in a seemingly asocial milieu.
MILANA, Madina Mustafina, patterns of family relations, socio-anthropological point of view, decline of social relations, hierarchic

Xenia Rozhdestvenskaya
Look here
Review of Alexander Kuprin's VICTORY. The critic dwells on the texture of the picture, made in a form of a diary, of a sui generis kaleidoscope of characters and events. The author considers the picture as a certain self-reliant, multifaceted and atemporal universe, capable of overcoming even death.
VICTORY, Alexander Kuprin, film-diary, atemporal universe, overcoming death
Zara Abdullayeva

Out of archive
Review of Jessica Gorter's 900 DAGEN, devoted to the «myth and reality of the blockade». The critic explores structure and texture of the film, which in spite of its seemingly traditional composition becomes not just a movie about the blockade, but its ingenuous trial, appears a continuing present and unique documentary experience which is lived on every time anew.
900 DAGEN, Jessica Gorter, myth and reality, traditional composition, trial, documentary experience

Elena Stishova
Industry of memory
Review of Vladimir Kozlov's GAGARINLAND. The author analyzes the film that unseals a contemporary layer of provincial life, brings to light descending surroundings, the connate type of Russian people, idealists and romantics. Also the reflected phenomenon of the Gagarin cult is considered, as well as remembrance both kept and used by his fellow-townsmen and relatives.
GAGARINLAND, Vladimir Kozlov, provincial life, descending surroundings, the connate type, the Gagarin cult

Sergei Sytchev
A gulp of sourness
Review of Marina Goldovskaya's BITTER TASTE OF FREEDOM, devoted to Anna Politkovskaya. The picture, which may be defined as «personal documentary», is a large scale exploration, observation of the heroine's life as well as a political accusation of those in power. The critic analyzes multiple aspects and senses of this extraordinary film.
BITTER TASTE OF FREEDOM, Marina Goldovskaya, Anna Politkovskaya, «personal documentary», a political accusation, multiple senses

Alexandra Tuchinskaya
Children of the sun as a target
The author juxtaposes and analyzes two works, which in an unusual way actualize the senses of Maxim Gorky's play CHILDREN OF THE SUN, that is the stage version of St Peterburg's Drama theatre in Vasilyevsky and Alexander Zeldovich's THE TARGET movie. When comparing the two, the author demonstrates, how such different works bear the same senses and tell of contemporaneity.
Gorky, actualization of senses, CHILDREN OF THE SUN, THE TARGET, Zeldovich, contemporaneity

Olga Andreyeva
The queue in Russia
The author explores the notion of the queue as a social phenomenon of Russian society, analyzes its philosophy, peculiarities, drives, hidden senses and aims. The queue is particularly considered as a separate phenomenon, a certain spontaneously shaped social institution, a state within a state with its own rules, firmly observed rights and duties.
The queue, a social phenomenon, drives, social institution, a state

Sergei Erlikh
Groundhog day
Deep analysis of the phenomenon of «unmasking the Decembists' myth» or counter-myth, created by those in power, its peculiarities and concealed senses, technology of its making and functioning. It is also demonstrated how deliberately constructed anti-Decembrists' myth attacks the nation's historical memory via mass media channels.
The Decembists' myth, counter-myth, historical memory, mass media

Olga Chagadayeva.
«Old man, give up vodka»
Exploration of the phenomenon of the «universal sobering» in Russia, generated by a temporary prohibition during the WWI. The author analyzes the gist and the consequences of this phenomenon, which greatly influenced the further destiny of Russia.
The first world war, sobering, prohibition, destiny of Russia

Marina Razbezhkina
One should begin with the most complicated
The noted documentary director and tutor on her experience.

Andrei Shcherbenok
Dziga Vertov: dialectics of Cine-Thing
Analysis of one of the most important Soviet filmmakers' Dziga Vertov's creation. The author considers the career of the Soviet pioneer in documentary film, newsreel director and cinema theorist, dwells upon the essence of his major theoretical works which greatly influenced cinema in general. Also the central notions of Vertov's creation, such as Cine-Eye and Cine-Thing are investigated.
Dziga Vertov, Cine-Thing, theory, Soviet cinema, Cine-Eye

Andrei Fomenko
Wilder's modernism, or Film Noir circa 1950
Basing on the Billy Wilder's SUNSET BLVD and ACE IN THE HOLE the author analyzes peculiarities of the variant genre of Film noir, traces down the evolution of senses and formal tricks used by the director; considers social, psychological, philosophical and other aspects in the stuff of this subgenre.
Film noir, Billy Wilder, subgenre, philosophical aspects, SUNSET BLVD

Fyodor Babenko
The forty fifth
A script.

Igor Savelyev
The second therapy department
A script.

Daniil Dondurei
Citizens against civil society
TV rating as a nation's educator.
Detailed analysis of contemporary TV as a powerful cultural institution. The author explores various functions and models of TV's influence on viewers, principles of TV content's moulding and the special ideologemes it produces, as well as the modes of formatting of semantic space. Analysis of TV rating functions is specified.

TV, culture, viewers, rating, ideologeme
There is no pluralism
Government, society, TV: Is it possible to overcome the conflict? Fragments of discussion.

Katerina Tarkhanova
Jack Priest had a doggy…
Review of American TV-series HOUSE OF CARDS by David Fincher, James Fowley, Joel Schumacher, Charles McDougal (USA).  Exploring peculiarities of the plot, characters (Kevin Spacey starring) and the major dramatic conflicts, the author marks unicity of the series about US political life's backstage.
HOUSE OF CARDS, TV-series, Kevin Spacey, politics, USA, conflict

Elena Stishova
PR for a murderer
Review of Vladimir Chernyshev's TV-series STALIN WITH US (Russia). The critic analyzes the series' structure, its stylistics, Stalin's image which is being formed by contemporary communicators on Russian TV, and tries to understand their motivations as well as to what extent this product reflects mass consciousness or influences it.
STALIN WITH US, Vladimir Chernyshev, TV-series, archaism, mass consciousness

Boris Lokshin
Performance for a mini-series
Review of Jean-Xavier de Lestrade's STAIRCASE (France).

Yulia Taratuta — Anton Zhelnov: «Don't be afraid of turning on a TV-set»
Anatoly Golubovsky talks to Dozhd' members of staff on tv channel's challenges

Dmytry Gubin
Technology of tortuosity
Analysis of hidden mechanisms of TV as one of the main contemporary mass media. The noted TV anchor tells of key technologies of today's TV, about the ways of influence of the certain content types, and carries out comparative analysis of TV, press and Internet from the «homo televisionus» point of view.
Mass media, TV, Internet, mechanisms, content

Natalia Venger
Everybody blows up TV
Content-analysis of contemporary TV production. Employing detailed statistical data, the author treats contemporary Russian TV, especially dwelling on filmic and serial production, and analyzes preferences of the TV audience. Statistics allow to disclose important tendencies and mechanisms of Russian TV functioning.
TV, statistics, audience, series, cinema, tendencies

Kira Bogoslovskaya
Double deadfall
The author analyzes the phenomenon of duality of spectator's comprehension (double deadfall effect) on TV series and programs' stuff. Considering contemporary TV formats and special TV mythology which is being formed according to spectator's demand, the author discloses psychological controversies of the viewer's comprehension.
Spectator's comprehension, TV, format, mythology, psychology

Olga Andreeva
A lecture for non-achievers
Personal rubric.

Yulia Anokhina
Tarkovsky's actress
Creative biography of Margarita Terekhova, an outstanding stage and cinema actress. The author dwells on her cooperation with Andrei Tarkovsky, marking her unique artistic features, documental and plausible manner of performance, her special naturalness and expressiveness.
Margarita Terekhova, Andrei Tarkovsky, theatre, cinema, documentality

Yakov Lurie
Formula of American noir
Detailed investigation of film noir genre
of classical American cinema. The author traces down the genre's evolution, marks its characteristic peculiarities, aesthetics, stylistics, characters, semantic and visual codes often borrowed from decadence culture, as well as motives of destruction, violence, cruelty, degradation and others.
Film noir, American cinema, genre's evolution, visual codes, aesthetics, decadence

Andrei Fomenko
Films of one shot's duration
Coverage of contemporary American artist Gregory Crewdson's creation, who calls his photographs «one shot movies» and whose imagery relegates towards cinema. The author analyzes the artist's stylistics, genre range of his works and their special senses as well as unicity of everyday reality as treated by him.
Gregory Crewdson, photography, cinema, contemporary artist, everyday reality

Alexei German
The exorcist
Conversation with Serge Toubiana, Charles Tesson, Guy Seligmann.
Alexei German:
«It's difficult to be a god», — said a tobacconist from Tobacco street
Conversed and commented by Pyotr Vail.
Fragments of conversations published in «IK»

Anastasia Arefyeva
Double exposure
The mystery of Alexander Sokurov's
TAURUS — a surrealistic story
A script.

Natalya Belyaeva
Free fall
A script.