Cinema without an audience. Rolls as an engine of progress

In the center of the narrative of the new domestic film directed by Oleg Asadulin “Bulki” is not the feminine charms of the main character Tatyana Babanina from Protvino near Moscow (Kristina Asmus), but her bakery products. The woman herself is thin and restless, constantly gets into trouble. And right there, in any new place, they start baking rolls. She does this well, which contributes to commercial and life success in general.

The heroine is accompanied by a double character, a materialized inner voice of her own mind. Naturally, she does not listen to his warnings.

She does not listen to the voice of her best friend Sveta (Valentina Mazunina), who works in the police. A friend instantly brings Tatyana’s men to clean water, starting with her husband.

Two men, Borya and Sasha, and another unexpected friend, Olya (Yulia Topolnitskaya), lie mercilessly, presenting themselves as successful winners of the world. Victories, mainly over the imagination of the interlocutor in the person of Tatyana, are achieved with the help of specific vocabulary, according to the scriptwriter’s plan, they distinguish a character who is successful in life.

The film begins with the registration of a marriage, which is to be followed by a trip to Bali. It quickly turns out that Borya’s newly-born husband (Arseniy Robak) had absolutely no intention of taking Tatiana to Bali, did not order a plane at all, sent her home and himself spent time in a bar among a warm company with women of reduced social responsibility.

After that, Borya tells his friends that Tanya ruined the trip.

To spite her husband, Tatyana goes to Bali alone and ends up in Sri Lanka, where a monkey pulls her passport out of her pocket. As a result, Tanya changes the awl for soap, getting instead of the loser Borya the same type of loser Sasha (Boris Dergachev).

It is hard to imagine who will take surfing lessons from a thick middle-aged fat man who, moreover, unlike his lawful husband, does not know how to present himself.

The stupid lies of the minor characters, the twists and turns of events, the parallel editing of randomly flickering shots create a feeling of unnatural artificiality. The picture is pulled out by the game of actors and the work of the operator.

The focus is on the simple idea of ​​socialist realism. Tatyana looks like a shock worker of communist labor, except perhaps without kumach pennants with gold letters.

The return to the screen of a rejected and seemingly buried idea looks a little timid and not too natural. And yet very timely – how we are tired of the shock workers of capitalist labor, for whom their own business does not go beyond the word “start-up”, and they have to parasitize on others. Then it all depends on who will lie cooler and more convincingly.

And here the heroine appears, she just does a specific thing that she knows how and loves. Surprisingly, the young woman looks natural, practically one skinny among the seasoned fat women typical of the bakery with a lot of life experience.

As for men, they are no longer depicted as independent characters, but rather as the background of the main character, in order to contrast colorfully with her incomparable rolls.

We will have to emphasize once again that the definition of the genre of the film as a comedy is not suitable. For the new Russian cinema, it would be necessary to develop a new genre classification.

Not too natural, but we liked it. There was no one else in the hall. It’s strange for us. The film is light and cheerful, creates a positive mood.

Lev MOSKOVKIN, Natalia VAKUROVA

Photo tvpr.ru