“Flood” Zamyatin moved to the pool
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Ivan I. Tverdovsky filmed a story about bullying and burnout
Ivan I. Tverdovsky filmed “Flood” based on the story of the same name by Yevgeny Zamyatin, written in 1929. He transferred the action from the stoker-house of Vasilyevsky Island to a modern swimming pool, from the 1920s to the present day.
In the old days, the picture would certainly have hit the world film festivals, as happened with the previous works of Tverdovsky. Under the circumstances, this is not to be expected.
Ivan I. Tverdovsky is no longer a child prodigy. He is no longer compared with the young, but early Canadian colleague Xavier Dolan. Both have grown. Ivan is an established master who has shot a lot of documentary films and is actively working in feature films. His “Correction Class”, “Zoology”, “Throws”, “Conference” participated in film festivals in Karlovy Vary, Toronto, Cottbus, Cairo, Venice … Isabelle Huppert once said that she would dream of filming with him. At the same time, Ivan is only 34 years old. He fully corresponds to the category of “young director” (up to 35), but he is in no hurry to be invited to youth competitions, since he has not been a novice filmmaker for a long time.
In 1992, The Flood was filmed by the Soviet-Lithuanian classic Vytautas Zhalakyavichyus. His painting was called “The Beast Coming Out of the Sea”. In 1994, the premiere of The Flood by Igor Minaev, who lives in France, with Isabelle Huppert (an interesting coincidence) and Boris Nevzorov took place in Locarno. The action takes place in Petrograd in the 1920s, just like Zamyatin, who was interested in life, where there was a war, and then a revolution, and peace on Vasilyevsky Island, where his hero Trofim lived in the boiler room. Not so long ago, “Flood” was moved to the zone of military conflict in the Russian Drama Theater. N.A. Bestuzheva in Ulan-Ude. Director Sergei Levitsky defined his performance as “almost a movie in seven chapters” (Zamiatin has seven chapters). And in the house of Trofim and his wife Sofya, refugees from the Balkans appeared, and the director explored the nature of small-scale domestic violence and “violence within the planet Earth.”
With Ivan I. Tverdovsky, everything happens today, here and nowhere. Zamyatin’s orphan Ganka became his Anya. Sofia Shidlovskaya played her hard. The girl lost the ability to speak after the death of her mother, lives with her aunt’s family, travels with her to training camps, goes swimming. They don’t have a home as such. Yes, temporary housing. My aunt and her husband are swimming coaches. They don’t have children. They rigidly drill other people’s offspring. We hardly see the face of Anya’s stepfather, but we feel his red-hot flesh. Trofim of Maxim Shchegolev as biomass, animal. He is not embarrassed that at his wife’s side he cohabits with her dumb and defenseless niece. Everyone knows about it, except Sophia.
Young and athletic bodies, endless workouts, gloomy corridors of the hostel where young swimmers live, the same dull coaches’ room, showers, dining room – everything is monotonous. Only the pool brings some color. It is shrouded in steam emanating from the water, shimmering blue. Cinematographer Artem Emelyanov, who made his debut on Kantemir Balagov’s “Darkness”, managed to convey his twilight beauty. A huge fish will appear from somewhere in the chlorinated water. You won’t know right away if it’s real or not. At the same time, the dullness of the surrounding world is obvious. It fetters the rough life of athletes, their hostel in the broad sense of the word, turns them into a closed system, a kind of closed society. It seems that there is no other life outside the sports base. This is some kind of “Magic Mountain”, from where neither the sick nor the healthy can get out. And if you were healthy, you will become disabled, mental for sure. Mutual responsibility of dislike will incinerate anyone. Anya’s peers despise her because she is not like everyone else, she is constantly silent. She is subjected to bullying, violence at all levels. Even Dima, who showed signs of attention, who seemed to be a true friend, will easily betray. He, too, is beyond humanity. It seems to some that the director went overboard, made a too tough pitch. It is almost always present in his paintings, sometimes it seems excessively artificial, but this is not in The Flood.
When Sophia, dreaming of a child, learns the whole truth about her husband and niece, she will turn into a monster. She won’t need an ax like Zamyatin’s. She has another weapon. Sofya clings to Trofim like a female. There is no closeness in the broadest sense between them, a complete alienation. They never even speak properly. Anna Slew played her best role, indicating that we have a serious dramatic actress. She accurately caught the intonation, the manner characteristic of a certain type of people. Her compressed lips, life on instincts – aerobatics. Anna Slyu has already starred in Tverdovsky’s “Podbrosy” and received an award for best actress at “Kinotavr”. For “Flood” she was noted at the “Winter” festival in Moscow.
Tverdovsky’s talisman, Natalia Pavlenkova, the star of his film Zoology, appears here in the episodic role of Lyudmila, who performs doping control. A fly won’t get past her. She knows her business and lives in the same rigid coordinate system that turns life into drill and burnout.
Newspaper headline:
Zamyatin in the pool
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