Nikita Efimov presented a film about the departure of Viktor Ryzhakov from Sovremennik

The best film in the national competition of the 33rd “Message to Man” festival was the documentary “Suggested Circumstances” by Nikita Efimov, a graduate of the Marina Razbezhkina School. It is about the arrival and imminent departure of director Viktor Ryzhakov from the Sovremennik Theater. After watching it, many filmmakers felt compassion for him, like for a small child. I just want to pat him on the head.

Nikita Efimov has already received a special prize at “Message to Man” for his debut film “Kind Souls”. His new painting, against the backdrop of equally strong works, amazed the jury and colleagues. And it begins with news reports about the death of Galina Volchek, who led Sovremennik for 48 years. Sorrowful faces, words of farewell… But the theater continues to live in its usual rhythm. The audience will come to the play “Three Sisters”, and the troupe will very soon be introduced to a new chief director, which will immediately cause protest. Viktor Ryzhakov admits that he is shaking with fear like a hare. Attempts to get closer to the team are not very successful. Sergei Garmash, who had worked there for 36 years, suddenly leaves the theater because he sees no prospects.

And again life goes on, rehearsals are underway for a modern play about family discord. Marina Neyolova plays the role of the mother and constantly argues with Ryzhakov about the role and the text, which she does not really like. “In order to understand, sometimes you have to argue,” she says. – I have to understand with my head. I still have it. I can’t do what I don’t understand.” Judging by the responses, it seemed to people far from the theater that the prima was capricious and dissatisfied with everything: the play was not the same, and the costume was strange. But this is a normal process, and Neelova is demanding, first of all, of herself. Sometimes it looks comical. Ryzhakov quotes Stanislavsky, and in response he hears: “Stanislavsky again? He’s already turning over in his grave.” Ryzhakov comes to the rehearsal in a knitted hat, tucked on the back of his head, and resembles a skier, which makes him look very strange and insecure, but there is a nerve in this, something that makes the picture alive and real.

Neelova is the brightest here, no matter what she does, no matter what she talks about. She argues that part of the population will die from coronavirus, and it is primarily the young who need to be treated. It’s surprising that she, such a private actress who doesn’t give interviews, suddenly agreed to be under constant camera scrutiny.

The country has been quarantined, and rehearsals are gradually moving online. But for some time the actors continue with the director in the theater to analyze the play by a modern author about a family where there is no understanding of each other. The actors themselves have already become characters in the play, without realizing it. The house is for sale, a new life must begin. Ryzhakov says that this is a story about him, about fears and traumas that must be dealt with in order to move on.

Nikita Efremov cannot stand it because no one is interested in his opinion. He asks if Ryzhakov knows how much negativity he has to deal with and what it costs not to bring all this goodness to the theater, and how not to become limp from the fact that “my dad is a murderer.” His claims are also addressed to Neelova. At some point, Alena Babenko can’t stand it either. She doesn’t let him say a word, not understanding what the director wants from her. But Ryzhakov was an artist himself, so he should know acting psychology very well. Only Svetlana Ivanova is flexible here.

Did Ryzhakov himself take the initiative and invite Razbezhkina’s student to film a historical moment for himself and for the theater, or was it Nikita Efimov’s choice? Many theaters and directors turn to Razbezhkino residents with a request to make a film for the theater’s anniversary, but they only crave in words for lively and relevant cinema. More often than not, they are dissatisfied with the result, wondering why young directors film utility rooms, the work of janitors, or some kind of negativity. Not everyone likes the fact that there is always a person with a camera behind them, but Razbezhkina’s students glide like shadows. They are taught to be invisible. In general, as Ryzhakov himself will say on camera: “Nothing works out. They’re making some kind of movie. Absolutely terrible! About my despair, helplessness and complete mediocrity.” But in fact, it turned out to be a document of the era. Marina Razbezhkina’s initial attitude is this: no one should interfere with the process; what’s done is done. Claims will not be accepted.

On February 24, 2022, as reported in the film’s credits, major personnel changes take place, and Ryzhakov, along with other artistic directors, was fired. He receives a work book and goes to say goodbye to Neelova’s dressing room, who is also confused, but believes that the performance must be finished. Farewell to the troupe, packing boxes. Some figurine is wrapped in MK… Two years – glorious or inglorious, everyone is free to judge for themselves. And life goes on.

Another film, “Lenechka” by Renata Djalo, about the torments of creativity and the proposed circumstances of a creative person, received a diploma “For musicality that raised us above everyday life.” It is about the world-famous composer Leonid Desyatnikov, whose music is heard at the Paris Opera, Milan’s La Scala, and Carnegie Hall in New York. It was shot by a student of Alexei Uchitel, who became the artistic director of the project. Desyatnikov wrote the music for his films “Giselle’s Mania” and “The Diary of His Wife” and was saved by him after he fell and suffered blood poisoning. How? We don’t know this. Said, by the way, by Desyatnikov himself. He, like Neyolova, is a private person, but then he unexpectedly talked about simple everyday things, showed his houses in St. Petersburg and Haifa, admitted that he doesn’t always have the strength to work and wants to retire, but what can he do if he doesn’t even have grandchildren. Desyatnikov immediately warns that he is not cut out to be a “great man.” After the performance, he is presented with flowers, he feels like a tombstone. The portrait turned out to be transparent, vibrant and slightly alarming, coinciding with the worldview of the great artist.

Published in the newspaper “Moskovsky Komsomolets” No. 29147 dated October 31, 2023

Newspaper headline:
Unforeseen result of a formal portrait