Press screening of the film “Nedetsky Dom” by Mikhail Raskhodnikov at RIA Novosti

According to statistics, only ten percent of graduates of orphanages are socialized, the rest follow in the footsteps of their parents – alcoholics, drug addicts, thieves, and then, according to the stencil, everything is a bouquet. However, these ten percent are over-realized and socialized, representing a significant value for society.

Society for orphanage is not too disposed. Graduates of orphanages are struck by their rights in employment. Legislation and law enforcement practice are such that they do not contribute to the support of the birth family to preserve the natural conditions of the child’s life.

In Soviet times, family preservation programs worked, but now the family crisis, largely artificially fueled, has spread globally. It happens that you don’t know where is better, at home or in an orphanage. From journalistic practice, I know of horrific cases.

Keeping children in orphanages costs the state much more than in a family, but only Pavel Astakhov could restore order there. Before that, it was really bad.

A well-known fact: emotional, motor and social deprivation in childhood changes the genetic constitution of a person, and not for the better. However, one must be able to work with carriers of genetic deviations, first of all, have a desire to understand the nature of the child and deal with it competently. Otherwise, either the child does irreparable evil, or it is necessary to limit it. That is, he falls into this very deprivation and grows up completely wild.

The following sad fact comes to the fore: the vast majority of children who find themselves outside the family are social orphans. They have parents.

The new film “Non-Children’s Home” directed by Mikhail Raskhodnikov, without any embellishment, exposes the phenomenon of social orphans in an orphanage.

The film was made based on the work of Andrei Petrushin, which describes real events. They are extreme even for an orphanage, as Pavel Astakhov told about them while working as the Commissioner for Children’s Rights.

The press screening of the feature film “Nedetsky Dom” directed by Mikhail Raskhodnikov took place on Wednesday, September 7, in the Great Hall of the Rossiya Segodnya International Information Agency.

After the screening, a discussion took place, in which director Mikhail Raskhodnikov, also an adoptive mother, public figure Svetlana Stroganova took part; Director of the Arithmetic of Kindness Charitable Foundation Naila Novozhilova.

Artyom Metelev, Chairman of the State Duma Committee on Youth Policy, took part in the discussion remotely from Nizhny Novgorod. He believes that the state of social orphans is an indicator of the health of society.

I strongly disagree with this approach. Volunteer Metelev needs a field of application. And I believe that social orphanhood is a disgrace to a society that has become a target for global programs for the destruction of the family and childhood.

The press screening was turned into an advertising campaign. Participants persistently promoted love for other people’s children. Not everyone will understand, and whoever is imbued with the idea, it can harm him. Indirectly, this follows from the explanations given. Therefore, it was strange to hear calls to turn orphanages into family support centers. The argument is that there are no good orphanages.

Social advertising will also accompany the distribution, which starts on September 15th. True, the cinema network shuns such a film. I still don’t understand what is the reason. Either that the domestic film interferes with Hollywood, or the distributors have a setting for fun. There was also an argument that the film is directed against the system.

All this is some kind of nonsense that has nothing to do with the film. In my, perhaps, subjective opinion, the film certainly does not add much joy, but it is solid and harmonious in its own way. I’m not afraid to stick even such a definition as kind.

Some typical deviations are physiologically accurately shown in the film. For example, a boy who cannot speak, on stage, turning away from the audience, loudly sings “I am free!” However, video filming on the phone provokes aggression, and the defect returns.

A simple way to resuscitate a child with an overdose is shown. Whether this is true or fiction, I don’t know.

Two things seemed strange. A psychologist with two higher educations does not know the true nature of the Mowgli phenomenon. Against the backdrop of on-screen events, this is a trifle. Of course, everything happens in life. This film is somehow compressed and contrasted. It seemed that the filmmakers were very afraid that the audience would not believe if the characters did not look aggressive enough.

In the center of the story is the competition of three leaders – the orphanage godfather of Lithuania, aka Litvinenko (Alexander Panin), the new fifteen-year-old girl Inna (Polina Vataga) and the director of the orphanage named Andrey Mast (Ivan Okholobystin).

The new director and the new pupil appear in the orphanage at the same time. Okhlobystin is fantastically good as the director, a former orphanage. Believe in this role.

The last episode defuses the tension on the screen. It seems incredible, but this is exactly what the viewer, society, the viewer, the children themselves need.

As always, the actors of the national cinema are magnificent. Everything is at a very high level.

Against the backdrop of the atrocities of the pupils, the workers of the orphanage are having an exhausting discussion of how to take them – with love or prison discipline. In the course of events, the district police officer Volodya (Oleg Vasilkov) intervenes. While a psychologist (Irina Rozanova) with two higher educations is trying to convince the director that oranges will not be born from an aspen, the police, led by Volodya, usually solve the problem in a third way – by beatings.

Leadership in the orphanage is quickly captured by Inna, and mostly with words alone. Controlled hysteria does occur, but it is more of a show of force than a tool of direct action. Under the leadership of Inna, the pupils put forward their demands. They take over the orphanage and threaten to burn it down.

The economic requirements are Children want to eat meat because they see how employees carry it home. They want beautiful, not tattered, clothes. Girls put forward a separate demand for toilet seats.

Following economic demands, the main political demand is put forward that the main thing in the children’s deme is children, this is their home, they live here, and educators only work.

Inna’s special demand sounds in the general series, in fact, from this very beginning – to transfer her brother and sister to the same orphanage.

At the very end, the reason why this is impossible was revealed …

The girl dreams of a virtual dad, but she does not see herself in family life. For her, leadership in the orphanage and demonstrative behavior is a priority.

I won’t reveal the reason because it’s scary. Beautiful and self-confident Inna, a connoisseur of laws, appears in a completely different light. In the real situation that gave the basis for the film, the director stayed in the orphanage for two years.

I repeat, the film is not at all about what the adults were talking about during its discussion. Child actors were closer to the topic.

The history of the “Non-Children’s Home” is not similar to the riots in adult colonies. They, like torture, were organized from outside.

At the same time, the film, for all its gravity, does not at all belong to the so-called weapon technologies in art, aimed at destroying the family.

Judging by what director Mikhail Raskhodnikov told the MP, after watching the film “Non-Children’s Home”, the audience confessed to him that they loved their own children. The woman, who was offended by the child because he was focused on his father and did not hold her for a person, after the film waved her hand and promised to love him.

The boy from the orphanage participated in the extras, and the set made him different.

However, love also needs self-discipline. Discipline is the edge of love.

In general, with the director Raskhodnikov, we understood each other. It is necessary to drive out of the country all these seemingly charitable NGOs with foreign funding and develop domestic programs to support families and children. And so it turns out that the native family behaves more ruthlessly than the orphanage and the situation is harder.

Lev Moskovkin.

Photo of the author.