“The heroines poetically ride the tram and meet other people’s husbands”
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At the Vyborg film festival of Russian cinema, almost for the first time in its rich 30-year history, feature films about women are shown every day. Even if men shoot it, it is still essentially feminine. Exceptions are rare.
The characters are mostly young. They poetically ride trams, drink red wine from beautiful glasses, meet other people’s husbands and talk about the lack of happiness. They don’t seem to have a real life. They chase the phantoms of the past, elusive happiness. Some fatal concentration of girlish fears.
One of the strongest films of the competition – “Hello, Mom” - was shot by a debutante in full-length direction, but an experienced cinematographer, Marlen Khutsiev’s favorite student Ilya Malakhova. We know her from the works of her husband Bakur Bokuradze, in whose films she was a screenwriter and editor. Ili Malakhova’s film after Vyborg will be shown at the international film festival in San Sebastian, Spain, in the program “New Directors”, despite the fact that it was filmed with the money of the Ministry of Culture of the Russian Federation. In modern times, as a rule, all paths in the world open spaces are closed to such.
“Hello, Mom” is about childhood traumas that inevitably pass into adulthood. 36-year-old Kira is beautiful, and her role was played by the subtle and intelligent actress Daria Savelyeva, familiar to us from the films of Natalia Meshchaninova “Hope Plant”, “Red Bracelets”, “My Mom’s Penguins”. Kira works in the call center of the St. Petersburg airport, where she observes the meetings and partings of different people. She has an affair with a brutal pilot, naturally married. Kira lives in the same Soviet-style apartment with her younger sister (Aglaya Tarasova) and two nieces. Since then, they have not met with their mother, who kicked one of the sisters out of the house many years ago. And now, when she disappeared, it is necessary to settle the formalities and dispose of the property. Kira meets different men, interesting, not banal, but all of them are not free. She tries to find out from one of them what is wrong with her. It turns out that she is a woman for love, not for marriage. Everything is built on fragile states, but there is no sentimentality and tearfulness in the picture, from which men are not free, who, alas, make women’s films. Conclusion: Another strong woman, capable of making strong films, has come into directing.
Another promising debut is Svetlana Filippova’s Lisbon, filmed in Yekaterinburg at Alexei Fedorchenko’s studio. Svetlana is also an experienced debutante who has had an amazing career in animated films. The picture was shot by one of the best cameramen Andrey Naydenov in such a way that you can take any of his black and white shots and put them in a frame. Beauty is incredible, but sometimes it goes to the detriment of the overall design. By and large, this is a plotless movie, although there is a story, but the image is so self-sufficient that the thread of the story is lost. There are amazing moments when the heroine of Maria Smolnikova walks around the city with her admirer Boris (this role was played by her husband Ivan Orlov, who starred mainly in small roles). Their duet is great. Nothing like this has ever been seen in cinema since the time of Kira Muratova. Svetlana Filippova was inspired not only by the films of Muratova, but also by German Sr., Ioseliani. She focuses not on “public catering”, but on the viewer, who reads a lot and has seen a lot. Oleg Yagodin, who arrived at the Kolyada Theater for just one day due to tight rehearsals and played the role of his father who left his family, said the words that Svetlana Filippova needed. “I don’t like acting at all, but I enjoyed it here. I would like to live in this movie. Here they talked about the revival of commercial cinema, but it is necessary to revive Russian poetic cinema, ”he said golden words. And some of the filmmakers had questions about the general availability of cinema. Sailed!
“Blonde” by Pavel Mirzoev is based on the story of the same name by Alexander Volodin, and this is a separate and special world that has a very indirect relationship to the style and spirit of Volodin himself. The blonde is played by brown-eyed Daria Zhovner. In the old days, there would certainly have been a dispute about how much she was a Petersburger, as was the case with Irina Pegova in Alexei Uchitel’s Walk. But many concepts have sunk into oblivion, the face of the city and the faces of those who now animate it have changed. Closer to the finale, the heroine Zhovner, following the advice of her mother, will dye her hair blonde, but this does not change the essence. She is an actress and is trying to save a theater that no one needs, where she plays, as it were, a Chekhov heroine smeared with flour. She is trying to improve relations with her lover and the director in the tired performance of Evgeny Tsyganov, but all in vain. The picture was shot by the magnificent cameraman Alisher Khamidkhodzhaev. Together with the director, they came up with a bright and fabulous world where our Russian Amelie lives.
The apotheosis of matriarchy is “Light” by Anton Kolomeyets, who made his second feature film. He invited Elena Yakovleva to the main role. She played a 60-year-old social worker, who can be given all 75 in terms of attitude and denseness. Since the events unfold in two time dimensions and we see Tatyana Sergeevna also a schoolgirl, the director had to consult his parents regarding the 70s. And they caused confusion among novice filmmakers, who approached those who are older as “eyewitnesses” (as they were called) in order to check their own feelings for the truth of life. The period of enthusiasm for the 90s began to decline, the 70s are at stake. The events are dramatic, and the audience said something like this: “My mother and I laughed so much, we laughed so much. From the heart.”
The image of Tatyana Sergeevna was inspired by the image of the director’s mother, who shot his “Mirror for the Hero”, his “Parade of the Planets”, tried to reproduce a possible meeting with his parents if he could meet them young. Anton wrote the script for two years, and about his native Novosibirsk, from the filming of which he had to abandon due to unprofitability and go to Murmansk. But three good Novosibirsk actresses took part in the project, and there is something sentimental in this too. It is curious that Elena Yakovleva and Daria Konyzheva, who played Tatyana at different ages, never met on the court. They are completely unfamiliar. And then something important happened. Recall the classics, who needed invisible lace in a closed closet to achieve subtle states. They don’t seem to exist, but they do exist. There are no trifles in the cinema.
Newspaper headline:
Lace matriarchy
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