What to watch at the KARO.Art festival – Weekend – Kommersant
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From October 11 to October 16, the Karo 11 Oktyabr cinema will host the KARO.Art international festival for the first time. The new festival has three directions – contemporary cinema, an experimental program and a retrospective. The festival will open with the Russian premiere of the restored film by Dziga Vertov “The History of the Civil War”, and will close with a screening of the new film by the Dardenne brothers “Tori and Lokita”. Weekend tells about the main premieres of the festival.
“Sons of Ramses”
Clement Kozhitor
A social dream drama about a medium named Ramses, part charlatan, part poet. He runs into a gang of street kids and when they ask to find their missing friend, he suddenly experiences a real vision. Video artist and director Clément Cogitore is primarily interested in the energy of the area, the Parisian district of Barbès Gouttes d’Or, east of Montmartre, a working-class area where there are many immigrants. Kozhitor, who has lived here for many years, shows this part of the city as a place that is alive, intelligible, somewhat mystical – and resists description. The director explains that he, as a viewer, needs some kind of absence, a hole, a mystery, so that the characters are forced to bypass this hole or somehow cope with it. “I create mysteries, but instead of solving them, I explore them comprehensively,” Kojitor says. Critics find in the film a resemblance to the early Carax or the Dardenne brothers: let’s compare.
“Tori and Lokita”
Jean-Pierre Dardenne, Luc Dardenne
Lokita, a 15-year-old Cameroonian, and Tori, a Beninese, who is five years younger than their friend, are trying to get a residence permit in Belgium. But for this they need to prove that they are brother and sister, and they refuse to do DNA analysis. And what difference does it make whether they are blood relatives or not? They are ready to give their lives for each other. Tori and Lokita work for drug dealers, and the money they make goes to the mobster who helped them get to Belgium. As almost always, the Dardennes (“Rosette”, “The Child”) explore in detail the careless cruelty of European civilization, its cash flows, administrative indifference, the conventionality of personal ties – and, as always, they show in close-up those who are not able to do this. fit into civilization. Special Prize at the Cannes Film Festival 2022.
“Boy Meets Girl”
Leos Carax
The debut of Leos Carax, the dark romance of the French “new new wave”, the first part of his unofficial love trilogy. Here he, like his alter ego, Alex, is 22 years old. Alex (already in this film it is clear that Denis Lavan is a great actor) thinks that he will become a director, and sees cinema in everything. He had just been swindled by a girl, and he met another – who had also just been dumped. After Boy Meets Girl, Carax will make Bad Blood and Lovers from the New Bridge, will say in an interview that he does not consider himself a filmmaker, explores different versions of “love that burns out quickly but lasts forever,” will make a disastrous “Semi X, the powerful Holy Motors Inc., and the wild Annette. But Boy Meets Girl will remain his most cinephilic, most innocent, most bitter film—as charming and clumsy as only a twenty-two-year-old boy who has just met a girl can be. .
“Nostalgia”
Mario Martone
Another portrait of the city. Felice comes from Cairo, where he has lived for the last forty years, to the city of his childhood – Naples. He wants to see his mother. Now he needs to rediscover the city, its inhabitants, the entire notional “global South” – and what he once fled from. A melancholy journey through the labyrinths of memory slowly and steadily turns into a crime drama – these two genres are ideally suited to Naples. The film is based on the novel of the same name by Ermanno Rea. Martone, theater and film director (“King of Laughter”, “We Believed”), was born in Naples and intentionally started “Nostalgia” from the same scene, from the same music, from the same feeling with which 27 years ago he began the drama “Love tiring”: both films talk about the past, about memory and guilt.
“Foreign land”
Andrey Natotsinsky
Short metre. Fleeting sex on the train – and now Victor, like an obedient heifer, goes for a random fellow traveler. But, fortunately, the film will quickly shake off the resemblance to “Compartment No. 6” (which arose primarily due to the charisma of the young actor Ivan Kirillov, who looks like Yuri Borisov like one compartment after another) and turn into video poetry – literally and running the hero, and his murky dreams, and a respite on the way will turn out to be just Villon’s poem “The Ballad of the Poetry Contest in Blois”: “Foreign land is my native country.” Photographer and director Andrei Natotsinsky is a student of Alexander Sokurov.
“Waves”
Sergei Kalvarsky
An echo film, a twilight film, a meditation film entirely based on sound. The heroes are going to “write sound atmospheres for some next film about Soviet camps” in Transbaikalia, in the Marble Gorge. The places are abandoned, but not dead: the voice of the past lives in them, an optimistic cacophony. The method of shooting – close-ups, double images, double exposures, sharp editing, suddenly appearing color – is not as important as the sound: rustles, silence, the clanging of cars, a confused voice-over talking about “water-eaten bones of flooded villages”, an invincible Soviet rumble . Echoes of the departed. A film by Sergei Kalvarsky, made with the support of the Alexander Sokurov Foundation, “An Example of Intonation”, is a fuzzy reflection in the Siberian Angara River of some “My Winnipeg” by Guy Maddin or “Memories of a Trip to Lithuania” by Jonas Mekas.
“Video frescoes and music”
Sergei Sonin, Elena Samorodova
Multimedia artists Sergei Sonin and Elena Samorodova (“The Egyptian Flock”, “Gogol. Rome. From the Third to the First”) continue to construct the universe of documentary myth, visualize the non-existent and study the unprecedented. A peculiar series of frescoes about “secret Russia” – serene and disturbing at the same time – childishly innocent and full of wild power. The authors explore the “Russian invisible empire”, its rituals and rituals, its fire and fog, its women and blooming gardens. They follow Brother Zayets-Zemlemeer, who is considered “the archetype of the ideal Russian”, and turn “Russia of the middle zone” into a distinctly utopian place.
“On the exhale”
Rinat Mahmudov
A motivational drama about a disabled teenager and a former orphanage. Sasha – sharp, quarrelsome – wants to become a doctor, but she has no money for training. Her hobby is fighting without rules, and she treats the world like a ring. She becomes a nurse for a disabled teenager, Kolya. He builds model ships and cannot convince his mother that he does not want to go to any India and try herbal medicines and ley line massages. Convincing Anastasia Samylova, actress of the Satyricon Theater, cosplays Hilary Swank from Eastwood’s “Million Dollar Baby”, the whole situation is a free retelling of the hit by Olivier Nakasha and Eric Toledano “1 + 1”, but debutant Rinat Makhmudov, a graduate of VGIK of the course of Alexei Uchitel and Alexei Geleyn, and does not hide his sources of inspiration. He’s just trying to make a film that has hope.
“A wedge of white light converged on you”
Igor Poplauhin
If the forty-minute “Calendar” by Poplaukhin, which received the second Cinefondation prize as the best student short film at the Cannes Film Festival in 2018, felt like a full-length film, forcing the viewer to peer into the plot gaps and build a whole world out of them, then the full meter “A white light converged on you like a wedge” it doesn’t seem like a movie at all, but an experience of continuous immersion in the pool. The opening credit explains that this is about the last day of Yanka Diaghileva: she drowned in 1991, the circumstances of her death have not yet been clarified. But there will be no biopic: Poplauhin and cameraman Yevgeny Rodin (who is also a co-author of the script) are not filming the story of the real Yanka Diaghileva, a rock singer, a representative of the “Siberian punk”. The film is a shaky no-man’s land between worlds, along which the red-haired Yanka (Kira Pievskaya) roams, yearns for her departed friend, records the voices of the living on a dictaphone, listens to the dead; in fact, that’s all we can do on this earth.
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