Russian reality through Zvygintsev, Bykov and Balabanov ' films

A ctually, I suspected that this movie, the more it just immediately I began to praise in the West, and it has been the first call. U nfortunately, our overseas friends will praise domestic films only strictly in the same direction — that in Russia a range of sadness, longing and decay. B ut my vigilance lulled stories that Zvyagintsev laid the basis for his film the eternal story of the confrontation between the little man and the power of the state machine, which like a Leviathan can isolate person in the bone meal (and she might actually, Yes).

F or this reason, Zvyagintsev even though the film was originally going to shoot in America, but then obviously realized that this movie had no awards to give and then decided to «bestow» his long-suffering homeland, removing the film in the best traditions of the national depressive and detached from life. O n the first frame I got the impression that they filmed people not living in Russia and only made an attempt to examine its realities. T.

his is noticeable at least in the house of the main character, the little man. T he house features large Windows in typical American style, only the details of the interior are taken from our lives, and half still from the Soviet time. H eroes, too strange and plastic, except that in one scene well played out, so mentally — where the officer comes to the house if to show off. Another was the priests who give advice directly in the dirty work of officials and in the breaks I cleanse them — this is all complete nonsense, which it is clear who is right, for Western people, which I am sure that we have some kind of Church dictatorship.

A nd in the end the Director turned this plan is generally full, even remembered hints of the infamous pussy riot. On the same audience (the West) are calculated, and the infinite pouring into the throats of vodka, whole glasses, and even a decent-looking aunt in Zvyagintsev is not alien to this tradition. A nd indeed, vodka is drunk in the film so much that by the end of the story, even I started to have symptoms of alcohol intoxication from one kind of this endless alcoholism trash.

W ell, in the end? I n the end, Zvyagintsev done, showed the target audience that she wanted to see and received their awards. For foreign viewers, the films of the Russian Directors are very difficult for interpretation: either the title or special humor and mental idioms. T.

he film «Returning» and «Exile» in Russia was criticized for the fact that they are all from universal. Zvyagintsev makes films that are very specifically talking about Russia and there was a problem with the translation of other not Russian-speaking countries. F or example, this problem appeared in the film «Elena»: the theme of the army and invocation for many West audiences was not clear. Why can you commit murder to save grandson from the army? W hat is the army, which we need to save?

I t’s not explaining in the subtitles. O r in «Leviathan»: why you not ask to court when you have taken away the property, why court is such bad… S ome things may not be clear to the people from the outside. But just these contradictions and the complexity are made these Directors truly great and bright — those who understand the «sault» of Russia — can understand Russian soul. References1. K.

arimov, A. (2017). Inadequate people. Cinema portal «DniRu». — URL:

https://www.dni.ru/culture/2017/6/26/371 927.html2. K iseleva, M. (2017). D irector Andrey Zvyagintsev: replicas of the Russian realist.

V edom.Ru. — URL:

https://vedom.ru/news/2017/12/13/27 763-rezhisser-andrej-zvyagincev-repliki.

3. Bykov, A. (2007). F.

reaks and men are arrived. B ykov about Balabanov. Another movie.Look. W rite.

D iscuss. — URL:

https://drugoe-kino.livejournal.com/1 107 622.html.

4. Bogomolov, Yu. (2013). T.

he series is over. F orget? R ussian newspaper. — URL:

https://rg.ru/2013/10/22/serial.html.