Yakut cinema is one of the main phenomena of recent years in Russian cinema. Films of directors from this republic receive prizes at prestigious film festivals. In 2020, Dmitry Davydov’s “Scarecrow” became the triumphant of Kinotavr ; this week the Yakut “Nuuchcha by Vladimir Munkuev” won the Grand Prix of the East-West section of the Karlovy Vary International Film Festival. And one more Yakut picture – “Helicopter” by Mikhail Lukachevsky – opened the competition program of the 29th Vyborg festival “Window to Europe”.
A family comes to a distant village from Yakutsk – their son Ivan, his wife Aina and their little daughter. Their son has been living with his grandparents for a long time, and they themselves want to spend the whole summer here. But my daughter falls ill, she needs medicine – and the village is cut off from the city: the river overflowed in the spring and washed away the only bridge, the telephone connection is also broken, and it will not work to call an ambulance helicopter. Then Ivan mounts a horse and tries to get to the regional center on the ground.
“Helicopter” could acquire “The Survivor” with Leonardo DiCaprio – regardless, the start of the film permits the creators to follow this way. Nonetheless, the first Yakut film typically lean towards less brave stories – as it was, for instance, in “Dark Snow” by Stepan Burnashev , who won last year’s “Window …”. This methodology doesn’t reduce the gallantry and commitment of individual legends – yet while keeping an overall feeling of frantic sadness. All things considered, the helicopter won’t show up, and on the off chance that it does, it will turn out that the flight is a business one.
For Rinat Tashimov, the film “The Second Sun” is his introduction in an element film. The film is about individuals from a Tatar town in Eastern Siberia; the two fundamental characters have as of late lost their spouses and are currently attempting to sort out some way to live alone. In the town, in the mean time, a ship coasts downstream – the lone association with the central area, somebody is uncovering the grave of one of the dead men, and the past is finding the present.
One of the film’s makers is Aleksey Fedorchenko , and The Second Sun is a bit like his film Heavenly Wives of the Meadow Mari. It is likewise separated into sections novellas, apparently irrelevant to one another – notwithstanding, in the end it just so happens, this association exists, and as a rule, the tape is a fundamental history of two ages of adjoining families, into which the legends and convictions of these individuals, who are called themselves “Siberian Tatars”.
The main day of the celebration was shut by an image, which additionally has a specific public flavor – yet the flavor, maybe, of the entire country, without division into ethnicities. The title of the introduction film by Armen Hakobyan and Dmitry Tarkhov is exceptionally provocative – “You need to kick the bucket so you come”; it depends on the play by Tarkhov, composed quite a long while prior and won a prize at the Lyubimovka celebration in 2016.
As indicated by the plot of the image, an enormous space rock is moving toward the Earth, after the fall of which nothing alive will stay in the world. Governments at this point don’t exist, the perpetual “Swan Lake” is communicated on TV, and the occupants of the modest community are effectively getting ready for death; somebody even picked a spot for their last resting place, burrowed a grave there and brought a casket. Andrey ( Alexey Guskov ) and Anna ( Yulia Aug ) additionally live fully expecting the inescapable end, however they are sitting tight for the last visit of their children, who moved to Moscow some time in the past. Be that as it may, the first to show up in their loft is a sure Zhdanov ( Igor Balalaev ), an old companion and admirer of Anna, and this visit turns into the start of an entire chain of remorseless and practically unjustifiable homicides.
Opening of XXIX Film Festival “Window to Europe”
“You can bite the dust …” was contrasted and crafted by the Danish chief Lars von Trier – in his 2011 “Despairing” it was likewise about the last days of the Earth before the crash with an immense planet. Nonetheless, such a plot isn’t new – the night before an enormous fiasco before the unavoidable finish of humanity was told in the film by Alexander Kott , Vladimir Kott , Alexander Karpilovsky and Boris Khlebnikov “The Day Before” – this fabulous tape was displayed on “Window to Europe” in 2016, yet I never came to the rental. In 2012, the satire acting “Searching for a Friend for the End of the World” with Steve Carell and Keira Knightley was shot in the USA – the account of the abrupt love of two individuals against the background of a looming calamity.
“You can bite the dust …” – the image is extremely personal, nearly doesn’t go past dramatic arrangements. The plot is driven by the relationship of the fundamental characters – the account of the associate and ensuing existence of Andrei and Anna; be that as it may, not at all like different dramatizations here, the presence of another skeleton from the wardrobe is joined by another cadaver – or a few immediately – which gives what’s going on with a bit of oddity. Be that as it may, everything is ruined by the completion of the film, which makes the recounted story unequivocally improbable and diminishes the level of ridiculousness to very nearly zero level.