Dormition
Marina Razbezhkina
Time stands still in Tatarstan. The last traces of the USSR are crumbling. A flag is taken down before it falls (apart) on its own: “Glory to the Great October”.
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Dormition
Credits
Producer
Studio Sovremennik
Director
Marina Razbezhkina
Cinematographer
Sergey Litovets
Script
Marina Razbezhkina
Time stands still in Tatarstan. The last traces of the USSR are crumbling. A flag is taken down before it falls (apart) on its own: “Glory to the Great October”. Which century do the inmates of the psychiatric hospital come from? A never nostalgic lament, a crazy requiem.
Barbara Wurm
Barbara Wurm
End of the Road
Marina Razbezhkina
Russia, the provinces, a sci-fi swamp (echoes of Stalker). On the radio: the coup against Gorbachev. But Moscow is far away. The people stay calm. There aren’t many left.
End of the Road
Credits
Producer
Studio Sovremennik
Director
Marina Razbezhkina
Cinematographer
Sergey Litovets
Script
Marina Razbezhkina
Russia, the provinces, a sci-fi swamp (echoes of Stalker). On the radio: the coup against Gorbachev. But Moscow is far away. The people stay calm. There aren’t many left. The rails on which the steam trains once carried the revolution to the Mari ASSR lead nowhere today. A masterpiece – and experimental to boot.
Barbara Wurm
Barbara Wurm
I Feel Like Singing
Marina Razbezhkina
Sacred or profane, romantic or folksy, Italian opera or Cuban Rumba, alone (secretly) or with neighbours (fervently) or the cultural association (of the Moscow Electric Lamp factory!)
I Feel Like Singing
Credits
Producer
Studio Risk
Director
Marina Razbezhkina
Cinematographer
Avis Privin
Editor
Tatyana Naydenova
Script
Marina Razbezhkina
Sound
Vladimir Zorin
Sacred or profane, romantic or folksy, Italian opera or Cuban Rumba, alone (secretly) or with neighbours (fervently) or the cultural association (of the Moscow Electric Lamp factory!) – this impressionist round of montages highlights a cultural asset that has become rare today: the joy of singing.
Barbara Wurm
Barbara Wurm
Life as It Is
Marina Razbezhkina
“That’s when you should have been here with your camera!” Ten years ago a man refused to leave, for her sake. Things worked out, for about a week.
Life as It Is
Credits
Producer
Nataliya Zheltukhina (Studio Risk)
Director
Marina Razbezhkina
Music
Anton Silaev
Cinematographer
Irina Uralskaya
Editor
Tatyana Naydenova
Script
Marina Razbezhkina
Sound
Vladimir Zorin
“That’s when you should have been here with your camera!” Ten years ago a man refused to leave, for her sake. Things worked out, for about a week. “Love gone, flowers wilted.” Ever since then Shura has been singing, reading horoscopes and lonely hearts ads and dancing the tango in stable wellies. A woman, a village, a life.
Barbara Wurm
Barbara Wurm
S.P.A.R.T.A. – The Territory of Happiness
Anna Moiseenko
The sign above the cowshed proudly reads “Mayakovski”. Cattle in the mud outside. Inside: Lenin, St. Mary, London Tower.
S.P.A.R.T.A. – The Territory of Happiness
Credits
Producer
Marina Razbezhkina
Director
Anna Moiseenko
Cinematographer
Anna Moiseenko
Editor
Anna Moiseenko
Sound
Yuriy Geddert
The sign above the cowshed proudly reads “Mayakovski”. Cattle in the mud outside. Inside: Lenin, St. Mary, London Tower. A young woman (and altruist) reverently explains the wall newspaper’s organisation chart: the coefficient of every member of the agrarian workers’ commune near Kharkov is measured by lines of poems written per week. Yoga here, piglets there, Boy George over there, next to the TV’s capitalist orgies. All this ideology made her puke once, she says. No surprise. SPARTA consists of slogans (about healthy morals, sacred Russia, approved communism) that are meant to help them over the real post USSR misery and existential vacuum and are supposed to lead – for twenty years already – to a “theory of happiness”. Which they don’t.
Barbara Wurm
Barbara Wurm
Shrove Sunday
Dina Barinova
Calm, intimate and enigmatic, the film portrays three physically and mentally handicapped siblings.
Shrove Sunday
Credits
Producer
Marina Razbezhkina
Director
Dina Barinova
Cinematographer
Dina Barinova
Script
Dina Barinova
Calm, intimate and enigmatic, the film portrays three physically and mentally handicapped siblings. Shura has lived with her twin brothers at close quarters for a long time, quite deliberately: no nursing home, no special care (no social disaster). On Shrove Sunday they sing sacred songs. Inspirited.
Barbara Wurm
Barbara Wurm
The Holidays
Marina Razbezhkina
“Everyone still alive? You’re home! Get out.” 24 hours spent permanently half-asleep, even Little Nina. “Rough” is the least you can say about this journey home from the orphan school for the holidays.
The Holidays
Credits
Producer
Nataliya Zheltukhina, Grigoriy Libergal (Studio Risk)
Director
Marina Razbezhkina
Music
Anton Silaev
Cinematographer
Irina Uralskaya, Ivan Alferov
Editor
Yuriy Geddert
Script
Marina Razbezhkina
Sound
Viktor Brus
“Everyone still alive? You’re home! Get out.” 24 hours spent permanently half-asleep, even Little Nina. “Rough” is the least you can say about this journey home from the orphan school for the holidays. The lost awareness of space and time becomes a ghostly (natural) state of being. In “The Holidays”, Razbezhkina’s social curiosity blends into ethnography. Life of the Ugric Mansi people gradually takes shape, stripped of any didactic intentions – between killer spirit and ski bob creations, baby swing and kerosene lamp, shaman and wolf in the snow and: realism and impressionism. Nina will return to the city. For a short while – and yet an eternity – we too were part of her universe.
Barbara Wurm
Barbara Wurm
Yamaha
Inna Omelchenko
He moves to the city for and with her. Valentin loves his Yamaha and takes good care of her. Is he still testing or already playing?
Yamaha
Credits
Producer
Marina Razbezhkina
Director
Inna Omelchenko
Cinematographer
Inna Omelchenko
Editor
Inna Omelchenko
Script
Inna Omelchenko
He moves to the city for and with her. Valentin loves his Yamaha and takes good care of her. Is he still testing or already playing? The camera follows him closely, observes the cute loser in front of the mirror (dying his hair), in the subway passage (Beethoven’s “Für Elise”) and in the foreign workers’ shared flat (unimaginable). And finally going home, back to Mummy.
Barbara Wurm
Barbara Wurm
