It began as a completely normal Russian cinema, gradually turned into a movie about an elite madhouse, flowed into fiction with a love affair and a remote control bunker a la Resident Evil and ended with a full grotesque and sura. In fact, I understand perfectly well that this increase in strangeness and the leaps of the genre are
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It began as a completely normal Russian cinema, gradually turned into a movie about an elite madhouse, flowed into fiction with a love affair and a remote control bunker a la Resident Evil and ended with a full grotesque and sura. In fact, I understand perfectly well that this increase in strangeness and the leaps of the genre are tied up in one tesem, which is called dystopia, but everything must have reasonable limits. Here, the plot must be fully understood by analyzing metaphorical details, for those who do not understand, I will explain - the party plays big such chess by people, it forbids a person to love the one he chose, the party plots on the way to a person who is following the call of the heart, the party does not allow you to leave the country, requires reporting on the runner, the state machine pursues, represses, breaks doors, and maybe even to be shot (in this case with a stream of water) bring. At the same time, the USSR has a hellish reality control panel, there is a painted sky and painted life, and those at the helm can turn tractors and rockets against their land in anger. The metaphor is too simple and too poorly hidden. So much so that it completely destroys the entire external, human plot. In Equilibrium, for example, one another did not interfere, and here the girl first hates all post-Soviet people, and then suddenly falls in love with one of them, and this despite the fact that she is the same age as his daughter. He himself has to prepare a report about this place under pain of death, because he will be killed by curls if he fails, and he completely forgets about it, runs after a skirt and destroys half of the park in the fight against the “totalitarian system”. Suddenly he tries to escape from the park, when his love is less settled. I don't get it. You run away, you leave love, the report is mute, you will be shot in the wild by partners. Logic? The authors decided not to exchange for it. The apotheosis of the absurd in the film I consider two scenes - the control terminal of the park is decorated well like a holographic woman - but why Japanese?! And in the end, Chapaev and his retinue victoriously disperse the hot Chechen brothers, who are actually his superiors and the administration of the park. We played shorter. In the end, absolutely nothing of what the film began with is resolved - the conflict was not settled, and the hero's daughter walks somewhere lost in the Moscow rain, until Dad found a new affair for himself. Another proof that Russian cinema has so many souls and ideas that there is simply no room for sanity.
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