Unexpensed There are at least two types of cinema in which the author tries to convey a serious idea. The first type is, for example, the works of A. P. Zvyagintsev: oppressive scenes, the disgust of the characters, the gloom of the situation, the inability of the characters to talk to each other - all this puts pressure on the viewer with its depression, along the way hinting that if he does not like this movie, he is short-sighted, primitive and, relatively speaking, does not differ from the characters. But I want to say that “How Vitka Garlic took Lech Styr to the disabled house” is clearly of a different type – these are easy-to-understand films that unobtrusively talk to the viewer about life with the help of beautiful scenes both tragic and comic, while neither meaning nor suspense is lost at all.
I want to talk about some of the movie’s strengths:
1. The film does not make the viewer feel inferior and lack of intelligence; on the contrary, it is for everyone, regardless of their level of education. At the same time, it is saturated with symbolic and semantic content - from the garbage processing plant where the main character works, to the silent scenes of "friends who are waiting" for his father.
2. The picture is great. Colors in the frames, angles, compositional aspects of the frame - all this looks harmonious and does not distract from the plot, but on the contrary increases cinematic clarity.
3. Personally, prison-thieve themes are often boring to me, but in this film they are not an end in themselves, but only a context, and in this role they quite adequately complement what is happening.
“How Vitka Garlic drove Leha Styr to the disabled house” looks in one breath, but all the tense moments do not hang in the air, but are resolved when necessary. The final is exactly what it should be, it is thought out and admired, the other would seem vulgar.
This is the story of an unborn man who had the chance to be born.
This picture is the debut for Alexander Hunt, and it pleases and allows us to hope for an improvement in the situation with Russian cinema in general.
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