No sooner had Gosha Kutsenko completed the rendezvous with Litvinova than live steel put an end to their relationship. But before this exciting event, the hero Kutsenko pushed a blatant monologue about love. Love is like a shot in the head, penetrates quickly and works in all directions. With these and other thoughts, a young journalist returns home to forget her dream. But there is no rest, the editor-in-chief demands fresh blood on the canvas of a news publication, without coming to his senses, the brave correspondent follows the trail of an unnamed maniac. The summer of the zeros is singing all around - a monstrous and beautiful time, where death blooms, and the plot is unique. Yes, only hell has completely everyday forms, and the presence of a brave officer is not a guarantee of security, but rather a catalyst for a joyful and senseless death. .
It's not often that creators have the chance to create without being burdened with frameworks and conditions. I think this is the case. Yusup Bakhshiev is an entertaining person. He was the first to develop the theme of Russian commercial thrash, working through the prism of grotesque and black humor. Chest, in the original Six hint at six summer cottage acres, this is a structure of lawlessness and blackness erected in suras, and cute echoes of harsh comics. Everything that happens on the screen has a sweet beginning from everyday realities. Dirty village where maniac policemen, drug gangsters and faceless horseman operate. All this is sustained in the framework of a terrible story with gloomy prototypes, but clearly follows the action structure having pronounced types and hyper stylistics.
On the one hand, this is a thriller on the other comedy from the mob, and on the third, a powerful psychedelic for zero children. Who's more comfortable? Plus, that the elements of hallucinations surprisingly competently surrender to typical Hollywood chases, but an admixture of dialogue in the spirit of Tarantino under. VIA Krovostok, gives the effect of a comedy action movie with an art house. Who makes you feel like you're high. After all, Hell described by the country village draws its journey not only around but also inside the skull box of the main character. Which, by the way, looks like Guseva, but it's not her. Therefore, I have a clear conviction that all high-quality Russian cinema was shot at zero. Toli there was a special spirit of the time, or people were more honest, or maybe just inspiration helped to better understand how to convey the same Hell of everyday life, creating on the bones of these thrash quality and soulful.
"The film is a masterpiece", "The film is complete nonsense" - these are the diametrically opposite opinions I met on the sites when I searched for reviews about Denis Neymand's work "Gin". And the camps of fans and haters of the film were not small. A similar picture is observed here, on the "Kinopoisk". Some high and director and actors and all Russian cinema to the heap, while others note the unusually rich images, allegories, directing, submitted by this film. And I will take my review to the group of those whom this film ... not to say, pleased, but a lot impressed. The picture is really strong. It is not originally intended for the mass audience. Here you need to include associative thinking to understand what exactly the director tried to convey to the viewer. Of course, I will not compare “Gest” with the depth of the work of the same “Tengiz Abuladze”, but this film has a certain complexity.
At first I thought there was another crime drama on the screen. Especially when the journalist (Anna Babenko) began to roll out on a foreign car in the company of a kind of superman - a policeman (Vyacheslav Razbegaev). But when this superman was unexpectedly laid - all guesses about the further plot that hour collapsed, and had to take the continuation of the story from scratch. Further, when the main character was alone with the maniac (Mikhail Efremov), it also began to seem that the intrigue of the relationship between the kidnapper and the victim would begin to unwind. I didn't guess again! In short, the plot developed in a very unexpected direction, and new surprises met almost to the end. It's a big plus picture!
Of course, a lot of pleasure was given to watch the play of the beautiful cast: the same Razbegaev, Shakurov, Kutsenko, Lifanov, Efremov (no matter how much in life he was not a disgusting person, but plays — great), to hear the voice of Serebriakov.
Operator's work is also high. In the final credits, I realized that the film was shot in several groups. But it is understandable: different shooting techniques: here and action and art and fiction. You will not be bored.
The plot is really complex and ambiguous in its interpretation. It makes no sense to consider the horticultural partnership, in which the main battles unfolded, as a specific geographical object. It's a very powerful allegory. Probably, many residents of Russia can find some semblance of such a “partnership” near their city. Not to the extent shown in the story. There is a grotesque, but the peculiar enclaves, where the law as such ceases to work, are scattered everywhere. For some reason, I immediately remember the Roma neighborhoods, where law enforcement agencies once again prefer not to go. And landfills, landfills of solid waste, where vagrants almost arrange entire settlements. And romance, like "Heaven of the Promised" (Eldar Ryazanov) in reality there is not even close. There is a struggle for survival and animal instincts. In "Gesty" it is shown without embellishment. And half-house, half-garage, half-waste of a car mechanic, which climbs like a ghost, almost lost the human appearance of “his woman” – very clearly paints this picture. Really tough, unpleasant, but ... in something true.
A somewhat fabulous look looks like a certain impersonal "Terminator" (voiced by Alexei Serebryakov). The character, who is really capable of catching up with horror, in fact turns out to be a very deep and fair person. But who is he? Someone who has considerable authority among vagabonds and limitless people, and speaks on an equal footing with the officers of the security forces. The figure, I confess, is fantastic not only in its appearance, but also in its capabilities. Therefore, this character breaks the stereotype that is built up thanks to the plot. Such an unshakable block, behind which you can not be afraid of anything. More fantasy than life. But, apparently, the screenwriter deliberately introduced this character so that the heroine who lost everything could somehow cling to him and get out of the quagmire that dragged her. Although, if you try to build a plot only around a journalist and a “maniac” without the help of terminators, the film would be much more psychological. It would be more difficult to create such a story, I agree. But to introduce a fabulous almighty character is always easier than to force the main character to find a way out of the impasse. As a result, the impression of a fairy tale still remained after watching.
A certain philosophical frame of the plot was the character of Gosha Kutsenko. Which, too, from the first shot, can cause disgust. But on closer examination, he turns out to be an educated man, cornered by the system. And the words of the hero: "You can only live with love", - can be taken as the slogan of the film. Although love itself, in its pure manifestation, is not in the film. And there's a certain intrigue in that, too. And for a deeper understanding of this topic, we are given the character of a “maniac” performed by Mikhail Efremov, who transforms during the plot from a predator into a victim. But this happens so subtlely that the question: whether our maniac was really a victim of circumstances, or it was his cunning game - and hangs in the air.
To sum up, I repeat that "Tin" is a very worthy and multifaceted film, unjustly harangued by those who could not (or did not want to) understand it. I give the film a high score, and a big thanks to Denis Neymand for this work.
8 out of 10
Russians make bad movies, right? Chernukha is mainly shown with all the cruelty and lowness in Russian films. And so I fundamentally did not watch Russian cinema until 2006, until I happened to be at a session "Gesti" in the cinema. Thoughtful beautiful Marina, so mysteriously smokes out the window of the car on the way to the crime scene and tells his boyfriend Alexander (Anatoly Bely), part-time boss, that she wants to leave the newspaper. Immediately falling in love with the heroine of Alena Babenko, it was amazing to watch such a fragile journalist find herself in the thick of events, but she is not from the timid ten, so she copes with everything steadfastly. Humanity is probably what sets it apart from others in this story. I guess if I could, I would cut off all the dialogue for quotes. And after all these years, they do not lose their relevance.
Whether it is the words of naked Gosha Kutsenko, who with a rifle in his hand declares that: They have pumped us all out, and nothing justifies us. Remember, only love... Perhaps love and death are the aspects of life that will haunt a person for the rest of his life. The dynamics of what is happening, which unfolds on the screen, not quite in one sitting allows you to determine what happened and what the director Denis Naymand and the screenwriters wanted to convey to the viewer, but it is good if the viewer wants to return to the picture, find some new details and meanings in it. A separate plus for the work of the composer Igor Vdovin and the music correctly selected by him. Of course, after 9 years, it’s hard to fully interpret the essence of the film, without faulting and poorly, just ridiculously shot in some moments of the film. But what a horror it is when, once in a country village, an anthill, as it is called, Pavel ("Vyacheslav Razbegaev") tells her: women like her are terrible in crime, such things can be done to people. In fact, it is such a reality that is terrible, and not murders by experienced maniacs who climb out of the depths, usually remaining in the shadows. Here, in the suburban area, where the homeless and marginalized, the Taliban live, Marina will have to survive, figuring out who the maniac really is. Mikhail Efremov brilliantly played the role of a madman who said sacred things. Maybe the scene of the chase on the Giguli and the Terminator (Alexei Serebriakov), will seem ridiculous, not cool, as we used to see in American films, but if it happens in life, then this is how it would look.
It seems that people have firmly entered the lexicon of the concept of “toughness”, and, saying such things, I immediately imagine this film, with its dead, madmen, terrible houses, dirt, some incomprehensible bad philosophy. Perhaps even the smell is transmitted from there and becomes somehow tangible. Without shaking my heart, this is the first Russian film that has influenced me morally, revealing the great power of love, its paramount importance, albeit through such a vile prism, and from such an angle. And it seems that the real hell is on Earth, as shown here.
I looked at it by accident – in isolation there was simply no choice. And the name and the announcement and the first screensaver of the production company - with skulls, all said that this is not my topic. Suddenly the whole movie is in one breath.
First of all, without interruption, you look fascinated at Alena Babenko. I had the same feeling when I first watched The Weary of the Sun, when you do not notice either the plot or the dubious directorial findings behind Oleg Menshikov’s play. I think for Babenko the role of Marina is the best and most fully revealing her talent.
The cast is just one to one. Every actor has a theme. And for Vyacheslav Razbgaev, in general, a wonderful opportunity to prove himself as an actor, beyond the image of a static brutal handsome man.
Cinematography is “made with love.” Soundtracks are an additional wonderful facet (specially in the credits watched performers to listen separately). There is a very similar theme in the movie $8.5.
There is one kinogap - a bed with cabbage near the house where Efremov was. On the cleared land put cabbages.
The film is not intended for the viewer chewing while watching chips
The plot of the film “Tin” is original and quite believable. Let me start by explaining why I think the story is original. The fact that the hero Efremov is not chasing a journalist through abandoned dachas, favorably distinguishes this film among other films about maniacs. In almost every horror film about maniacs, you can see how a mad maniac chases a screaming girl.
I was just surprised when I met the statements of the audience that if the hero of Efremov pursued the journalist Marina, it would be much more interesting. Have those who think so not seen more monotonous films, where psychopaths run after their victim with a knife in his hand?
In the film "Truth" is more original. Here, the man who was considered a maniac did not pursue the journalist, but saved her from criminals.
Now let me focus on the credibility of the story. Again surprised, faced with the opinion that this could not be in real life.
First of all, let me talk about abandoned gardens. It is enough to drive around the outskirts of cities to understand how the terrain shown in the film corresponds to reality. Full of abandoned houses where homeless people, criminals, etc. are hiding. Let’s assume that someone goes near such a territory and has to make a forced stop there. For example, a car will break down, etc. It may even be that by fateful coincidence, there will be some inhumans nearby who will begin to pursue their victim. I never cease to wonder how you can not notice what is on every outskirts of any city?
And the confluence of circumstances can really be terrible. As far as I remember, the heroine of Alena Babenko is also talking to the hero of Efremov. She explained to him that they were “not in hell, it’s just a terrible coincidence.”
Secondly, there were cases similar to the one that occurred with the character of Efremov. Not exactly the same, but similar. After all, it happened before (and perhaps even now) that when they could not catch a maniac for a long time, they condemned the innocent. Just to show people how quickly the investigative bodies work.
In general, the film “Tin” justifies its name. It is just not intended for the mass viewer chewing while watching chips.
10 out of 10
The film left a negative impression. It feels like starting to eat a delicious cake, and inside it is stale bread. But now in order.
Actors are good. The locations are wonderful, colorful, atmospheric. There are some oddities in camera work and installation, but they are also, in general, good.
The idea is great. But... I think the author of the idea and the writer of the script are completely different people. The potential of the film is not even 10%. After the middle of the film, the plot generally crumbles, the motivation of the characters floats.
Instead of really “tin” similar to “red state” or “corn children” (similar to the plot films), we get a loose art house. Many of the stated characters in the film do not affect the plot at all. Like Urgant's character. Many images and storylines are cut off as soon as they begin.
The finale, with a hallucination in the form of Gosha Kutsenko, generally lubricates the whole plot. The script is very bad. If under all other conditions the script had been a little different, the film would have been a hit.
The title of the picture completely justifies what happens on the screen. Already, almost at the very beginning, appears completely naked Kutsenko. And the camera isn't at all shy about taking the best shots of his nudity. Cruel? That's it! But the further, the worse.
They probably tried to make some kind of mysticism. And overall, it worked. I mean, I mean, the picture looks good. It is surprising, of course, that suddenly, in modern Russia, it is not clear from where, a village appeared that looks like a post-apocalypse style, but let’s say. And the fact that the dregs of society live there can also be accepted. But, the plot frankly smells of pure nonsense, and the ending, in which Kutsenko reappears, Glory to all the Gods, is not naked, in general complete idiocy.
Efremov, because of which, in fact, and watched this film, good. Very good! It’s great, and it’s great against everyone else.
I will start with the fact that I am not one of the people who in their spare time thoroughly, with pleasure high domestic cinema. Just so you understand. I wanted to watch the film when I heard the soundtrack in my father’s car with excerpts of conversations from the film. These dialogues were so poignant, and the music penetrated deeply into the soul, that the film just can not be bad or unsuccessful. That same day, I watched this movie. He's great! The film is addictive and does not let go until the very end. All the characters are full of life, the actors are so used to the role that you involuntarily begin to empathize with them, even the alleged maniac, the character of Efremov.
This film is one of those films that make us look at life a little differently, imagine something out of the ordinary, but having a place in it. Yes, the idea of the film does not lie on the surface, it will not immediately tell you a conclusion. The meaning is not formulated in one sentence, here you need to catch the mood.
In general, for people who appreciate the atmosphere of the world’s immersion in chaos, they love Babenko, Efremov, Serebryakova, the film “Tin” is the very same.
10 out of 10