I was once part of an international conference on an excursion to a castle in Germany. To be honest, I was alone from Russia. The guide asked about the hole at the bottom of the door, about household appliances used in the Middle Ages. None of the foreigners had any idea why or what. And we still use it in the summer in the village house. Neighbors who live permanently in the village, too. By the way, the village, new stone houses were built, a school, etc. Probably like the village where the film was shot.
Russian residents of cities sincerely do not understand why to live like this if there are benefits of civilization, you can move to the city. You can open your own business, run the Internet. And yes, I agree, living in the city, feeling that he is worthy of all these possibilities of a comfortable life, a person can think of a way to change something and create a comfortable life anywhere.
The trouble of the Russian people is that there is a huge gap between the government and the people, the attitude to citizens as slaves and the submission of many.
The grandfather of the Old Believer is a person who is not ready to sell his freedom and faith for comfort and comfort, to the last fights for them.
Girls who work as prostitutes and don’t realize that they have the opportunity to leave and change their lives. The dishwasher is just as obedient a slave.
Russians are not able to understand foreigners, for them slavish obedience is nonsense. Somehow I have the feeling that watching this film, they do not really understand all this depth.
It's a Russian movie. It shows that there are people in Russia, like my grandfather, who are not ready to sell their freedom for comfort. But also a warning that everything needs a measure. It is necessary to understand that for the sake of children, it is possible and necessary to look for options, how to preserve your inner freedom to look for a decent, more comfortable life for children and grandchildren.
Several overlapping rather intricately plot lines about the inhabitants of the distant foothills of the Urals.
The general impression of the film is as follows: we live in a world of chaos, where good turns into evil, and evil turns into good, it is impossible to stabilize either a person or a situation, it is impossible to find a point of reference, it is impossible to calculate the development of events, but over this unbearable porridge there is no-no and heavenly grace shines, as if hinting - maybe this is not porridge, but those very inscrutable ways of the Lord ...
In the sense of blackness, sometimes too much, but the tear-punching finale reconciles the viewer with the form of presentation by the filmmakers of their remarkable thoughts.
I would like to start with negative reviews for the film, which are based on the principle ' not so we have everything here'. A resident of Siberia has seen many such villages. There are places where it's even worse - half the village drinks and the other half sits on desomorphine, and only a few work at a local farm that has been holding up wages for two months. So the story of an abandoned village with two residents and rabid dogs in the forest is very realistic, especially for the Siberian wilderness. If you still do not believe it - imagine that all this is fantastic and enjoy the soul-grabbing plot.
The film does not show the poverty of Russian villages, nor even the piety and simplicity of their inhabitants. The picture shows the strength of the human spirit, which is revealed when a loved one is in danger. This is grandfather Ivan, who, unable to save his grandson on his own, goes on a deadly journey to help, and the Captain, who still saved ' niece' and Leshka, who told his grandfather about the icon, overcoming fear and refusing ' bribery'.
All of them are beaten by fate, but still remain human. When watching, there are definitely unpleasant feelings of general depression and horror from what is happening. Black? To some extent, however, cinema should evoke various emotions, and not lead the viewer to the pastel tones of the ideal world. The most negative aspect of the film I consider theft ' digger' icons, after it even the final scene with grandfather Ivan does not cause such terrible sensations.
The film caused exceptional delight after viewing, leaving behind a long feeling of admiration. There was definitely a lot of effort invested in it - just what is the scene of grandfather Ivan rafting on a snag on ice water. The actor himself after that fell ill and underwent surgery, which proves only his dedication to the cause - even in 30 years, not everyone will agree to this, and Petr Zaichenko at that time was 68-69 years old. But it is not surprising that the film did not bring even one-tenth of the money spent at the box office - the general public is demanding an idealized movie that will not immerse in terrible thoughts and will not present a terrible, real world. Critics appreciated it, as evidenced by 70 awards at Russian and international film festivals.
10 out of 10
“Cherry” is the first thing that comes to mind while watching. It seems that all the situations described in the film are so unreal and far from you that you immediately rush to put a verdict on the film - black that is not. However, after the fact, you understand why the film has so many awards and flattering reviews from film critics.
Many different topics related to the human essence are touched upon: almost every character of the picture has negative and positive qualities and all are shown here without embellishment. The characters are clear and clear, there is no need to show the story of each of the characters for 30 minutes to reveal each of them. Everything is simple and on the surface, this is Siberia. Monamur bribes.
A very strong and not pretentious picture that brings a very strong melancholy, leaves an incredible sediment and may even fill with some kind of darkness, but the film is kind. There are no good or bad here, it's all about faith. Someone believes in God, someone believes in war and its righteousness, someone in what will wait for the hero’s father, someone in a better life and everyone believes, having forgotten long ago about humanity and how they really wanted to live. Everyone just believes in something.
It is unlikely that this spectacle can leave anyone indifferent. Even if someone does not like the script and the general semantic load, then excellent camera work, true Siberian landscapes and wild realistic scenes will be able to keep at the screen from the first minutes. The real Siberia. Real cold Taiga and real people.
In the Siberian taiga, not only the harsh climate, but also no less harsh conditions for life. The director suggests this idea at the very beginning, showing a pack of hungry dogs fighting for a piece of meat. Although staying in the God-forgotten village of Monamur will not turn the tongue to call life. In the heart of wildlife trying to survive grandfather and his 7-year-old grandson, the only tenants in the whole area. Man is an adaptive creature, and the Russian people are not used to difficulties and privations. Hard conditions even more temper the character, developing fortitude. Only faith helps them not to break under the yoke of everyday hardships. The boy Lesha believes that his father will return one day. Grandfather Ivan is much wiser because of his age. He has long lost faith in people and does not expect help from anyone, continuing to live according to the principle of “God’s will for everything.” He raises his grandson in strictness, forcing him to pray daily in front of the icon, scaring devils with red-hot pans.
But the film is not religious at all. Vyacheslav Ross opens the topic of faith much more broadly, not focusing only on religion. He deliberately thickens the already gloomy colors, turning out the ugliness of modern realities. There is a complete set from endless alcohol and obscene swearing to outright violence and cynicism. There are several storylines unfolding here for a reason. For me, I understand the director’s message as a call to mercy. Otherwise, we will be no different from a wild beast throwing itself at people. What would have happened if the prostitute Lyuba did not show mercy when she came to the diner? What would happen to anyone if they didn’t stand up for him? But only thanks to the combination of such manifestations of humanity, the finale came with a ray of hope for a brighter future for all participants in this drama. Even Grandfather Ivan, deeply believing only in God, in a critical situation goes for help to people. And it is more reasonable than waiting for some miracle from above.
What I liked most about this film is that each character has glimpses of kindness and compassion for others. Although the characters are far from perfect. Take at least as an example a criminal who steals icons from abandoned houses. Even he shows understanding for the boy, because he grew up without a father. Or, for example, Uncle Yura's wife. She cheats on her husband, takes food from her husband, because she does not intend to feed extra mouths when her house is full. But still decides to go to Monamur. Grandfather Ivan is sometimes too strict with his grandson, but for him he is ready to overcome any difficulties, no matter what it costs him. Like a boy who often resents his grandfather, he begins to pray and care for him, as long as he recovers. Even the Fang, being hungry, like all other feral dogs, still does not touch the boy and remains loyal to him.
The film was atmospheric and thought-provoking. Separately, I want to note the amazing work of the operator. Even when they show frankly unpleasant moments, their realism is fascinating. The same goes for nature itself. It felt like a real Siberian cold from the screen. Perhaps the whole reason is that we have not yet turned on the heating (joking). In general, I would not consider this film to be a black art house, because the message here is still bright. And I am very sorry that in our box office it collected a negligible amount and became the most unprofitable film of 2011. And it is doubly insulting that even in the French box office he collected 10 times more than we have! And this is the rare case when you can rightfully be proud of the fact that we shoot high-quality modern cinema with meaning.
9 out of 10
The author of the script and director Vyacheslav Ross called the main idea of the film the words from an old Russian prayer: “Mercy is above justice.”
A man yearns for good. And art doesn't seem to notice that. Lutu, judge, beat and burn. Fair enough. On merit. For sins. That's just good so you want, and without kicks and backs of the head for corrective purposes.
St. John the Ladder wrote: “When I heard that some people were maligning their neighbours, I forbade them; but those who did this evil answered in apology that they were doing this out of love and care for the evil one.” But I said to them, “Leave that love.” If you truly love your neighbor as you say, do not make fun of him, but pray for him in secret, for this image of love is pleasing to God. Few people know how to pray when they want to (and even need to) slander and condemn.
Condemning good is inquisitorial good, suffocating, heavy (a long-standing observation of Berdyaev). And however fair it may seem, mercy will always be above such justice. That Ross movie. He does not slander (although everything and everything in his reality provokes this), he prays, demonstrating an almost unheard-of religiously enlightened attitude to life in our new cinema, even in the midst of its almost tortured pain. Beaten – we will heal, drunk – we will sober, dishonored – we will love, dried up the soul – we will revive, smeared with dirt – we will wash, stole the image of God – we will draw a new one. What's the message? Well, not all about the apocalypse. Someone has to sing for health. It's about being kind and simple. How to live without money and bosses. It takes less to be happy than to be successful. That you don't need success. That man is not a wolf or a dog, nor a neighbor in a pack, but salvation and prayer.
Ross gave us a major and an uncompromisingly direct moral core, in which no shakyness, no double-dealing, no deceitfulness, no wiggling is akin to Adrey’s Rules of Good: “When necessary, do not kill; when necessary, kill; when necessary, tell the truth; and when necessary, lie; when necessary, give; and when necessary, take it yourself, even take it.” Or straight. Or not. As in war ("everyone should be remembered for war").
After watching the film, I came out with a feeling of catharsis: tears are not in the eyes, but in the soul. The movie is amazing! I would say it's a movie about life. Touching so many strings in the Russian soul. Yes, yes, there is no need to watch this film to a foreigner and say: I have never seen such a Russia! You didn't see her, you didn't see her, you didn't know her. Maybe someone, like a foreigner, will see only the wilderness, longing, devastation, savagery and barbarism. The world of consumers perceives the outside, judges by clothes and turnips, they say, there is nothing more. All this husk, my lords. What is good for a Russian is death for a German. The German, by the way, in ancient times meant mute, that is, not speaking in our way, and therefore feeling and thinking. My homeland, Siberia, Monamur, my love, what parallels with the local flavor! No wonder Uncle Yura calls Leshka a Cossack. The village is clearly not Old Believers, but Cossack. The Cossacks reached Paris, returned and called the village Monamour (Fershampenoise, Paris). The vast Siberian expanses, the village, someone would say: "Forgotten corner of God." And no, here in a very remote corner, where the dogs went wild, Man lives only by the power of his spirit and is ready to defend the original image of Life, Worldview to the last. Think about this word: the view of the world is not in its external side, but in its deepest component: a world in which they do not betray, do not abandon. “Dad said he would come back, so he would come back. Grandfather, he's stubborn, said he'll come back. And even in a funny, paradoxical situation in the toilet, to the soldier: "Russians do not abandon their own in war." And this is the inner, primordial, sitting on the subcortex of everyone from small to large, from a boy to having no “normal” landmarks in life, a girl (her tongue cannot be called a prostitute – this is again external, alluring). This is the power of the spirit, because it is the root of life. It is not the body that will go through the forest, it will swim on a rotating snag in the icy water, but the spirit and soul that rest on unshakable foundations. It is not God that shines, it is the power of the spirit that burns with eternal fire. And that light is in everyone, if he is a man. People find each other in the snow. That's just a little smile in the back seat lit up the face, as the radiance overflows both, touches the wing of the sitting next. And he, distorted by the war, sick of consciousness, does not understand that it snatched in the soul. By habit, everything that can move, moves only below the waist (as the soul can swing, forgotten, hammered long ago). So he drags the girl out of the car. Only a shot, as the war took place, can pull out of the dream of madness, bring back the Man.
This is also a film about the fact that we live in an occupied country: Russian, problems?! Sleeping (between the lines - "Russis Shvain") you will be at home. And our girls (even if they are dishwashers) are taken to the office. But he, the occupier, fully understands, not from a half-word, from a glance, that it is better not to wake the Russian. The better we sleep, the farther they go to Siberia. But here too (Rossa, in Russian) there is hope and support: on the experience of the elderly, on the stronghold of Life. At first you thought that the old girl was either away from the bullets or sent for help? For bread, my lords, the oldest symbol of peace and harmony. He who breaks bread with me cannot be my enemy. It's not from the Bible, it's from our shared past. Do we want to share bread with them?
This is a film about revenge: each according to his deeds.
This film is NOT about religion. Ask any “truly” believer if you can pray for a piece of paper and a salary from an icon, and you will hear an unambiguous answer.
This is a film about faith: not faith in God, but about faith in the highest, faith in a miracle, faith in love, that their own are not betrayed; that their own are near, they are!
I'm glad you're here, people!
P.S. Maybe someone will say that it is too pathetic. I remember the movie The Last Samurai. The last words in the life of a samurai: “This is beautiful!” About the pettiness of human affairs, about the admiration of the highest creation. This is where restraint of feelings is inappropriate. “Let us cry out and admire each other.”
And not to consider themselves and others “gray mice”, even in the form of shocking.
Siberia. Monamur is the second film directed by Vyacheslav Ross, after the tragicomedy Dumb Fat Hare. I didn't see the first picture, so Siberia. Monamour became a kind of my acquaintance with Ross.
Oh, yeah. On the subject of filming... Weeping, crying, howling... this world can not be saved.
The film tells several stories, each in its own way takes the soul and makes you cry. One of the three storylines tells about the village of Monamur in Siberia, more precisely about its only inhabitants - old man Ivan and his grandson Leshka. Both are waiting for the boy’s father, who is unlikely to return, but they firmly believe in his return. The second story is about an unhappy family. The third is about the captain, a war hero, who seeks himself in peacetime. They should not have met, they have nothing in common, but fate decreed otherwise, and now they all need to make the right choice.
The first thing to note is the work of the director and cameraman. The picture is impressive, gloomy, rude, cruel, Siberian. The authors of the picture well convey the atmosphere of the Siberian hinterland. The film begins the views of Siberia from a bird's eye view, it looks very exciting. A beautiful soundtrack accompanies the whole film, everything to the place, perfectly complements the picture on the screen. About the script, the author of which was also made by Vyacheslav Ross, I will not even talk, it is necessary to see. The actors played with feeling, even the boy played wonderfully, seriously, but at the same time with some childish naivety. And that's beautiful. Each character is empathetic throughout the film. It turned out to be a moving film about mercy, about compassion, about higher justice, about people. The film makes you think about life, God, as the supreme authority, rethink some aspects of faith. I wanted to sit alone in the dark and think.
I recommend a very good film, really Russian, I would even say Siberian. Everyone who loves high-quality domestic cinema, who wants to watch a good drama, who wants to reflect on the universe, who wants to see the gloomy, cruel beauty of Siberia, should watch.
9 out of 10
Increasingly, there are films that are positioned as vital, but very much removed from it. With a lot of confidence we can say that ' the parent' this film is very far from the people and Siberia as a whole. Of course, he has the right to say: ' I am an artist, I see it this way' but the black woman, the lack of connection of storylines, the general mood of this film, do not speak in favor of the artist. I'm not an artist, I'm an educator, I'm an engineer, I'm just a person who considers Siberia and the Siberian village to be his homeland, but I was able to see only two-thirds of this film. To be honest, I consider myself somewhat offended, perhaps because I expected to see a film about Siberia, its way of life, about the soul of the people inhabiting it, but I saw phantasmagoria in the Siberian scenery.
I may not understand what the author meant, but 'plays' he's on the wrong strings. Drunken officers and pious elders, this is not exactly what Siberia lives.
“And I will paint the yellow bank to God’s grandfather. He can't see God at all.
- Is God yellow or what?
- You didn't know? It's glowing!
The essence of the film is in these simple Leshkin words. In my opinion, there is not a single believer in the film, except the boy, because he is not yet tempted, and therefore pure in soul. Even the grandfather, who is ready to die for the icon, is offended by the whole white world, he cannot forgive his brother’s family and lives as a hermit. His God is pride. But in each - in the humiliated Lyuba, in the old men standing on the road and in the girl handing out cakes to the driver, and in the skinny soldier who gave money for Lyuba, and in the crippled military officer, and in the terribly drinking Uncle Yura, and in his hard-hearted wife and even in the dog that fought off the pack of cannibals and came to the boy there is a particle of God! And Leshkin's words are guides - to draw a yellow God, to glow, so that they and we all see him.
This is not Soviet times, now the whole country stands in church, prays, is baptized, married, confesses, but this does not prevent you from committing all conceivable and unthinkable sins, violate all conceivable and unthinkable commandments. Our God is still our vices.
The more I get acquainted with worthy representatives of Russian cinema, the more I am convinced that Russian cinema is alive! Before, I didn’t follow him at all and thought that the only decent films were shot in the USSR and somehow realized that it was bypassing our modern cinema. Then, purely by chance, having stumbled upon the film "Major" by Yuri Bykov, hope still arose in me. In search of good domestic films, I came across the film "Siberia". Monamour.
"Siberia." Monamur attracts with its realism and truthfulness. The characters of the film come to life on screen because such people really exist. Villages such as Monamur hidden in the depths of Siberia do exist and each of us knows about it. I come from Siberia, and one way or another, I see these villages as shown in the film. Abandoned, forgotten by God, where two grandfathers and one grandmother live, and before civilization the N-th number of kilometers. Villages such as Monamur are found not only in Siberia, but throughout our vast country and nobody cares about them.
The movie "Glory to Ross" is about this. About life in a place forgotten by everyone and about people who live like this. The film itself is based on the story of three different stories, which are not particularly related at first glance, but closer to the end, everything will merge into one. Like a pack of wild dogs shown at the beginning and appearing throughout the film, the narrative runs, loops, throws the viewer from side to side, thereby introducing each character to the film, not forgetting about the secondary characters. Everyone is given enough time to reveal each character. To show that even the one from whom you do not expect anything good, is capable of strong male deeds and even more, it is he who will come to the rescue, and not those who shout beautifully and call to be brothers.
"Siberia." Monamur is also interesting because it is our film. A foreigner will never be imbued with a film, as Russian. The picture, the characters of the film, the landscapes, those places shown in the film, that life, all this will break into a tear rather than a Russian person stinging a foreigner. Not because the film showed something sad or sad, but because the film showed us and how we live.
9 out of 10
The main advantage of the film is ambiguity. Ambiguity of the plot, characters, moments. In the story that the film tells, there is not a single positive or negative character. Reality. The second most important advantage is the stunning landscapes of Siberia. Reality. But can there really be such a village of Monamur, such residents, such events? . .
The first half of the film does not leave the question: is it a movie or a set of scenes? Because history leads to a climax and denouement gradually, unexpectedly. And if the film begins with a sticky one, then it ends with a full jump.
Some episodes caused a state of stupor, disbelief in what is happening. But these episodes are justified, they explain the rest of the story, give the viewer food for thought. Is this not what distinguishes a work of art from a summary of creepy news programs?
In addition to the well-known moral problems between men and women, the film deals with the problem of national interaction. These moments are quite controversially shown in the film. But that's the director's position. It can be accepted or not accepted.
One thing I can say is that the movie is worth the time. And in the end, either evaluate or dismiss. But time will not pass in vain.
-1 I can only give a film for a very small percentage of positive emotions, which are so few in real life; although the most important thing is hope, the film leaves behind. Not exactly a myth.
9 out of 10
I came across this movie by accident. A brief description and the fact that periodically there is a need to watch “their” cinema, which always acts soberingly in the modern, invented by Western films, the world has prompted to view.
The first minutes of the film fascinate landscapes, so native, and pristine. Then you will be plunged into the whirlpool of provincial problems, which is called “black”. But this is only the first impression, the “veil” under which the author hid the “bucket” of human qualities inherent in the Russian person, as they say “despite everything and against everything”. You will see a true relationship between husband and wife, father and son, attitude to religion, children's credulity, the problem of stray dogs, real friendship and much more. Anyway, humanity is one of our best traits. What I love most about our films, and this one in particular, is the ending that makes us realize who we really are despite the moral and social decay of society.
The main meaning of the film is that despite the difficulties, betrayal and grief, “we do not care” and “hope will never fade away.” I regret that I did not watch the film on the big screen, and that the advertising campaign of domestic films is very modest, that you simply do not know that our cinemas are in theaters. Films in this genre can not be loved, but not to watch.
10 out of 10
A fictional film story about fictional characters living somewhere in the forests of Siberia.
For a long time, such a movie did not catch the eye, because he deliberately protected himself from watching movie speculations with Russian people drinking endlessly on the screen. The format of the film, in which the bottle appears on the screen in the first 5 minutes, is a priori biased, and instantly demonstrates the potency of the director and the entire depth of his idea. And in this case, the rule worked, the film was checked by me until the final but did not cause any emotions, except boredom.
A leaky script filled with empty characters, whom the authors naively and without due diligence try to squeeze into a unifying fate with a high, invented meaning. The brightest example of high meaning is a blowjob in the back of a Caucasian cafe. But the general meaning of the authors of something is not glued and therefore simplified and made of flashing images that are directly played: Siberia, faith, sin, death, repentance, etc. The images are clearly visualized, and look at the level of provincial election advertising ... faith is prayer, Siberia is moonshine, sin is copulation, death is a bone in a boot, etc. There is no depth, no “further” there, there is nothing more to wait and think.
It’s the old rake, when someone ambitiously wants to shoot about Russia in general, to do it symbolically and figuratively, ... you get a complete failure. Not a few good directors broke on this, and it is not worth talking about different clipmakers. To adequately raise such a topic and clearly present I do not even imagine what mind, soul and spirit the author should possess.
In addition to the overall failed idea, the film is endlessly boring, like a movie. The scenes are devoid of any inner emotionality and originality, the dialogues are primitive, the acting work is not remembered. Except for the thief, who inadvertently was killed, and he performed the main mission in the film, told the boy a sacramental thought for the Russian, which reached the viewer from the first boomer: “it’s not us bad, this is life, brother.”
It remains to appease the idea of a painted god and worry with excitement for the fate of the boy, who is saved by a stupid, but very tenacious grandfather.
The Russian alcohol trend in the festival market serves as a win-win for obtaining various grand prixes, and if you add a little more dirty sex, drawn with a yellow pencil of a god crazy in epaulettes, you get the perfect selling image of “Russian” for the “west”. It would be more interesting for me to see a film about a director who, for the sake of fame, is ready to sacrifice not only his honesty, but also his homeland.
This is a wonderful and beautiful film of the new wave of domestic cinema.
Trying to analyze everything I read above, I come to the conclusion that many detractors of this film still believe that life ends outside the Moscow ring. Of course, this film can not be evaluated by drinking 'Valeo' and eating Spanish jamon, boasting: Hurrah, Rosseyushka! This is a Russian film about real Siberians. Moreover, I can say that the tough character of the Old Believers, who still live unsociablely both in small villages and live in communities in large cities, revering the traditions of their ancestors, is very faithfully conveyed. And the blacks in this film are no more than in the harsh Russian reality, where mercy and kindness, temper and unpredictability of character and actions are strangely intertwined.
At one time, the great Russian literature was born from a physiological essay with its deep internal analysis, psychological character and rigidity of assessments. I think that from such films the great national cinema is being revived! Of course, it is difficult to judge this film from any other corner of Russia. Moreover, watching life even from the train window, it immediately becomes clear that it differs significantly in Siberia and the Urals, and even more so in central Russia. Therefore, we must admit that the characters are contradictory, but quite logically explainable. Who does not know that convicts often run through the Siberian taiga? Stray dogs? Even in cities, they used to flock! A military officer with a head injury who hates the "Blacks" and "39" against whom he fought? There are dozens of real life cases! A weak woman who became a prostitute from unemployment and hopelessness? And that doesn’t just happen in books! Everything is so true, sincere and well done that the viewer does not even have a shadow of doubt about the truth of what is happening. This is a very tightly sewn, thoughtful, artistically whole movie. This film clearly shows that living in Russia is quite difficult, but it is this strangeness, unlikeness and originality that allows you to create a real live movie! But the author gives us a ray of hope for the future! Everybody watch!
10 out of 10
The second feature-length film by young director Vyacheslav Ross, which received many awards at international festivals. His first film, the sad comedy Dumb Fat Hare, also won three international awards! Not bad, right? I was struck by a lively, creepy and gloomy movie!! The actors were all good - especially the boy played well, as an adult, but also at the same time with childish naivety and helplessness. Despite the fact that the case takes place in the Siberian abandoned village, the film does not look boring, the images of the characters are perfectly worked out: Leshka, grandfather, uncle Borya. Very competent director and good camera work. I recommend watching the movie.
Russian cinema has grown to the proper level even when the "zabugorny" to us reached 3-4 years not earlier. This movie was called the Soviet one, you know? Lyrical comedies of Gaidai and other modes of that time, magnificent dramas with beautiful actors who are no longer alive ... military films of the type. And the dawns here are quiet, but you can list until the morning. Are these films worse than the current Western ones or are their actors cooler?
No, our cinema knows how to be the most heartbreaking, the funniest and the smartest. On the example of a modern film by a very not bad director V. Ross, we see that we have no equal in the elaboration of images of heroes, in a competent, truthful display of the dark side of human nature, as well as its second half - the bright, good side. I remember the characters of the picture and among them a concussed lieutenant. For me, he is one of the most interesting characters in this film. His example shows the contradictory Russian soul, sick, wounded, but still capable of pity and good deeds. And the girl - a prostitute only managed to shade, emphasize both sides of the lieutenant's soul - white and black. Yes, all the characters in their place and blunders in the film are much less than talented, interesting scenes and types.
I believe in Russian cinema when I watch such films, it will still rise to the previous level and eclipse SPECIFIC foreign action films and thrillers.
As a Russian person, I am pleased to realize that our cinema is not a one-time and the most real of the real.
9 out of 10
At first, I wanted to turn it off: it seemed like a film from the category of the festival nigger about Russia, which the West loves so much. Of course, because it serves a stereotype about Russian life, this is the kind of film distributors drive to the European masses – and no propaganda is needed. I perceive the directors of such films as conjuncturers, although there are talents among them.
But there was a lot of light and good, God and love live in people and help them survive. No one else but faith in him. However, scenes of such cruelty and atrocities do not justify it. It could have been softer and smaller. You don’t need to shoot this, the movie should not provoke aggression, rage and depression. That's a lot of blacks.
I have written here many times, and not only – modern Russian cinema is very low level. Dozens of empty films, passing comedies from the camedy club, a typical black woman, with a monotonous killed province, where the director deliberately drowns the viewer, there are units of serious, not buffoonish pictures. This is one of them.
Yes, it also shows not the capital, the harsh Russian north. Where it's really hard. Man to man is a wolf, vodka flows like a river. But there's a forest, a sky, a river. Like the pinnacle of nature - a person kills himself against the background of unprecedented beauty.
It's a powerful northern drama. Cold, ruthless in many ways, it's not black. Do not look away and lie that this is a turn-on picture, which shows only the bad. Cinema is about life itself. And if we live this way now, then the directors should not cheat.
Renata Litvinova filmed about the same Last tale of Rita, Siberia. Monamour is also a fairy tale. Modern times. The fact that forgetting about the main thing, we crush ourselves with our own hands, and burn out all life around. God will save the child who falls into the well, and God will naturally perform the grandfather. The captain who changed his mind. A prostitute who just lives by circumstances. Not rainbow. But beauty in the eye of the beholder. And the more eyes we have to see this movie, the faster our art and our lives will get better. Excellent work.
ps- Incredible camera work, it was like visiting those places. Bravo.
The film is about everything: about life and love, about hope and hopelessness, about faith and disbelief. And all this against the backdrop of Siberia - in the God-forgotten village of Monamur (is there any such thing at all?) And there are only 2 people in it - grandfather and grandson. And what they do there and how they got here – no one knows. And they have nowhere to go, because all around is one – the hopeless life of the hinterland. It's all fair. Complaints remain rascals, heroes are heroes.
The film is definitely worth watching, it has received so many awards. But not everyone will like it. And I guarantee that the state after watching is unlikely to be complacent. Throughout the film, there was only a couple of smiles on the actors’ faces. I've never had one.
What's the blue of the sun?
To get more yellow, I will paint a lot.
What are you going to paint?
“I will draw God’s grandfather, or he cannot be seen at all.”
What is the God of the Yellow?
- You don't know? It's glowing.
An unexpected discovery was our Russian film Siberia. Monamur directed by Glory Ross. The picture plunged me into a slight shock, which later turned into joy for the domestic cinema, which in no case does not die, but only develops and is at a fairly high level. The picture is made in the best traditions of original Russian cinema, the influence of such paintings as “The Island” by Lungin, “The Return” by Zvyagintsev and “How I spent this summer” is felt.
This is a great script that Ross himself wrote. All the action takes place in Siberia, gloomy, cold, creepy, dirty. In the picture there are three lines of storytelling: Central – Grandfather, with his grandson from the remote, abandoned village of Monamur; Two secondary: a combat, concussed officer, who was transferred to Siberia, straight from the scenes of hostilities, now forced to deliver with his subordinate prostitutes for the head of the unit; And the third is a husband and wife, living in a small Siberian village, who have long disliked each other and the only thing they have in common are children. Also in the picture there are three images that symbolize evil, cruelty, inhumanity, injustice - a flock of wild dogs that is ready to eat even a person. Two marauders who steal icons and antiquities; and a smug commander of a military unit, together with a major, who have long forgotten such concepts as “officer honor” and “service to the homeland”, believing that they are allowed everything. All these storylines Ross, like no other, masterfully intertwines with each other, only Lev Nikolaevich genius comes to mind - a plot pattern.
Initially, all the stories are surrounded by darkness, hopelessness, dirt and vice, all but one is the line of Grandfather and Grandson, who tries, like Salinger's hero, to save the boy from falling into the abyss of "human sin." Once he failed to save his own son, and now considers it his duty not to repeat the same mistake. Other characters, as I said, are almost lost, almost merged with the Siberian mud surrounding them, but in each of them there is a small ray of light, goodness, which breaks through all this surrounding abomination. A young soldier who falls in love with a prostitute and tries to protect her, risking everything. A husband who finds it difficult to feed his own family, but despite his wife’s cries, collects the last supplies and carries them to a remote village for Grandfather and his grandson. Wild dog Fang, which, unlike the whole pack, does not attack people and sincerely loves Alyosha. All these small acts of kindness awaken in others their sleeping virtues and gradually unite into one bright force, which ultimately saves from the death of Grandfather and his grandson, who symbolize a small, fading fire of love and purity in a huge dark cave of inhumanity and cruelty. Some black lovers may accuse the director of Hollywood, popsy, etc., as in the end, everything ends well. But everything should end this way when a person is ruled by good impulses, when he follows the voice of conscience, when he lives according to conscience, when he discovers God within himself. But it's hard to find, and you and I can't see it at all, so maybe we need a little boy to draw it with a yellow pencil.
In his film, 44-year-old director Slava Ross (Glory to Russia?!) depicts Russia, from which every Russian would like to escape, but from which and for which there is no salvation, there seems to be no other way than not to live, but to survive, gnawing their right to life. Drinking, swearing, passionately believing... And brutal.
Ross picked up a very good symbol of the chaos taking place on our land (in our country). A flock of rabid wolf dogs personifies that uncontrolled and not having a clear direction of brutal nature, which in the Russian person coexists with piety, kindness and readiness to always come to the rescue. There is a lot in the Russian people. In it, as N. V. Gogol wrote about “our everything” by A. S. Pushkin, “the abyss of space”. The nature of a Russian person cannot be conveyed by one, five or a hundred films. This well will never be drawn out. Only you think that everything about him learned how he will surprise you again - with his sincerity and cruelty, greed and humility.
It is God’s will that we live.
The viewer from the first minutes plunges into the sad and painful existence of several families and individuals. He is drawn into the process of patriarchal harsh upbringing of a grandson by his grandfather in the taiga wilderness, into the tired poor existence of the family of Yura and Anna, into the revelry and tantrums of the captain, into the heavy share of the available girl Lyuba... “And it becomes hard and sad for the heart, and nothing to help it.” And sucks at the viewer somewhere under a spoon and nowhere from this aching longing can not escape. And I want to sit like a fang on the cheese of the earth and howl on the hills, on the taiga, on the moon and on God.
Ross does not give an answer, does not suggest a way out, how to change everything, how to arrange everything, change everything. He simply fixes the Russian nature and the nature of the Russian soul with large fat strokes, notices this suffocating unsettlement, restlessness of the Russian person.
Why do you paint the sun with a blue pencil?
- I'll paint the yellow bank, I'll paint God's grandfather.
- What about the yellow God?
- You didn't know? It's glowing!
I no longer believe in God (as a child I believed, stood up with a bum all night, etc.), but I really liked the relationship of the characters with God, shown in the picture of Ross. Grandfather has a strict God, Leshka has his radiant.
Of course, Siberia. Monamur" is in a sense what T. Tolstoy and A. Smirnov like to repeat in the "School of Backbiting" - "the pearl of Russian thought and spirituality found in the dung heap. However, I still really liked the film. There's no overt "blackie" in it. The actors did a great job. It's Russia. Not all, only the edge, but it shakes with its contrast of chaos and depth.
10 out of 10
It is strange that the main topic of the reviewers’ dispute is whether it is a black woman or not, as the viewer (especially Western) of Russia will perceive this film. What's the inferiority complex? Maybe the audience isn’t watching the movie for that? That we all feel like students, summoned to the board and with a sinking heart waiting for the assessment of the “world community”. Yes, in “their” art (real, not glossy, because Hollywood is often not art at all), the unsettledness of human life is no less and no one cares, and what they think about us. “Chernukha” is the notorious when the authors savor the dirt of human relations and for this purpose remove their creations. In the west it is much more than we have. Neither "Siberia..." nor "Live" Sigarev - not at all "black", they pose the most important questions of being, not life.
The extreme points of the model of the world created by Ross are the elements, the revelry of which is personified by a pack of feral dogs, creating “lawlessness”, and “ratio”, embodied by a lieutenant colonel, exceptionally brightly played by Puskipalis (I love this actor very much, but I could not imagine him in such a role), Nikita, a quiet boot creeping into someone else’s family, taking advantage of misfortune, etc. And the extremes converge: quite rational collectors of icons create the same lawlessness. Life is between these extremes. And the question is not whether we are or is it a slander against the Russian people, and whether it is human or not, believe it or not. And not to believe: absolutely alive, but not like other people.
So, this living life. Neither Anna, cheating on her husband, nor an old man with a heavy, uncooperative character, shooting at the Fang and harshly treating his grandson (albeit for educational purposes), nor the captain who rapes a prostitute, for what they exist for, why, what is called, carry past the mouth - are not heroes without fear and reproach. They too are governed by passions, and without them man is not a man. And the attitude of the captain to the Caucasians is not colorful, but it is so clear to the officer with three concussions and clearly found himself in this bearish corner not as an incentive. But the fact is that in the most important moments of life they are able to rise above this everyday. Remember the softened hand of Anna, who was going to look for a husband and decided to accept the help of Nikita, because it is so easier and more reliable. - and suddenly sharply gathered and swept the horse: therefore Nikita helps that she does not believe in the possibility of finding him - all this is not said, but played by the actress and "seen" by the operator with the art that testifies to high skill - the gift that this is only the second film of the director - does not even believe. There are many such magnificently seen details, and it would be an honor for the venerable author.
The ending of the film does not seem artificial. There were people who found the strength to rise above spontaneity in themselves at the decisive moment and act as they should according to higher laws and laws of love: the captain who saved Luba, forgiven the soldier and now sympathetic to him, and Zheleznyak himself, usually so obedient and superresponsible, but who dared to violate all immutable laws for him for the sake of protecting his beloved. Anna, who will never forget her guilt before her husband, although she has not yet been awarded the highest trust in the world that would allow her to understand the tip of the Fang, and she has only revenge on her mind, but it is clear that she will not be a slave to the search for the outpouring of her irrepressible temperament and thirst for a variety of sensations. (although, in truth, not so weak a person to restrain her, there was nothing to take) But life always has spare options: Anna did not find, others will find. And also Leshka, who saved his grandfather, begged his life from his radiant God, so unlike the strict and punishing God of his grandfather, and this, without knowing, of course, about the one who ensured his survival. With his love, he brought the beast back to its domesticated existence. That is, you can fight with the lawlessness of the pack, but only with love. Therefore, in the meeting with the “father” believe: she deserved, suffered. Ross wants to convey to the audience his understanding of the subtle interconnectedness of everything in the world, the contribution of everyone to the possibility of a higher life, which is in harmony with the beautifully shown nature in the film. But these breakthroughs to a full, dignified life, to rise above meaningless existence are so rare that the finale resembles a fairy tale, a dream: one wants to believe in it, but you know that everyday life is made according to other laws, although this does not abolish the right to a fairy tale as a special form of comprehension of the laws of this world and the possibility of accidents, when saving fate arises from the lace of people with over-earned perception of what is happening.
The accusations of “blackness” are groundless precisely because the film leads to quite positive conclusions. More grounds for reproaches in embellishment, excessive sentimentality, but I tried to prove that such a finale is not imposed happy ending, but the assertion of the possibility of goodness with a rare ideal variant of worthy human behavior.
9 out of 10
Unreflected Soviet past gives rise to ugly squalid complexes and disgusting characters. The authors of this wretched film series with broad strokes painted the image of a Russian man - a sadist-soldier or a noble brother with a crippled psyche, and the image of a woman - a submissive, dirty whore. It is terrible to imagine how monstrous childhood and in what sick families it was spent at this film team. And not just them. The whole modern Russian film discourse revolves around hopeless drunkenness with its shit essence (" Cargo 200, Return, Island). All this fucking pseudo-art is corroding your brains and taking away your last hopes for the future. There is no positive outcome from this vile conflict. An agonizing civilization is doomed to decay and decay.
I don’t believe in the accuracy and objectivity of this video. These are only sick fantasies of the director on the topic of post-Soviet Russia, which have no real basis. For whom and why such a movie is made, remains a mystery to me. However, given the high ratings, it is fair to assume that modern pseudo-intellectuals such nonsense is in high demand.
People don’t watch our movies, they don’t “answer deep questions,” they don’t “make you think,” and they don’t “reflect real, rough reality.” It only cultivates violence, fascism and obscurantism. Watch European cinema, it gives invaluable lessons of coexistence, compassion and mercy.
1 in 10
If I had a chance to put 0, I would use it. Don't waste your time on this dirt. Such “works” should be ignored.
I read the reviews of the film: “Film parable”. Movie-reflection", "Bright and clean fairy tale with tears at the end", "I recommend watching", "I sincerely advise you to watch", etc. ... and decided to watch.
The fact that I saw it did not shock me, no, on the contrary, I knew that somewhere it is this very life and if I sat down to watch the drama, then I had to count not just on tearful scenes with pink handkerchiefs, but on some tragedy. And I saw her.
In general, we can say that the director was successful, what he wanted to show he conveyed perfectly, but I want to warn you right away, this film is not for everyone. Oh, not for everyone. Not everyone wants to see the truth of life. After all, we like to get into our shell and kind of warm and cozy, and we do not want to look out, see a little further than our outstretched arm.
Perhaps this film should be called a drama, a drama of fate. Yes, probably everything is so, to us people from the “inside Moscow” looking at life through the glass of their car on the grayish asphalt streets after the rain, life seems dull. And we see taiga, Siberia, beauty! Look at the world from the outside, it’s a little different.
I do not want to talk about the storyline, even streamlined phrases, so that you can see for yourself, on this impression:
I want to say about what I see on the screen of “Hopeless”, but do not want to repeat (in response to another film I already said so), so “Tosca!” And it is not even the green, green color of joy, it is kind of gray, impassable!
I was always eager for nature, I wanted to breathe fully. I thought that Moscow was shackling me and I wanted to break free. But after watching this movie, I realized I didn’t want to go there. Not that nature is beautiful, but in that life. Probably, I’m just a megapolis resident where the rivers are dressed in granite, weak and unadapted, only thinking: “Is there life behind the ring road”, and finding out what is, and seeing what kind of life I am already afraid of and do not want in it. Or rather, I want to say: “I would not live like this, I would change everything, I could!”, but could I? Or is it in this world, in this world, in this world?
In the film, all the characters are very necessary, very bright in this grayness. All the characters are drawn perfectly ... and my God, what a sink ...
The only bright, beautiful spot in the whole film is Siberia, it is not shown intentionally, but it is always there and at any time of the year it is powerful, it is magnificent. That's where I want to go. It’s like in an old, good movie about three people on a raft, one of whom does not want to travel so much, he says: “It’s beautiful”, his friends are surprised: “He likes it here”, and he replies: “I don’t like it here, I like it there” pointing around. That's how it is here, they like everything, but not their lives.
And at the end of the film, the plot seems to wrap, not break. Everything is cleaned up (well, for small details) and kind of like “Uff, thank God,” but a little later you think: “Well, then what?” and you understand, and all the same, get back in and get bogged down. Improbability!
So it's a drama. Great drama!
Do not look at those who do not want to know life as it is!
8 out of 10
If you were looking for “what would it be like to see with meaning?” this film is filled with it a little more than completely.
The authors of the film showed that there is a qualitatively different life. And it wasn't 100 years ago or 200 years ago -- it's happening parallel to your life. It has its own rules, ideals and values. And how far they are from your values, but at the same time they seem more true. Watching the film, you often thank God, fate (or what you believe in there) for the fact that you live in a large city, surrounded by millions of people, fashionable gadgets, expensive clothes. You try to imagine yourself in the place of these people. You often wonder how long I would have stayed there. The film made me empathize while watching, and think about the plot after watching.
In general, the atmosphere of the whole film is quite depressing and at first the movie did not catch me. But both the appetite that comes with eating and the interest in Siberia. Monamour" comes while watching. And interest is not the only feeling that will come while watching the picture.
Among the Siberian lives depicted in the film, I was most moved by the story of a boy abandoned by his father who lives with his old grandfather in a village forgotten by God, where there is no soul but them. The only friend of the boy is a homeless like Fang. The boy’s faith is a tale of a spy father who must return for him from day to day. This is a story of survival, where you really have no one else to count on except yourself and God. All they have is themselves. The story of how they protect each other did not leave me indifferent. Even if she's too dramatic. It doesn’t take away the tension and in this film I was really hoping for a good ending to the story.
10 out of 10
In the abandoned taiga village of Monamur lived a small grandson and an old grandfather. The boy's mother died, and his father disappeared, but according to grandfather legend, he is on an important mission in intelligence and will surely return. Occasionally, hermits are visited by the ever-drunk uncle Yura, bringing food. If it were not for three mouths at home, he would have taken his grandfather and Lyoshka to his house, but his wife is against it. Nothing falls from the sky and freeloaders are not needed. Once again, having drunk heavily and getting out of under a woman’s heel, Uncle Yura went to visit relatives and met him on the way military UAZik. Drinking to meet the head-scratching captain. This is where the chain of events began.
In the plot of the film Glory Ross closely intertwined three lines: grandfather and grandson, the family of Uncle Yura, combat captain. No one is labeled as good or bad, even for looters. These are ordinary people with their difficult fate, intersecting with each other by an unknown will.
In the role of grandfather Peter Zaichenko, known for “Taxi-blues”. He is strict and even severe, believes in God and teaches the same to his grandson. In his youth he was very strong, but now there is only strength of spirit. The old man goes hunting, but comes empty-handed. A flock of feral dogs devoured or frightened all the animals around and did not mind to profit from human beings.
A bright image was created by Lydia Bayrashevskaya. A simple Russian woman. This is where the Russian land stands. Pulling her daughters and her husband's drunk. She feels sorry for the boy, but the maternal instinct makes her think about her family first. Only tragedy will change something in her mind.
Another strong image was played by Nikolai Kozak. A combat captain, twice wounded in the head and still sees in every Caucasian enemy. It is difficult to call him positive, just a real man with his cockroaches in his head.
The final scene is slightly borrowed from the film by Sergey Bondarchuk “The Fate of a Man”, but already with that psychological intensity and drama. The big question is, is this a good ending for a boy?
I would especially like to note the work of operators for the beautiful Siberian landscapes.
In my opinion, the picture as a whole succeeded. Without excessive moralizing and moralizing, the deep problems of our Russian life have been raised. Something to think about.
For the first time, after the film “Island”, I watched such a true, deep in meaning and emotionally strong film. Overflowing feelings and thoughts did not allow you to sleep for a long time.
A parable movie. A reflection film. Who are we? Who are we with? What's happening to us today? What awaits us and our country tomorrow?
Painfully recognizable images of heroes. An old man who has lost faith in justice and separated himself from the whole world, living only for the sake of his little grandson; a captain whose fate has been broken and distorted by recent wars; an ordinary village family tortured by hard life and lack of money. And a little, bright boy, so defenseless and touching in anticipation of his dissolute father. And all this against the background of the Siberian expanses, fascinating with its vastness and harsh beauty!
And in contrast – packs of feral dogs abandoned by a man and brutally avenging him for this, and the dog, in fact, saving the boy; bandits in different guises, creating lawlessness, and some paid, others only in anticipation of this punishment; and such miserable, gray remains of our Russian village, but with such a beautiful and “foreign” name “Monamur”!
This is a film about faith in the good, the best, the brightest! Despite all the hardships and blows of fate, in every human heart there is a place for love and compassion! A big bow to all the creators of this wonderful film!
The next day I watched Siberia. Monamour. Impressions are not unequivocal, but there is. I watched the whole 100 minutes of the movie.
The new author did not say anything, but the general, gloomy-dustful-good energy chained a powerful magnet, and drilled the soul without particularly affecting the brain.
In the picture there is a lot of frank garbage and black, annoying and periodically interfering with viewing. Through this slag, there are three lines: a grandfather and a red-haired boy, a cracked captain, and a broken woman. These lines and keep all hundred minutes on the emotional line, forcing empathy or angry at them.
Operating work in general is not glossy, but there are some interesting finds. But not so much as to catch on and savor. It is especially disappointing that shooting in places where it is possible to walk around the camera, we see boring, non-speaking, monotonous pictures. Although, perhaps it was the director's idea that the landscape video did not distract from the human, focusing on personalities. However, with all this, there is a stupid kick-emphasis on the idol “sickle and hammer”.
The soundtrack is beautiful, appropriate though not original.
I’ll tell you a little about acting, because I liked everything without exception. From the main characters, to guests like "fuck" or flying Urkagans. I will especially note only, increasingly appearing in different films Nikolai Kozak - always monotonous, but spectacular, colorful and convincing, summing up the film with the phrase: "... for the war everyone needs to remember..."
Heavy, energetically sensual film for trampling. I think even for the collection, as it is suitable for re-watching. Be sure to review in a few months to see what I missed because of a powerful outburst of spiritual energy at the first meeting.
8 out of 10
This movie left me in a state of shock. He talks about two storylines: About the grandfather who lives with his grandson in an abandoned village and about the major with his “servant” who goes to the city on a prostitute for the colonel.
Perhaps the most interesting thing about the film is that it is not immediately clear at what time the film takes place. It can be the post-war years and the 50s and 80s.
The brain involuntarily blames all the inconveniences of the absence of civilization on the past, but when you begin to understand that the action takes place in the present, and that all this is a harsh reality ... This is shocking.
I heard that in the villages about the change of the king learned in 3 years. before us a living example of how it is happening now ... The Siberian hinterland dictates its rules, and a person slowly adapts to the fact that all the same kills him, but not immediately.
Don’t expect anything positive from this movie. This movie is absolutely gray and unfunny, there are no jokes and illogical plot twists, it has only Siberia and the harsh reality of its everyday life.
Take one ball for a too gray atmosphere
9 out of 10
It's a powerful movie, it breaks to tears. I think it’s a film, not for the big screen, although it’s worth watching there, because the film is very modern, reflects our Russia, makes you think a lot about God, about Love. But I don’t think this movie is for everyone, not everyone will understand it. It leaves a strong imprint on the soul.
A well-chosen cast, each of the actors very clearly revealed his character, I really liked the directorial and camera work, a good film, think about it. .