Wonderful movie. It reminds me of the 4 films I watched, which use the idea of preparing for future attention from yourself, when you are no longer, to your loved ones ("My Life Without Me, PS: I Love You), or set the conditions in the present that he must fulfill unconditionally, otherwise he will have to return to his gray ("500 days of summer) or too dull Millionaire ("Sweet November) life.
The mood of the film is more like “PS...” and “500...” I like this movie the most.
In those movies, they're all at the end of the point. Ours is an ellipsis.
In "Sweet..." and "500..." horribly infuriate heroines who make full use of unhappy guys and do not even feel guilty and do not realize the cruelty and destructiveness of their actions.
Our girl, unlike the American Vertikhostok, who deftly replace the banal promiscuity of some supposedly noble saving mission for him to expand her horizons, is reasonable and wise. And shows his moral maturity and civility, as he leaves him a choice, and does not trample his life for his pleasure, so that the guy acquired experience, read bad precipitation, depression, insecurity and fear of intimacy with the opposite sex.
Expanding your horizons, gaining experience due to love failures is a misfortune that can be beneficial, if only a person is able to correctly analyze his failures and shocks, does not become angry and does not commit suicide because of disappointment. And let this misfortune come from spontaneity and surprise, and not planned, as in the tendentious stories of a terminally ill woman with cancer and a stupid office fifa.
"He and she," fortunately, escaped this nobility and other strangeness. It's very recognizable. The plot does not seem far-fetched or exaggerated. The film does not sag anywhere, and the actors, even in episodes, well support the intrigue of the picture. Moreover, the title of the film eloquently shows the consistency in the importance of "Him" and "Her" in the traditional Kazakh understanding of the doomed relationship. It is indecent for a woman to protrude, she psychologically supports a man. And she shows her love and respect for him. The man feels at his plate. And, as a result, relations live and develop steadily.
Very beautiful movie. Successfully and subtly selected actors for the main roles.
Dinara Baktybaeva, not being an Almaty woman, conveyed the manners of the Almaty woman quite reliably. This is, as expected, a restrained warm-hearted intellectual, from whom she breathes positive, harmony and cat softness. Usually they are portrayed for some reason or loudly sobbing tantrums, or depressed drug addicts, or soulless zombies, or cheap prostitutes. When a drunken girl appeared on the subway, I already thought that the topic of real Almaty women would again bend. But fortunately, it did. This is probably the first case in the history of Kazakh cinema, where the creators have an adequate idea of the inhabitants of this city. And the Almaty Zhandos Aybasov immediately attracted me in the magnificent video of the talented Almaty group Mysterions, where he has a characteristic episodic role, which is difficult to miss.
Almaty is shown with a love that can come from Almaty residents themselves. For this freshness and atmosphericity, a special thank you to the filmmakers, primarily the director Saken Zholdas, the cameraman Aidar Ospanov, as well as the film's artist Azhar Aubakirova and composer Nikita Karev.
After “Mahabbat Station” with a break of 20 years, this is the second romantic film about the love of young Kazakhs, and with a difference of 45 years after “Angel in the skullcap”, it is an easy kind comedy with great music.
I am glad that we are slowly beginning to appear good watchable, professionally made films.
I recommend this film to those who miss pure romance and are tired of getting used to Hollywood clichés and unsuccessful attempts to meet their standards, as well as those who are keenly interested in Kazakh cinema.
10 out of 10