"Yeltsinskaya New Russia" and the turn of the century. Rebel freedom of speech without xenophobia and national prejudice. Simple people, simple rules, simple conversations. Rails, sleepers, sleepers, the train was late. Process is more important than purpose. "Road history" where loneliness is elevated to the absolute and is the cornerstone of all performance. You, me, you and me. From hate to friendship, one step.
'Coupe number 6' - this is exactly such a movie: uneven, rough, filmed hand camera, encouraging the discourse finished independent theses-vanlines. Simple as a railroad. Melancholic like cigarette smoke in a vestibule. As sincere as dialogue after drinking a liter of hot. Honest, like a hangover after meeting you. Inspiring, like looking out the window while the train is moving.
I never tire of repeating the phrase “Every director needs his own Garage”, and Kousmanen “issued a base” – a plotless “slice of life” for an hour or forty, which is simply interesting to watch, delve into, absorb. Someone who wants to empathize. Literary basis in all its glory: bets on dialogue-fights, colorful characters, and without elaborated and shown exposition in the frame, as well as rhyme with "Features of the national hunt" - a look at Russia through the eyes of the Finns and the notorious credo "one's own among strangers, a stranger among his own." It is better not to write: a compatriot steals a video camera in the rat, and a foreigner helps to move the protagonist to the original goal, despite the complete opposite and misunderstanding on his part. According to all the precepts of Danila Bagrov a la "Russians do not abandon their own" in the context of history, the main character is transformed from an ordinary exchange student into her own, native-Russian division, which cannot be denied, because the "boy's code" does not allow. So it turned out that I liked what I saw, although to call “Coupe...” too exciting film language does not turn. Slow, meditative, steady. For lovers of "life" and conversational films - my recommendation. The festival form is fully observed, and this can not but please.
Acting work is excellent: Borisov, as usual, steals all screen time, although he is a supporting character. Sadie Haarla is the adornment of this project: sweet, innocent, alien, detached, looking for ways to improve herself. Beautiful chemistry between the characters, which pleasantly “works” from the movie-projector screen and falls directly into the soul. Operator work and installation - OK. Sound design and post-production in DTS surprised, though redundant.
Grand Prix in Cannes, Oscar nomination in the category "Best Foreign Film", the revocation of the distribution certificate in the Russian Federation, which in itself is nonsense - Juho Kousmanen shot the most truthful film about the "Russian soul" that can not be understood, but can only be felt. Sometimes you really need to buy one way ticket, and then be what happens. Live in the present, look to the future. Enjoy your visit.
What connected countries such as Finland, Estonia, Russia and Germany to create the tape that won the Grand Prix in Cannes? Of course, the 90s, in all its glory - a cinematic classic of the dashing years of Russian history. Complete devastation, a sea of alcohol, chanson on the background in the stolen "Zhiguli". Everyone who is at least somehow close to the topic will appreciate the color!
The lack of dynamics in the plot can scare off the inexperienced viewer, not properly tuned to the format of the Cannes festival, and this should be considered in advance. There is a lot of philosophy in the film. From positively described in secular circles to the reality of train romance, where the main character is constantly in search of herself and vital meaning.
To the topic, about the role of music in the film, it reveals the essence of what is happening at one time or another. The story of unrequited love. About the separation, the length of the route Moscow – Murmansk, and the hot Finnish temperament opposite the severity of the Russian hard worker.
Returning to melodic compositions, from light melodic, close to the standards of Eurovision and to nostalgic dance, relevant at the time. The selection was done point by point, in an attempt to simultaneously connect them with the feelings of the characters and the events of the picture. It seems like it happened, but not so much in places.
However, what annoyed me a little was the misunderstanding of the references to Chekhov, if they were planned. Maybe, on my part, I did not fully immerse myself in the hidden meanings of the author of the painting, Juho Kuosmanen. In defense of the director, I would like to note the fact that considering romance in Murmansk in winter is already a level worthy of nomination according to the jury of the festival. What you don’t have to agree with.
Such films are often shared by the categorical opinion of the audience 50/50. I am still more inclined to those who will look to the end and will not be annoyed with what happened. I don’t think I’ll remember the name a few weeks later.
The film won the Grand Prix of the Cannes Film Festival. Claims for a bunch of other awards. That includes the Oscars. I wanted to see this painting for four months. I saw it. The film, to be honest, turned out well. Finnish director Kusomanen managed to look at Russian reality from a slightly different angle. The genre of the film can be described as J/D-Movie. Most of the film takes place on a train. One "bucket" in which two main characters have to get along. And this trip probably changes their lives and views a little. The Russian Gopnik Lekha (Yura Borisov) turns out to be a more subtle sentimental romantic. The main character (Finka) appears before us as a trusting and naive student with the values of the “Tsue of Europe”. But as the story progresses, her worldview and ambitions change. The main characters are probably united by a sense of loneliness. Only the guy knew that long ago. The girl isn't quite there yet. And the train road does not lead to a specific Murmansk with conditional petroglyphs. It brings heroes to feelings that make everything else seem less important. The film is filled with contrasts. Sorry for the minor spoilers. The director shows us a Finnish intellectual, who in reality turns out to be a simple crook. The men in the garage hand out free vodka to foreigners. The train conductor does not charge money for changing the bed. It was very interesting to see such an artistic interpretation of Russian realities. The romance of the trains is beautiful. I was happy to remember my long journey by train. I wish the film a lot of awards and progress. The film will be interesting to a foreign audience. I recommend everyone to see who hasn’t seen it yet. In the film, of course, there are a couple of frank zashkvars and a share of kringatina, without which, in my opinion, it would be possible to do. No spoilers in here. Whoever needs it will understand. In addition, many commentators after watching will see the attempt of the creators to reach Europe and America. But the artist sees the picture differently. So we are content with what we have. Thanks for listening, friends!
Such a movie is free to upload to the Internet, pull on student work, but participation in Cannes, this is some fantasy for this picture.
Yura Borisov almost from the very beginning gives the image of Bagrov. No backstory of the hero, some actions are incomprehensible due to the lack of a biography.
Almost until the end of the film, it was unclear at what time the film takes place, because of the machines later came the guess that this is the 90s.
About the age of the student is strongly indignant, of course, as studying at any age is the norm, but also lacks the background of the heroine.
It seems that the ending was simply cut off, making the end at a beautiful moment, as if they wanted to do something like a happy ending, which would clearly not interfere, and with details.
The whole film asks the questions: where, to whom, why, why, for what money?
It's a weak film, but the idea is pretty good.
Well, if we're talking about Road Movie, Evening, sky, Moscow-Dubai plane. Leaving my homeland, I hurry to enjoy the Russian film “Car number six”, which I noticed in the entertainment program of the airline Emirates. Why don't you go flying after a movie that was already on my must-see list? Besides, I am interested in Yura Borisov. So, win-win situation. (a win-win situation).
Everyone has the journey of a lifetime. For someone it is around the world in 80 days, for someone - to see Paris and die, someone goes to the Indian ashrams, someone to a retreat in Bali, and a Finnish girl burns with the desire to get acquainted with the mysterious and inaccessible petroglyphs in Murmansk.
Car number six is no accident. Russians cannot live sedately, without adventure, because they have inner chickens in their heads that do not give them rest. That's the only way to live. No, they infect Finns. It is boring to live without tears, without what the Finnish girl Laura likes so much - without high ceilings, wallpaper with patterns, parties, companies, literature professors and experiments in the form of non-traditional sexual relations. However, all is well in moderation. And if to engage in experiments on youth in college, God himself ordered, then to get stuck in them in adulthood is undesirable. It is allegorical that those who do not play in youth have no heart. And those who do not know how to stop in time have no brains. And who would have thought that in time to stop a Finnish girl will help a random companion on the coupe, himself without a king in his head - a short-sighted drunkard who is not even able to pronounce the word "petroglyph" on the fifth attempt. An employee of a mining plant reveals an unsophisticated truth to a confused Finn. Live simply - eat, drink, love. And if there is a feeling of satiety, as with annoying lesbian love, and you feel falseness with tension - then run, breaking the circle.
Car number six is a story of friendship between two completely different people, opposites, doing each other not a disservice. One becomes capable of beautiful impulses. The other finally understands what to do - whether to get off the train to the stop earlier, go back to his family fatal or go to meet with petroglyphs. But to understand that in life it is necessary, dear is worth, so as not to waste precious time and youth.
Yura Borisov marches victoriously across the screens, and again not alone. A Finnish accent is the same charm, no worse than a French one, and wallowing in the snow to the accompaniment of a howling blizzard is as romantic as walking under the moon.
In the newspaper Ilta-Sanomat, the review was published with the headline “Coupe number 6” – the best thing that happened between Russia and Finland for many years”. Well, God forbid. .
I decided to watch the film “Coupe No. 6” / Hytti nro 6, 2021, caressed in Cannes and by some critics, as well as having quite positive responses. The plot has already been told many times and is quite simple - a man and a woman travel on the Moscow-Murmansk train and we are shown how their relationship and even themselves (for how long?) change over these few days. A lot of people said it was a movie about unhappy people. In principle, of course, it is, this is really a film about lonely people, about whom we really do not know anything. If the girl repeatedly tells about herself in the course of the action - they say, she is an archaeologist, studying in Moscow, went to Murmansk to look at the local petroglyphs, then we will not know anything about the guy except that he goes there to earn money at the GOK (mining and processing plant). Now for some details, please tell me which sane archaeologist, and even from Finland, will go in search of petroglyphs to the north in winter? And the girl is not 17 years old, she is not so young, she should have any life experience and knowledge by this age. Perhaps the trip was planned just as entertainment with a lesbian friend who refused to go at the last minute, but there is an easy problem, the friend is kind of a teacher at the university, and the time is not vacation, where could she go at such a time? The guy, apparently, with criminal tendencies, because the car, which they will go to his old friend, he, judging by the way he turns it on, just stole. I will not dwell on the rest of the details, I will say only one thing – I simply did not believe the film and did not imbue with sympathy for the characters, although it would seem that I should have. Most likely, it happened not only because of script inconsistencies, but because of acting, they did not convince me. Unfortunately, I can’t say I liked the movie.
Why is it called Coupe #6? Not 5, not 3, not 8? I don’t see numerological tricks in this. There is only a reference to the classics, “Chamber number six” by Anton Pavlovich.
Apparently, the authors of the tape just wanted to show the madness of domestic life on the example of one of the most ordinary coupes. There are two of them, a man and a woman. They are very different, but their youth and desire to live create a romantic atmosphere where they should not be.
Against this background, we see road sketches, pictures from the life of the country. And this is the main obstacle to a positive assessment of this tape.
First of all, the time of action is not indicated. Probably we are talking about the gap between the late 80s and early 90s. Or, to be more precise, a hint in music. If "Desireless - Voyage, voyage" was released in 1987, then "Vladimir Central" of the Circle in 1998 in the album "Madame". But there are no prerequisites for 1998. The picture completely lacks foreign cars, Turkish clothes and many other attributes of the late 90s.
And this is a very significant moment. For if the time of action is not emphasized, then the viewer may think that the situation is now far from Russian life. The film was shown in Cannes. And there may be a radically wrong impression that a foreigner is trying to learn petroglyphs through the gloomy barriers, to which no one from the locals cares.
Meanwhile, now such cars with such outdated coupes are no longer in the park of Russian Railways. And RZD employees do not behave like that. Passengers don’t behave so smoothly either. They probably never behaved that way. Gross, alcohol, lack of manners... All this was a special case, but no more.
In my opinion, the story of a foreigner who travels these days in search of petroglyphs would be much more interesting. It would be great to show cultural inconsistencies, to make film portraits of the night Petrozavodsk and the winter Murmansk. In such a section, the ending of the tape could have remained without serious changes.
That would be a completely different agenda. Russia would be interesting, given the centuries-old color. Do the modern organizers of the Cannes Festival need such a sketch? Would such a film win one of the main prizes?
And the proposed return of post-perestroika noirs apparently hit the very point of such expectations.
3 out of 10
This film made a great impression on me. First of all, his lack of art. It seems like this is an amateur film. It seems like a simple plot. Meanwhile, we are talking about the existential problems of man - loneliness, genuine and imaginary empathy, regardless of citizenship, cultural and social environment. It's certainly a masterpiece.
Coupe #6 - a film about running away from yourself
It seems that a purposeful person goes on a long road, indicating his elusive destination and goal.
Nothing will stop him. Overcoming his own fears and any obstacles, he rushes to the cherished dream.
The train leaves, the fellow travelers sit in the compartment. Well, as it happens, you find yourself face to face for a long two days with someone who is probably unpleasant and alien to you, tiresomely balding, eating, drinking and suspiciously sticky.
But Moscow is far behind, and ahead is the first-visited Murmansk, with mysterious artifacts of the past that you need for your professional pride and more.
And it turns out that travel is not a goal at all, but a means to escape from oneself and loneliness. Trying to feel warmth and such elusive happiness.
I watched a Russian film story told by the Finnish director Juho Kuosmanen, the cameraman and actress in the title role are also Finns. The film received the Grand Prix of the Cannes Film Festival in 2021 and was nominated by Finland for the Oscar.
And despite the fact that the action takes place in Russia, the landscape is recognizable, the psychological types and motives of the characters are clear, the angle and view are still new, in something amazing, revealing something new in ourselves and not always bad or good, but special and human, individual and unifying.
The idea has huge potential - but the execution, imho, has shaken up.
So, the closed Finn (he) travels from bohemian Moscow across Russia for petroglyphs - and is forced to share a coupe with a simple Russian guy Leha, who rolls in the same direction for earnings. Well, as if the contrast of Scandinavian tightness and Russian shir-rota, the pro-rostoty carves a spark of mutual understanding and so on.
But.
For some reason, a simple Russian guy, an expression of deep folk charm, in the eyes of the director (the Finn) should (a) drink gloomyly, (b) insult the girl just met with hints of prostitution, (c) forgive, fart (' Lighthouse number 6'), (d) steal station cars and so on.
Well, as it were... as if in the end you do not believe in the awakening feelings of the main character (Stockholm, except for the syndrome), nor in the disclosure of the image of Lehi, who from the vomiting marginal of the beginning of the film at the click of a finger becomes a rude, but not understood victim of the society of the middle and finale. And the whole film collapses – because you don’t see Leha and Laura, but a director named Juho, who is trying to convince the viewer of something.
And there are also: an even more marginal marginal marginal than Leha, from which the heroine Lehe needs to be saved; even more marginal than more marginal than Leha, a marginal, a Finn aka symbol of the decaying, spiritual and plastic West, from which the heroine must turn away; vodka-sam racing-spirit-booze, because well, Russia, how else; gloomy boorish provincials, because that is why, well; characters explaining how to treat Lehe. Well, I repeat, wildly caricatured at first Gopnik, which the youth would hardly take in the Give.
What is good in the film (because it is done well): the format of the road movie, the atmosphere of the sullen train of the beginning of zero, the game of Yura Borisov (naturally), the study of the train and the road as an independent form of space - in contrast to the space & #39; ordinary & #39; life, excellent quality of shooting.
You can see it, but only to understand what is being filmed.
Phenomenon of the season and Honored Cannes Grand Prix
Coupe number 6 is a phenomenon of the season, one of its most unexpected events. First of all, because of his demonstrative modesty and unpretentiousness, which are quite poorly combined with the Grand Prix of the Cannes Festival, the nomination for the Oscar from Finland and almost unconditionally enthusiastic reviews from around the world. It seems that Juho Kuosmanen himself did not expect this – the ambitions of the young director, who shot the only film “The Happiest Day in the Life of Olli Mäki” (Cannes 2016 Special Look Prize), clearly did not extend so far.
This is a very simple story of the contact of opposites, where the characters are most important, where the story does not amaze the imagination, but leaves a pleasant feeling: here it is sad, very funny, and, most importantly, in a special tender way. A person needs a person, loneliness eats from the inside, the worst thing is to be unnecessary.
It's not a love story, it's a meeting. The fact that in a stranger and a stranger, if you look at him and listen to him, you can suddenly find a source of heat, which you so lack.
To sum up, Coupe 6 is a pure, concentrated movie, full of the very “magic” that affects the viewer with some amazing, absolutely vital force. This movie is in short supply, which is why it is so valuable. It's really magical!
First of all, here is probably the best Borisov. Someone will say, yes, what is there, a grumpy gopnik and a drunkard to play - OK, try. Second, authenticity. Finnish director Juho Kuosmanen clearly traveled on the Soviet/Russian train more than once, so together with the heroes, rude conductors and night stops, we will again ride.
For a long time I twisted my own impressions in my head, trying to put in some true words what I really liked here outside of filming and casting. As a result, I came to the idea that KUPE moderately successfully reveals the topic of wandering loneliness (“We are all lonely” – throws a random Finnish neighbor of the central tandem, and, as you probably know, I am a fan of attracting the general essence to small episodic replicas) and the pain of parting – the same one that terribly pinches in the chest after even for a small time period you manage to get attached to a person who initially caused complete rejection. Professional dreams come true, and the result, as usual, gives much less joy than the process; than the path to what once seemed important. You got it, you got it, yeah.
“Everyone is red in Ireland, but there are none in China.”
It is almost impossible to find me watching domestic “cinema attempts” and when “Coupe No. 6” turned-to-go on it there was no reason, and when they appeared in connection with his selection for the Oscars and Cannes, they stopped spinning it.
It was delayed instantly and not only because I went to look at petroglyphs, but also because this film somehow placed itself in the series “It is impossible to watch, and impossible to turn off.”
If you somehow get together and survive the beginning, which will try to throw you overboard with a “message” (which is not clear why to follow, if you can not follow), then you can see something very valuable.
We will not investigate the motives of the director, who was careful to “come to the court” and “walk the path”, the skip to which is the very fact of the deflection. Let’s focus on what he did:
So, the Finnish Jesse Buckley, whose boyfriend is named Irina, goes on a dubious journey to Murmansk in search of petroglyphs through Russian Railways. Suffering from boredom, the duration of the scam and the quality of the food from the restaurant car, she finds herself in the same compartment with Leha, who never believes that “blue-chmo”. In fact (except for the guitar), this is all that Leha plans to do on the road, and despite the fact that Finn and does not think about changing underwear all these 35 hours - Leha and does not think to stop "rolling up" to her.
On the way to them, a Finn sits down, taking from Leha the laurels of the “first guy of the sixth coupe”, and the main character’s most expensive, turning all her memories into dust while they compete with Leha, which of them is the most terrible person.
There are so many vodkas here that even Balabanov with Zvyagintsev will be envious, well, then everything is as we love: bags, leathers, Zhiguli with Vladimir Central and slaps on socks ... Not easy, but...
Everything becomes possible if there is a goal, and the whole film exists only for one scene, which you can get to a completely different person.
The cruelest art house, which, to be honest, is our life.
You guys got a movie? That kind of crap on the screen? Oh, you do. . . “I don’t understand why the shortlist for the Oscars and Grand Prix in Cannes ... I don’t understand...” – this svitlana.sobianina wrote. You can't understand that. I'm going to go with this guy Irina!
A wonderful story about friendship, love and loneliness.
The film begins with a party of the Moscow intelligentsia, shown authentically and very evil. The atmosphere of gracelessness of meeting talking dolls, exchanging beautiful platitudes, is conveyed in the best traditions of Russian classics. All these walking mannequins tensely show friendship and intimacy, in fact, are deeply indifferent to each other. Very revealing scene of fun in honor of 'my wonderful Finnish friend' during which one of the guests smiling with a fake smile in a voice asks the neighbor - ' And who is it anyway? '.
A Finnish student who is not accustomed to such performances takes everything at face value and is passionate about becoming a part of this society. Influenced by the conversations of her new friends, she decides to go to Murmansk - indeed, why not look at petroglyphs in the middle of winter? Of course, her Moscow friend finds an excuse not to go on this crazy voyage.
The Finn boards the Moscow-Murmansk train and takes a seat in compartment six, where she meets a completely different Russia. The illiterate and rude former convict Lekh, traveling from Moscow to work at the GOK, hears for the first time from a foreigner about petroglyphs and is directly amazed by her desire to see stones in the tundra in the middle of winter.
I didn’t know what to say in such cases.
But the meeting in compartment number 6 became important, if not the most important, in the lives of both - and an intelligent Finnish student, and her complete antipode, at first looking like a caricature type ' Russian cattle'.
I will not retell the story and deprive you of the pleasure of watching the film. I'll only warn you against too much nagging about details. Yes, trains in Russia have long been different. Yes, the freed convict will never go to work in the compartment. Of course, for a long time, no one has used pay phones. And so on and so forth. And yet the authors were able to catch something very important, some eternal truth about man and humanity, about our eternal loneliness in a world full of people.
Late nineties. Finnish student Laura travels alone by train from Moscow to Murmansk to look at petroglyphs (ancient rock paintings) that she studies at the archaeological faculty. Not only is this initially a dubious prospect, but also in the compartment she comes across not the most pleasant companion - a blonde worker Lech, who by his behavior immediately begins to make Laura's trip as uncomfortable as possible.
The Finnish film, shot about Russia, in addition to exceptionally positive reviews of film critics, received the Grand Prix in Cannes, and will be nominated for the Oscar from Finland. I am very happy with these facts, but the reasons for this remain a mystery. In many of the reviews written about the warm road Movie, which becomes so thanks to the lamp atmosphere and magical chemistry of the main characters. I don't think there's one or two in the number six. The director really surprisingly subtly for a foreigner conveyed the atmosphere of Russia of the nineties with dirty dusty cars, drunk and rude people and a sea of cheap alcohol, but I do not see any lamp in this. I could not leave the feeling that I was watching Balabanov or Bykov, and now some kind of cruelty will happen. As for the main characters, the development of their relationship does not look logical, and individually they do not cause empathy. Sadie Haarla, who played Laura, remembered me with dirty hair, inappropriate for the student’s age and lack of emotions on her face, and Yura Borisov was remembered for the fact that as soon as a new star appears in Russia, she begins to shoot inadequately (it’s good that, unlike Kozlovsky and Petrov, Yura is really very talented).
Coupe number six is a good one-time movie, which is pleasant and interesting to watch, but no more. Juho Kuosmanen raises an interesting and important topic about the potential intimacy of very different people, but globally, Kupe was not very interested either as a road movie or made you believe in yourself as a melodrama about the attitude of people.
A film about the eternal Russian winter and sincerity
Finnish girl Laura and Russian miner Leha go in the same compartment in Murmansk. Laura longs for the fictional Moscow love and wants to see the mysterious petroglyphs. Leha drinks 90% of the time and tries to do something good.
The whole action takes place against the backdrop of the dreary northern winter, the kindness of strangers and the eternal Russian pessimism. The picture is as beautiful as it could be done. Night, evening, old car, tired conductor, stop, tobacco-smelling tambour, stop, talk, talk.
Behind all these empty conversations, it’s hard to see when Laura and Leha are no longer just random companions. This silent story is not so much about the loneliness of two people as about sincerity. We are not alone because we are alone, we are lonely because sometimes we do not want and do not know how to be sincere with people we like, with whom we would like to be.
The film is so full of dialogue, pictures, meanings, there is nothing superfluous in it. This is just what can be called such a delicious author's film, which turns over its usual.
Definitely watch if you remember (and love) the taste of titanium tea and the endless spaces outside the rattling car window.
Overall impression: A road adventure of a few days. Laura (Sadie Haarla) goes to Murmansk to watch Petroglyphs (rock paintings), her love wound and pain does not subside. But the trip for her becomes “fun” (and later significant) from the very beginning, in the compartment number 6 goes a man, also in Murmansk, home. Leha (Yuri Borisov) at first is not very happy with the companion, and the conversation did not work out, but later the neighbors find that they are brought together not only by the trip, but also by loneliness, which so zealously goes beyond.
The film was first shown at the Cannes Film Festival in July 2021, where it won the Grand Prix. Incredibly melancholy, calm and at the same time warm tape about loneliness. Oh, how many tapes have been made on this topic! There are two people who actually have nothing. Laura wants to fulfill her dream, Leha just goes home, but soon there is a goal for him - Laura's dream.
I really liked the picture, it is so cozy, unusual and at the same time simple for the relationship of two strangers who become close in an instant. This short story takes the viewer on the train in a couple of days. In the carriage of two unhappy strangers... Yuri Borisov and Sadie Haarla - a tandem of actors, between whom chemistry is formed. The edge of the movie is erased, I feel like with characters in a compartment, rushing to the cold Murmansk.
No, this story is not about love. This story is about striving for a dream, overcoming obstacles and defeating loneliness. Sometimes it takes just one conversation to get closer.
8 out of 10
Moving farther north through the cold Russian winter, the heroine of the film gradually discovers in the people around her hidden under the mask of rudeness and ignorance warmth and sincerity, and in herself a strong desire to love life as it is - with all its sad and ridiculous absurdities.
Wonderful in the film appears sheltered Finnish student Russia, ridiculous in its beautiful landscapes, blocked by rickety and rotten huts, and only outwardly dangerous with its dark holes standing on the post garages, which hide good-natured drunkards. A wonderful relationship is formed in a girl on her “railway” path with a neighbor – a seasonal worker traveling around the country, rude, uneducated and, according to Russian custom, half-drunk. But how wonderfully everything comes to its end. Or the beginning. After all, the shaken faith in love lights up again in the heroes with a new force and I want to laugh and cry from the drunk like a snow avalanche of happiness.
What touches this love story, which seemed to absorb the whole set of tired cliches, ranging from images of “so different” lovers and ending with separate plot moves like deliberately incorrect translation of the phrase “I love you” in obscene words?
In the film, which has won critical acclaim and the love of the general public, the magic of the fairy tale of Beauty and the Beast is intertwined, and the romance with a taste of the bitterness of the Titanic, and the atmosphere of the madness of Chambers 6 spreading everywhere. Thus, a simple-minded and unassuming love story becomes part of a large plot about a person overcoming his loneliness in a hostile and alienating world. According to realistically presented in the film Russia of the 90s with its poverty, devastation and wandering on snowy roads sad and tired people, there is a ghost of bright hope for pleasant meetings, exciting impressions and a happy future. This expectation of approaching joy and benevolent illumination fills the heroes and is transmitted to the viewer.
Just as tinkering scraps of video from the heroine’s camera become a guide to her past, where there was laughter and intimacy with people, the crude realism of the surrounding world is filled with the poetry of beautiful feelings and sincere people. It turns out that with a bright and open eye he looks at the life of a dorky kind of Lech, and in a serious and clumsy finka lurks funnyness and passion.
The question is, is there really poetry in our lives? After all, in reality, the expectation of a bright future continues to this day.
The Difficulties of Transition, or on the Path with Mythology
I liked it. It's a nice movie, almost New Year's Eve.
Going to the session, I somehow waited for a heavy chamber drama in the spirit of Yuri Bykov about the chamber named after the Russian Federation. As the funny credits began, I did not even believe that the advertising was over. So I sat, opening my mouth from a surprise, as if I did not know that such a train could be missed.
Interesting, of course. What is the view of the room from the outside? What did you see in Russia the vastest intelligent Finn? Has he not hit an incorrigible foreign land to an extreme, whether it be black or pink, like Dostoevsky’s Christianity in the eyes of Konstantin Leontiev, or red, like cranberries? Here I did not expect that there would be any extreme, but only the director would not hit anywhere, but bounce deftly, with a trained European postmodernism, so much so that the Russian soul is not offended, as if it really can be seen behind a clouded frosty window.
Oh, it was funny to me, stupidly, not once or three. Even from the first monologue of Lekha is ridiculous, and from the deliberate “alcoholic is not vodka”, and even from unscrupulous cultural philosophizing on the verge of “you, the viewer, are waiting for a balalaika, so take it quickly.” And it seems that the plot is the simplest, and on the tactical front the template chases, but only so everything is glued together well that all these originalities are composed in an unusual and surprisingly useful collage, non-trivial changing moods. Then “Spring on Zarechnaya Street” you will remember, then “Norwegian”, and then “Difficulties of translation” and “I will not return” by Ilmar Raag.
Good movie, soft. In a good sense, modern, without incomprehensible ecstasy of this very modernity, but with a calm understanding that culture, like the person who gave birth to it, will long be broad. Ultimately, the simplicity of the plot and the deliberate typography of the image of Leha invite you to see behind the human action a bittersweet metaphorical subtext, in which Leha himself stands with his clumsy drawing in place of petroglyphs indistinguishable in a blizzard. “To understand the past, to understand the present.” Except we have Lech's past. Not because it's historical, but because trains don't go to history. Not from Lech's reality cubes, from our faith cubes.
...Oh, the ending! ... not only is Lech humanly right here, but he is metaphysically right: he himself helps us find a place for him in his own inner compartment. He is a bad painter, a bad companion in life, but he has earned his eternity, the shelf, and a simple and worthy form has now been found for this eternity.
Soon to Moscow, and the return train should lead us away from the fetters of drunken heroic mythology about his native land. But to the extent that we “go” what is happening, the film is performative proof that – no matter how difficult it is with reality – this mythology we still strongly love – and – apparently – will try to shyly preserve.
Film 'CUPE No6' is a chamber road Movie about different people, forced to share a room 2 by 2 meters. On one bed an intelligent Finnish student, on the other a tactless seasonal worker. Everyone has their own goal, but the longer the train travels, the more common the characters discover in each other.
The picture very reliably immerses in the atmosphere of the train. Attention to detail brings nastalgic feelings. Ringing mugs, legs sticking out of the top beds, a smoker in a vestibule. All these details fill the film with warmth, in a seemingly inconvenient form of transport. And the boundaries of personal space you want, do not want, and will be violated. And when your neighbor Leha, you can basically forget about them.
If we talk about heroes, then almost immediately we realize that one shades the second. In the course of the story, they run away from each other in sleds. But there's nowhere to run. Train. There is nothing left for them but to talk and share their secrets. In this way, the train becomes a metaphor for self-digging, for accepting oneself in this world. And while Laura talks to Leha, she's actually talking to herself. Realizing that all this time she was not who she said she was.
As a result, we get one of the warmest and cozy films of this season, which has a therapeutic effect on everyone who watches it. After all, sometimes each of us needs such a train, such a coupe and such a Leha that will tell you what kind of person you really are.
“Coupe No. 6” is a film made by Finnish authors in Russia, with Russian actors, at first glance, about the national spirit on a Russian train. Here we will meet and liters of moonshine, and chicken in foil, and bribes, and grievances, and greenhouse sticking out in the seat card feet.
But if you get rid of the idea that such a movie necessarily bares a nerve, reveals a national trauma or parasites on the cultural, political or socio-economic problems of Russia, it turns out that Juho Kuosmanen, Saidi Haarla and Yura Borisov stand before you with a wide smile and a sincere desire to hug and warm up in a friendly way.
The rather awkward exposition establishes the rules of perception: the Russian viewer will have to look at the stereotypical, drinking, frowning, but such a native hard worker through the eyes of a well-bred, restrained, romantic student from Finland. Leha and Laura travel in the same direction, in the same train, in the same compartment. And you will not need to delve into metaphorical images of a moving object, a closed space, travel participants, secondary characters, etc.
“Coupe No. 6” is a festival, author’s film, with specific dialogues, a shaking hand camera, a narrowly focused topic and layered problems, but its content and message are aimed not at a narrow circle of sophisticated persons, but at every person around the world. Juho Kuosmanen’s film does not pretend, but sincerely, warmly and straightforwardly demonstrates the value of communication, friendship, kindness, mutual assistance, kindness, which any living creature craves to give and receive.
Indescribably harmonious Sadie Haarla and Yura Borisov go to Murmansk. Where, from whom, to whom, why – it does not matter at all. Neighbors in the compartment will overcome the path from the joke “Haista Vittu” understandable only to Finns to the honest “Min? rakastan sinua”, gradually opening the soul and leaving at the stops prejudices, stereotypes, emotional blocks, illusory problems and inflated expectations.
Touching upon the theme of the cast, it is impossible not to single out a very expressive character – a train conductor in the magnificent performance of Julia Aug. It seems that she is the personification of the mentality: frowning, tired and sharp, but hospitable, understanding and caring woman. Just a couple of phrases she threw accurately describes the atmosphere, the tone of the film.
Although travel is unpredictable, most situations, causes, and consequences of internal and external conflicts seem to be the result of a billion unimaginable, perfect coincidences, rigged by the director to demonstrate a particular position. But at one point, you catch yourself thinking, "There's life on the screen." It can easily place a person in the most insane, unplanned conditions, and in an instant comes humility, consent and the desire to obediently watch the heroes, sad and laugh with them.
Coupe number 6 is a cozy, pleasant, comfortable and inspiring film. It will remain a universal and eternally relevant work, which with great pleasure can be seen at least in the New Year’s Eve, even in a gloomy evening instead of some imperishable Soviet classic about the difficulties of translation, human relationships and the all-encompassing power of goodness, love and friendship. And the dialogues written with the participation of Lyubov Mulmenko, you can safely disassemble on golden quotes.
Received the Grand Prix in Cannes, the picture of Juho Kuosmanen creates a different view of Russia, different from the one we are used to seeing in our filmmakers (and not only), vehemently promoting depression and hopelessness (even in the same magnificent & #39; Petrov in the flu' it was just this, although presented in a special, much more interesting form). Initially, judging by the film language, which Kuosmanen resorted to in this tape, this feeling also develops, however, delving deeper into the picture, you realize that this is not the case. This is not a gloomy movie about the great Russian despair, but similar to the Russian soul, harsh in appearance, but warm inside the story, revealing this very soul, sometimes better than domestic tapes.
Laura, played by Seidi Haarla, is a Finnish student who leaves Moscow to go to Murmansk to see the Petroglyphs. On the train, her neighbor becomes an ordinary Russian guy Lekh performed by Yura Borisov, who goes to work in the mine. Initially, Leha only repels Laura with her character, but during the trip, the girl penetrates the guy, in fact, as he does her.
His directing Juho Kuosmanen very accurately conveyed the Russian atmosphere. Thanks to shooting with a handheld camera, you get the feeling that you are there in the scene, together with the characters, especially in scenes in a closed space (in the same compartment), when the effect of tightness acting on the viewer is created. At the same time, the director skillfully combines cold and warm tones, creating not only a beautiful image on this contrast, but also visually emphasizing ' warmth' the film and his thought.
Looking 'Coupe number 6', you understand that no one is alone, because even in the coldest corner of vast Russia, from which this very loneliness blows, you can find a similar lost soul that will glide through our lives, leaving, nevertheless, an incredible warmth that sometimes warms better than what we receive (or do not receive) from our loved ones. We are going to our cherished goal, which is sometimes false or not so cherished, but everything that is not done is for the best, because you may not achieve it, or achieve it, but do not get what you want, but is it important if there is a person on the way who meets you, you are no longer as important goal as he himself. Our destinies intersect, as Pasternak wrote and ' intersect' but the main thing is whether the memories of this will stand the test of time, if so, it means that it was our soul mate and no matter how much we knew, even for an hour, the fact remains a fact. This is what the picture is trying to convey.
Our Yura Borisov, perhaps, the main decoration of the film. It would seem that he embodied the image ' typical Russian peasant' However, behind the external severity, like shortsightedness and absorption of vodka hides kindness and vulnerability, so characteristic of the Russian soul. We can say that his hero here is a direct personification of the Russian soul. Yura perfectly performed his role, giving us an incredible image. And even though Sadie Haarla was not so noticeable against the background of Borisov, she still played perfectly.
This is a pleasant and very warm picture, which can give a huge number of beautiful emotions, give an opportunity to ponostolgize, understand ourselves and our surroundings and understand who values us and whom we should value.
Ever since the movie was watched at home from cassettes, the community of attentive viewers noticed a chronic discrepancy between the annotation on the box and the subsequently revealed content. And since almost nothing has changed since then, we will immediately make clear with the annotation to K-6: “the mysterious love of a student from Finland” is called Ira, and this is not a spoiler, because all professional critics write about this in their reviews. And with this one small inconsistency in the description - let us close our eyes to the fact that the ordinary Gopnik is bred in him as a "rough Russian miner" - a solid big lie grows up.
I believe how a “student from Finland” says goodbye to her “mysterious love” in Moscow. Iroy, as found as a fellow traveler Russian Gopnik, from the place of picking "Royal", she in horror rushes around the car in search of an alternative place. But it takes 20% of the screen time. The remaining 80% is about how she transfers her charm to Ira, her Moscow intellectual apartment and the company from the department of archaeology, which was going there, to the Russian Gopnik and his fellow gop compatriots, cute, simple and altruistic, with an unprecedented width of an unknown Russian soul. (In contrast to a compatriot on the way.)
I suspect that the film, shot almost entirely in Russian, is intended primarily for Finns and other Europeans. It is not intended to reflect Russian realities, but expresses the attitude of the part of Europe that sees our country as a place where the values that it has pretty much rejected over the past 30 years are still preserved.
I remembered for some reason these lines from the song of N. Noskov, although it sings about another. However, both there and there ' sleeps outside the window Russia long night'. Both there and there are reflections on fate - and for them, there is probably no more fertile place than a train. You are left alone with yourself and willy-nilly evaluate life, look back at the remaining half-station.
I liked a few things about the movie.
First, a good game of the main character. Yuri Borisov for some reason likes me, although I am not a fan of modern cinema. But in the meantime, he has not yet washed his eyes like his stellar predecessors. And his game seems more intelligent (it has intelligence, but not intelligence).
Second, the northern landscapes, not left indifferent.
Thirdly, frank monologues of the heroine against the background of the silence of her counterpart.
The dramatic line of Laura and Irina held attention. I don't think it was an accidental breakdown of the second trip.
Now for the things that puzzled me.
First, both Aug and mother and daughter (their characters) look absolutely repulsive. Maybe it was intended, but they really annoyed me. The conductor seems ready to strangle everyone, and the girl sitting at the reception of the hotel oozes contempt for heroin. Maybe it seemed like it was sung in another song, don't be remembered by night.
Two: rough strokes of the painting. Who's the grandmother the heroes came to see? Why, with the exception of greetings and goodbyes, does she speak in book style? Why did Finn go to Murmansk and get out earlier? (without him, by the way, the film would not have lost anything, however, with him Laura lost something). Why did the hero so quickly scare the girl that she, after his silent gestures with food and bottles, escapes to the restaurant car? How did she get sympathy for him when he said almost nothing about himself? Okay, I'm picking on you.
Three: the final. However, if you treat the film as a fairy tale, it is quite acceptable.
Summary: the film is very good, minus some roughness, and against the background of other crafts, stamped on our film market, even almost a masterpiece. I don't know if it's Oscar-winning or Cannes. I liked it, but it was enough.
In Russia, everything is far from easy, in Russia everything is far away. The train is more than just a train. From time immemorial, it serves as an ideal tool for knowing the world and yourself, as well as a magical mechanism for traveling not only far, but also inland. Wandering University of Platzkart Metaphysics and Tambur Ontology with a rattling spoon in a brass cupholder.
A student from Finland, Laura, boards the Moscow-Murmansk train to see a Neolithic rock painting with her own eyes. Together with her in the compartment will go Russian boy Lech, recruited handyman at the mining and processing plant. Outside the window is winter and the late nineties. There are miles of land ahead. The train departs with a request to leave the carriages.
It would seem that with such a setback, the viewer could only wait for another track of macabre adventures of foreigners in Russia. A lonely journey of the Viking through the snowy realm of eternal night through the fabulously absurd country of frosty giants, with all the attributes characteristic of the “golden” nineties.
However, instead, the creators turned out to be incredibly warm, theatrical chamber and unexpectedly affectionate cinema, after which you so want to buy an old video camera, jump into a stalled car, and wave at least for petroglyphs, and at least at the GOK. The direction of the path doesn't matter.
I'm a '90s kid. I honestly didn’t see what I wanted to see.
So, introductory: petroglyphs were discovered in 1997, plus the time to write a book - that is, it is just the late 90s, maybe even the early 2000s.
A girl from Finland goes to Murmansk to see these petroglyphs. Because it's just interesting. But, as it turned out, for Russia one interest is not enough. One must either be an archaeologist or give philosophical meaning to one’s quest. They won't understand you. So she fit in quite well when she simply copied these thoughts for further explanations of her trip.
Yes, in Russia in the 90s, few people traveled just for fun ' in *opa world' (c)
The legend worked well here.
But here she sits in a compartment with a typical gopnik, who in the first minute rolled a glass of strong, made a mess. And in the first moments, Yura Borisov was almost even convincing. But then... The further along the plot, the more his image crumbled. And in the end, there is simply no gopnik, there is an empathic modern guy who can not even catch up with the offender and kick him, but just a reaction in the spirit of ' this is how bad he is!' Really?
When it came to ' guy Irina' what was the reaction?? No one! Tell any late '90s gopnik about non-hetero tendencies, you'll get just a ton of dull rust and no less blunt comments.
You could easily turn off the movie.
But the plot did not end there, and, of course, the hero of Lech at some point behaved very boyishly, solved various issues (not spoiler).
Although, again, where did he have the money for all these manipulations, if he was still on the watch to raise money?
I was waiting for some hint of a lack of money, which should have been 100% at the time with a guy like that.
By the way, they don't go on watch in the compartment either. If he had told a story, he would have believed it.
There were many small heroes who were more natural than the main ones. I suppose they were just taken and filmed.
There is nothing to say about the girl. Absolutely not. You do not imbue her with sympathy for all her vicissitudes, on the contrary, you try to distance yourself from her story as much as possible, knowing that you would have acted differently, would have felt differently (when in a foreign country on the edge of the Earth you do not have a single reliable person, and all plans collapse, I would have a tantrum, that’s honest). And she just stands there and thinks how far she is from everyone, while maintaining a completely neutral face.
Maybe it was necessary to at least show how she writes a letter to her parents? or at least sign a card to be closer to someone?
If you have any hope for a video, there is none either. There is no aesthetic, even in Teriberka removed so that the eyes did not get pleasure.
Bad work from and to. Badly thought out characters, plot, frames.
I don’t know why the Oscars and Grand Prix are shortlisted at Cannes... I don’t understand. . .
Incredible adventures of Finns in Russia. The picture came out alive, interesting, unpredictable. It seems that a simple train ride will not surprise the viewer, but director Juho Kuosmanen showed life in conditions of convergence of complete opposites. Through the snow of Russian-Finnish-Estonian origin gives a magnificent road movie, reflecting the Russian reality. Coupe, seat-card, restaurant car – each element of the Moscow-Murmansk train (2060 km) leaves its imprint on passengers, and the main characters face not only acceptance of each other, but also with their inner experiences.
The exhibition glimpses non-traditional sexual orientation to present the point of departure from Moscow for a Finnish student. Although the tape is modern, but from the frames of apartments, trains, stations blows the era of “stagnation”, which is perfectly combined with the characters of the characters. Train. Coupe 6. Yura Borisov identifies the whole essence of long railway transportation. In his ordinary actions, the spirit of the people is hidden, which, unfortunately, begins with a bottle. Soviet-era folding cups, snacks, drunken conversations - yes, a very cultural flow pours out on Sadie Haarla.
Rubbing, misunderstanding, disgust and rudeness – the whole range of emotions is carried along with the carriage train through the expanses of Russia. Sadie’s goal, which is motivating in this stuffy, overcooked coupe, is a rather entertaining, historical approach to studying petroglyphs. Good educational material is conveyed to the viewer through the lives of passengers.
The picture perfectly conveys the hardships and experiences of the heroine, you feel her discontent, her patience for the sake of the cherished goal. To contrast and compare nations, the director adds a traveler Finn, who dips over time in drama and clearly corresponds to the saying “don’t judge a man by his clothes.” It seems that this is the power of cohesion and relaxation for Sadie, but the irony of fate plays a tough game, bringing closer to you those who would like to get rid of, and crossing out those who seemed like a like-minded person. This plot move also serves as a catalyst for chemistry between Yura and Sadie, which allows you to better reveal the characters.
The film gradually arrives at its destination (only without the truck from the sawmill on the track) to finally give that effect, unleash the potential and snatch from within the hype of the entire trip in Coupe 6. What's the result? A new dose of drama and grief to show real life, to put the person here and now before the fact, and not to lull him with stories about the historical component. The tape very subtly lets on the screens of internal devastation, disappointment and resentment, so the finale allows you to surprise the tenacity and true appearance of passengers coupe No. 6.
A beautiful story that blows and family, and nostalgic, and, most importantly, demonstrates life without embellishment and naivety. A rather pleasant production, a good performance of the roles of Yura (drunk people also need to be able to play), an unusual perception of Sadie Haarla and is decorated with the family recipe Aug - a secondary role of Julia and the episodic role of Polina. Yura Borisov (not Yuri) now beats all the complex projects and blockbusters. A kind of domestic Jesse Plemons.