I watched the best movie in recent Russian history. The film “Live”, directed by Vasily Sigarev (the enchanting “Top” and “Country of Oz”) is a heavy drama about Russian reality, about death, about the meaning of life. The film shows three storylines that somehow intersect a number of episodes and are united by a common grief - the loss of loved ones. Each hero perceives what happened in his own way. And the director shows it from different angles. In addition, there are a lot of little things in the film that you don’t seem to notice at first, but then everything falls into place. A chic soundtrack (in his trip-hop/ambient style) for the film was made by Pavel Dodonov, guitarist of Delphine. The film was shot in our Tula region, in Suvorov. For those who haven’t seen it yet, I recommend it. Unless, of course, you're mentally okay. Because the movie is really, really heavy.
The second cartridge in the creative shotgun of Vasily Sigarev, which should inflict even more mental wounds on the viewer: “Live” in 2012. It turns out that even the famous Yuri Bykov admired the creation of Sigarev and said that “Live” in Sigarev is much better than “Live” in bullish. This is a questionable statement, because I personally liked Bykov’s film much more. I don’t even think they should be compared. But, to prove the claim about Yuri Bykov, now I will quote an article about the film by Sigarev on Wikipedia:
Film critic Vasily Koretsky believes that Vasily Sigarev showed rapid progress in his work - "from infernal "Russian exoticism" “The top” to a powerful, integral and complex existential statement, still based on the eerie Russian social texture, but far exceeding the limitations of the genre of social criticism. According to Koretsky, Sigarev does not once again remind “how terrible it is to live in Russia,” but “talks about how it is to live in general and what it is to die.”
The film director Yuri Bykov, comparing this film with his film “Live”, noted that he really liked the film by Sigarev: “But I have to admit that his picture is not something that is even stronger, it is a completely different level of the picture, and this is a wonderful work.”
Anyway, you get it. When people like Yuri Bykov (whose works, in general, I like, although I have not reviewed them for a long time) speak out for a film, it is difficult to argue with this. They say that they understand everything, they pressure with authority and experience at the same time, and here I climb with my unnecessary, stupid opinion of an infantile boy. Maybe the directors really saw some shit and therefore have the right to talk about it in the language of cinema?
I admit that I am completely wrong in my assessments, and in fact the second film of Vasily Sigarev is beautiful and creepy at the same time. But still I will say this: “Live” is not interesting for exactly the same reasons as “Top”: tightness and tension.
Everything is clear with protractedness: if Andrei Tarkovsky’s films (for example) are interesting to watch regardless of their duration (a person could keep the viewer’s attention to the screen with themes, music, video), then this can not be said about “Live” Sigarev. In his second film, there are some long “sagging” of the frame, long scenes, long dialogue, long everything – I think it should be a feature of the film and also work for the atmosphere, but here I personally the notorious feature here annoys. Sometimes you say, “Okay, I know, let’s get itchy!”
Longitude can be longitude, but if it does not know how to catch the viewer's eye - longitude becomes protracted. And protracted kills not only the atmosphere of the film – it kills the whole film, and the retarded catatonic characters infuriate, not touch the soul. I’m just talking to myself right now – another viewer might be completely imbued with this film and call me an idiot. His right. But still: the line between longitude and tightness, I think, is very thin, and falling under this ice is a terrible dream of any normal director. Unfortunately, Vasily Sigarev failed.
And the tension? With it like this: if we shoot a black woman (and even if we do not want to shoot a black woman, but it still turns out that she is - it looks like a funny joke), then let's bring her to such concentration that the maniac from Balabanovsk "Cargo 200" will feel uncomfortable ... No, the maniac is out of competition. By the way, I will also get to Balabanov’s films someday, and not from the point of view of an admiring buhno (being whom I have watched a lot of such films), but from the heights of wisdom of an uncle tired of the negative.
But let's get back to the tension. The recipe is this: if we, apparently, will not be able to hurt the viewer, and all the terms have already burned out, so let’s escalate not psychology, but physiology: let the actors in the frame cut veins, let the dead come to the living and sleep with them, let the living dig the dead from the graves, let there be more cemeteries, graves, dead and deaths. In short: we do not walk with an oraver on the Garden, but perform a macabra dance and invite a bony one to the pasodoble. As in the case of tightness, there is also a thin ice under which you can fall. Unfortunately, Vasily Sigarev failed, and the dance of death he showed turned out not so much terrible as sewn with white threads.
However, I will say a few words in defense of the film: in my opinion, it turned out to be really better than “Wolf”. After a little understanding of this movie, I abandoned Escobar’s theorem, which I adhered to on the first viewing. I am also inclined to agree in general terms with the words of Vasily Koretsky, whose quote I quoted at the beginning of the note. In spite of my criticism, Living feels the author’s progress, the best atmosphere and quality, even existentialism – and there it is. All this feels, but why I personally no longer like it very much — I will tell you in the third and (for now) the last note about the work of this director.
To summarize, I will say this: a cartridge, but a blank. If you want to know what “Live” is, watch Yuri Bykov’s film of the same name. He's more truthful than that. Although I do not forbid anyone to watch Cigareva. On the contrary, I insist that you look at it, and let everyone draw their own conclusions.
No matter what anyone says about this film, for the first time in a long time, with all my skepticism about Russian cinema, I experienced true emotions. She came to him after the "Country of OZ" because here the same director Vasily Sigarev and one of the actresses in the title role - Yana Troyanova. I wanted to see what else they could do.
And they surprised.
It's real life. The film is for an amateur, but when you have already received some experience, faced with similar emotions, there is nothing more to say than “I believe”. There is no husk, there is no drama that everyone writes about, there is a naked, callous reality that we all have to face all our lives in one way or another. While we are still here, while we are still alive.
Yana Troyanova conquers me once again. The final scenes were particularly ingrained. All her work is very close to my heart. There is no playfulness, no lies... She is beautiful in all her images. Looking at such actresses, your creative framework expands.
About the film, without spoilers, these are three life stories connected by one theme, one person at the end. Three stories where you experience true emotions. Stories you may encounter every day. No one knows who is written in the family, maybe a brick will fly on his head or a maniac will be stabbed in a dark alley. Or maybe you'll open the door of your apartment to a plumber who knocks politely and turns out not to be a plumber. Maybe at 4:00 p.m. you'll catch a rapist who'll try to do it right in your apartment, because you didn't have the strength to push him out the door. This is life! I liked the movie because it wasn’t all there. We all live in a world like this, shown here. We are not afraid, we go on with the baggage that remains behind us, thanks to such situations.
For someone this, I will not be afraid of the word - a masterpiece, may seem long, tedious. But people who do not have enough life experience, who find it easier to watch comedy. I don’t mind, but “Live” is one of the few films that I think can leave an imprint on your mind, if not forever, then for a long time.
To choose a film for the evening “before bed” and not to sleep all night, reflecting – this is about “Live” Vasily Sigarev. The theme of Russian cinema for me has always remained native, after Bykov, Teacher, Balabanov, Serebryany, Veledinsky, Zvyagintsev, Tverdovsky, Balagov and others. So strange that until now, I haven’t touched Sigarev, so Living is the debut in my mind. Next will go spoilers, so please do not read those who have not seen.
I don’t want to go straight to the plot, for me was important other – the atmosphere of the film. This is the gray oppression of Russian reality. You can imagine that all the characters live on the same street and I, as a spectator, live there, watch one of them. I’ve never been “bad” in a movie, but I can feel it because of a great shot. The whole film was cloudy weather, which symbolizes longing. Musical accompaniment further overtakes the seal. And from the very first frame we fall into a fleeting depression.
Smoothly move on to heroes. “Live” begins with a scene where the boy Artem and his mother are shown, the baby looks out the window at the man, and his mother drives him away and we catch the terribly sad look of the woman. Then the girl Grishka appears, we also see her at the window, she calls her sleeping boyfriend Anton, describes the events outside the window and they both begin to see the man that the baby saw and this man pulls out a broken tooth. And this, as many people know... To death. Next, we see a bus with the same man, from the passengers there is a law enforcement officer and a woman with the surname Kapustin, who was taken from the children by the guardianship authorities.
We see the man again, he goes into the water, dissolves and reappears. And now we're back at the woman's house. There are no violations in the house, so the organ worker decides to return her children, bring her by bus. Again we see Grishka and Anton and a scene with a woodpecker that will break the wall. Again... it's to death. We moved on to the main theme of the film: death. At the same time, they got acquainted with all the heroes - ordinary people of different segments of the population, everyone lives as he can. We would never look at them in reality because they are not remarkable. The director specifically gives us such heroes so that we can understand that situations like in the film can happen to anyone.
This film is not a black woman, not a picture of Russia, as many people say. In my opinion, “Live” is needed to show how severe the loss of a loved one can be. Because sooner or later, each of us loses, and not everyone can cope with the loss. There is no romance in the film, only a tough life.
The name “Living” is the opposite of the events in it, but reflects the idea that we must live and live, even in spite of the death around us.
You will definitely not want to live after “live”.
You know, I think I've finally found a movie that's completely the opposite of some Iron Man 39. Marvel. Well, imagine the spectrum - on flowers it is possible, it is banal, but everyone is clear - on the one hand something dirty-gray, on the other - some bright blue. And so there are several parameters that make the different ends of this spectrum absolutely opposite to each other.
Here'Live' - this is the absolute antithesis of everything exciting, dynamic, fun, expensive and beautiful. As usual, the scene is a Russian outback, wooden houses next door to apartments, mud and a couple of hours on public transport to anything. The characters are a fatherless family in which a mother hates her son as a reminder of him, another mother who has been drinking since her husband's death, and a strange young couple. All these characters the director drags through the nightmare of their losses, in detail and meticulously showing all the emotions on all scenes - and these are mainly funerals, wakes and their consequences.
Watching all this is extremely uncomfortable, even though the director does not really cross the boundaries (perhaps the most controversial scene is in the second trailer - but who watches trailers for such films?). Nevertheless, this feels the author's idea - yes, that's how terrible sometimes it is to live, but from the outside it looks so and completely black.
My assessment in this case is neutral not because the picture does not reach the masterpiece, it is because such films should not be watched by everyone and not always. They need to get ready to watch. Not to dress and go to the movies, but to prepare yourself for it. After a hard day’s work, you won’t be able to do that.
In short, look at your fear and risk. If you can, you will get some experience.
about life and death Nope. This film is not about Russia, not about the hinterland, not about the blackness and hopelessness of existence. That, too, though. . . It's a film about life and death. No wonder, the director emphasized this in the very title of the picture. Filmed simply, unpretentiously, artlessly, at first glance. But if you look closely, each feature, stroke, detail give an addition, bring fullness, suggest the deep meanings of what was conceived and embodied on the screen. For me, this director was a revelation. I will definitely be looking at his paintings. Because such a merciless and open truth about all of us, about each of us living here and now, must still be sought. Sooner or later, every person, very often quite suddenly and unpredictably, falls a huge, overwhelming grief at the loss of loved ones. And it happens that the very realization that this lost, gone forever, was loved, comes to us only after his death - the inevitable, infinite, black emptiness that grows inside you and eats you whole, plunged into complete and deaf darkness and wild, unbearable pain. How do you move on when it becomes impossible, unthinkable? Then we bring the deceased loved ones back - mentally or simply naturally, digging the grave. And now, the deceased is again next to him, talking, sitting, sleeping, helping by his very presence to close the gaping wound of the heart, which can not be healed in the church, because compassion, separation is possible only with someone who, just like you at the moment, tears from the loss of this particular person, and this rarely happens. But... Something's wrong. It's not like that. Just like before. And you can't stitch up the pain. A cruel world bursts into troubled relatives, police, doctors, etc. That's the movie. Not that. About a thousand other small and big important things that flash through your head when you watch it, and stay in your heart, in your memory when it ends. It is impossible to catch them immediately, but this is a beautiful epilogue to this work. Chief! . I want to celebrate the excellent work of all the actors. In the first place I put the works of Olga Lapshyna, Yana Troyanova, Anna Ukolova. The female characters in the picture are extremely strong! Very complex, contradictory, simply unbearable characters and scenes that are so perfectly played-lived. Bravo! 10 out of 10 Original
How amazing the authors show the essence of the Russian people! You may be wondering: '. Why do you have to be so cruel, why do you all humiliate each other? What is the special high, I do not understand and disgusting?'
Heroes of the painting “Live” cause a pejorative feeling about themselves, leaving a fragile such, aching, close to you feeling – understanding of their people, if you can consider this people as people at all.
Throughout the picture, you look at some Aleuts from the Land of Oz, then involuntarily watch the film about yourself and you become sick, but also forgivable, because we are talking about your own selfishness. And how many times have you been in a situation where for the sake of your selfishness it would be necessary to destroy something close and dear - a dog, a friend, a father of a child. How many times have you caught yourself thinking selfish - when someone from yours dies, to whom indifference and modesty in expressing their feelings, what happens to us. when a conditional Toy & #39 is taken away and what we are ready to go as a nation, & #39; so that some mythical soul - selfishness / #39 becomes calmer?
Against the background of personal experiences, against the background of general observation, that the screenwriter of the film, that the main character, if I may say so, is absolutely the main one, clearly notice the tragedy of the Russian citizen, which he has been missing all his life and dopamine egoism after it. The topic is relevant and piercing for each of us.
The second moment of the film is solid contrasts and the final scene, not where strangely the tent at the station opens ' manual' and its showcase is covered with a rather strange material do not understand as named - the author at the moment draws our attention to the tenderness and even childishness of the Russian soul as another sign of the nation. And how, with such beastly cruelty and a complete high from the suppression of others, especially loved ones, is it on this basis that the desire to eat air corn and lick your fingers from powdered sugar is placed in the soul of a Russian citizen? This master playwright, like Federico Fellini, tells about the essence of the Italians, in the same way Vasily Sigarev, not without the participation of Yana Troyanova, tells us about us, about the Russians, than awakens every Russian citizen to look at the world - more adequately and objectively, when you see yourself from the outside to make it easier. The goal of culture and education is successful. As well as the purpose of art, not to mention the brilliant work of the editing director and cameraman.
ps.
In part, this picture smells like Tarkovsky’s work, The Mirror. True, there is no history of pedigree, this time in the mirror the author lured the general public, not the history of an individual family, which in my opinion is more profound and most talented.
I am not a fan of Russian cinema, although I have seen quite good films. But then came the evening when the choice fell on this film. For several years I didn’t want to watch it because I didn’t understand what it could do to me. I didn't find it fascinating, and I didn't read about it.
But it happened. It was hard for me to watch. It’s hard, because the whole film I was like watching everything live and could not help.
In one review, I read that this film is zero kilometer of pain, and there is no better description. Zero - because you feel complete pain a few seconds after watching.
In the film, we are shown three stories.
- an alcoholic mother, whose children were taken away and she decided to change so that they were returned, quitting drinking and making general cleaning and repairs in the house;
- a young couple who decided against all faults to cost their family and get married;
- a boy who often looks out the window, for which they listen to another batch of abuse from his mother and stepfather for his unrulyness and strangeness.
Under various circumstances, these people will later lose a loved one.
Everyone has a different fate, respectively, experiences loss in their own way. We all fight our demons as best we can, but often these demons are people we can’t let go of. Therefore, each character will have to meet his fantasy in the guise of the deceased.
"Living" is about life. Hard life, in which heroes or antiheroes can become
Indifferent people who witness the murder; careless police;
Doctors who don’t want to do their job
Social workers who go against the rules. All these people, in one way or another, become complicit.
A movie where you realize you're happy and I couldn't sleep for hours.
The film, after which it was urgent to "sweat" some typical American comedy about bankrupts living in a two-storey house and having a land cruiser as a means of transportation. Because watching a movie about the real possible life of people is scary.
I wouldn’t recommend this movie to anyone if they asked me what to see today.
Do not confuse the drama of Vasily Sigarev with the work of Yuri Bykov of the same name. But the directors, of course, are good. The difference between the tapes is only one year.
This heavy, heartwarming drama tells about the difficult life in Russia. In parallel, the director develops several storylines, inserting sad events from the first frames. Removed simply, the operator’s emphasis is on the life and interior of the hinterlands, which are many times less than the luxury of megacities. Everything seems dirty, abandoned, remote, but the contrast is betrayed by people who do not lose optimism even on the edge of the abyss.
Three independent plot lines are chosen from this darkness. Yana Troyanova and Alexei Filimonov create coziness from scratch, demonstrating, as usual, without fanfare and "Romeojuliet" movements, the preservation of idyll and happiness. In a completely different place, with another person, with Olga Lapshyna, his tragic story unfolds. Third party: A boy who is not needed in the family goes through the rejection of his mother and the loyalty of his stepfather. Unexpected prioritization. Without any words or explanations, only the actions of the characters, you realize that we are facing a difficult time. How deep is the director ready to dive? To what extent does he want to squeeze out the flaws of life and the inability to change anything?
The answer is on screen. Black, tearing and disgusting turns fate with the main characters, what happens to you becomes sick, bad, unnatural. Only a ray of light and kindness appeared, as in a few minutes they take this away from you. I ask again: to what extent, Vasily? But the director more and more plunges the viewer into the abyss of trouble, for a minute reducing the secondary two storylines at the tragic stage of life.
The film seems to poison the soul, demonstrating the consequences of the tragedy and further existence. Such themes are played by the cinema with the reception of “second breath”, a distraction, but not in our case. You hate what you see, and the operator, meanwhile, still pays attention to modesty, the inability of people to do anything, the poverty of existence. After the fateful events, the picture goes along a weak, uncertain line.
You understand what Yana Troyanov can do, which is normal in dramas, but the character shows a deep sense of despair and indifference to life. At the same time, Olga Lapshin is overcome by terrible thoughts. Take something of your value, loved one, and take it from you forever. Sigarev showed to what stage the characters reach, what awaits them after, how the realization of the tragedy occurs. The main thing is that the director demonstrates what lonely people are ready to do to alleviate suffering, “lick wounds”, remove the inevitable from themselves!
Hard, hard, nasty. But you understand the actions of the heroes, the author clearly explains to you what caused the breakdowns and unthinkable actions. The climax is even more striking. Demonstration of what eventually became of people, completely corresponds to the tone of the picture. Sadly, you realize that there are people like that, that all the abomination in the movie is there, and that those desperate people are also around us. The first introductory episode with a man on a bicycle and the reaction of Troyanova is confirmation of this: you should not evaluate people by external signs, but it is worth knowing a person more, revealing him and understanding him before drawing conclusions.
This is a heavy, strong drama of life, in which ordinary people go through difficult trials, so that in the end the viewer understands that miracles do not happen, and not always everything ends well.
I was warned that the film was heavy. I was told that I would shut myself up for a long time. I read the description, knowing what I was going for. And here it is.
Who calls the film black, he clearly did not consider what the director and part-time screenwriter Vasily Sigarev wanted to tell. Vasily set himself one goal, to make the viewer experience the feeling of death, go outside, breathe in full, smile at the sun, rain, snow ... Call your family and tell them how much you love them. And in the end, to love life, to be happy that you live, you are, you exist.
If we talk about the film itself, then it can be called an almanac, which consists of three stories that are shown parallel to each other. The main characters here are not connected in any way with each other, but they have one thing in common - they all survived the loss.
The film tells three stories, each filled with pain and despair. The story of a young couple, father and dreams, mother and daughters.
And already at this point, I wanted to stop watching, too heavy, too gloomy, tears rolling hail from what was happening, until there is one plot twist, which takes your breath away. And here I can give Sigarev credit, I can't understand what it was, reality, dream, hallucination - but all the returnees change the lives of the main characters radically. But what – it is necessary to see and experience, and then realize.
This film can hardly be recommended to your friends to watch in the company, unless of course you want to spoil this evening with a gloomy mood. Cigarev does not stand on ceremony, he hits the harsh truth of life directly in the eyes. I’m willing to swear that a lot of people faced what was in the movie, and I can only imagine how they felt in those moments.
There will be no bright picture, and is it necessary in the context of the tape? Operator’s work is not outstanding, but it does not pull to scold for it. From the technical side, the film is simple. And you don't pay attention to that, after watching it in particular.
Yana Troyanova here is simply magnificent, I did not immediately recognize her in this image and discovered this actress from a completely different side.
The result will be simple, this film should be watched, immersed in thoughts, briefly closed in yourself, and then come out of comatosis, realize that life goes on, it is full of colors and people. And most importantly, hug the one who is nearby and do not let go anywhere.
Overall impression: Auteur cinema, like a box of candy assortment, you never know what the filling inside, all purely for the amateur. I'm a film lover and 90% of everything I've seen goes to me. She is familiar with the works of Vasily Sigarev, they are distinguished by a special depressive mood and a subtle life outlook. Simply put, life as it is. I watched all the full-length tapes: “Top”, “Live”, “Country of Oz”. Of the presented, I liked the top the most, but now not about it.
"Live" - heavy movie, with each step immersed in the storyline before us there are terrible events: the loss of loved ones. Unfortunately, our lives are arranged in such a way that the people we love leave us regardless of circumstances, time and we can not change anything. In this picture, three stories are mixed at once, not similar to each other, but having one idea - loss. Of course, it’s not just a set of sad moments, the film is depressing, but that’s what makes it great! To portray death symbolically, showing how difficult it is to say goodbye to loved ones, hooked to the living, the director plays on feelings. In order not to get lost in the labyrinth of metaphoricalness, which is here: no one is ready to let go of relatives, you need to look carefully, because juggling stories happens instantly.
Much is paid to details, somewhere superstitious echo, and somewhere rejection of reality, all this is accentuated through good camera work.
Acting in the film at a high level, the focus is not on rainbow emotions, but it is clear what the topic is. There's sadness, fear, surprise, anger. The emotional reactions of the actors are a powerful help to transmit the surge to the viewer: the characters feel, and we feel. All actors, without exception, cope with their roles, and this is exciting.
Having such a simple title "Live" the film can be interpreted in different ways. On the one hand, in order not to happen, you need to continue to live, no matter what. Watch this movie, it will not leave you indifferent, and the tragedy of history will be clear to everyone without exception.
9 out of 10
'Live' Vasily Sigareva is probably the first film seen at a conscious age, which I did not master in one go. Somewhere in the middle I took a timeout, so it was incredibly hard to watch. I was literally crushed.
I'll speak for myself. Before watching the picture, I had my top 3 films about hopelessness, darkness and corruption in Russian: ' Cargo 200' Balabanova, ' Major' Bykova and ' History of one destination' Smirnova. After each of these films, I literally didn’t want to live. However, compared to the picture of Sigarev, now they seem to me comedy musicals with elements of child animation.
First, realistic. There is no large and ruthless system that cuts off a lonely man, and therefore no philosophy. There's a household. Small, black and ubiquitous. Situations in which the characters get so simple, understandable and, as it seems to me, close to the ordinary person that never once raises the question: ' Why did it happen so '.
The second is camera work. Most of the time quite long (by the standards of modern C / F) plans, during which events develop deliberately slowly. Sometimes it seems like nothing is happening. But after these long plans there is a brief action, from which you just turn inside out. In addition to this, a chic acting and musical accompaniment.
Thirdly, the very essence of this hopelessness in Russian. As a rule, in such films we see a hero who, after the stroke of fate, found strength and began to fight. Fighting for a new life. Whether he wins or not doesn't matter. It is important to have a struggle for life. There's no struggle here. Because there's no life here. The actions of the heroes are more like convulsions than conscious resistance to fate.
In the end, I want to write: there is no conclusion from the director. There is nothing that can be discussed in the framework of the Kitchen Philosophy & #39, pretending to be an expert in the field of cinema. And, probably, this is the most important advantage of the film 'Live'. There is no double bottom. It's simple. It's just like a train ride.
I read several reviews and clearly understood what I was missing from the film (judging by the reviews of other people, I am not alone). The guy from the festival viewing, who listened to the director and one of the main characters & #39; on stage & #39; added the plot essence - it turns out, a film about what different ways people can choose, passing through the mountain. And the message of the film of the same name - ' live' - no matter what.
What I saw... The film is chic - camera, director and acting work is impressive. About the atmosphere and entourage did not say only lazy - as in one song - 'it's chilled us to the bone' Applause. Rare Russian cinema. The topic is not simple ' heavy' but depressingly desperately hopeless. All this ' flips ' on the screen masterfully, my admiration is sincere.
After such a viewing, I was ' dragged ' to the darkest and most difficult memories of memory, and not just ' pulled ' but also ' plunged ' in the most unpleasant and cruel moments, emotions and feelings (who had - he will understand). In the darkness... A rare film makes such an impression.
And in this place the question arises - why? Why are these movies made? Like poems - it is impossible not to write them, they are just ' go ' and have nothing to do with the viewer or have? I - honestly - did not see the anthem of the same name ' to live ' ... a girl, a crumbling patch at the end ... for some reason this does not suggest at least some life-affirming ' to live ' ... It is to survive, to exist, but not ' to live'... perhaps if the girl had left the city... or had achieved at least some justice... in general, despite the indisputably talented picture, the message remained (to me) unclear. Are Russians encouraged to look at themselves from the outside? Not to be these insensitive bastards in epaulettes and white coats (I am very offended by this extremely intolerant to any ' Other' in trouble, attitude)? The creators of this movie really think that gopniks / useless police / senseless doctors / binge drinkers / cruel parents will come to their senses after watching the film?
I think not. I think something needs to change, yeah. To show this, of course, it is necessary to point in the crooked mirror of society, but ... (at least I would like some way out - conclusions ...) It seems to me that those who live in this country and do not plan to emigrate would like this girl to have a way out. Let them be as clear as the problems themselves. Therefore, I believe that people who criticize the endless black woman in art-house cinema are still right ... they have learned how to shoot it chicly. And the answer to the question ' what to do ' to learn someday or not?
Someone's world collapsed. Things have changed. Forever.
To begin with, this is one of my favorite films. I've watched it many, many times. Every time, like the first time, it pierces my heart. Although, I do not like ' our & #39; movies, but this picture is just a masterpiece of Russian cinema. This film is not seen ' with one eye'. They need to feel it, they need to feel it. He's in a certain mood. It is better to watch it alone with yourself with a sedative on hand, or even a bottle of wine (or something stronger). I don’t know who is writing bad reviews about this movie. These people clearly did not understand its meaning.
Three different stories, three different fates.
The beginning attracts with its dialogues. In each (at first glance) simple word of the hero lies the deepest meaning. In addition, before us there is a spectacular picture of the emptiness and grayness of our Russian world. This is certainly a heartfelt moment.
And everything seems good, but when the denouement begins, the film plunges the viewer into hopeless and deep sadness. The darkness and decay. Somewhere even a misunderstanding of what is happening. But! Those who have lost the closest people will immediately know what it is. It's a movie about death. In principle, this film is not worth watching. You will feel all the emotions that the main characters experience.
Desperation, aggression, rejection, anguish, and lastly, madness. All these feelings are experienced by a person when he loses one of his relatives. Footage, which shows the desperation of the heroes right to goosebumps and tears.
How do you pull yourself out of this abyss?
How do you deal with loss?
How do you stay alive?
Alas, the film will not answer these questions, and perhaps even more confusing. But in the final I saw a dim light. The film is called 'Live'. Because life always goes on. No matter what happens or what happens. And that's a fact.
And finally, I would like to quote the words of Viktor Robertovich Tsoi: ' Watch yourself, be careful' All our actions have consequences. Always remember that.
I thank Vasily Sigarev for his creation and put this brilliant film
I watched the film, read the reviews and was horrified at how literally the audience understands the film!
Someone sees the Russian gray reality, someone the weight of losing loved ones and only! Is that all?
But in my humble opinion, the meaning is quite different and carries much more positive motives, maybe even appeals.
The point is not in the physical death of the characters in this picture, death is presented here as an allegory! These people were dead long before their physical death: the girls died for their mother when her mother was drunk and no longer understood even the fact that they are now in her house and need to be cared for, the young guy died at the moment when he irresponsibly (apparently) contracted HIV in the bout, and the boy’s father ceased to exist, becoming a rampant gambler and accumulating debts, while continuing to play, forgetting about his family. They were all dead in their lifetime! Someone as a person, someone because of illness and the associated lack of prospects, and someone less fortunate as girls - they died for their mother, being innocent and defenseless in the face of a cruel life and in need of maternal care and love. It's all in the details.
The author gives us a message – live now, no matter what! Live close, children, loved ones, you need to fight your weaknesses and be able to responsibly relate to the life given to you, be able to overcome the trials that fate presents us, carry Life into your life. And all the grayness and poverty of the province in the picture is a reality that, as a rule, is always unsightly, but in which one has to live!
Well, Vasily Sigarev and his brainchild – the film “Live”. I discovered the film by chance on reviews on the Internet from enthusiastic viewers that this film turned my mind and plunged realism into shock. I think I’ll watch it, especially since there are such films in my piggy bank, and it would be nice to add another one to it, which I will watch with pleasure from time to time. Already from the first shots it became clear what the author will put pressure on, because this is a film about Russia, and truthfully it will turn out, if only there is a dark gray sky, fog, puddles, CHP pipes, preferably late autumn, well, or at worst winter, the backward proletarian consciousness of the masses, all around marginalized, rabble and lumpens and everything and everything teeming with domestic violence, and alcohol, and more and stronger. How else will the viewer understand the harsh, hopeless realities of Russian life-being? Right, no way. In Russia, either that or not. Of course, there are worthy films in this genre, but now it is not about this, although there was a clear “clutter” on really worthwhile paintings. Grieving faces in the film are everywhere, even if everything seems normal and rather ordinary. For example, the scene in the minibus that everyone had such a thing that they had such faces, I also lived in the county city, and also went in minibuses, but, I swear, I never saw faces so exhausted by the universal sufferings, so that right at all at once. Well, of course, and how differently the viewer feels all the depth, without the same consciousness will not turn.
Further, the heroine of Yana Troyanova with dreadlocks, I honestly thought until the end of the film and still think that she is mentally retarded in the plot, for some reason, according to the author’s idea, she never managed to communicate with anyone for the picture. Poor speech, idiotic dialogues and nicknames, ridiculous shouts, she the whole film frankly annoyed me, here her murdered boyfriend in moments became even a little sorry, and she herself is not at all. The story of the hallucinating son and father did not touch in any way, either they did not play, or overplayed, but rather overthinked. And again, it's very typical, mother screaming, stepfather yelling, everything degenerates into tyranny, all evil, all bad, all terrible. And in general, the film stinks of fake predictability, the denouement is clear from the first frames, nothing good will happen! And these folk signs everywhere: candle, woodpecker, howling dog. And without them, it is clear that things are bad, but the viewer should be dipped to the top of the blackness, dipped and held until he begins to choke, or he, stupid, suddenly and do not understand what this picture is about. With the mother-alcoholic generally overdone, succinctly and too thickened colors. Yes, woe, but the “moved cap” of the heroine with the digging of children is superfluous, as I modestly dare to count. It would be easy to cut this scene (not because it is nasty, but rather boring and, again, impossible to predict), leave the ending, and the plot would not suffer from this in any way. In general, the score for the music and yet the actors tried and someone went, I do not, from the word at all. Uninteresting, blurry, fresh, boring, boring and wildly stretched.
Vasily Segarev’s 2011 film “Live” probably implies the idea that we must live as we would not want to die when we find ourselves in a difficult life situation. When you watch this movie, you want to die. Or at least just turn off the movie “Live” and live your real life, and not bathe in slops.
The plot consists of several unrelated stories, one of which does not occur in reality at all, and is shown simply to further escalate the atmosphere. Grayness, dirt, death, drug addiction, beatings - this is what the viewer will eat 2 hours of his life, tormenting the viewing of this film. All the stories start at the same time and develop in parallel throughout the film, which is why you expect them to merge at some point. That's not happening. These stories can be divided into short films, make a series and shoot a lot of such abominations.
Protracted takes in the production of the film are most likely designed to immerse in an atmosphere of despondency. In the TV series Breaking Bad, we are shown the environment, the place where the viewer is now, at the beginning of the scene, so that we can get acquainted with the area and recognize it in the future. Here we will be shown a few minutes, for example, as a bum-haired man with a great ride on the bus. Everything shakes and cements, all the most not beautiful people that are in the frame, silent.
I want to call the film “Ruge” or “Mutch” and forget like an unpleasant dream or wash off after it, as at the end of a hard day.
The film can be considered quite plausible, considering the fact that something like this could happen, just with a small fraction of the probability. To me, it's a matter of fantasy.
Perhaps many critics are right to say that the film is too exaggerated and that it only displays negative aspects. I will agree with them without the slightest hesitation. But who would be interested in watching a movie that fully depicts life in its entirety? These would be very boring, languid movies, most of the time in which nothing happens, and key events could make anyone laugh with their significance. So, it is the right of the director to choose what circumstances and mood he wants to show / convey.
Of course, many films are made on the subject of bad life in Russia and this is no exception. But the idea of the film, to me, was not limited to just conveying that depressing atmosphere. In addition, it shows that each of the heroes found his salvation in someone. After all, in the context of each story, the main characters seem to fall out of the general concept, as if they live in their own world, which is fenced off from this general squalor. And now at one moment they lose this very salvation, the boundaries of their world merge with the common and they now need to figure out how to live on.
It made me worry and watch with awe every character waiting for what else could happen to them and how they would deal with it.
Even if it is made-up stories, even if the circumstances are too depressing, but nevertheless, the film constantly makes you worry and worry. And after watching it, you can look at your life and think that, compared to the movie, all the problems in it are nonsense and that it is really worth starting to live.
There is only one thing you can say about the movie: Terrible.
Everything in the film is complete corruption, darkness and hopelessness. Not one healthy character, all some on the head sick, less normal was only a couple.
Events unfold according to the worst scenario, it simply cannot be worse.
These pressures and coincidences seem very unnatural and sucked out of the finger. As if the director artificially overstated the unhealthy level of despair and it cuts the eye. I want to say, "Oh, come on, stop it."
As AbeVe correctly noted in the review, the film is not about how people cope with loss, overcome difficulties and begin to look at the world in a different way. A film about mentally ill people. Especially disgusted and horrified mother alcoholic. Her story is not connected with others at all - and the degree of her insanity goes off the scale and becomes creepy.
If the director of the film wanted to achieve this effect, then he succeeded.
But I think the film will have quite a few fans – we in Russia for some reason love this horror.
For me, this film has no meaning, no idea, no hope. Except that, after such stories, my life begins to like more. Yes, this is probably the only positive effect that this tape can cause.
Drowning in their pernicious predilections - forget about the main thing!
The film is viewed with one breath and one hope, a far-fetched hope that everything will be fine. There were options for both a medical error and a stupid sergeant, many developmental options were scrolling in my head, but the initially set atmosphere did not leave the slightest chance of a happy ending.
All three episodes I compare the mental disorder on the background of the loss of a loved one, but what the author wanted to show, as it seems to me, is the problems of modern society, because if the boy's father was not fond of gambling - everything would be fine if his mother did not abuse alcohol - everything would be fine, with a young couple is not clear.
For me, the main idea is to love your neighbors, treat them with respect and find the strength to fight and win for the sake of your family, for yourself, for the future.
The film came to my attention quite by accident, I will not watch it a second time and I hardly dare recommend it to anyone. Thank you to the author from 2018.
Life is arranged in such a way that tragedies and misfortunes are absolutely inevitable. It’s as if there are absolutely harmless problems or problems so global that they can destroy everything in their path and change our lives once and for all. Especially the death of loved ones, which is a real test for everyone who has faced it. The deepest and strongest appeal to this topic is presented by the eminent and proven director Vasily Sigarev.
The plot of this film directed by Vasily Sigarev develops on the screen three completely different stories in parallel with each other. An informal girl who tries to end her life after brutally beating, robbing and murdering her fiancé. A little boy whose father's suicide and mother's cruelty break him mentally and physically. A mother who stopped drinking and reformed, who lost both daughters in an accident and did not wait for them to return home. No matter how different they may be, one thing unites them – unwillingness, inability or simply “inability” to come to terms with the death of loved ones.
Building a strong dramaturgy with an almost bottomless “philosophical bottom”, the director of this film “Vasily Sigarev” fully demonstrates the emotional catharsis and presents it as a personal apocalypse of the life of each of them. It is around this and spinning the main question of the picture, which was asked by the creators of the film when it was created and which I think every viewer asked at least once in his life - "how to live on?". The answer of the creators of the tape is simple and obvious. Just live. Make it difficult. Torn apart by an indescribable heartache. Let him suffer in the agony of suffering. But still, “get up from your knees”, shake off and continue to go on along the path of life.
The director of the film Vasily Sigarev managed to shoot a dramatic film strong in all respects, which I definitely and immediately want to call one of the best pictures of modern Russian cinema. Many blame the work of Sigarev and this film, including the abundance of black women, the excessive gloom of the demonstrated world and the lack of hope. Leaving even behind the work of the no less respected Yuri Bykov. But perhaps it is this unceremonious cruelty and extreme honesty Sigarev manages to touch the most alive, reach the viewer and deeply settle in his mind for some time.
The film makes such a strong impression in many ways and from the point of view of the strongest game of almost the entire cast of the picture. Yana Troyanova may appear in the traditional image of a cavalier and habalistic woman, but demonstrates a complete immersion in the image and the strongest emotional contrast with her game. One scene of reaction to the beating of the groom, seeking the loudest applause and applause for her game. Separately, I want to note the magnificent game of Olga Lapshyna, which in my opinion created the strongest, deepest and most destructive image of the entire tape.
10 out of 10
Life is definitely one of the strongest domestically produced paintings I have ever seen. Very cruel, gloomy, harsh and shocking, but at the same time very honest, “educative” and personal tape, which I think everyone should watch.
The film “Live”, I think will not leave anyone indifferent.
Throughout the entire movie, events are kept in suspense.
This is a strong movie about our life, with which it is sometimes difficult to measure, and most importantly to understand it.
“Live” is a life drama in which everyone can find the answer to the question, what to do next? How to live when life has dealt a heavy irreparable blow.
The heroes of this film, from the very first minutes amaze with their amazing game. Especially a woman who had two girls. This story just killed me.
In this picture, three families, completely different fates, unfamiliar to each other, but with a common pain that will unite them.
After viewing, there is a strong residue on the soul. Because everything that happens on screen is hard to believe it's a movie. The script is great. "Living" is life itself.
I advise everyone to see this masterpiece. It is a shame that this film is rarely shown on television. I wish millions would see it.
2011’s “Live” is an almanac of three non-overlapping storylines. All stories have one thing in common: unbearable mental pain. The director initiated us into the tragic circumstances of three periods of human life: a child, a spouse and a parent. Insurmountable horror can catch us at any age.
Despite the heartbreaking situations, we won’t encounter any real tears during the film. Their grief and helplessness heroes express "i" really "/i". Hence the striking contrast with the ennobled sadness in Hollywood films.
Although the stories do not overlap, selective editing combines vivid scenes and enhances their effect. In addition, in each line there is a strong female character who drives the viewer into a torpor from empathy with the heroine or from horror from her. Especially impressive game Yana Troyanova in contrast to her comedy role in the sitcom "Olga".
“Living” is not meant for entertainment. The film grabs the viewer and carries with it a nightmare experienced by the heroes of the film. You have to be prepared for this.
Life is hard. But you can't die, you know, asshole? You can't.
Recently, in reviews, I increasingly find that Sigareva, Zvyagintseva and others like them, are attributed to the new mainstream. They say, I shoot the same, and those who respect this genre are looking for a deep meaning where there is none.
Well, I'm protesting it. Probably, if you do not know the peculiarities of our hinterlands, you can watch this film, experience shock, and then ask yourself: “Why shoot such a thing, we all know that it takes place, you do not need to bring it to the big screen.”
But if you're ready for the movie, shock won't come first. It will come out just the same meaning: the values of life and the fight against loss. No wonder, all the heroes are a kind of “human bottom”. Partly guilty of their grief, they either realize it, reach the human limit, as in the story of the girls; or accept and win in their own way, as in the story of the girl with dreadlocks. You know, a lot of people come to these movies sooner or later. Someone sees a black woman in them, and someone, after watching, gets a second wind, begins, no matter how banal, to appreciate what he has.
For some reason, the story of the boy is interpreted incorrectly by many: his stepfather and hysterical mother are his fictional world, where he tries to somehow justify the death of his father. Therefore, he invents a paramedic stepfather, a mother-moved special, hating him, and only the father is the brightest spot.
Rightly, the movie is strong. How much I love the Cigarev-exaggerated.
I will not advise him, but I think that with a certain mood, it will be very useful.
Separately, I want to celebrate the game. For the first time, for a long time, in our cinema of this genre, the characters do not seem vulgar, bombastic.
10 out of 10
Approaching the film with a clean head and no unnecessary emotions.
You have to think about death, it is an integral part of life. Everything always ends in death: to someone she knocks today, someone’s peace will break tomorrow, and someone will wait for her invitation to the last ball years later, but no one will pass her – and no matter the status, condition, moral qualities – in the end, if you throw away all the false, a person was born only to become food for hungry worms.
Sigarev uncompromisingly tells three stories about the inhabitants, tightly bound together by a strong thread, which is called the word “death”. Vasily, like a pathologist, dissects the feelings and emotions of people drowning in a pool of despondency and sadness. They buried not only their loved ones, dreams and hopes, but also themselves - under the rubble of their former and completely destroyed life. How to build a new town full of happiness and joy under the gentle sun, when the carpenter is dead, and the architect, and the sky is permanently covered with lead clouds? The director answers this question only with grave silence, but still clumsily hinting that there is a way out of the dungeon, reliably protected by grief and depression, - time.
The actors did their job perfectly, as the director did his. Separately, I would like to highlight the musical accompaniment - it is great. Music here is not just an addition to the picture, but a full-fledged pillar on which the cumbersome “Live” relies with all its weight.
Sigarev’s tape is like a daring report from a funeral procession, allowing you to look into the eyes of your raging fears, hidden in a black and imperishable abyss.
Welcome.
By the will of fate, I watched the picture of the Russian director Sigarev - 'Live' and I wish I hadn't. The fact that Vasily Vladimirovich is a talented man, I admit without question, but the fact that he is cruel with his presentation, will not be denied either.
The picture looks with emotional pain, as well as physical (because breathing is sometimes simple, banal is not possible). Heroes, each by himself screams through the screen-' I suffer, I die, there is no life in me', you do not arbitrarily die with them, you experience a pressing feeling on the chest, and sometimes you scream in your voice - from fear, from hopelessness or something.
Cigarev is cruel (I repeat), namely because it opens a door in the spectator’s soul on the other side of the subconscious, where we have hidden a universal fear, the very fear that (if you were in the same situation as the heroes) would swallow you with the desire to wrap your face in a white shroud.
Are you going to throw down this shroud and take a breath of air? You don't know? The heroes don't know either.
On the final screensaver, where gray and white letters looks at you word 'Live', I took a breath and wanted to live. But what about the wounds that have become treacherously bleeding? Cigarev doesn't answer.
Time of Miracle, Time of Tears
I saw a magical picture. As always, the last one. Everyone's seen her. We've talked. I usually eat breakfast when everyone goes to bed. She turned everything over, shoveled me. What's new about it? How much I myself wrote about the tautology of the “Russian condo art house”, how many barbs about it released. Moreover, the "Wolf" did not impress me at all. I watched "Live" and disappeared. Crying.
The film “Live” Vasily Sigarev from the first shots – when my dad went to drown himself, pierced me and does not let go. I recognized this place. Cherepetskaya GRES. The city of Suvorov, or rather the village of Central, if directly through the reservoir 2 kilometers from Suvorov, the city of the Tula region - the location of the film. Army, VSO, 1987-1988.
Look, it's worth seeing.
As an obsession, as deja vu, the plot of the picture with three deaths took out of oblivion 3 ridiculous deaths that happened then. For me, the question would make sense, and not “is this a black man”, “is not denigration”. The smell of the film, the taste, is exactly what I felt 25 years ago. The real truth is the meaning of the truth, which can, if it happens, only in a dream, only in life, because “a thought spoken is a lie”, but which sometimes a movie a little bit.
First, a guy from Uzbekistan, such an Uzbek intellectual, died. The only Uzbek who did not speak Uzbek, but only Russian, although he was an obvious Asian, apparently half-breed. He was in a privileged position. He did not belong to the chukhan, nor to the nobles, nor to the Komsomol. We had a single conscript company, but, as elsewhere, the army was divided into many social subgroups. We had 17 people after a minor and a prison, a little older age: 23-27 years. He, this first deceased, somehow enjoyed the respect of all, both commanders and nobles, although he never rode. He managed the radio point, repaired all sorts of electrical appliances, televisions in the houses of officers.
Killed him with high voltage. It turned out that he had stolen telegraph wires many times. Had a Gesheft on that one. That day there was a storm and about 5 kilometers fell power lines. They fell on the telegraph line. Our locksmith-intellectual on the cats rose on the pole. Just touched the wire and collapsed. My mother came, a Russian mother. I shouldn't have. In the coffin he lay like twins in the movie Sigarev. The funeral was in Namangan, but the whole company said goodbye in Central, too. As it should - blank shots in the air. Mother was screaming. The funeral was interesting and curious. And then there was a strange sense of yellow absurdity, and not me alone. It's so weird. So weird. I remember that feeling! For the first time in so many years, I saw the movie Live.
A week later, another flipper was glued together. Also Uzbek. Fell off the roof of a building under construction. VSO, our part, is a military construction detachment, or rather a seconded company. We were engaged in all sorts of lines, dragging sleepers, if we could not pour water into the gas tank of a gravel stacker or just profile in the house all day. He fell the roof from a 9-storey building. And, funniest of all, got up and went, walked like an iron Felix in a joke. It's like nothing happened. Nobody came to see him. Salute blanks, and sent the coffin home to his mother in Namangan too.
They brought an old local to our room. They put it next to me. And he dies all night, all day, and then all night. Complaining. Shows me -- it hurts here. It shows either the heart, or the stomach, or the liver. And we, especially, run to the doctor, make "diagnoses". I said, “Maybe he has an ulcer, maybe a heart attack.” The doctor is bearded, gray, written off from somewhere in the big city. Zero attention. “Maybe,” he says, “and an ulcer, and maybe a heart attack.” We don't have the equipment. We need to take him to Suvorov, there will be tests.” I woke up this morning. Grandpa is dead in the next bed. We took him to the morgue with the orderly. Zinc base of a semicircular bed. Crane. That's it.
Sigarev’s film gives such a piercing, voluminous, weighty experience of death, which in the cinema I experienced a few times. As voluminous as air, as all items after imovan with Baltika N9, my favorite beer. Suddenly, at the second view of the picture at the words of the boy: “Dad died, Dad died,” my bed floated from under my back. That real coral of death, that emerald of nothingness. An old man's body in the morgue, coffins with Uzbeks. What an ugly feeling and so sweet at the same time. I’m probably going to watch this movie for the third time today, so that I can look at the edge of my eye again at Brown Night Nothing, as brown and smelly as a bruise at the bus station of the city toilet.
The darkness of desolation, which doubles endlessly, now in my memory, then in the picture. These yellow two-story buildings of Suvorov and the slush of the streets in God-given villages near Suvorov were not always darkness for me, but rather unspeakable light. This town seemed nice and cozy to me then.
What is life, what is death, what is “truth,” in cinema, in literature, in art in general? Everything is true and everything is false. Everything is true and everything is false. It all depends on your perspective. The film is born in the mind of the viewer. Reality is in the head of a person (cat, turtle, insect).
“Living” Sigarev is a precious shard. Why is he so precious? I will say heresy, there has never been in the history of Russian cinema a picture so national and at the same time so absurd, absurd in the Tertulian sense than “Live” by Vasily Sigarev. It wasn't. This picture is the Center, the assemblage point of blue-eyed Russia invented by Aksakov and Yesinin, and, if invented, then, it means real. From it, as from the mosaic in the “Exile” of Andrei Zvyagintsev, you can collect a whole epic canvas. From Vladivostok to Rurik. From Putin to Putiv.
“Live” Sigarev is the most Orthodox militant after the “Brothers Karamazov”. It's just a third millennium gospel. Philosophy of common cause. The real Russian motherfucker of the Lord, who righted Death, literally raises from the grave all those who have left us. But they will rise and live forever. The expression of such force, such pain that raised Lazarus two thousand years ago, and which drowned in blood the whole flower of the Russian people 90 years ago. “Kill to live” – the slogan of Russia, the motto of condo Russia, its cornerstone, Az and Omega.
I don't want to die.
Zatarakhtel. I sniffed a stink, a fountain of dirt from under the wheels. And so comfortable and gratifying that there is nowhere to escape from tears. As if the battle is over, and we, burned, fly, breaking through the environment, to our own. Accident. Face is broken. But I will find a photo, and I repeat like a prayer, such nonsense: my soul, by fire and smoke, by way of sky-blue, beloved, fly to your loved ones.
The feeling of death is impossible to break the ground under your feet, because your death is generally the least feared, despite its clear presence, not far from life. At some point, death was born as a creature that can be touched at the penultimate moment, perhaps asexual with a scythe in black folds, but necessarily lonely as a reflection of the dying. You think about the fear of the mystery of death only in childhood and not about yourself, often about parents, even imagine some funeral precessions, but there is no hot fear, there is only a cool creep from the beginning of watching death.
Pasik, in which both the living and the dead travel at the same time in the film, the Kapustin mother, repentant but not forgiven, children warmed by the breath of the living, is like the “yellow arrow” of the pelevin, where everyone in one belated train rushes to one finishing point of peculiar “cockerels”, someone only gets earlier, someone later, and someone catches up on the go. Here it is scary in the scene of a couple of girls coming from the mouth, lying in a coffin, the mother-kapustin seems that they are not dead, but are breathing, she has a seizure with words similar to: “Tell me why I raised him? do you have children?” and you will not tell her that the coffins were taken out of the heat and this is a simple physical phenomenon.
At first it seems that running after each other with a tooth decay, Mother and Grishka are just sickened drug addicts, then it turns out that this is a type of movie sign language, a mortal shadow, like a woodpecker who ate a house, a candle that went out at the wedding - all this is not good. it turns out that this is the most frightening, but bringing closer, the line of the film "to live." Fantasmagoric monsters are obtained here in the role of gopniks, beating the Mother in the train car, then the camera grabs a close-up of his face trampled in the blood, and then sees so only the white and gray planes of the place from edge to edge.
Some man with a ponytail wanders the city streets, rides a two-wheeler, pulling him out of the bus, then sits in the mud, takes off his shoes and just dissolves into the void. Are you stupid or what? So simple morons do something, normal people do something for some reason.
To sufferers again come the dead, as “I will die, and then I will be resurrected”, drowned rides on a bicycle, the girls are silently alive in the hands of the mother-caputine, the Mother appears at the window, bandages Grishka’s hand and sleeps as if alive.
When drug addict Grishka sits at a stop before going to withdraw money for the funeral, and chews chips bought at a stall with tinsel on the windows, it becomes obvious for this moment that death is worth living, and there is nowhere to go, just need to.
I watched the film “Live” by Vasily Sigarev, fascinated by the “Country of Oz” and the blatant Yana Troyanova (about whom I soon read a review as the best Russian actress of our time, which I would, perhaps, allow myself to agree with if I were oriented in this area enough to have a more or less balanced opinion), this spring.
But I still think about him quite often and, more importantly, he still comes at me. I'm still here.
The insidious, deceptive-wooden farce of the “Country of Oz”, which quietly, taking advantage of our self-forgettable fun, in the blink of an eye seems to change its aggregate state and drowns us in tears of horror – in the film “Live” (even if it was shot earlier) cracks like a poor-quality mask, and before us there is a naked and in no way prepared for us – as if just thrown under our feet – the topic of despair.
This is a film about the most terrible thing that can happen to a person – the loss of the only outlet, the only One who is beyond loneliness, the loss, after which the immersion of loneliness is inevitable. The experience of this moment is simply paralyzing with its frankness and credibility.
Crying? Impossible! Hair on end. Ice on the back. Stupidity. And some idiotic thought-straw that "this is a movie."
The most beautiful film I have ever seen.
P.S. If you are not sure if you need it, then you should not!
Why do you want to watch it, you ask?
Everyone has their own motive.
Personally, like everything else in the world, it is twofold: on the one hand, it is perhaps a cowardly desire to hide in such a film from the pain and despair that exist in the real world, very near me, on the other hand, thoughts, thoughts, an endless search for a barb, for which in this emptiness it would be possible to hook the lives of those who still have it.
The film “Live” is a hodgepodge of three stories related to the theme of death, and the fact that all the characters who lost a loved one did not survive this and (to varying degrees, of course) were damaged by reason. Do not look for morality, do not look for the answer to the question “how to survive the death of a child / father / groom?”, none of this is there. Do not wait for catharsis and reflection – the film will pass through the sophisticated viewer and will not linger.
And with the director and screenwriter Sigarev everything is clear - there is not enough data to impress people in a good way, then we will scare them. Here he (Sigarev) and harnesses again his beloved ragged horse, whose name is thrash and black, and rushes on it through film festivals, collecting awards and enthusiastic reviews of critics. And critics for some reason strongly love such a product in the style of pioneer horror stories, to the cemetery, to dead children dug up, to untrustworthy doctors (" Oh, why didn't you say that the patient has AIDS (!), we all have children!). You see, yes, what's the hint? and the policemen ("Tak-s, did you drink? I understand that. It’s also a good idea, and it’s a good thing.
Here is a movie that is originally created to collect figurines and money, and not shot for people and not out of love for art – it is visible by a mile, and it is terribly infuriating.
