Rus News Journal



Event of week - the Code 46 (Code 46, 2003) Michael Uinterbottoma (on December, 17th, RTR, 1. 35 ***). Uinterbottom - the director - the chameleon, removes much, on two films in a year, and they invariably appear in competitive programs of the main international film festivals. The quantity has passed in quality: in 2002 Uinterbottom has won the Berlin gold for a film In this world (In this World), artless, almost reportazhnuju tragedy about the Afghani teenagers running from the poor native land to blest Europe. Right after it it has removed the Code 46 : at first sight kiberpankovskuju anti-Utopia and if to get accustomed, in a sense continuation In this world . In a shot people in tsentralnoaziatskih headdresses and with east names from time to time flash. They live in desert, suffice for sleeves of the white misters who have braked on a roadside, vparivajut it any shipuchku and suggest to shave. In a word, behave especially realistically as people in Pakistan or Egypt behave. Uinterbottom removes the future, without resorting neither to computer effects, nor to expensive scenery: the future already has taken place or nearly so has taken place. A fantastic assumption by and large one: the desert is now the whole world, except for the cities reminding besieged fortresses. Those who has treasured " live in cities; the admission representatives notorious gold billion . However, their admission too are strictly limited on time: they like and misters of the Universe, but over them are the higher force, most likely anonymous and shapeless, a certain electronic reason. outside - All other, derelicts of the postindustrial society which have reached in reglamentirovannosti of such refinement what did not dream totalitarian modes. The main danger which the society burns out on a root, - copulation and the pregnancy, breaking certain, too not named the director, sexual harmony: people clone, grow up in test tubes, do by it abortions, erasing then any memoirs connected with intimacy. Uinterbottom does not load spectators an explanation of this uneasy miroustrojstva: it appears gradually and the more so frightens. And the film appears very old-fashioned, absolutely not not entered in kiberpankovsky a mainstream tragedy about impossibility of love in the future world, like 451 by Farenheit Bradbury`s Yard or even 1984 George Oruella. About the same to an admission problem - an amusing film of Belgian Stefana Vuje Winter heat (25 degres en hiver, 2003), removed including on the Russian money of company STV (on December, 23rd, RTR, 0. 30 ***). In Europe now remove many gloomy dramas about illegal aliens. For Vuje this problem - an occasion to the nice lyrical comedy which have been removed with imperceptible surrealistic shift. Migel - the ridiculous courier who never delivers air tickets in time. The sleepyhead - the inhabitant of Odessa pursued by police which have got into its car. His wife has left on earnings to America and was gone. Her husband was in the same way dissolved in Belgium. At it a million things to do. It with provincial nastyrnostju involves both Migelja, and its eight-year daughter in searches of the fugitive. The necessary power to a film is given by the eccentrical mummy of Migelja played almodovarovskoj by a star of Carmen Maura. The film is quite predicted: quickly enough you understand that all this kitchen garden should be fenced only in order that two loneliness, Migel and the Sleepyhead, have found each other. But this predictability does not prevent to take pleasure from modest, human and not trying to humour under any stereotypes of a film. But Patris Lekont meaningly puts the Street of pleasures (Rue des plaisirs, 2002) from romantic cliches of French of cinema (on December, 18th, NTV, 0. 50 **). the Film - the cruel chanson about that blissful epoch when the government in the end of 1940 - h yet has not forbidden years brothels and poor, but to noble whores was not necessary to freeze on the panel. One of such maidens also remembers a love story of Kid Lui who has grown in a brothel of the child, and local stars Marion, dreaming to become the singer. It protected her life during bombardments, helped it to be listened on radio, took as a matter of course that she loves another, and mourned over it when it was lost from a bullet of the mean Romanian souteneur. In a word, the French exotic on sale, not a retro, but stylisation under a retro, frankly cardboard, conditional, trite, but at the same time inexplicably the touching. Lekontu it was possible to catch that spirit of democratic romanticism which dominated in cinema French many decades.