The disarmed eye
Andrey Grjazeva`s Documentary film about group " War " has been declared by scandal even before hire
to Andrey Grjazevu of 30 years. It the trainer on figure skating and so left, the director - the documentation officer, all which three full length movies (" Sanja and the Sparrow " " Day of the miner " and the newest " Tomorrow ") Have made a noise at festivals. It is not known, how colleagues concern Andrey - figure skaters respect or, to the contrary, despise for combination of incompatible trades, but about companions on cinema, and now and the art criticism shop can tell definitely: films of Grjazeva without restraint irritate them. Therefore, probably, without told in probros a word " the figure skater " the rare review manages. With a picture " Tomorrow " which Grjazev showed in the program " the Forum " last Berlinale, and the prime minister has coincided with its birthday, there was a history absolutely strange. To expose the director have rushed still before the first display has taken place.
active workers art - groups " have appeared the most zealous exposers; War " to which activity the picture " is devoted; Tomorrow ". They have declared that the film is false and false, and then even have tried to bring an action; It seems, without special success as Grjazev removed an everyday life from their permission. To any, watched a film so similar to an intimate video diary " Wars " it is obvious that differently and could not be. Remove such without the permission of heroes the invisible being or the Lord could only. Without having become puzzled, opponents of a picture have specified the claims. Yes, Grjazev of veins of one and a half year with active workers also has been admitted to all their ordinances. But has understood nothing! Has not understood the ideological program, has insufficiently accurately reflected it in the screen. Has told lies, but not in the facts, and as a matter of fact. Still, probably, wanted to earn on another`s glory. (Most nice of claims charge in a thrift: the film budget, which Grjazev removed itself, has made 70 thousand roubles, it is cost of all railway tickets from Moscow where there lives the author, to Petersburg where creates " War ". The director has paid this money from own pocket.) That from it to take, the figure skater!
Here the reader, will possibly, puzzly frown. A leah a storm in a water glass? Whom does the problem on a broader scale can interest in present Russia with the maintenance of a documentary film which and in hire for certain does not leave?! Well, in - the first, it the same brave people who showed " just were going to let out; Khodorkovsky " and to them have not given the rolling certificate. Can and not give. In - the second, " Tomorrow " not simply film, as well as art - group " War " not simply next masters of shocking, and the major cultural phenomenon of our days. And round this phenomenon to an insulting few reflexion. That reflexion which, probably, much was to be seen in a picture of Grjazeva.
That has not sufficed admirers, supporters and participants " Wars " to understand easy. All vaguely feel that behind sensational actions the beautiful and intelligent program, both aesthetic, and ideological is hidden. But its exact formulations while nobody heard and did not read. There are no they and in a film. Grjazev has done without the author`s comment, without talking heads and even almost without a caption. Till now to judge actions " Wars " the overwhelming part of audience could on rollers in YouTube, but those at least short, and here the same roller, but on an hour and more. Actions as those on the screen too negusto: " Palace revolution " in the ending a phallus on the Foundry bridge, well and more which - that on a trifle. Heroism " Wars " its wit and recklessness in a film too as though is not present.
That there is? The company of young men with the small child walks the streets Peter. Sometimes the step passes in run when security guards pursue them from shops or drugstores there heroes of a film steal medicines and meal. Clothes and requisite find on dustbins, therefrom both #150; clothes and toys for quite happy baby. His name is Casper. In the next hour we will see, how he learns to stand on the feet and tell, distinguish colours and to play. It much more important (for Grjazeva) the character, than actions being in the centre the Thief, the Goat and E. tyj they Oleg Vorotnikov, Natalia Sokol and Leonid Nikolays. Casper together with us looks at how adults plan the actions, quarrel, swear, are again reconciled, specify terms, are confused in concepts, say lies to the parents that those did not worry, prepare for a martyrdom or train to get away from militia. As well as we, not all and understands not at once.
Mnimo - the neutral avaricious language of a film combining dispassionateness with a scopophilia, it also is a sight of the child. When the sight is cleared up, becomes obvious the main thing: active workers " Wars " just the same children. Brave to nonsense, able to move heaven and earth head over heels and not demanding arhimedovoj points of support. This merge is definitive comes, when " Palace revolution " turns in the face of the spectator to a self-made plasticine cartoon film: the form ideally corresponds to the maintenance. Actually " Tomorrow " a classical film of a growing to that ideally there corresponds the grandee - the ending with a rising phallus on the bridge. Approach of a sexual maturity the childhood end: this moment has been risen in applause by sensitive Berlin public. And what further? Further tomorrow.
Grjazev has shot a conceptual film in which everything is significant, since ostensibly dim heading. Zadokumentirovannaja on the screen activity " Wars " from hooliganism, like the torn off header, before imprisonment reflects a status of all Russian society in a decline medvedevskogo boards. The sensation of deadlock and accruing energy when it would be desirable to climb on a wall even if on wall top the barbed wire is stretched, is passed at physiologically exact level. It is life in hope on vague tomorrow when the turned car or graffiti on the bridge can change something. Or cannot: foretold by Sergey Mikhalkov " a disobedience feast " assumes final occurrence from - for horizon of parents with a belt. Grjazev shot the film to elections to Duma, its world premiere in Berlin has taken place at the height of the first protest actions, and in hire it leaves now, at the beginning of new Putin term. In other words, now we live in that tomorrow against which warned and at which this film unambiguously hinted. A leah it is necessary to add that group Pussy Riot business, one of which participants, Nadezhda Tolokonnikova became a symbol of ours tomorrow, was the foundress " Wars ".
As fairly wrote many art - curators, in vague days the artist is sometimes obliged to forget about an aesthetics and to dig out the tomahawk so have arrived " War " and Pussy Riot, immediately having merited rebukes in nehudozhestvennosti the purely political gestures. Other author who will arrive to the contrary should be in the paradoxical image even in such situation: will reject a policy and from positions of a notorious aesthetics will find language for the event description. Though hardly - hardly will rise over fight instead of climbing in it with fists. Will occupy in " to War " a neutrality. It will brand as the renegade, the coward, the betrayer of revolutionary business. It will be damned by own heroes. But he will not be frightened, as mind will suffice it to understand that heroes of a decent documentary film never and for what will not tell to the director " thanks ". If will tell, means, a film rubbish.
And for those who has got used to other art and another dokumentalistike, on screens of the Russian Federation careful reconstruction of the London exhibition Leonardo da Vinci and new American kinoshka about Marina Abramovich (by the way, the winner of spectator sympathies on same Berlinale). Convenient, entertainment, clear, almost as on TV channel " Culture ". The received rolling certificates without the slightest problems.