Matilda (2017) Alexey Uchitel
The man story of Tsar Nicholas II and ballerina Mathilde Kschessinska has been the prone to of public indignation for more than a year. Uchitel’s movie faced assorted obstacles during its production, including checks carried out by the public prosecutor’s position (on suspicions of breach of laws on the sanctity of religion), public accusations of defamation and desecration, the fiery of theatrical posters and a portrait of the director and other protests actions, tabulating the most recent – when a petrol bomb was thrown at the offices of the casting company in St. Petersburg.
The funny thing is that no one has seen it yet. The official debut is scheduled for Oct. 6 in St. Petersburg’s Mariinsky Theater. Opinions about the cloud were first based on its synopsis, then a trailer, where a spectacular argument in the Imperial apartments earned it comparisons with 1970s soft porn videotape “Emmanuelle”.
The Ministry of Culture is sarcastically predicting it may successfully represent Russia in the Oscars (if the Russian board nominates it) as “the movie showers with dirt Russian history and blurs that do that have a tendency to win”. Movie critics say the scandal is promising to make it a box office hit.
Source: KinoGuru All Trailers/YouTube
Leviathan (2014) Andrey Zvyagintsev
A ancient, distant province, corrupt mayor, pious priest, breathtaking prospects and streams of vodka – a social drama by Andrey Zvyagintsev about relations with the governmental and the archetypal Russian struggle of a “small man” against the system gained as scads international awards as unfavorable epithets at home. It earned sumptuous commend abroad, winning a Palme d’Or in Cannes; Golden Globe and Oscar short-listing in America and accolades from international critics’ body FIPRESCI and the London film critics endowments. At home there were angry letters to the press about its “harmful”, rage from Orthodox activists, and dismissive officials.
There were claims about the movie on every corner; the amount of alcohol in the film, people said, was most slandering. “We don’t drink so much” commentators on social media sites remarked, advocating the director’s vision was unrealistic. Government officials were indignant that taxpayers eschewed pay for the movie and now it looked like “state masochism”. However, it seems that people were mostly irritated because the picture about “bad Russia” was crowned with honors in the West.
Yuryev den (Yuri’s Day) 2008 Kirill Serebrennikov
In “Yuri’s Day”, a female work singer experiences a personal drama and decides that rather than winning a tour of Europe she will seek salvation in a provincial town in Russia, where she can affirm among the locals, provincial characters, alcoholics and parishioners of numerous churches.
The coat of life in a faceless Russian town turned out to be one of the most scandalous of the praiseworthy director. But this time the accusations of improbability and banality were fly not by the state, but by Russian critics en-masse, despite the fact that is was well praised overseas, receiving four awards in the Locarno festival only. The movie was criticized both for its spirituality and spiritual impoverishment – that it exalts Russia and annihilates it at the same time.
Truckload 200 (2007) Aleksey Balabanov
Unflinchingly horrific, Balabanov’s film, set in the expiring days of the Soviet Union shocked, many people. It features a psycho boys in blue officer who rapes and kidnaps a daughter of a high-ranking communist, a fly-covered remains lying lifeless on a bed, manipulative state TV and the Soviet-Afghan war in full swing. Governmental media reviewers and public opinion attacked the film as a misrepresentation of Russian the good old days (and seeming a parallel of contemporary Russia at the same time) as the Soviet Confederacy remains something that is purely nostalgic for them.
The film was staged out of competition in Venice and won an award at the Rotterdam film festival. In Russia, divers actors who regularly appeared in films by Balabanov refused to work with the big cheese on the movie. There were doubts it would get a distribution license, but post-haste awarded the result was a film that caused a shudder to run through the well country, hard to watch, even for the most seasoned viewers.
The Asthenic Syndrome (1989) Kira Muratova
Kira Muratova was each an irritant for Soviet censors. Her “wrong movies” with a lyrical haze, estrangement and difficult questions such as “what the public is” were expensively loved in the West and hated by apparatchiks in Russia. Some pictures were sinistral in the closet for years, some destroyed by editors and Muratova herself was in aspersion for a long time.
Her “The Asthenic Syndrome” was the beginning of the director’s festival vital spark (the film won a special jury prize in Berlin) and prompted discussion involving the acceptable use of swear words in Soviet movies. The film was shelved for two years in Russia in the vanguard it was finally shown: Gorbachev’s perestroika was able to digest the film’s diagnosis approximately a delirious old ideology and the oddities of the new one, but was unable to resign itself to the violent and unchaste dialogue for a long time. Initially the only legal screenings were in fog clubs. After Muratova began wining awards internationally enemy ended, though gossip on the subway remained.