Russian cinema – Generation P: Edward Crabtree's blog.

ALLOWED TODAY….

A cinema adaptation of a once banned novel, directed by an opponent of the war and starring some non-Russian players has become a box office winner in Russia.

Russia Beyond have dubbed Mikhail Bulgakov’s most famous work, Master and Margarita `one of the favourite novels of all Russians`. This accolade holds in spite of the novel having featured in the Russian school curriculum for the last twenty-two years.

Bulgakov – Muscovite, physician, playwright and novelist toiled on this epic novel for the best part of two decades. That is, between 1928 and up to his death at 48 in 1940.

The strictures of the Stalin -lead Soviet regime, where `Socialist Realism` was exalted, proved the kiss of death to the visionary wildness and mockery which is central to Bulgakov’s voice. Not until 1968 – and in Paris at that – did a version of Master and Margarita see mass print in its entirety.

Poisoned chalice.

Since then this fantasia has left its fingerprints all over the culture worldwide. It is hard to conceive of Sergey Lukyanenko’s brand of Urban Fantasy or, for that matter, Viktor Pelevin’s `post-modernism` existing without Bulgakov’s prior prompting.

Then, for instance, the actor Daniel Radcliffe is enough of a fan to have travelled to Moscow to pay homage to the House of Bulgakov which is to be found there, as a birthday treat.

There have been repeated endeavors to enact Master and Margarita for theatres and for celluloid. A few of these have ended in tears. You can even hear a predictable rumour to the effect that – like the …er…`Scottish play` – a sword of Damocles hangs over those that would produce it. Nevertheless 2005 saw a much-repeated television series of it by the controversial Vladimir Bortenko.

Foreign agents.

Film poster for `Master and Maragrita (2024)`
[Wikipedia]

This latest version has been threatened for some time and has changed hands once or twice. At one point it was to be called Woland (the name of the magician figure in the story). Even with the traditional name the producers seem keen to stress that this is no straight reproduction of the source material.

The director is the 45-year-old Mikhail Lokshin, who studied psychology at Moscow State University, now resides in America and has made his disagreement with the invasion of the Ukraine clear. Roman Kantor, known for Epidemia , the television thriller that made it to Netflix, is the scriptwriter,

Alongside Evgeny Tsyganov, a Muscovite with a very lengthy string of screen appearances to his credit, as the Master, stars his real-life wife, the model Yulia Snigir who hails from Donskoy in the Tula region – as Maragarita.

The German West Berliner August Diehl plays Woland and the Danish actor Claes Bang, best known for playing the lead in a 2022 British production of Dracula, is cast in the very different role of Pontius Pilate.

Crazy Circus.

Evgeny Tsyganov (Master) and his real life wife Yulia Snigir (Maragarita) in a fictionalised Moscow [journal.tinkoff.ru]

In this story, the Master works as a writer in the U.S.S.R of Five-Year Plans and purges. His latest play, which concerns Pontius Pilate, receives a hostile reception from a committee of fellow scribes with the result that his play is taken off. The Master’s despair is lightened somewhat when he encounters the elegant wife of a colonel – Margarita. They click at once and she becomes both his muse and his cheerleader.

In a fine conceit, the more fantastical events for which Master and Margarita are celebrated occur in the Master’s brain, sparked off by a meeting with an eccentric foreigner, and which forms the basis of a new novel.

Some of the antics of Woland and his merry troupe have been left out of the film but there does remain the exciting chase through Moscow and the conjuring show which culminates in money raining down upon the grasping Soviet citizens. The damned talking cat, Azazello is present too, of course – with some no too obtrusive C.G.I.

Then we get the cathartic scene which is Margarita’s story. She makes a Faustian pact with Woland’s set. Able to fly and become invisible she enacts vengeance on the tormentors who have imprisoned her husband in a mental asylum.

Also retained – being crucial to the overall coda – are the sequences involving Pontius Pilate in Roman ruled Jerusalem. We see him lower his own moral instincts and accede to the crucifixion of Yeshua Na Naziri – Jesus Christ to you and me. Interspersed into the main action, these scenes seem to be taken from the Master’s own aborted drama.

Extravaganza.

With a reputed 1.2 billion rubles at his disposal, Lokshin has laid out a feast for the eyes. (the lavishness reminds me of the film Empire V). The cast are all walking works of art (one of the Committee critics resembles Heinrich Himmler).

The Moscow of much of the film represents a parallel one where, for example, the planned Palace of Soviets has been built and zeppelin-like dirigibles are a common form of transport for the elite.

The lighting and colour is crepuscular and this, taken with the ruminating score by Anna Drubich (who worked on the American film Scary Stories to Tell in the Dark two years back), conjures up the right sense of sinister mystery.

Woland’s lines are in German and the Jerusalem scenes seem to be in Latin. This bold directorial decision is then compromised by the recordings being revoiced by the actors in Russian. This begs the question as to why they were not subtitled.

Enigmatic tale.

The author with his baffling masterpiece [kp.ru/afisha/msk]

When I first slogged through Bulgakov’s Master and Margarita some years ago,I reached the last page with a feeling of irritated bafflement. What was Bulgakov trying to tell me? Russian readers told me that it was about Love or about Stalin. Then again it could be an expose of the kind of cowardice that Pilates gave in to. All of these readings could be true at the same time, but the novel still strikes me as one big riddle.

The Russian reviewers of this film have noticed a new relevance in it. Other than all being unanimous that the foreign actor playing Woland has excelled the others, they have picked up on the iconic line, `It’s allowed today, but not tomorrow`. The uncertainty as to what can and cannot be said in today’s Russia has given this sentence a new resonance.

Those who would shut down the film are out there. One Yegor Kholmogorov, columnist for the Russia Today channel, has characterized this release as `propaganda for satanism and terrorism`. Does he speak as a representative of those in power? Today maybe not, but tomorrow…

Small focal point.

I caught the film on a cold day in mid-February on a weekday afternoon showing in a small cinema in Karaganda, Kazakhstan. Even so, I found myself among a flock of about twenty young ethnic Russians. Argument i Fakti (11^th February, 2024)informs us that Master and Margarita has taken only second place to the ice skating feelgood drama Ice 3 and has already brought in 208.2 million on the weekend of 17^th and 18^th February alone.

Perhaps Kholmogorov and his fellow Z-Patriot cohorts can gain succor from the Curse-of-Master and Margarita-adaptations and just wait for it to work its magic.

Main image: sport.express.ru

LATE APPOINTMENT WITH THE VAMPIRES.

A SCREENING OF `EMPIRE V` IN KAZAKHSTAN DEMONSTRATED THAT THE CONTROVERSIAL MOVIE LACKS THE IMPACT OF GINZBURG’S PREVIOUS ATTEMPT TO ADAPT A PELEVIN CLASSIC.

I caught my first sight of the marketing for Ampire V – EMPIRE V – at the beginning of last year in a cinema in Moscow in the form of a poster. The promised screening soon vanished and, a few months later, so did I.

Later I would discover the supposed rationale for the cancellation. There had been a dispute over the certification. EMPIRE V was submitted to the Ministry of Culture with an age rating of 16+. The men from the Ministry felt it should be higher.

To date this film has not been shown in any mainstream cinema in Russia, suffering the same fate as the lamented picture WE. The key presence in the film of one Miron Federov – AKA OXXYMIRON , the rapper who has protested the invasion of the Ukraine and has staged benefit concert on behalf of those affected – seems to give the lie to the official version of events.

Miron Federov, `foreign agent`: wooooh! He bites! [Youtube]

Neutral Kazakhstan, though, deemed this film fit to be projected onto the screens in Kazakh cinemas this September.

There seems an appropriate symbolism to the fact that the late screening in Kazakhstan came at around the same time as Russia released Svidetel (The Witness) which represents one of the first cinematic attempts to advocate for the Russian government’s side in the war.

Master’s return.

EMPIRE V constitutes a 114-minute-long (now) 18+ certificate urban fantasy which, as the Russian title hints at (if you reshuffle it), draws on the vampire trope. The film functions as a rendering of the eighth novel by the post-modernist Muscovite novelist Victor Pelevin.

Victor Ginzburg, 64, who could be called a `Russian David Lynch` directs. This Russian born American citizen already has form with the tortuous task of transforming Pelevin’s fevered mythologizing into something screen worthy. Ginzburg was behind the film Generation P the paranoiac Nineties based romp from eleven years back (which made enough of an impression on one dolt for him to name his blog after it).

Pavel Tabakov, a Moscow born 28-year-old (with just a hint of the young Malcolm McDowell about him) plays the lead role of the down-at-heal Everyman Ramon and Federov plays his mentor who ushers him into the ways of the vampire and a relative newcomer Taya Radenchko, 24, is Ramon’s fellow inductee who allures him so.

Ramon turned Rama [cybersport.metaratings.ru]

Other players include Vladimir Epifantsev, best known for his Rambo-like portrayal of an outlaw in the television series Flint (as well as for holding views critical of the Putin leadership) while the establishment insider Fyodor Bondarchuk puts in an odd, but not untypical, cameo also.

Fractals.

The texture of it all is a rich psychedelic odyssey. Many computer-generated visions of neural activity flash up before the viewer, as do fractal patterns. Meanwhile, the earthbound part of the events is staged in a series of opulent olde worlde interiors. It is all a bit Stephanie Meyers-meets- Thomas Pynchon and much of it would seem ridiculous were it not delivered with such deadpan earnestness.

Plucked from obscurity.

Roman (Tabakov), a one-time student of journalism, is living the life of dead-end cash in hand jobs before he sets his eyes on a promotional alert painted on the pavement promising special work.

Turning up to the address, he soon finds himself being spoken to by a masked menace (Epifantsev) and being informed that he is to be elevated into the realm of the creatures who really run the show. The man before him is about to die and must needs pass on his legacy. What ensues consists of the instruction of Ramon – now to be renamed Rama – into the dense protocols of the life of the vampires and how they hold sway over us muggles, who are but a dairy species.

Myths busted.

In the process, vampire mythology is lobbed sky high. For example, what small fangs they have play second place to a parasite in their mouths which they call `the tongue`. This can extract a small droplet of `red liquid` from the victim without them noticing and thus give the vampire access to their memories and knowledge.

They also imbibe the distilled essences of historical figures from Alexander Pushkin to Steve McQueen, the better to augment their capabilities.

Love is viewed as a form of combat and ownership of human society is achieved via a promotion of Glamour (consumerism) and Discourse (Empty chatter masquerading as discussion). They even fund vampire movies in order to install a false image of what they really are.

They do, however, transform into bats and this gives rise to the most memorable episodes in the film as Rama streaks over Moscow in scenes that could be a homage to Bulgakov’s Master and Margarita.

However, throughout his initiation Rama struggles with his existing sense of humanity and loyalty to it. Also, he becomes entranced by an insouciant, Hermione Grainger like graduate vampire (Radenchko).

Unbitten.

That is the framework to EMPIRE V but it is all served up with Pelevin’s trademark idiosyncrasies: modern Moscow merged with ancient Babylon, narcotic trips, philosophical chit-chat, mirthless grotesqueness and a strutting amoral elite and an atmosphere of disassociation.

Here is my problem: the entire vampire trope in itself has never been one which worked for me. For one thing I have never found vampires to be credible life-forms and hence not frightening and the sexual symbolism with which they are associated strikes me as tiresome. As much as EMPIRE V is iconoclastic about vampires, including the sexual angle, and as much as one could call this `a vampire film for people who don’t like vampire films`, the shtick still seems dated and facetious (Pelevin’s novel is 1`7 years old, after all).

Ginzburg does at least steer clear of the antisemitism which can be tallied with this kind of allegory (not having read the source material I cannot say the same of Pelevin).

Russia’s loss.

The refusal to screen this film by the Russian authorities has resulted in the inevitable `Streisand effect`. The Fantasia International Film Festival in Montreal premiered the film in the West at the end of last July, making it the most talked about Russian film right now.

Too many of the resulting reviews regurgitate the assumption that this film has been banished from the big screen in its homeland because it is a clear satire of the oligarchic elite.

In fact, there have been Russian films before which have tilted at the same moneyed strata and made it to the cinemas. Rather it is the name of Federov, a `foreign agent` with anti-war views that has led to this stringent push back. (Indeed, there exist not a few oligarchs who would pull Russia out of the conflict, given half the chance).

EMPIRE V recalls Bekmambetov’s Night Watch and Day Watch (2004 and 2007) more than it does Generation P. By comparison it seems like a paler descendant of that classic.

Lead image: Se7enews.

A CHILD WITH SECRETS.

The film DETECTOR is a state of the art psychothriller that offers some cold comfort in its cloistered outlook.

The 47-year-old Kostas Marsaan, hailing from a village in the far North East of Russia, Yakutia, made a name for himself with his folk horror film Ichchi from two years back and has since become identified with a `Yakutian horror` scene in film.

His latest motion picture, a wintry puzzler called Detector is neither a horror nor set in Yakutia but yet bears many of the hallmarks of his more niche debut. Released in Russia early this March, the film consists of a psychological thriller with some modern Gothic trappings. Like Sisters it might also be said to partake a little of the much talked about trend of `Elevated horror`. In short, meandering between mystery, thriller and chiller, this is not a film that aims to have you jump back into your seat.

The main writer – Ivan Stanislavsky – is known more for comedies. He was responsible for Predators from three years ago and this is a wacky comedy crime caper.

The cast, on the other hand, is an ensemble one composed of performers notable for their involvement in this film genre.

The 38-year-old Nizhny-Novgorod born Ekaterina Vilkova resurrects her tough-but-endangered police investigator from the TV series Cold Shores. Likewise, the 48-year-old from Tallinn – Kirill Kyaro -appeared in Teach Me to Live (2016) and the TV series The Consultant (2017) as a psychiatrist and finds himself once again typecast in that role.

Detector is not set in Yakutia but in the more relatable (to many) edges of Moscow and, whilst not as exotic, the bare trees and snowy expanse of this do enhance the foreboding mood that the story builds up. Also, the setting in a four storey luxury dacha (which – Fun Fact –was the one built and lived in by the cosmonaut Alexey Leonev, no less!)

Juvenile messenger.

Viktoria, a police operative (Vilkova) is on the chase for a cold-blooded murderer. Ignoring advice from her colleagues, she enters a derelict building where he may be present. It is when she discovers a headless corpse that she is lunged at from behind and then slashed in the belly a few times. Her assailant leaves her for dead.

Viktoria recovers but is traumatized and has to accept the fact that she can never bear children. In the meantime, however, she has fallen in love with her psychotherapist. Novel is a wealthy man and she shacks up with him in his plush dacha beyond the capital.

Kyaro and Vilkova as the Ideal Couple in an aspirational abode [KG-Portal.ru]

On deciding to adopt a child they pay a visit to an orphanage. While they are looking, a head nurse shows a drawing made by one of the children. It depicts a brutal attack on a woman. Viktoria is struck by how much it reminds her of her own ordeal She decides there and then that the orphan who produced this is the one that they will take.

Dasha seems an odd and withdrawn child and this may owe to the fact that her own mum and dad perished in a domestic conflagration. She continues to produce sinister sketches – even putting them on the walls of her room. Viktoria is convinced that they depict scenes involving the murderer that she had been hunting.

Is the girl clairvoyant or does she have some kind of inside knowledge?

Viktoria returns to her police colleagues full of stories. She is met with unenthused doubts but, perhaps out of loyalty, they do assign a young investigator – Kostya (Gela Meskhi) to the case.

Together they find themselves running up against a series of blind alleys while Viktoria’s obsessive quest puts a strain on her relationship. Indeed, Novel has long since decided that Dasha should be sent back to her orphanage. When the girl stabs him in the hand matters come to the boil….

Distraction by numbers.

The bare bones of the premise do call to mind Olga Gorodetska’s supernatural thriller from 2019 Stray. However, Detector then takes an almost opposite direction. In fact, the plot could almost be a truncated season of Cold Shores. As is the way with this subgenre there is a final reveal that intends to induce gasps of shock but which can be seen coming.

Light on message, heavy on atmosphere.

The tagline for this film is `Take a Closer Look at Who You Live With`. That might, in fact, be the sole insight that one can take away from what is a rather domestic and insular thriller. Wider resonances about Russia or of the world Out There are hard to find here. That in fact may be part of the film’s appeal. I myself savored all one hour forty minutes of this creepy detective yarn, with parts that might have been written by Chat GPT but which oozed a well sustained macabre ambience throughout.

Indeed, the online user reviews, which more often than not are given over to sneering and cynicism have been positive and almost gushing for once.

For example, a Dmitry, writing on Megacritic.ru had this to say:

`The film `Detector` makes the viewer sit on the edge of the chair….The plot is unusual and unexpected…and the actors played their roles perfectly…Her [Vika’s] experiences and emotions are conveyed to the viewer so vividly that it is difficult not to be interested in what is happening on the screen…

And so on. This review was not an exception.

Nevertheless, in the cinema in Almaty (in a district calling itself `Moscow`) I found myself, for the umpteenth time, to be the only person in the hall.

Main image: Kladez Zolota. Livejournal.com

ALL SOUND AND FURY: THE FILM MIRA

THIS APOCALYPSE YARN, FILMED ON LOCATION IN RUSSIA’S FAR EAST, IMPRESSES WITH ITS BANGS AND WHIZZES – BUT WHERE’S THE SUBSTANCE?

Last December, an ambitious extravaganza, part disaster movie and part science fiction epic, reached Russian screens in time for the winter holidays. (I would have to wait another three months for it to get to Almaty in Kazakhstan).

MIRA after spending a lot of time on the launch pad, came caparisoned with illustrious associations.

Dmitry Kiselyov (not to be confused with the execrable T.V pundit of the same name) was the man with the megaphone. His resume shows that he helped to edit the iconic NIGHTWATCH and DAYWATCH films (2004 and 2006) and directed the quintessential family adventure-romance BLACK LIGHTNING in 2009. He has also taken us into the cosmos before with FIRST TIME (2013), a credible biopic of the first man to walk in space, Alexei Leonov.

One of the key roles is filled by a fifty-year-old Ukrainian Jew Anatoly Bely, a well-regarded stage actor who also has appeared in a great many television serials. He acts alongside a relative newcomer – Veronika Ustinova. Hailing from Ulyanosk, this seventeen-year-old has been compared by some to Margot Robbie. Here she showcases her talents as the cosmonaut’s daughter.

The film needs an epic score to complement its scenario and Yuri Poteenko is just the man for this. He also provided the score for NIGHTWATCH and DAYWATCH and has form with disaster movies in the form of METRO (2013).

Girl interrupted.

In Vladivostok, Lera, a fifteen-year-old malcontent, lives with a divorced mother and her paunchy lummox of a new stepfather and an exasperating younger brother. Only in her races – she runs for events in a local stadium -does she come alive.

However, her father, Arabs, works as a cosmonaut and spends much time in orbit with his Russian colleagues in a space station called Mira A. With the futuristic assistance of an A.I computer – with the titular nickname of Mira -this absent father is able to manipulate technologies down on earth and thus keep watch over his daughter. Unimpressed by this, Lera gives the middle finger to a street C.C.T.V camera that Arabs has commandeered in this fashion.

A hard rain.

Scientists on board Mir A have been attempting to warn those down below of an impending cosmic hazard in the form of a cluster of meteorites en route for our blue planet. (The actor Igor Kriphunov, best known for his work with Svyatelsav Podgaevsky, has a well-cast cameo role here.)

Their warnings meet with deaf ears….When the meteorites arrive, they disable the Mir. A space station and kill most of the staff, leaving only Arabs and Mira functioning.

Meanwhile Vladivostok is laid waste by the onslaught and Lera is rendered homeless and loses her little brother. It is here that the father and Mira’s creepy magic takes centre stage and a new father-daughter bond is forged. Together, using whatever visual and sound portal they can find, they relocate the lost brother and, while they are at it, also prevent an off shore tanker from detonating and taking half of Vladivostok with it.

Defiance of odds.

MIRA seems to lay down a heroic ethos. We learn that Lera exhibits a phobia of fire and that this originated from a time she was trapped in a burning lift, which her father could not rescue her from. This time, though, she will have to face down this terror – by joining forces with her dad.

Even her boyfriend – with something of a `woke` twist – boasts a prosthetic arm and must overcome the feeling of stigma this gives him.

Aside from motivational homilies, what can we take away from this tale? That remote parenting can work? That surveillance technologies might be used for the betterment of humanity?

Convincing mayhem.

I took this film in on the second row in a hall in the Chaplin cinema in Megapolis, Almaty. This featured a sizeable screen with Sensurround and, whilst I have never been one to salivate over FX the collision sequences in this film – all falling masonry, explosions and skidding vehicles – were among the most effective I have experienced.

Carboard cutouts.

If only the human input had been as animated. Ustinova delivers a performance which exudes dignity and seems believable and she represents the discovery of a new female lead in cinema. The rest of the cast, however, function as cyphers of family types: the caring but out of touch mother, the annoying but cute little brother and the cloddish but well-meaning stepfather.

Even Bely feels, in a strange way, insipid as though he had found that the script had not given him enough scope. Instead, he puts on dark glasses whenever he needs to convey a bit of character.

Perhaps this explains why MIRA, despite having some affecting scenes, stopped short of jerking my tears as much as it intended. I can say, however, that it did earn my unflagging attention for all of its long 150 minutes running time.

Magpie approach.

Refreshing though the Vladivostok setting is, the film is otherwise a stitch up of borrowed ideas. The Hollywood offering ARMAGEDDON springs to mind as one of the models (meteor shower, Mir space station and father-daughter issues).

The creators did not only draw on American precedents though. The conceit that forms the science fictional hub of the whole thing – a space station with the capacity to gatecrash earth side technologies – recalls the ATTRACTION sequel INVASION (2020) where a sinister intelligence in orbit could do the same.

Unpleasant resonances.

Above all, the meteorite attack scenes could not help but to put me in mind of the horrific shelling of certain Ukrainian cities by the Russian military. This, together with the very name of the film (which means `peace` in Russian) could even cause some to suspect that this film has a subtext.

One man who might like to think so is Anatoly Bely himself. After denouncing the invasion of Ukraine, he left the Moscow Arts Theatre last summer and now resides in Israel.

TWO DARK HOMETRUTHS: the films `LIKE A MAN and SISTERS.

Marriage and the Male Mystique come under the spotlight in these two fresh psychological dramas.

This November a pair of cinematic dramas from Russia arrived in Kazakhstan to add to the winter chill. They seem to be plotting parallel vectors in that they both lay bare the murkier ends of what is expected of men and women in our times. They do so in an entertaining way, minus anything in the way of sociological agit-prop.

Po Muzhski – the title gets translated as either `Manly` or `Like A Man` (I prefer the latter) -was released by Central Partnership on November 10^th and seemed to come out of the blue with a rookie director and a lead actor best known for online comedies.

This is by no means a comedy, however. Indeed, it comes under the label of `drama-thriller` which is as good a pigeonhole as you can get. Nevertheless, there were a handful of people to see it at the Almaty cinema where I went and it has garnered appreciative responses from the online feedback forums.

Like a Man was directed by Maxim Kulagin who has been responsible for shorts until now. The protagonist Gleb, is the 36-year-old Anton Lapenko who hails from the Moscow satellite dormitory town of Zelenograd. A redoubtable talent, he created a fanbase with `Inside Lapenko` on Instagram – a satirical character driven comedy which draws comparisons with Monty Python.

The 34-year-old Ekaterina Shcherbakova takes the part of Gleb’s stunning wife Polina. (With exquisite irony she also turned up in the comedy (Not) Ideal Man from a few years ago).

Whilst the film triumphs in not featuring obvious villains, the 28-year-old actor Sergey Vasin, who has done television work before, portrays a chilling and believable low-life antagonist.

Gleb has it made in today’s Russia. A managerial-cum- entrepreneurial type, he is rewarded in the form of a moderne and swanky dacha on the outskirts of the city. He and his wife have invited some friends over and, while they quaff some choice wines, he cooks on a wok.

Then it happens. A local youth hurls a bag of rubbish into their enclosed back garden. The resulting confrontation with this man of lower economic status leads to Gleb’s wife getting slapped. Gleb responds in a rational manner by herding his party back into the dacha and away from further harm.

A spiral of descent on Gleb’s part ensues. He begins to watch instructional street fighting videos, start trying to lift weights beyond his capabilities at the gym, and takers up smoking again, roaming the streets to cadge a cigarette. Then he buys a gas gun….

True enough he does make some attempt to bring closure to the matter in a civilized way. He goes to speak in person to the miscreant and befriends the man’s wife. However, his own wife continues to feel under threat and his more hothead friends urge him to deal with this `gopnik` with less compromise. Soon the dividing line between his own behavior and that of his enemy becomes ever more blurred.

Clichés are eschewed: this is no Straw Dogs, despite some similarities. Even with Andrey Bugrov’s stormy score setting the mood, Like a Man does not revel in depictions of gratuitous violence.

In fact, there is – as they say – a lot to unpack here. What is foregrounded is the contradictory demands that a modern males face – still mired in his provider/protector role but not expected to display brute shows of strength -but there is also something here about the yawning chasm between the aspirational middle-classes and those who are less successful. Also, whisper it, but I found it hard not to view the film as functioning as some sort of parable concerning the Russo-Ukrainian conflict.

In any case, despite problems I had with the language level, I was kept rivetted throughout the film’s 105 minutes and it has stayed with me since.

Sisters.

This proved a hard film to get to see. The showing was in a far-flung, vast shopping mall in which the cinema was not signposted. Then the cinema itself failed to advertise that they were showing the film. In short, I reached the booth as the opening credits were rolling. I was alone in the place.

Sisters (Sestri) released this November, constitutes a thriller laced with fantasy elements and was directed by Ivan Petukhov who is responsible for many comedies (and has worked with Uma Thurman). However, in 2020 he was inspired by the quarantines to produce Locked Up which revolves around similar themes of isolation that Sisters involves.Released by Baselev’s Studio/Magic Production Studio and Event Horizon Company, the film provides a meaty role to Irina Starshenbaum (Invasion, Summer,Sherlock in Russia). As well as being Russia’s sweetheart she is a known opponent of Russia’s involvement in the Ukraine. As `creative director` she also must have had a fair bit of input into the product.

Another old hand of stage and screen (who also can be seen in Summer) joins her: Nikita Efremov.

The action opens in media res with Anya (Starshenbaum without cosmetics and looking a little older than her thirty-years) attempting to flee from further physical abuse from her businessman husband, Andrey, with a toddler in tow. Later, after her husband has left for work, she discovers that she has been locked into her flat. Then, in her attempt to reach out for online help she stumbles on a sisterhood who offer assistance. This coven of once abused women hide horrifying powers. They have the means to turn the tables on toxic men with a spot of human combustion….

Throughout the film’s 110 minutes the pace is slow and the mood unsettling. As with Like a Man what we get here is a domestic drama zooming in on the reactions of the main players.

Despite it’s 18 + certification, the cruelty and physical violation that forms the core of the tale is kept off the screen for the most part. Efremov plays Andrey with restraint: he seems calm and even loving at times and yet somehow menacing throughout.

Sisters represents an exercise in ambience. It is a spectral ambience brought about by the interplay of illumination and shadow in the photography and a celestial score from Misha Mishchenko (known for his work with the band Evendice) which provides the nucleus of this state-of-the-art Art Horror project.

The film was released to coincide with something called The International Day for the Elimination of Violence Against Women and the director’s own comments and the statistics about domestic violence put up on the screen as the story closes all suggest that this has pretentions to being an `Issue Movie`. They seem to be trying to do for domestic violence in Russia what The China Syndrome did for the American nuclear industry – that is, blow the whistle on it.

Sisters is, for sure, unsentimental about life in Russia right now yet I am not so sure that its intended message will seep through. Something more social realist than magical realist might have fared better. Then again, Gogol’s The Overcoat – a ghost story – raised the question of lower-middle class poverty in its time.

The bigger question is this: will those interested in the West ever get to see these important films now?

Lead image: Kinomail.ru

EASY TARGET: The dubious appeal of THE VOROSHILOVSKY SHOOTER.

DON’T BREATHE, the American horror thriller from five years back featured a crusty elder fighting back against youthful miscreants. The Russians get there first with VOROSHILOVSKY SHOOTER . Except that this is no horror movie, and the old guy is the hero!

I have hinted before that there exists a glut of gun wielding tough guy shows on Russian television. Every now and then something impressive shows up from this overcrowded market. COLD SHORES (out on Starmedia last year) – not, I admit a typical cops and robbers yarn – did boast some high production values and could have been summarised as `Russia-pulls-off Scandanavian noir`.

If you dig back a few decades,there could be some other contenders. THE VOROSHILOVSKY SHOOTER (1999) has been broadcas a few times on the TV 1000 Russian film channel of late. Despite my grave misgivings about it, it must be a tribute to its witchcraft that I had not intended to ever write about it, but find myself doing just that!

A product of the closing years of the tumultuous nineties, this film is no Bright Young Debut. The producer was Stanislav Govorukhin, a director best known for his iconic T.V seriesThe MEETING PLACE CANNOT BE CHANGED from 1979.

The leading role was filled by none other than Mikhail Ulyanov, a grand old man of stage and screen, who, among much else, was Dmitry Karamazov in the 1968 rendition of THE BROTHERS KARAMAZOV.

Furthermore, the film is an adaptation of a novel by Victor Pronin, a leading doyen of crime fiction, called WOMEN ON WEDNESDAYS published four years earlier than the film.

For all these august connections,THE VOROSHILOVSKY SHOOTER can be pigeonholed in the Michael Winner-style Vigilantes Revenge crime subgenre that causes such righteous tut-tutting – and for sound reasons.

Yet AFISHA magazine (a hard copy culture review zine from 1999 to 2015) ranked it among a 100 major Russian motion pictures.

THE VOROSHILOVSKY SHOOTER details in its 95 minutes one septugenarian’s victory over some of the lawlessness of the early post-Soviet years. It is set amongst `ordinary people` in provincial Russia. (They filmed it in Kaluga, a town some 150 kilometres southwest of Moscow, now known for the Tsiolovsky State Museum of the History of Cosmonautics).

Scenes from provincial life in THE VOROSHILOVSKY SHOOTER [Kininews.ru]

GRAMP’S REVENGE.

Ivan Afonin (Ulyanov) seems a respectable former railway worker and veteran who cares for his grand-daughter alone in a modest flat. Nearby, in the neighbourhood, live a trio of young `New Russians`. With well connected parents, these young men spend most of their time boozing and – on Wednesdays – paying for sex. They blast out rock music, drive fancy cars and one of them is a student of Structural Linguistics.

One summer’s Wednesday evening they find themselves without a female plaything and, from their balcony, catch sight of Ivan’s grandaughter in an alluring short skirt and high heels. Exuding a certain vivacious charm, one of them invites her to a `birthday party` and she goes upstairs to join them.

A gang rape ensues with all three involved. Ivan, on discovering the degradation visited on his kith and kin is devastated. He takes the usual route at first of calling the police.

The police response is rather brutal. They barge their way into the boy’s flat on a pretence of being neighbours then separate the boys and threaten them until one makes a confession.

What happens next is that the father of one of the youths shows up. He is a high-ranking policeman and, displeased as he is by his son, shuts down any further investigation.

`You’ve invaded our land` Ivan tells one functionary when he learns this. He then turns to the black market in search of a big enough gun. (`Look at what television is doing to old people these days` remarks one tradesman after turning him down). However, he finds an S.V.D rifle complete with viewfinder and an all inportant silencer – and people shady enough to be willing to sell it. When he gives it a trial run, he seems such a good shot that they compare him to someone from the Voroshilovsky regiment (A Second World War military unit with legendary marksmanship abilities).

On alternate Wednesdays he picks off the rapists one-by-one from the vantage point of a flat which the old man is looking after while the tenant is away – and which happens to be opposite the boy’s place.

The first young turk gets a bullet in the groin as he holds a bottle of champagne between his legs – and the event is assumed to be due to an exploding champagne bottle at first. He is thus castrated.

The second one is sitting in his car when it becomes an inferno owing to a shot at the petrol tank. The third one suffers a breakdown into insanity as he awaits his fate and shoots his own father – the very one who had stymied the case -in a state of paranoia.

All the while our gunman is posing as an enfeebled old duffer oblivious to the drama which he is creating. Furthermore, he attracts a Guardian Angel in the form of a sympathetic cop who stashes away the gun just before his senior colleagues come searching for it.

The vigilante rifleman is the unequivocal good-guy of this film. [recommend.ru]

Vengeance porn.

By all accounts Pronin’s novel featured a political dimension, with the shooter taking up arms on behalf of the `little people` and in opposition to the post-Yeltsin `New Russians`. This aspect is, for the most part, lost in this film. The title, as well as the promotional poster, foregrounds the old man as the Hero. His tormentors meanwhile, are rock music playing pantomime villains (if very well acted).

The violence too is a form of bloodthirsty poetic justice: for example, in the novel the first victim is shot in the leg, not the genitals.

Then there is the sexualisation of the female victim. We are treated to shots of her legs so that, before the distressing rape sequence, we feel somewhat titillated.

This is no Horror film then. Nor is it a Revenge Tragedy in the Jacobean tradition. Nor a call for us to ponder on how `violence begets violence` or somesuch issue. Ivan is set up as the clear Hero of the story and we are invited to relish in his cathartic act of disproportionate revenge.

22 year’s old and still popular to this day- but how much has this film contributed to a runaway gun culture in Russia? {prdisk.ru]

So it is no surprise that there are some who have treated this entertainment as though it were an instruction manual. For instance, In 2008, 57 year old Aleksander Mansurov was jailed for murder after he had shot two people, one of whom had allegedly raped his daughter, in a village near Rostov-On-Don. (Such tit-for-tat brutality may become more rare as gun control measures are being put in place following the school shooting that occured in Kazan back in May of this year).

THE VOROSHILOVSKY SHOOTER keeps you watching throughout and then stays with you. I, for one, feel sullied by the moral vacuum at the heart of it though.

Lead image: Vkontakt.

THE ABRAMENKO EXPERIMENT: THE FILM `SPUTNIK`.

Egor Abramenko’s intense cosmic threat thriller SPUTNIK is so much more than a Russian Alien.

With mounting alarm the young psychologist observes the scene unfolding on the CCTV. The cosmonaut is thrown to the floor in a convulsive motion. From his mouth oozes a ridge of slime. Two spindly limbs emerge from this and the being begins to creep forward. The military man, also watching, has seen this all before….

Sputnik means satellite in Russian but also carries connotations of fellow traveller. The film with this title, a thriller with a science-fiction premise and scary movie trappings, is a rare beast in Russia. Such a mix of genres is matched only by The Fatal Eggs, an adaptation of the Bulgakov novel from 1995 and Diggers (2016) and Avanpost from last year.

Intended for release last April, the film ended up getting its premier on the net, owing to the pandemic. There it gathered over one million viewers in Russia alone. I, however, waited for the cinema doors to be flung open again, and my patience was rewarded. SPUTNIK is one picture that deserves to be experienced in a large and loud format.

Egor Abramenko, the man on the high stool, has been churning out commercials for years but his other brainchild was an eleven minute long short called Passenger released three years ago. This was to be the egg that was to hatch SPUTNIK.

Some bankable celebrities signed up for the project. That Golden Boy of the Russian media Fyodor Bondarchuk has come from behind the cameras to fill one of the main roles. So has the stately 33 year-old St Petersburgian Oksana Akinshina, who had a cameo role in Rassvet, this time being given prime space.

Interrupted mission.
Andropov is in the Kremlin – it is 1983 – and around the earth circle two cosmonauts on a routine orbital mission. They are about to re-enter the atmosphere when it happens. There is an unholy knock on the spacecraft’s hull….Only one of the crew members makes it back to terra firma alive – and he has black eyes….

Later a female psychologist – Tatyana Klimova – with a history of employing maverick methods, (Akinshina) is getting a dressing down at a tribunal in Moscow. As she leaves in disgrace she is approached by a military colonel called Semiparov (Fyodor Bondarchuk). He considers her to be of made of the right stuff for a position he has to offer her. This involves reaearch into a unique incident.

He chaperones her on a journey to the Caucuses. There, in a military installation, she learns that a cosmonuat who is supposed to have died on return is alive but infected with a parasite of unearthly origin, and no memory of how it got there. (Pyotr Fyodorov who also appeared in Avanpost).

Soon Tatyana begins to harbour qualms about the humanitarian implications of how this hero of the Soviet Union is being treated – as well as the uses to which the resulting knowledge will be put. Can she escape the compound and return to Moscow to expose the dark doings of this rogue operation?

Space age possession.
This 1 hour and 53 minute drama has a measured pace and highlights the human dilemmas that the situation throws up (challenging the view that science fiction and horror lacks human depth). There is even a sort of sub-plot concerning the neglected child of the cosmonaut, languishing away in a care home in Rostov-on-the-Don.

The two story writers Andrey Zolotarev and Oleg Malovichko had also both worked on Attraction (2017) and Invasion (2020) which were alien contact tales directed by Bondarchuk. Those blockbusters, however, were frothy fun-for-all-the-family affairs whereas SPTUTNIK contains more intelligence in its details.

With SPUTNIK being something of a star vehicle for her, Akinshina makes for a likeable lead. She is no Sigourney Weaver-like action hero but a woman constrained by her professional role while thrown into an extraordinary situation.

Bondarchuk, meanwhile, does what he does best: lend gravitas to the proceedings. He portrays a complex man with some paternal affection for Tatyana and a begrudging dependence on the creature who he wishes to isolate and exploit.

The assistant-to-the-heroine is a stiff white-coated drudge of a research scientist (played with conviction by Anton Vasilev) whose conscience is awakened by Tatyana. It is he who phones through to the Moscow authorities with some important information before being gunned down.

The creature itself is a fine piece of work, if not original.Stitched up by Main Road Post, its a puppet and CGI slimy quadruped with several eyes, insectoid limbs, buzz saw teeth and cute floppy ears. Living off the hormones produced by fear, it has a penchant for cracking open heads and slurping on the contents.

Last, but no means least is the score by Oleg Karpachev. With its bombastic drum-heavy sound, this really signs and seals the sense of a shadowy secret mission.

Well received.
The primary mood is one of mounting unease. It is refreshing to see that the director has not relied on sudden noises and appearances to stun us, but instead there are some drawn out nightmarish sequences, such as when the alien is being fed live prisoners. There is some gross out involved as well as some tomato ketchup flying about (both untypical for a Russian film) but this is restrained.

The 1983 period placement is a puzzle. Is a hidden event in history being shown to us – as in Apollo 18 ? Or is it a way round the problem of how to portray the military as fragmented and corrupted without incurring the wrath of the censors? Or is this just an exercise in nostalgia? (An iconic Russian toy does play a part in the proceedings).

Reaching America and the UK, SPUTNIK has set forth an excited rattle of keyboards and much of what is being said is positive. The default comparison most seem to be making is with the Alien franchise.

True SPUTNIK has a ballsy heroine, but this is less rare in Russian cinema, and otherwise it is earth bound, set in the past, and much less of a stalk-and-slash romp. A more telling comparison is with the British television series from 1953 – The Quatermass Experiment. The initial premise is almost identical except that SPUTNIK then takes off on a different tangent.

Russian language promo for the British series `The Quatermass Experment` Was this the real inspiration behind the film? [sweet.tv]

For me, the film leans too much on hackneyed tropes about a caring, maternal woman in opposition to a monomanic, ruthless male. Otherwise, the borrowing fom Nigel Kneale aside, it is quite fresh and there is something primal and archetypal in the idea of a man having a goblin in his stomach which comes out by night. As Tatiana asks: Parasite or symbiote?.

Many Russian horror movies seem targetted at a young South East Asian audience and tend to play down their national origins. Not so SPUTNIK, which -with its setting in the steppes, glimpse of Soviet times and concern with military machinations – is Russian through and through.

Lead image: in-rating.ru

The trailer (English subtitles):

THE WICKED WITCH ISN’T DEAD: The film BABA YAGA: TERROR OF THE DARK FOREST.

An age old folk demon is after the kids of a prosperous housing development in Podgaevsky’s latest dark fantasy. My kids are safe. Are YOURS?

How we longed, this year, for that promised big freeze with its white cityscape. But winter never came.

Baba Yaga: Terror of the Dark Forest/Baba Yaga: Koshmar Temnova Lesa felt a bit the same. The internet hype first informed me that it would get its release on October 31st of last year. This then was moved forward to the following January. In the event it was in the theatres on 27th February, a deadzone for new films. (The only opposition came from Kalashnikov – a disgraceful biopic of a man who designed mechanisms to kill people with. Jesus wept!)

The irony was that on the day that I saw it, a mini-snow blizzard appeared in the city, as though winter too had made a desperate late showing!
The wait was worth it if only to see how this fifth supernatural tale from the emerging new voice in Russian film craft, the 37-year-old Muscovite Svyatoslav Podgaevsky would shape up.

Not only did he co-direct it (with Natalia Hencker) and co-write the film (alongside Natalya Dubovaya and Ivan Kapitonov) but he co-produced it for Non-Stop films.

As with The Queen of Spades: The Dark Rite (2016) and The Bride (2017) and, in particular, last year’s Rusalka: Lake of the Dead this project offers an idiosyncratic kind of muscular folk horror using East European folk tales as a backdrop.

The superb promotional poster for this film did much to cement its reputation long before it hit the screens. [Yello.com]

The cast includes the 37-year-old beauty from Severodvinsk, Svetlana Ustinova, who plays the nanny. Lending the film some needed gravitas Igor Khripunov also partakes. His craggy looks have graced four of Podgaevsky’s previous films, making him a sort of Russian Ralph Bates.

New Moscow.
The location constitutes one of the brand new sleeper dorms that are springing up outside Moscow to cater for wealthy young families( with the metro being expanded in order to accommodate them). Far from exuding the spooky ambience of your traditional horror setting, this locale feels aspirational and septic.

Nevertheless, it functions as an outpost. When the new buildings thin out we run into a dense and expansive area of forest. As the action unfolds the New Town and the Encircling Forest start to feel like players in the story.

Boy-saviour.
Egor, a fourteen year old boy (Oleg Chuginov) forms the film’s protagonist (making a change from the young women common to this genre). His life involves walking to his nearby school, dealing with hoodlums, making approaches to his sweetheart (Glafira Golubeva). and helping to care for his newborn kid sister.

His mother, played by Maryana Spivak (Loveless, 2017) and father, Denis Shvedov (The Mayor, 2013) seem distracted by career demands and hire a nanny to attend to their offspring….

So far we have a slice-of-Russian-middle-class-life. Then Egor starts to notice a presence menacing the baby….
Noticing a shadowy form on the baby’s video monitor, the boy creeps into the room only to be confronted with a menacing female apparition from which he flees….

He will later go deep into the dark forest with his sweetheart and former bully (Artyom Zhigulin) and team up with a hut dwelling hobo called Mrachnny (Khripunov) who has been watching children disappear from the locality and confirms this to be the work of Baba Yaga. The story then becomes a mission to save the baby, and thereby the family.

A Yaga for our times.
Yaga, a long-nosed wicked witch from Slavic folklore often gets depicted as living in a hut held aloft by chicken legs. She flies around on a mortar and displays a penchant for young children. She can, however, play a helpful role when so inclined.

Not so in this film’s updated version! A shape shifter, she she is a femme-fatale as a nanny but later manifests as a sort of peg-legged female Phantom of the Opera. Later on again she appears as an animated mass of red knitting wool.

The tense and humourless action is enlivened with some hallucinatory episodes and we enter a parallel time stream where the baby has become airbrushed out of existence and the now satanic parents are without memory of her. The plot, having begun as a ghost story accelerates into a rollicking dark fantasy romp.

Genre trappings.
For all the originality of the setting, the film falls back on many witchy hokum standbys. There are the kids against the corrupted elders. A bad nanny. Demonic possessions (complete with people’s eyes rolling up to the whites), baby dolls aplenty and people getting hurled about by occult powers.
The shock jumps are lined up like billiard balls and beging to pall after a while.
A portentous and numinous score by Nick Skachkov (On the Edge, 2019) helps to bind it all together.

Breaking new ground.
It feels a bold move to have used as the monster figure as well known to Russians as Jack and the Beanstalk is to Western Europeans. This was all of apiece with Podgaevsky’s earlier films. The last one reinvigorated Rusalka in the same fashion (a water nymph that gets mistranslated into mermaid in English).
Whether this will beget lasting screen idols to equal the vampires and werewolves of the last century remains to be seen. This represents a quiet innovation, however.

Baba Yaga: Terror of the Dark Forest sets the suburban modernity of the Russia of now on a collision course with a Slavic demon from very old Russia which lives in a forest next door.

There is plenty for a Jungian style psychoanalyst to chew over here. All of Podgaevsky’s recent movies have introduced us to wrathful female demons, for example. Then what is the significance of the red ball of wool that makes its appearance throughout this film?

Circus.
As with The Bride and Rusalka: Lake of the Dead I felt dazzled by the first hour of the film as the situation was being set up. Then when it all turned into a romp I became ever more detached and restless. Some of the supernatural elements stretched my credulity so much that I felt that anything could happen and the scariness of it got a bit lost.

Likewise, as much as young Egor makes for a valiant hero, he and his tweeny chums gave me the impression that I was sitting through something that might have been better aimed at a much younger demographic. (It is interesting to note that Podgaevsky cut his directorial teeth on a long established comedy T.V show called Jumble which features young kids and their daft ways).

That said this constitutes Podgaevsky’s least derivative and most assured work to date. The film is due to reach audiences in the Baltic States, South East Asia, Latin America and The USA.The director, who is working on a new film (Privorot/Dark Spell), is bound to become recognised on the international stage soon.

The featured image is from K.G Portal.

The trailer (dubbed into English):

THE DAY MOSCOW STOOD STILL: the film VTORZHENIYE (INVASION).

Can a Putinist popcorn merchant produce another film with something to say? The launch of INVASION – the long-awaited sequel to the science-fiction classic ATTRACTION – gave us a chance to find out.

I could smell the aftermath of fireworks as I hurried to the Yuzhny cinema in the unseasonal sleet and sludge. I was en route to a different type of pyrotechnic show. Like a dutiful Russian citizen, I was ready to see the very definition of a national blockbuster – VTORZHENIYE – INVASION.

This 12+ certificate extravaganza – a follow-up to ATTRACTION ( 2017) – had been promoted in every way possible. The TVs on in the metro carriages reminded us of it. Every cinema in town had an installation dedicated to it in the lobby. Hell, even the safety instructions at the beginning of this film were led by the actors from it!

For once, therefore, I could pick which cinema to go to. Also.this being the holiday season, I could choose when to go. I went to a showing in the Chertanovo region of Moscow, which is where ATTRACTION had been set and filmed. I chose three days after its December 31st opening as a way to mark the New Year.

Bondarchuk’s shadow.
The fifty-two-year old Muscovite Fyodor Bondarchuk heads Art Picture Studios as the director of INVASION. Something of an establishment lynchpin, this man is known for his grandstanding for the President of Russia and for the ruling United Russia party.

In terms of style, he seems something of a cinematic Christopher Marlowe who aims for the big, the brash and the loud. In accordance with this he has been responsible for such evocations of patriotic heroism as Stalingrad (2013).
Bondarchuk, however, does have form with the rather more cerebral science fiction genre. Before ATTRACTION he surprised critics with a faithful rendition of an Arkady & Boris Strugatsky novel in the form of The Dark Planet (2008).

So whilst Bondarchuk’s name is not one that would draw me to see a film, my interest was piqued by the fact that I had enjoyed ATTRACTION. In that film, the aliens were obvious representations of immigrants and the Other. `Let’s try to hear each other` was Bondarchuk’s summary of his message at the time (quoted in Flickering Myth, January 22nd, 2018). I was intrigued by this apparent cryptoliberalism and concerned to see whether it would continue in what is also known as ATTRACTION 2.

Dejavu.
The cast list from ATTRACTION are back in service. Irina Starshenbaum – who I last saw as a rock and roll widow in Summer – plays Yulia Lebedev once more and the 59-year-old Laurence Olivier Theatre Award winner Oleg Menshikov is still her father and her geek buddy, Google, remains as Evgeni Miksheev.

Alexander Petrov – proving yet again that he’s a big enough actor (and man) to depict rather pathetic characters – returns as Yulia’s would be lover.

The thirty year old Rinal Mukhamentov (The Three Musketeers, 2013) – a sort of Tatar Justin Timberlake – reprises his role as Hakon, the alien.
The other stars – the fun gizmos – also make a welcome return. The now iconic gyroscope like mothership has been replaced and is circling our planet again. The Transformer-like exoskeletal body combat suit also re-appears as does all that aquatic witchcraft which has water coiling in spirals in the air.

Filmed in IMAX by Vladislav Opelyants (Hostages, 2017) and with a score by the much in demand Igor Vdovin (Another Woman, 2019) INVASION attempts to satisfy every cinema going demographic. Half family drama and romance and half military adventure, the scenes lurch between smoochy bits, tense action and disaster movie grandeur and then back again.

Sorcery from the sky.
We find ourselves in the present day, but it is one in which the events of ATTRACTION have taken place. (The back story is suggested in the opening credits by the use of frozen lazer-like stills from key scenes of the earlier film).

Yulia now studies astrophysics in Moscow alongside her loyal mate Google. She is, however, no ordinary woman. Always flanked by bodyguards, she is under investigation by a new military unit concerned with all things E.T, led by her father. She spends her evenings in a flotation tank, being tested for psi-powers.

Russia, meanwhile, is busy aspiring to reverse engineer the technology that the aliens had left in their wake. Meanwhile they have surrounded our planet with defense satellites to prevent further incursions into our atmosphere.

The military unit re-introduces Yulia to Artyom, who is now incapacitated by a stroke. This is a deliberate ploy. The disturbance this creates in Yulia’s mind results in a telekinetic storm.

Later, as she knocks back a few medicinal cocktails in a downtown bar and tries to flirt with her minder, Hakon makes a sudden re-appearance….

The handsome star man is now earthbound and ensconced in a pleasant dacha outside Moscow. However, he continues to be in contact with a mothership’s on board computer. He has gained the information that an alien Artificial Intelligence called Ra has taken an interest in Yulia’s awakened psychic powers.
The couple elope with the military in hot pursuit. The rest of the action consists of a three-way tussle between Hakon and Yulia, the military and the mysterious Ra.

Ra has the ability to control the world’s electronic media and puts out the fake news that Yulia is a terrorist. Later, in a rather Biblical episode, it summons up the waters around and below Moscow to envelop the city in a sort of vertical whirlpool….

…Or something. If this plot sounds freakish and preposterous that is because it is nothing more than a Christmas tree upon which various spectacular action scenes – military helicopters spiralling out of control, geysers destroying Park Kulturi metro station and so on – are hung.

Yulia’s story.
There is much tension between the intimate and the global in all of this. At its core, INVASION concerns the emotional journey of Yulia and her fixing it with her father, making peace with Artyom and deepening her relationship with Hakon. Starshenbaum has enough magnetism to make this focus work.

Otherwise the film is lacking in a central idea of the kind that made ATTRACTION so interesting. Sure, the subplot about fake news in the electronic mass media is very topical, but it is not at the heart of the story.

Whilst a composite of many motion pictures that have gone before it, INVASION is quite distinctive in its overall effect. The recent Avanpost however, covered the same sort of territory with bleaker conviction.

Still, as I shook my head through this two hour and thirteen minute farrago, I thought: what a roaring way to welcome in the Roaring Twenties!

Main image: capelight.de

Trailer to INVASION (English subtitles).

IT’S NOT A BOY! The film `Tvar` (`Stray`).

Another demon-child yarn with added sophistication, a pleasing autumnal ambience and a great role for Elena Lyadova.

All too many of the Russian made scary movies that I have promoted on here have had certain features in common. As much as they have prompted me to nod my head with a smile, they have sought to mimic Hollywood and to court those of college age.

Among the exceptions to this is TVAR (STRAY) a chiller delivered with some style. In fact, this enterprise is assured enough to risk being subtle as well as – not always a quality found in modern Russian cinema – original in parts.

From the `Queen of horror`.

TVAR opened in the cinemas on 28th November this year with a 16+ certificate. The picture houses sold it as a `detective mystery story`, which may be significant terms of marketing,, but this is really a supernatural thriller par excellence and one tailor made for the season in which it appeared.

The creator of the story is none other than Anna Starobinets who, on account of her short stories, has been dubbed Russia’s `Queen of horror`. Behind the cameras was Olga Gorodetska, who here is directing her first full length film (an hour and a half long). Ilya Ovsenev, who has worked on the forthcoming `Project Gemini`, was the cinematographer. Several production companies seem to have had some involvement in TVAR. The notable ones include Star Media – the purveyors of numerous effective television melodramas – and TV3, who seem to have their hand in every pie these days.

The main star on consists of Elena Lyadova, the 39-year-old Morshansk born actress,who many will be familiar with from the grim social-realist fable Leviathan (2014). She is joined by Vladimir Vdovichenkov who is 48 and also appeared in Leviathan. An other talent is Yevgeny Tsyganov who featured in Provodnik last year.

Family drama.

TVAR revolves around hearth and home and in the relations between man and wife and their children. In accordance with this, the areas touched on include grief, self-deception and indomitable mother love.

A couple in early middle -age, in recovery from the unspeakable loss of their first son, form the main protagonists. They find themselves visiting an orphange outside Moscow with the aim of finding a surrogate son to adopt.

Overseen by nuns, the forbidding institution is filled with cots, but none of their inhabitants inspire Polina, the bereaved mother (Lyadova), a former teacher. However, she then claps eyes on a wayward and neglected child who has secreted himself away in the basement of the building following the suicide of his father.

Enigma.

She is at once drawn to this odd-looking and angular child. When she asks to be granted the role of his new mother, she is met with some resistance from the nuns and also some scepticism from her more conventional but supportive husband (Vdovichenkov).

Polina persists and at length the couple take the boy to their home. The boy seems to respond to the loving attentions of his new mother but remains somewhat feral. He is given to scurrying beneath his bed when people appear,stuffing raw meat into his mouth, and crouching on top of furniture ready to pounce.( A bold performance from one Sevastyan Bugaev). On top of all that, there is mounting evidence that this boy is no ordinary maladjusted kid. He commits a serious assault on another child, for example. Nevertheless, the smitten mother comes to believe that he could even be a reincarnation of her lost son….

The Polina finds herself to be pregnant with a new child of her own….

New handling.

The drama skirts close to two cinema classics concerning demonic children: The Exorcist (1973) and The Omen (1976) and even seems to reference them in one or two scenes.

That said, as much as the blood-and-thunder elements are central to the tale, the film downplays them a bit. It does so through the use of anti-climax and avoidance of clichés, putting only enough pepper into the soup to give it the necessary tang. So the supernatural situation may be old hat, but the handling of it blows the cobwebs away.

A film for its season.
[kinoafisha.info]

The adventurous photography of Ovsenev (we are treated to some unusual camera angles) and the overall direction (we are confounded with a false ending) make for memorable stylish stuff.

Then an overaching ambient score (from Alexander Slyootskiy and Karim Nasser) ramps up the Halloween atmosphere as the action moves between the creepy nun’s mansion, the couple’s swish Moscow apartment and then their dacha in the forest.

It is Lyadova’s sustained performance as a woman haunted in every sense of the word that adds gravitas to the whole tale.

TVAR has something of Don’t Look Now (1973) about it and also, from the same period, makes a nod towards Solaris (1972) at one key juncture. TVAR, though, with its small innovations and misty twilight setting, is all its own. It offers horror for grown ups.

TRAILER FOR `TVAR`

Featured image: youtube.com.