Russia, 2017, one hundred years after the Revolution. Through interlocking stories, with the common denominator of a building erected as a symbol of the wreckage, Aleksei German Jr. puts his signature in a film as demanding as it is fascinating. Displaying a majestic visual power (justly awarded at the last Berlinale), the camera slides between the material and cultural ruins of Russia/the USSR/the world, scrutinized by means of an unbelieving perspective and an entirely free narrative structure that can make one think of the happy heterodoxy that bonds such filmmakers as Berlanga, Angelopoulos, Buñuel or Iosseliani. As in many films by these masters, German goes for a skeptical portrait, not devoid of humor, of a world from which it would be senseless to leave anything (and perhaps it was always like this), where things no longer seem important, and where present, past, fiction and reality coexist in one same plane, inextricable, while they continuously feed our uncertainty towards the future. ADC
D, G: Aleksei German Jr.
F: Yevgueni Privin, Sergei Mijal’chuk
E: Sergei Ivanov
DA: Elena Okopnaia
S: Ivan Gusakov
M: Andrew Surotdinov
P: Sergei Antonov, Egor Olesov, Dariusz Jablonski
PE: Artem Vasilyev, Andrei Saveliev, Rushan Nasibulin
CP: Metrafilms, Linked Films
Louis Franck, Merab Ninidze, Chulpan Khamatova, Anastasia Melnikova, Ramil Salahutdinov
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He was born in Moscow, Russia, in 1976. He studied at the Gerasimov Intitute of Cinematography. The Last Train (2003), his first feature, was programmed by the Venice Film Festival. Later, he returned to that Festival with Paper Soldier (2008) and won the Best Director Silver Lion.