The film is really very different from its predecessors.This is a diary written in a bright, imaginative, unique language, cipher invented by the author. Once, in the depth of ages, Leonardo da Vinci wrote his diary using languages known to mankind and his own encryption. The structure of the diary is clearly seen in the film. However, this is not ordinary, dry or memoir-nostalgic diary.
GraviDance is the philosophical poetry. To understand the principle of its construction can the image, persistently encountered by the viewer during the film. This image is already familiar to us – we return to where we started.
On an open book falls the shadow of the window grille. The book is opened somewhere in the middle, at random, and the wind flips through its pages either to the end, or to the beginning, revealing GraviDance in front of us.
It’s his last film. Kobrin died on 7 December 1999.
For me, cinema is an alternative to life. I’m more interested in making movies than living. For me, life.. it is.. tangible only when we make a movies. – Vladimir Kobrin
In his films, Kobrin elaborates a special, metaphoric style that is “a fully achieved work of imaginative filmmaking, in which special effects, pixilation, and reverse or speed-up motion abound, a philosophical avant-garde film, entirely unexpected in terms of its country of origin”.
“The cinema I’m engaged in can be called ‘phychedelic puppet action’, where the characters-both the live and the lifeless-behave according to the laws of a cosmic theater . . . To my mind, an artist is a person whose mission is to close the space between Earth and the Cosmos. Otherwise he can’t be called an artist. That is why I see my task as a film director to consist of wiping off the mirror in which man and mankind as a whole look, and to show that this world (this performance without God, that is, without the point where all our puppet threads come together) is senseless and deserves no sympathy or pity.” – Vladimir Kobrin
In the West Vladimir Kobrin is considered a father of Russian avant-garde scientific filmmaking. He was frequently invited to European film-schools with lectures (Cologne, Potsdam, Copenhagen, etc.) and in 1997 he received an invitation from Harvard University Film Achieve. Special retrospectives of his films were shown at Pesaro Festival in Italy and in Montreal in 1998.
Kobrin’s work was never officially published and did not come out in the original. The artistic heritage of Kobrin – one of the mysteries of modern cinema.
753MB | 25 min 11 s | 742×530 | mkv