The film is based on the thesis of astrophysicist Nikolai Kozyrev on the materiality of time. The film creates an aesthetic model of the interaction between the present, the past and the future.
Film draws a bleak picture of the mankind’s future, in which slender rows of depersonalized bodies march in the landings of the Tower of Babel under command of Imperial eagle.
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.
214MB | 16 min 21 s | 757×568 | mkv