Irina Sokolova

  • Konstantin Lopushanskiy – Konets veka AKA The Turn of the Century [Director’s Cut] (2001)

    2001-2010ArthouseFantasyKonstantin LopushanskiyRussia

    Konets Veka is another Konstantin Lopushansky fantasy parable with the elements of a mystic thriller. The story takes place in Moscow in the autumn of 1993, during a strike; the army is assaulting the parliament, and Marina Nikolayevna and her daughter Olga have found themselves on opposite sides of the conflict. Six years later, Olga feels sorry for her mother and decides to invite her to Germany to have her treated at a mental hospital by a perverted doctor who promises to cure her. Olga’s mother, however, cannot shake the memory of her husband, who died in 1993 during the strike in Moscow.Read More »

  • Konstantin Lopushanskiy – Konets Veka AKA The Turn of the Century [Director’s Cut] (2001)

    2001-2010ArthouseKonstantin LopushanskiyRussiaSci-Fi

    Konets Veka is another Konstantin Lopushansky fantasy parable with the elements of a mystic thriller. The story takes place in Moscow in the autumn of 1993, during a strike; the army is assaulting the parliament, and Marina Nikolayevna and her daughter Olga have found themselves on opposite sides of the conflict. Six years later, Olga feels sorry for her mother and decides to invite her to Germany to have her treated at a mental hospital by a perverted doctor who promises to cure her. Olga’s mother, however, cannot shake the memory of her husband, who died in 1993 during the strike in Moscow.Read More »

  • Aleksandr Sokurov – Dni Zatmenija AKA The Days Of Eclipse (1988)

    1981-1990Aleksandr SokurovPhilosophyRussiaSci-Fi

    Quote:
    The bridge film between his (Sokurov’s) first decade’s essays into historicized metafilm and the subsequent, fame-making fata morganas is Days of the Eclipse(1988), a patience-testing post-apocalyptic dawdle (based on a novel by the Strugatsky brothers) that plays more like aimless third-world doc than science fiction. Concerning a young doctor stuck in the middle of a rocky wasteland (actually, Turkmenistan, though it could easily pass for any post-colonial hunk of Africa), Daysis maddeningly oblique, visually erratic, and utterly disconnective. Angels, earthquakes, talking corpses, Stalinist iconography, and visual disjunctions may figure in, but for the most part Sokurov designed the film as an elusive tissue of non-happenings and mysterious nexuses, all of it sucking the dusty air of Soviet-satellite poverty.Read More »

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