Yuris Day
One of the best kept secrets in cinema today is the ascendancy of Russia as a film producing country. Russian films do not win prizes at the major film festivals and they cater largely to a domestic market but they possess the only virtues that cinema was once judged by – they are complex and ambiguous, as the most celebrated films today are not. More importantly, Russia keeps producing unknown talents, who make the most touted cinema in the world – from Lars von Trier to Michael Haneke – look ordinary. Filmmakers like Aleksei Balabanov (Cargo 200, Morphine) and Pavel Lungin (Taxi Blues, The Wedding) have a filmmaking assurance that puts most contemporary filmmakers to shame and Serebrennikov joins their ranks with Yuri’s Day (Yuriev Den). Yuri’s Day (2008) was screened at Iffi Goa in 2009 to a near empty auditorium but it is an audacious film, ambiguous and deeply intriguing.
One of the best kept secrets in cinema today is the ascendancy of Russia as a film producing country. Russian films do not win prizes at the major film festivals and they cater largely to a domestic market but they possess the only virtues that cinema was once judged by – they are complex and ambiguous, as the most celebrated films today are not. More importantly, Russia keeps producing unknown talents, who make the most touted cinema in the world – from Lars von Trier to Michael Haneke – look ordinary. Filmmakers like Aleksei Balabanov (Cargo 200, Morphine) and Pavel Lungin (Taxi Blues, The Wedding) have a filmmaking assurance that puts most contemporary filmmakers to shame and Serebrennikov joins their ranks with Yuri’s Day (Yuriev Den). Yuri’s Day (2008) was screened at Iffi Goa in 2009 to a near empty auditorium but it is an audacious film, ambiguous and deeply intriguing.
- 1/23/2011
- by MK Raghvendra
- DearCinema.com
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