is connected with the world economy, and the world economy is almost the same as the american one, because the dollar dominates everything everywhere, in the main chinese banks, on the boards of directors, there are always american bankers present, all transactions through electronic systems are tracked and reviewed, everyone goes under the house, i mean all the us counterparties are entering under the pre-docles sword of sanctions, the so-called secondary sanctions. and china is no exception, but

i say again, you know, it’s like bad weather for, let’s say, those who work in agriculture, well, yes, it’s raining, but you still need to sow and plow, so we’ll do it, the same alexey logovinovich overchuk is once again in china, including, among other things, to find answers to these questions , i recently spoke in moscow with a high-ranking chinese diplomat, i... asked him about american pressure and how successful it is, and he did not deny that in beijing that they have to reckon with american pressure, and he spoke precisely about how the united states uses the dollar for political pressure, and said that american pressure on specific banks, especially medium-sized ones, which were previously... somehow not affected by sanctions,

and now washington is starting to focus on them, has greatly increased, but he told me one very interesting thing, which i would like you to comment on, he said, well, you know, in the short term, we cannot ignore this, and added, as you just said, moscow understands this, but he said, on the other hand, we also understand that ...

creating all sorts of difficulties for china, complicating its development, well, in this case, you rightly said, we are talking about transport communications, because china, i don’t know how many. but, well, probably 40 percent, i’m talking about cargo turnover, passes through these same waters of the malaga strait, the southern seas, on the way further, further to europe, this is all really very serious, and it’s hundreds of billions, or maybe even trillions of dollars a year, the stakes are very high, that’s what i want to say, in this regard there arises the question is, what to do, china? measures

his own potential, his ability to react, maybe if he considered his potential more significant and the muscles, as they say, for reaction more pumped up, he would react differently, but in the verbal expressions of the chinese representatives , i also heard about this, openly, not just in private conversations to which you refer, in general in public speeches, well, for example, until recently, the chinese representative to the european commission, he, responding to the relevant questions in one of his interviews, he directly said that when addressing europeans, you have your own idea of ​​russia, and we have our own idea. you have your own interests related to russia, and we have our own interests, and we don’t understand why someone should dictate to us how to evaluate russia, and even more so, how to behave with it from the point of view of cooperation, this it’s still just a verbal formula,

but you know, some indian representatives have also expressed something similar, not to mention, say, businessmen, well, representatives of the business world, in arab countries, in turkey for example, a certain critical mass of dissatisfaction with such an american dictatorship is brewing, especially since you understand how, because the americans are very straightforward in their policy, they do not promise anything, they promise, you will be on the right side of history and you will be in good company , supposedly you will enjoy some... speculative and mythical advantages of being on this very right side of history, but for this you must give up the very specific benefits that it promises and turns out for you cooperation with russia , that’s how the question stands, so yes, at every stage china

has to, we are talking about china now, and not in other countries, we have to choose, we have to balance, we have to, like us, look for workarounds, well such work. forces, in china there is a political mechanism that unites what is called the elite and the political and any leadership, this is a party mechanism, the communist party of china, which has 97 million members, this is , first of all, a management mechanism that

in fact, he builds policy in all areas in china, so violation of party discipline, in addition to state discipline , is... an interesting conversation and, of course, a lot of good news regarding russian-chinese relations, and also, of course, as you said, when you have dealing with china, you must always be patient, quite rightly,

it was a big one, we'll see you on the air next week. chasing the men into tears, he suffered a bullet in his stomach, fell to the ground like a faithful dog, and next to him grew a viburnum bush, such a red viburnum, this is what vladimir semyonovich vysotsky wrote in a poem.

what else to write book reviews on, they don’t read, so let’s watch the film, and the children watch kalina red, naturally, this is a long-standing practice, and i’ve been giving colin red for a long time, it’s clear that in recent years this has been for them... an absolute revelation, but here several years ago i really remembered one review, the girl was an excellent student, winner of the all-russian olympiads, such a good review, but at the end she wrote: i generally grew up outside of soviet cinema, and so i watch, i try to empathize, this is the tragic ending, i want to empathize with the hero, but i can’t , by the way, let’s watch the final episode, my dear, my dear, lyuba, lyuba, lyuba, i’m eager to drink, maybe a raft here, and now,

yegorushka, now dear, no die , don’t die , i have this: is it possible to do something , maybe some conversations before watching

the film, to help a person who today 20 1 2 3 is super nervous when watching kalina red, well, it seems to me that it’s possible, of course, for this you just need to be serious talk about the film about what happens to this hero, but i, actually, we... turns 50 years old, yes, this year, but i discovered the hero for myself and what you can really empathize with, because this is not a midlife crisis , when the hero tells me i’m 40 years old, i can’t say...

and he wants to become himself, alone with

himself, and the team is presented a little bit like a gang of lip slaps, and what he says, almost at the end, i don’t owe you anything , shouldn’t, uh-huh, he’s telling this to people who, in general, are from the environment in which he grew up, in which he seemed to have acquired a certain social status, albeit negative, but nevertheless. it is better perceived when you yourself gain some experience, in general, you begin

to think, but still, if the first part of this film is just pubic and understandable on purpose, perhaps pubic, then the subtler it all becomes, the harder it is for me it seems that a young person can perceive this, but help, i can agree with alvam aratovich here, when you explain, perhaps... a little more than is necessary with an older viewer, yes you explain what it’s about, somehow, let ’s stop here about what it’s about, because - look what a thing, somewhere on the internet i found what it’s about... this film. repeat criminal yegor prokudin , nicknamed gorya, who has seven walks, is trying to give up his past, start living in the village, in the house of lyuba, whom he meets by correspondence, but his criminal past in the person of his former accomplice , gubashlyop, will not let him go. yesterday's colleagues find yegor and kill him. prokudin dies in lyuba’s arms, and her brother, driver pyotr, hits gangster volga into the river. the end of the film.

that's right and says absolutely nothing about the film. when i read this, i remembered two things. departs from the standard and collectivism in general with soviet cinema, of course, it dominated in general in the sixties, after all, shukshin is a non-standard sixties, this is the main question of the sixties, how to live, which was posed in the film i am 20 years old, aka ilyech marlena’s outpost khutsiev, in the sixty- third year, khutsiev and shpalikov, of course,

we need to speak more correctly, if you remember, there is a fundamental conversation with his father who died in the war, such a metaphorical scene and... the hero asked, well, what, what should i do, what should i do? the father said a simple thing: to live, hmm, then the hero asked the second question, how to live? this question turned out to be very difficult to answer, in general, the sixties did not really answer this question, because they lived, they devoted themselves to life, this is the beauty of this generation, but shukshin began to gradually move away from this, because. ..

about himself, what happens to him, and there is key phrase, not connected with chichchikov, with the hero himself, he lived half his life and so , the second half of his life will pass, and nothing, shukshin’s wonderful word will not happen, uh-huh, that’s what, this is pain, this is misunderstanding, this is the desire to understand, it was precisely the shukshen that was moving, and not an attempt to establish certain soviet dogmas...

a soviet person in the cinema could not be unhappy, isn’t this the sovietness of this film, he is deeply unhappy, and this is also very, nowhere deeper, in to me, because it’s just soviet not soviet, he says: that he does not achieve, soviet cinema was still always guided by the fact that the hero must come to some result, albeit a tragedy, but an optimistic one, otherwise it should not be, but he came. to tragedy in the full sense of the word, because he did not find the way to himself, why does he die in the end, he has many options, and if you remember at the beginning...

another territory is needed in order to even from you can’t get away with yourself, the fact is that he can’t figure it out with himself, he can’t figure it out with himself, because he’s fixated on life, that’s the problem, he still internally remains a member of the sixties, the city of the sun is waiting for us, every ingush clan should be. their own ancestral fortress, the tower complex of irzi, arose back in the 14th century, how do you have fun, but the most important entertainment is, of course, going to relatives, friends,

visiting, and of course eating deliciously, dessert is considered traditional in ingushetia, this fingle with pumpkin, the dough is rolled out thinly and filled with sweet pumpkin, well, now let’s get to the very wild garlic pride of this region, i will have it in two versions, i am responsible for the lamb, you, i am responsible for the fish , let’s begin, era, cooks on wheels, on sunday at the first, we hit two left-handers, neither one nor the other fits our description, this is not the easiest time in your life, let ’s meet at 2 o’clock tomorrow, have lunch and decide everything, okay , okay, see you tomorrow, well , it will be better this way, you recognize someone, the car is parked somewhere on the outskirts, in some courtyard in a gateway. our only lead to bundy, no help needed, like success, you you can make an identikit, but you will make it and we will look, calm, calm, police

, calm, undercover taxi, premiere, from monday on the first, we gathered our thoughts about kalin krasnaya, vasily makarovich shukshin, lev maratovich karakhan, sergei vladimirovich vereikin, me vladimir ligoit, we continue. someone once told me that a film artist here could film something similar? but for me this movie, i’ll probably agree that it’s not soviet, because it’s broader than the label of the country of production or that, since our master clint was remembered, requires an explanation, eastwood has one of the main themes of his work - this is also a person who follows his line, let’s say, yes, he does the right thing, he doesn’t look back at what’s around him, he must go across , american. hero, yes, in this sense , if we take the plot of, say, this picture and not only the plot twists, but also the aesthetics in many ways, in my opinion, this is absolutely the aesthetics of the american western, that is, the hero for

a reason unknown to us, this, by the way, it’s also a problem, so i’m reviewing it a lot, why? he is suddenly tormented so much, well, that is, he is a repeat offender, yes, the age crisis is doubtful, the hero comes out of prison, understands that he cannot live like this, there is money, there is money, yes, he burns his forehead, he tries first to settle in the environment in which . i’m used to it, it doesn’t work out, and then this yearning of the soul leads to repentance, to death, if we remember the film grantorino, for example, yes, i also wanted to say grantorino, when the hero in the end, yes, in the end allows himself to be killed, yes, that means and thus, in fact, in this case, the hero of shakshana finds his place among the birches your loved ones, in my opinion, this is absolutely not a regional story, that is, you don’t like it, no, can they find a place? he , having met with birch trees, with his daughters-in-law, he says: i’ll be there, he actually greets them, he says goodbye to them, this is not his find, this is not his path, not his

opportunity to get out of the situation in which he finds himself , as for why he came out, well , he was a repeat offender, he came out of prison, what’s wrong, he wants to become a farmer, let him be, but this guy has nothing to do with repeat offenders at all the hero doesn’t have, this is not a social hero , this is... shukshin in general shukshin didn’t succeed for a very long time, but with the exception of such a guy lives, of course, this is just a wonderful movie based on such a revelation of innocence made, but he didn’t succeed, because that he himself was not in the frame, and it’s a miracle that kuravlyov went to film in 17 moments of spring to play, and kuravlyov had to play, and there was a bench in the stoves, and shokshin, throwing up his hands , felt that he had been betrayed. began to play himself and he entered the frame as a hero with his problems, prokudin’s problems are shukshin’s problems, and not some social hero,

i agree here. we are more likely talking about the fact that shukshin is more than an actor, a director or, no, that’s not the point, that’s what the movie is about, that, but what about the holiday? a holiday, like, which, does it exist, yes, because there at the end of the day the question sounds, does this holiday exist? he is tormented by this question all the time, because he does not understand what a holiday is, after all, he follows the path of trial and error, mistakes, yes, and complete mistakes, he doesn’t make a single right one doesn’t make decisions, except maybe one right one... the decision to die because he’s exhausted, because he can’t move on, he doesn’t know how, that ’s his worst problem, if you remember, alone from his last conversations , i forgot what the hero’s name was, but he just appears for a split second near the boat, they stand and talk, and after what is called fate came for him, procured in the person of one of these bandits, he says : maybe it would have been better not to have been born, why do we live,

well... he didn’t understand this, this is what all the horror and tragedy about kudin is, and this is what they should have missed in soviet cinema, by the way, in principle yes, in principle yes, but since it seemed that, well, why not , a war-civilist wants to become good, it’s as if what is said in that annotation that you read has slightly clouded the true meaning of this picture, which makes it, the point is not that it is anti-soviet or not anti-soviet, it is not at all question. for shukshin, that this picture is about a person, who wants to understand himself, himself, finds it difficult to do this, based only on the realities of life, he achieves a lot, but he does not really find true love with anyone, because incredible things happen with love, if someone carefully looked at the picture, she when he first meets her, she dresses up in such a dining room. semi-urban

urban settlement, yes, some kind, yes, she has an unknown kromskova, which is still hanging on the wall, but you know the picture perfectly well, i was preparing, but where is it hanging on the wall, just when he trying to organize his own fake holiday, yes, a race in width, as he calls it, or a neat bordaliera, he turns out to be an absolute stranger at this holiday,

and razin is not a russian robber, i came to give you inner freedom, he is smarter than many, as shukshin said , he understands more about what is happening around him, that’s why he was important, this razin is not intellectual naturally, but this is razin who understands something about himself, he was going to this razin, and prokudin is an intermediate step, this is some kind of step to this razin, to which he, alas, did not reach, yes. a holiday about a holiday, or maybe about the soviet, but i’ll still say about the soviet, in my opinion, this is precisely in this sense a soviet film, because here, if we remember, especially the seventies, yes, this is a set of some such symbols, every house should have a kremskaya, yes, uh, if we’re talking about a civilian one, then this is kolchak, and so on, that’s all we remember about the civil war at the time of the seventies, in one room

of the restaurant they read political information.

he couldn't become himself because this team took its toll, and this, by the way, too , and how it took it, you remember, there one of his girlfriends shouts, why, what is not necessary. that’s not necessary, she squeaks, uh-huh, to which the gubasheb says: that’s the way it should be, that’s the way it should be, this is a person who knows the social world, who knows how to behave in it, and he takes it away, no one, he doesn’t sent, he came himself, the leader, came and killed, this is very important, this is very important, because i read a lot where thieves and so on wrote to shukshin, the film is cool, but the ending is absolutely... this it doesn’t happen that if he wants to leave, they were so, so to speak, under the impression, well, in life, you want to leave, yes, no one will kill you, but he, this is exactly, this is a parable level, yes, this is from there isn’t any, that’s the whole point, it ’s not about a criminal hero, the parabola

was built up much more significant and interesting than the plot basis itself, well , because otherwise it would have been a grotesque ending, like in the outskirts of lutsk, when they are joyfully on tractors with... after the burning of moscow, which means no, there are no direct solutions there at all, and this the film in a sense, especially when they watched it, i honestly had the good fortune to be at the premiere of this film at the cinema house, and it was a shock, because people stood up, shukshin was sitting in the back on the top row, he was crying, because that such incredible applause rang out, and people stood and applauded, he simply did not expect such a reaction, indeed, and he only had a few months to live. and - of course, it made an incredible impression on her, but people didn’t decipher what impressed them right away, it was so serious at that time moment, if you look at the reviews of those years, very serious, interesting critics wrote,

what a character, what a hero, an amazing ending, what is this about, no one wrote about it, because it was so ahead of its time, now we are asking ourselves these questions, when really half a life, someone more. has already walked away and what, one wonders, is this question, is there a holiday, yes, but a holiday, a holiday, he, the question is how he understands it, a holiday, he understands a holiday inside life, he does not understand a holiday as a holiday internal, well, yes, this is external, something, and if you remember the famous episode after he came to his mother, kudelihi, when he did not meet with her, but heard her talking to lyuba, with... his correspondence by correspondence, yes, he comes out and he, in principle, this is a prayer, this is a prayer of repentance, this is not lord, my god, but lord, he says, forgive me, yes, this is in what other soviet

movie, the hero says: lord, forgive me, yes, no, this is a prayer of repentance, and there is a church in the background, a church, this is not in a field, it’s a difficult topic for shukshin, it’s not in the field, but it’s all comprehended, it’s all done. it is clear that it makes sense, but shukshin, what he then says, he, he cannot stop at this point, and he says: give me time, lyuba, give me time, he is not yet really ready to speak to yourself in the language of the spirit, in the language of inner existence, look, because excuse me, a race in width, a race in width, not in height. and not in depth, about, about, let's, by the way, look at the race, people before debauchery gathered, oh, my god, my

god, just girls with peaches, dear man, you still explain to us what we... are celebrating, well , uncles, aunts, let's start eating, the question is in the film story, as i understand it, director's script, yes, it's just what we called it in the soviet version, yes, but the film story was such a genre, even in the film story, he has a whole speech here, he says that we are people here, let's love each other, because i i love you, otherwise we live like spiders in a jar. but the russian man is broad it shouldn’t be, well, this is our fyodor mikhailovich , who, despite my deepest love for shukshin, is very far from vasil makarich, that ’s what it is, the fact is that he removes it from the movie, it was cut out, by the way, this is one from

the references, seriously, that is, it was, but it’s not even important, i’ll tell you why, because he himself, in some sense, is more proficient in relationships with himself than mitya karamazov, i’ll take myself.. so careless - an opportunity to say, yes, because, yes, let me, you not allow it, and yet, because he, he doesn’t need to be narrowed, he narrowed himself. you see, he, he himself came to the point that the fact that he organized a holiday is tinsel, he’s the one who says that it’s tinsel, he understands that this is not what it is, and the only thing he can rely on is such a pantheistic a motive associated with birch trees, which he also went to for a long time, because this also happens three times, this is a very thoughtful dramaturgy, first he goes out, tries to talk to them, but cannot, because the crows are bothering him. if you remember, the second since lyuba bothers him with her conversations

about her first husband, uh, uh, he says: what vasilisa is growing up, it’s time to give birth, then there is such a powerful erotic motive in this, he tries to connect with it, but that’s all, all life, but to find inner life in its everyday manifestations, in his, in her life manifestations, but this is not an inner life, which he cannot get to the bottom of, we... and the screen ones, yes, like us, if we remember the fate

of this heroine, who played, well, didn’t play, actually talked about herself, yes, you mean mom, yes , this is a document, by the way, an amazing thing, yes, how organic it looks with the documentary sound, with this, that is, for me in this sense it is just the biblical story of the prodigal son, because she perceived shukshan, as you know, as a relative, she was extremely worried when he died, in principle she called him son, and for her the real... me late gaidai, but in general, it’s more likely

filmed in his vein, yes, here this is such a deliberate smiling thief's raspberry, here's the bardelier mentioned again deliberate, and even if you remember the episode when, after raspberries, the police are chasing them and he is hiding on the embankment, these police officers are like cartoons, shukshin himself suddenly does such steps with his feet, well, it’s more like the hero ivan vasilyevich changes his profession, it will be a step back, here if we remember this, from what does he come to himself? that is, there is this robber there , he’s somehow not very real, well, for me this is not a story at all - well, this is a gospel story, but it seems to me that in any good movie you can find a gospel story history, because there are archetypes, it is impossible to argue, so for me there are stories here , yes there are gospel stories, but here there is a very shukshin story about how a person never found himself, never got to himself, this is a race in breadth no... how to say, then in razin, even in

the novel that he wrote, width turns into breadth, this is a little different , but still this is the concept of real life, the specifics of life, but to feel not something that cannot be touched spiritual hands he couldn’t do matter, he tried, he couldn’t, he’s a man in search, there are no answers there either, like those same sixty. the hero dies because he is faced with

such vital material from which it is impossible not to die, but he dies in order to live, and he lets go of this bird, which flies away, this, well, maybe too much, even for torkovsky, such a direct symbol, yes, of the holy spirit, but he says, almost inaudibly, several times, when i looked at the picture for the first time, i didn’t notice these words at all, he says, that’s it there will be... he opens up a new life, what arseny torkovsky in his poem, which sounds in this film, life, life, just says that there is still life, life, not only life, but.. shukshinsky’s hero ran into life, he didn’t feel this life, life, didn’t discover it for himself, this is his tragedy, because, well, let’s say, like this, yes, here is the classic picture of gadar on his last breath, and there is a famous dialogue with patricia, who is led by the hero puacar, played by belmando, she asks him, and

what do you choose, sadness or death ? an existential choice is impossible here , because for him death is a compromise, he is a losing hero, that’s the thing, he was maximalist, and there is an amazing episode when he rides on a hydrofoil, no, he says, listen, maybe perhaps we’ll drag him away, thought, yes, drag him away? hydrofoil, he he a broad man, but he cannot accommodate this breadth, cannot fit this breadth into some kind of internal message, into a spiritual movement, he nevertheless tries to do this, but at the same time these are his words of repentance, yes, when god forgives, right there when he says: give me time, it sounds kind of crazy, he

says: at least let my hair grow back, but what does your hair have to do with it, well, it’s like a person who says: yes, i want to go to church, but. .. the fact is that the story with my student continued, she was expelled, no, no, no, no, she, after 2 years suddenly the same student writes to me, says, remember, here we are with a film...

and then we’ll see, and since we are talking about students, i would recommend pedagogical cinema, because the mirror is also german, i i think they will look at it one way or another, because these are basic paintings that, one way or another , people touch them sooner or later. and there is a wonderful picture - ilya verbach, other people's letters about a teacher

who cannot understand the character of her student. and gives in to him because she can’t explain why you can’t read other people’s letters, because, and this picture is good precisely for this reason, because it can’t be explained, that’s the whole point, there is what should be inside, what should be like an internal law inside us, this must be, because it cannot be explained, and soviet reality, unfortunately, was closed to these internal laws that cannot be explained, they simply must be, and there the old teacher, amazingly, says, why not, because everything is impossible. thank you, dear friends, lev.