there are a lot of large, important, necessary, cinematic works, but for now we will take a short break, i remind you, our telegram channel, say don’t be silent, subscribe, ask us questions and suggest new interesting guests, we are in touch, the program “don’t be silent, and” is on air again today our guest is the chairman of the belarusian union of cinematographers, evgeny arrendarevich evgenia, well, we settled on the fact that the theme of war will be present in cinema for a long time, there will be many new works, reveal the secret, you are now. moment, what projects are you working on in terms of historical memory, in terms of depicting the genocide of the belarusian people during the great patriotic war? well, yes, indeed we are now working on a very large project. moreover, the project

is international, it is joint, this is a project based on the work of our classic of belarusian literature, the people's writer of the republic of belarus, our deeply respected nikolai ivanovich chergenets, this is a project called operation blood, this is a very complex film, because if you look at it like that, then this is a film about our for children, unfortunately, today no one, no one has really spoken out about the concentration camps. where the nazi invaders pumped blood out of children, and this is a very complex topic, why? because this is precisely working with children, yes, that is, it is very important here to show it very correctly and not to come out, you know, directly speculating about children, here you go, here is the child, here is the blood, everything is clear, and you know, this work is very complex and difficult to understand, but nevertheless it is very necessary, here we go let’s think about this topic, shall we?

these monstrous moments of the war that were described in the novel of our classic, why? because it was the children who were the donors, as they were called, the containers, yeah, from which the blood was pumped out without a trace, and the value of this project, that’s the point, that the child, well, that’s what to take from him, take the blood, drop by drop and give it to the one...

who came to our land to kill, who came to carry out any criminal order, to a soldier of the enemy army and it is our duty to preserve it in memory. this is a very important story, and most importantly, that if monuments are now being demolished, then we will erect them, this is our project - it will essentially be a monument embodied by means of cinematography, and the genocide of our people, that

’s the most important thing, that we won then, we can still defend the bright memory of those heroes today , which cost millions of lives and... that’s why it’s very important to show such films and convey that there is now an investigation by our prosecutor general’s office, this is very important and valuable, and we are learning many more facts, from which i directly i’ll tell you, it makes my soul feel very cold.

namely documentaries, yes, that is, that tell exactly the path of the investigation there by the prosecutor general's office and so on, that is , these are films that declare what happened, but we are discovering a somewhat broader topic for ourselves, why? because we

show the ideas of the fascists that they laid down through children, because when they came, they carried out inhumane experiments, what kind of experiments, is everything clear? they infected with diseases, did physical injuries, tested there for the possibility of various kinds of influences there and so on, but the fascists, they still worked very seriously on the self-awareness of people, they laid down the deep ones, that is, they already understood, and these are reliable facts, that when the war was still going on, people in germany, they already understood that well, that’s it, they lost, they were already discussing something that says:

we treat this very highly, so that the soulless blind machine of war never returns to our territory, we probably paid a huge price in the world so that we now lived. we plan to enter in the month of august we will be filming the preparatory period in winter, because well, according to the script, in general, they were in winter, and that is , we are probably planning in chronological order, since next year is an anniversary year , after all.

development. if we now look at how films are produced here, a director comes, launches a movie, and then there’s nothing else to go on . because after all, it’s a business model that manages to deliver it and then leaves. and it turns out, well, he’s not to blame for anything, right? a new leader comes and says: i got the inheritance. i say, i don’t know how they decided there, and he ’s not to blame for anything either, it turns out to be some kind of vicious circle here,

no one is to blame for anything, but the matter stands, and the movie seems to be why we are now we want, that’s why i tell everyone that we will really lend our active shoulder so that the field of belarusian cinema can finally begin to sprout, and the most important thing is that there will be a financial result, so that not only will the audience see it, but indeed, but at a loss - then why work, especially since this is a business model of development, the state allocates huge funds for film production, well, we need to reciprocate, in my opinion, and we want to help our native ministry of culture, which is really a republican governing body, a regulator of all culture in the country as a whole, but the cinematography department is three people there, of course, they cannot cope with the entire industry, so we will be reliable partners and comrades-in-arms in this common good cause, in what way will this be expressed:

a mistake, we really must create cinema that will be in demand, it pays off, we have all the ingredients for

success, we have them. evgeniya, well, you said that a project is being launched, yes, a film project, at this moment there is one director there, well, relatively speaking, at the national film studio, yes, we understood what you were talking about, then the director leaves, another one comes , he inherits this, well, let’s say, long-term construction, let’s call it that, but in the movies, but why are there such long-term constructions then? goes live, unlike us, when you don’t understand what’s running when is launched, why it is launched, and for whom

it is launched, yes, of course, there are films for social and creative orders, of course we understand all this, this is 70% of the budget funds that are allocated for this production, the remaining 30, that too , this is a very important story, that’s what i ’m talking about, so we also want to create a structure that is not weak in responsibility for this and so that... professionals in the media business, the media environment, they really take an active part in the formation, yes, relevant topics, because, for example, today we came up with the idea of ​​​​making this movie, but in a year it may not be necessary. and - after all , this is how cinema happens, we must look a year, two, three, four ahead, this is very important, and - when, for example, films that were released before the coronavirus, the coronavirus turned out to be irrelevant, on the contrary, uh-huh , people, when they were sitting at home in certain suggested circumstances, they watched a movie, after that, when they wanted to go outside, they were no longer interested.