yakutia and khabarovsk territory. the length of the bam is 4,300 kilometers, and more than a thousand of them are laid in areas of perpetual dry land and high seismicity. much has been filmed for obama, written from peta. this is what this day in history was like.

we will take on this case, it will be an honest detective story.

hello, ivan kudryavtsev is with you, and we are opening the eighth page of the diaries of the forty -sixth moscow international film festival. the end of the film journey is already close, but there is still something to see ahead. on thursday our route took us through mexico and india to russia. the main competition program featured miguel salgado's gritty crime thriller shame. in the russian premieres competition, a film shot in india, directed by roman mikhailov, with a self-explanatory title. to make films about love, in the section of world premieres and special events , the autobiographical film by vladimir gramatikova, look at me, which the author himself calls the anthem of maternal love. the film with the eloquent title shame by mexican director miguel salgada tells the story of an unwitting crime and a harsh, but inevitable punishment. the plot takes place in mexico city. young friends skip classes and go to tryouts for the baseball team, but their aspirations are not destined

to come true, on the way home, criminals take the guys hostage and force them to fight to the death, what awaits the young man who chooses to survive at any cost, will he be able to cope? with a feeling of guilt for what he has done, these are the questions the author asks the audience. according to the director, part of the plot is based on real events, which is why he was able to create such a lively and controversial statement on the topic family, attack and human cruelty. the director puts the story of growing up within a strict framework.

"look at me". the action takes place in the post-war years: in order to avoid arrest, nina, a mother of four children, sells all her property and leaves sverdlovsk for the capital. according to rumors, this is where the father of the family, who disappeared almost 2 years ago, should be located. the plot was based on the real story of the director’s family, and he wrote the image of the main character, whose omnipotent love helps to overcome difficulties, to his own mother. on she was embodied on screen by alexandra ursulyak. your intention means a lot, but no one can fully know what it will all lead to, but this faith in love, in something real, this intention to do

as much as possible, everything that is possible, depending on me, yes, or there at the moment from nina, at that moment, for me this is the most valuable thing a person is capable of and...

the group arrives in india to bring to life the idea of ​​a director who has long dreamed of using the clarite of the spiritual center of vaanase for his own creative purposes . the more time young people spend in this atmospheric place, the faster their life priorities, plans and goals change. now the film

becomes not play dramatizations, but life itself with its gifts and vicissitudes. we need to make films about love, this is a parable about a great feeling that can not only move forward. i’m just doing cinema now, studying it, exploring it, finding it as deeply as i can, as thinking allows, what will happen next, i don’t know, tell me how you ended up in india and started making two films there at once? i

i lived in india for a long time, i spent many years there, studied the language, culture, religion, mysticism , and india is a second home for me... home, i love russia very much, i love india very much, i perceive them as my own sisters, here in june, when we finished shooting macau, we realized that this is a certain level for us, these five films, we need to go to the next level, the next level, it, it is connected, maybe with a different culture, with a touch of another culture, with a different type of editing, different narrative, we began to develop two film, in fact, that is, the second film... was kept secret, we were working on the firebird laboratory, it was our kind of light laboratory, and partly cinematic ideological, that is, we tried to understand how light can sound, how it can be edited, not just without glue, but through

light spots, through flashes, and how to make light the protagonist, and why did you keep it a secret, the plot is like this, yes, everything is really mixed there, roma is filming, roma is the director, what kind of film is this? this is a film, we need to make a film about love, in fact, it turns out to be such a meta-cinema, even the moment when the director says that he was looking for an actor for the main role for a long time, if you saw the firebird, you know that we don’t have mark in the main role, yes, that is, he i was looking for an actor to play the main role of this particular film. this film is being made, that is , this is really such an underbelly trick, such a metanarrative. and roma in the film, and

you, are not the same person? no, this is not the same person, i don’t behave like he behaves on set, but like you behave filming, there’s a shot there that’s very similar to my behavior while filming in allahabad, where i’m wearing ecstasy with a red bandage, shimmering like that, that’s roughly my behavior on the set, yeah. you pay as an actor, i don’t pay anything, i have a producer, and well , there are some fees there, but they are formal, that is, these fees are incomparable with the fees of actors, there are just, let’s say, tips, if possible say, or well, young, all sorts of famous actors, no, of course, but i think, in general, cinema is not about fees, i think that in general the commercialization and capitalization of cinema is... what destroys cinema, in general, it destroys cinema when it becomes a profession that, well, in

general, brings money, cinema is like a spiritual practice , where we all realize our gigantic dream together, launch it into the future, a new generation, are in some kind of collective ecstasy, money is very secondary in this phenomenon, of course, this is an expensive process, but we rent ten times cheaper, than other productions, if soon you are... a scientist, i’ll ask you - about technology, which doesn’t bother me now, worries me, i don’t understand what will happen with its reign in our world , including what will happen in the movies, we’re talking about artificial intelligence, i don’t even know what it’s all about ok, have you ever answered this question for yourself, have you thought about it? i thought about this long before the artificial intelligence hype. about 15 years ago , about 10 years ago, i have entries in my

old zhezhe, of course, there will be a surge, this will happen, and maybe in 10-15 years there will be children to make a movie that will be superior to this modern hollywood production, just by filling in some simple data, yes, what they want to see, but another thing is that there will be a completely different assembly, it will not be the human soul in any case , never this. gaming spaces, that is, they do not touch the deep human, they can crawl to some levels, i still can’t believe now that they will experience love and fear, for example, in the documentary competition of the moscow international film festival the premiere of diana umnova's films took place, and they lived happily ever after, or why dinosaurs became extinct, a film of a journey through the fate of a girl from the russian outback, trying to answer the question: does her happiness depend on having a man nearby?

darina umanova managed to make a documentary about her classmate from the russian province and get with him to the moscow international film festival, the director's feature-length debut and they lived happily ever after, or why dinosaurs became extinct, a thoughtful story about the difficult fate of a graduate of the acting department: unsuccessful love, several divorces, difficult relationships with parents, a small child in the arms of loneliness. familiar to russian viewers not only from the plots of numerous tv series; stories similar to what happened to the main character often happen in everyday life, but it is not often that large documentaries are made about them. darina umanova's film brings a legal intonation to russian documentary filmmaking and immerses the viewer in the world of familiar experiences. 7 years of work on the film, the shots were arranged artistically, helping the director take a very personal intonation in conversation and thinking about what the little daughter’s question is. it’s easier to answer: the festival, why dad left or why dinosaurs became extinct.

section curator sergei mirashnichenko spoke with ivan kudryavtsev about the films of the documentary film competition and their viewers. sergei valentinovich, how do you like the audience at this , how do you like the audience, you always very closely monitor the mood of the viewer, how it changes, what is happening to the viewer of non-fiction films today? well, the viewer changes. to make it clear, after all, his upbringing gaming, uh, gaming works, it now forces the viewer. to perceive everything only the dynamics of the narrative, semantic things often go away, nuances, in feature films, ours there are already fewer such big acting scenes when a person has to give his all, he has to quickly shout something, run something, somewhere, somewhere to catch up with someone, and this

affects the audience in general, they need everything more dynamic, the pictures need... everything needs to be presented more dynamically, everything needs to be more dynamic, but the viewer goes, goes, i think that he now needs cinema is like a documentary, they look for something in a documentary that is not in art cinema, and i think that this is the peculiarity of people who are ready to think while watching, what kind of picture of the world does a competitive non-competitive program show us?

it’s unpleasant to be poor, and such people have become of interest to documentarians, because there are more of them, technology is growing, and less...

leg, your three films at this festival, which, if they win, a prize, in documentaries, in documentaries, yes , uh, you can definitely say, eu, i believe that there are equal the possibilities of several films, may, is so social, and there is a feeling there, and there is a very strong part when a person

turns from a cheerful woman into such a sad pendant, it is very strong, and there is an uberger, where is your home, because this is a problem global scale, migration, this is the life of a migrant, especially love and the reception there is very open, there is the love of the director with the migrant, it is a strong thing, it seems to me, it is brave , it is open, in this regard, anya can only be congratulated, she is brave . director, i think that we have e vodya, a very strong film from iran, a very strong, powerful just a film, and where it is used there are game elements and documentaries, i think it is such a masterpiece. on friday, the last day of the moscow international film festival,

you can once again see the australian-mexican documentary impostors, about two dreamers who find themselves far away. from his loved ones because of breaking the law, the postmodern drama by evgeny telegin, creatively refracting pushkin’s novel in verse, japanese classics horror, door, and in the evening we will find out the names of the winners of the forty-sixth moscow international film festival. for those who did not have time to fully embrace the busy miff program, on friday the festival venues will re-screen selected films from the competitive out-of-competition programs. at the illusion cinema you can see the impostors of roca de marquez. the docudrama tells the story of two mexicans who were deported from the united states to their homeland because of falsifying documents. dreams of reuniting with loved ones after 10 years separations are crumbling due to new migration policies. visitors to the poklonko cinema will be able to see the phantasmogorical story of viktor tikhomirov evgeny telegin. the director moved the action of pushkin's eugene onegin to the eighties and filled it with references to

russian folk tales, memories of his youth and meeting the musicians of the leningrad rock club. starring evgeny tkachuk. at the oktyabr film center , the wild nights program will repeat the 1988 japanese thriller the door. in an attempt to get rid of an intrusive advertising agent, the main character gets herself into even more trouble and becomes the victim of full-blown stalking. the author of the film is bemei takahasya, winner of many film festivals. tickets and a full schedule of all shows on the festival website. and in the evening the award ceremony will be held at the moscow musical theater. petersburg, this time the thunder

will collide with mysterious villains offering to play a dangerous game. finally, the lives of ordinary people. tikhan zhiznevsky, alexander maklakov, alexander seteykin and lyubov aksyonova will return to their roles. in the film will be released widely at the end of may. an excellent fighter, hacker, demolitionist, how to catch him? igor, in order to defeat the ghost, you must fight it using its own methods. we are turning over the eighth, penultimate page of the diaries of the forty-sixth moscow international film festival. tomorrow is our journey around... see you at the cinema.

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let's see what happens next, stand there, who are they, the new guys, this is a passenger with me, a reporter, a director, i came for my brother, i battalion commander, call sign trigger, everyone has call signs, i’m adam, why adam and not adam, i’m a chechen, an artist, a white rose, you can, i can, you’ll sing somehow, friends, i’m alive, we don’t need names, we don’t care about her, or what, no matter,

russia, russia, russia, russia, russia, russia, russia, russia, russia, russia,

russia, russia. the russian army successfully repulsed all attacks in su, the groupings occupied the center, south and west. a train of western weapons and equipment in the udochny area, as well as personnel and equipment of the sixty-seventh brigade of the ukrainian armed forces at the station loading drone control point in the balakley area. in addition, 24 armored vehicles, 17 howitzers and other guns, mostly american, were destroyed. air defense forces shot down 190.