first of all, the fixed part of the pension is growing, that is, this is a fixed network there with a half thousand and 7,77,000 twice. yes, well, almost 15 formula for calculating pensions, what did everyone understand? yes, here is your insurance pension. this is your guaranteed guaranteed fixed part of these here is your salary. yes plus this quantity. uh, balls the cost of uh a pension ball. yes, this is the full amount of the insurance pension. well, that is, this insurance pension includes what you earn and the guaranteed part is a fixed part, which is paid to absolutely all pensioners. actually. the most important thesis. yes, he is always the only one. eh, salvation, drowning people are the work of the drowning people themselves, that is, you need to think about yourself , you know how, again, resorting to the great people, hope for water, and you yourself are

not bad for state action, but funded pension. the sooner the better the question. you know how rubric. and how they have it, here. uh, i'd like to talk to them over there in the west. yes, there in america europe understands that everything is very different. well, let's say there are some, uh, examples in the top 10 economies of the world, where is the state there? well, i don’t know, there are a lot of old men in japan, for example. yes, in china. how does the state take care of it, who does it act as? what are the percentages there? yes, we will not talk about it for a long time. the fact is that their pension, as a rule, consists of at least three sources. the first source of the state is 30% yes, 30 40. yes, yes 20%, at least in their pensions or there 15-20 is corporate pension programs, about which we have already talked a little bit today, when pensions are provided not only at the expense of the state, but also at the expense of participation in work. yes, we have enough hearing. and it is widely applicable, and

medicine yes, health insurance, and here you should pay. i think we hope that we live like this when the company will offer and the company. in the west it is very, well, in the west it is a social standard, they work very well. uh, union voluntary investment. i counted correctly percent, at least from their pension, yes, it turns out we are back to square one again , that pension is, and not scary. this is b. not e without these words to survive there to survive and so on. this is actually our future, and in order for this future to be happy , we need to think about it now with the first salary. i would say, yes, on this positive note, we will, uh, end. thank you very much. thank you yuliya thank you lyudmila thank you for very constructive meaningful conversations. thank you thank you

hello my name is natalya ryabchikova film historian and today we have a podcast called giant 125, it is dedicated to the 125th anniversary of the birth of the wonderful soviet world director and teacher theorist sergei mikhailovich einstein my name is artyom sopin. hey, i'm a filmmaker. and also welcome to the engine 125 podcast, we'll start the conversation with who eisenstein is. why are we celebrating it all of a sudden? well, not quite round, yes, then all the same, yes, why is he so important to us, why is he important for the history of cinema, but for this we need to say, in principle, about the moment he appeared about, and where did he come from? and actually, what he did at that

moment, when he came to the cinema. the only thing is that ein was born at the very end of the 19th century, when cinema was just beginning, he was one of those who, in childhood , first saw both films and meliès. examples for him were the discovery not only of the films themselves, but also of some new kind of entertainment, not even quite art yet, of course, eisenstein was not going to become a filmmaker as a child. yes, there was no such profession in his head, ah, but he was born into a rather prosperous family in the city of riga. his father was the chief architect and there were always a lot of books about art around, and he loved uh from childhood, to get into some folios of his father to look at, and there image. in principle, he was terribly fond of reading a person who, from childhood, just learned foreign languages. he learned english french german and had to

follow his father in his path and become, uh, an engineer-architect. in childhood. at the same time, eisenstein had various such strange addictions. he loved books from the history of the french revolution, he was interested in some cruel, sometimes grotesque situations in the past, but in general, he himself was not cruel by nature. generally. he, on the contrary, many people remember that in adulthood he was quite a sentimental person at times, and, uh, the same girlfriend from the field of fur coats, to measure such documentary filmmakers, said that u met such subtly, sensitive people as sergei mikhailovich was in fact, the heyday of all kinds of new trends in painting in architecture, and in literature in poetry, and einstein was in this and loved to draw from childhood, but did not see himself in this, as in some kind of real continuation of his career, for example, if there had not been a revolution in the

seventeenth year, but from einstein she caught me as a student, and he said that the revolution had made me an artist. first of all, he joined the avant-garde theater, a theater that overlooked the squares, which brought some momentary news from the world of europe and america into the interior of the work of the theater, which absolutely blurred the stage when the theater was something like today's blogs. in a way, this is an interesting idea. yes, and, therefore, he went to study, and after he left his institute and fought a little during the civil war. he went to study with vsevolod meyerhold, a remarkable innovator director who opposed himself to the art of konstantin stanislavsky, and better as his student. wherein. generally. here, such a continuity, denial continued this continuity. and when i decided at some point to leave the mekhuld, and from

eisenstein destroys the theater. first, he wants to bring the boxing ring onto the stage, then he brings circus performances and his own performance, which turns out to be a circus, onto the stage. ostrovsky for every sage, quite simplicity in the twenty- third year leads him to the cinema. he cannot but try to include in his performance, also a movie braid. and this is called glumov's diary in the text. for ostrovsky, this is a certain subject that plays a role in the development of the plot. so i decided to take it off. here is a really absolute vlog and uh, he used his love of modern french adventure adventure series to american adventure and forced his actors. uh, the father in the fantomas, for example, by the way, the actor was grigory alexandrov, who will become his permanent

assistant. and once he will become a famous film director, he believed that the unit of theatrical action, and then any action on the screen. and this attraction is what affects the viewer. this is something that weeks may not have to do with the plot, as such, but it evokes some kind of feeling some emotion. even some kind of physiological effect is produced for eisenstein by the attraction - this is both the actor’s dialect and the firecracker that he places under the viewer’s chair, but in fact, later he specified what he had in mind much more widely. and in general, everything that is a racket, that is, everything that can affect the viewer, that is, in fact, any artistic medium is an attraction to one degree or another, and the installation of attractions is all about the placement of artistic means, it turns out like this manner. generally. here it is catchy wording that is absolutely in the style of the twenties to the thirties. he realized that this is, in general, in fact, the desire

to reveal, in general, such absolutely universal laws of art. actually installation. this term appears already in the twenty-third year, the installation of attractions will remanufacture foreign films, and the lion, whose origin kuleshov called his teacher in the cinema. he is engaged in clarifying the laws of installation. how do we get information from a comparison of two frames, and according to kuleshov and according to him experiments, which were later called spectacular kuleshov. and this meaning, as it were, is superimposed, like bricks on top of each other . eisenstein, even before he became world famous, said that his installation is not a connection of meaning, this is a collision of meaning, this is a conflict, for example, in but the film is a strike, it affects the viewer with shots that conflict with each other, even in the sense that some of them are fiction and some are documentary. he needed to

show it somehow on the screen. and what is demolition? what is demonstration suppression? he needed to point out the massacre, did he have that word in his head? how to show a fight using montage? it is necessary to break down these very influencing elements to show that the workers are dispersed by the tsarist police and show a real real physical massacre, that is, to show the bull being slaughtered, and here we see the poster of just this film, this is the first film from eisenstein and, in fact, reflection began at the same time with it eisenstein about historical events. it's interesting that when we start talking about editing. some other things are immediately connected, if you are working with short pieces. for example, if you collide them with what is inside these pieces or who is inside these pieces, the kina avangard soviet was interested in him. not just art, as such, he was interested in constructing art and

life through this, but the connection of pieces. and if a is a person in our frame, then we must immediately understand who this person is, the type theory appears. it manifests itself in darkness, never necessary. show mass we see a short separate frame, that is, not completely static, but in some separate frame we see the hero and we may no longer see him, but we understand what kind of person he is, what kind of biography he has in his appearance, because he holds on because he is dressed, that is , depending on how he shows himself, how he sees, for example, a teacher, but you immediately understand, yes, yes, we immediately understand what kind of person this allowed , for which he should use actors not actors. and even your own mother accessories. he did not like to remember that his mother also participated there, but he also used editing for other purposes. it was interesting for him to scatter time and scatter

space in such analytical rather constructs that are akin, perhaps, but i don’t know, to murders, and his most famous, probably, piece from the brilliant potemkin odessa stairs. it was built the way he liked it. but it is absolutely unrealistic. yes , if, as he said as a student, if it were as long as i showed it, in that action that i have. it would stretch from odessa to romania to where the rebellious battleship actually goes. and we have some pictures here. including the fund of the russian federation for the wonderful provided these shots and it is important that it is, in general, a design, it is made from einstein not in order to distort events, not in order to create something out of reality, uh, obviously , not existing, but vice versa, in order to figuratively most convexly show what really happened on the odessa stairs, for example, we see uh, uh,

the protesters are running up the stairs. we see their faces. we see people's faces, and from the other side. we see only the boots of these same cossacks who march down absolutely. uh, without hesitation, following this cruel, uh, murderous order, and uh, the story of how eisenstein is known. eh, after many, many years they told about how e was shown in america in some small cinema. uh, the battleship potemkin, and uh, he was surprised to learn that there was only one spectator. once taken out. just in hysterics almost halls. this man sobbed. uh, and uh, couldn't stop. and then, uh, the owner of this little movie theater asked. but what happened? why did your loved ones suffer so painfully there, perhaps you yourself were on that very staircase,

to which the weeping man replied that no. he was one of those cossacks who walked and shot at unarmed people, and uh, in general, just when he saw this film, he saw people's faces up close, although they were already type. naturally, the film was shot 20 years later, only then did he realize his guilt, only then did he realize that this was the order that would be executed terrible, when, for example, the film was shown in europe, they said, but they said here the actors from the moscow art theater participate yes, but let's say, and we know that the local gardener played the ship's doctor , whom they found, they saw in him the squint that they needed for this role on the other side of one of the most brutal officers plays. here are a few regular actors, and from the stein theater the passage of the cult of grigory alexandrov is the future master, and the stalinist musical during no there are no mkhatovites in the film, well, of course, there are no

mkhatovites there. we have gone dark. we need to say. exactly how it turned out. and we talked about eisenstein's first film, it was about events before the revolution. it was so new. it is clear that he is instructed to make a large state order to make a film for the twentieth anniversary of the first russian revolution of 905, and the idea, in fact, is to show on such a large scale film what has been happening since 2005 in the russian empire. we can say that in general it was e that time. uh, when there were no such orders that could not be refused, that is, uh, and in general, the soviet government was not yet so straightforward, there was still no stalinist hegemony, the so-called yes personality cult, and therefore, in general - then these tasks were for him, rather, just really curious. that's why he took c in the posters, where the name of the potemkin heroes is already there, in fact, sometimes this is 1905

, but it suddenly turned out that the deadline is much closer than it seems, and in the summer of 25. they went to shoot in leningrad, the weather is not spoiled and it was decided to remove. one fragment of a small 12 lines in the libretto is not a gadzhan shotko, where the action unfolds around the eyebrow of potemkin 's nose, and from these lines in the libretto in such a tripment, but a script, and from stein he built a whole film, which was accepted, which, uh, well, how would have nodded, but the tasks were completed on time praised. and in general, they were ready to forget, and here the interesting begins, because in the soviet union it was perceived at first. like the majority, of course, not all, like such an order, which for let's say there were ticks, of course, people who immediately appreciated colleagues. yes, because actually, when the film came out, there

was a very curious cut of responses. eh, in the winter of 25-26, when in the film newspaper, on the one hand, his friends and peers, young, even his younger young avant-garde artists, whether grigory koznits or not. ah, from leningrad, dali gave his review in just three syllables well, but on the other hand , leningradsky is also the director of the older generation, alexander ivanovsky, on the contrary. e wrote in the spirit that, in general, here, the picture, of course, was done correctly, but to a young man. we still have to study and study. in general, the shooting is really because of the brevity. they were almost spontaneous on the other hand. uh, born from these few lines of a script from einstein uh, i still couldn't afford to shoot without a script at all. he arrived, uh, to the south, he locked himself in the room for several days and, uh, prescribed a rather detailed frame-by-frame script, which linka konstantinovich

kozlov is a wonderful story, the movie was published only in the thaw years up until the thaw there was a legend that supposedly there was no script and er, in general, spontaneous filming often offered real interest. the decision was also made during the production of the film, because the question arose of where to find the battleship itself, because the battleship potemkin was the most authentic by that time, but then two identical battleships potemkin and the battleship 12 apostles were released. and here is the battleship of the 12 apostles by the mid-twenties . uh, uh existed, but he just stood in the bay and he could never swim already. it's just that it was in such a technical condition that here is the only frame in the film and, uh, we can also watch fragments from the film. uh about how, uh, here, uh, the deck looks like, that is, this is the only point from which it was not visible. uh, rocks all around. uh, only in this version, however, in the frame

there is one single shot with uh, the whole armadillo. here is this frame, but this frame is a layout. uh, since, respectively, the real one could be removed only in this way, respectively, the layout. here it was, uh, delivered. yes, in the sandunov baths and there, uh, this wonderful shot was taken. in addition, he also used their chronicle, and some warships, which caused even official indignation, statements seem to be in england when everyone was interested in the question. why are there such wonderful warships in the soviet state that we see? and in one of the frames of the film, and eisenstein knew about this, knew about this request and would be very amused, because in fact, he took the old chronicle of the english fleet, but uh, here history is important. not only, uh, factual , but very important. this is the very model

of historical processes that took place in different decades and in different countries. actually. why is potemkin here. uh, these wonderful finds that eisenstein made, they were important not only aesthetically, but also ethically, because it is also an ethical masterpiece of the potemkin film, which shows, uh, very important accents in how a person, uh, fights for your right to respect. for not being fed. here with this very wormy meat of people, that it is unacceptable for the existence of a person and unacceptable, uh, to mock people is unacceptable, and to treat them like slaves. and in general, this one here, but a protest against humiliation. this is an absolutely universal idea. it's not even a communist idea. this is not an idea. this soviet idea is precisely the general civilizational world of any. yes, that is, this is, uh, such a general humanistic idea , absolutely, by the way, correlating with the idea of ​​​​e

russian literature of russian culture of the 19th century. eh, that is the idea of ​​compassion. little to the person that we know, uh gogol we know u uh turgenev, and in general, eisenstein absolutely continues this. that is, despite the fact that the vanguard, again, somehow, seemed to overcome many phenomena of the 19th century. uh, threw them off the ship of modernity. actually. uh, they didn't throw the baby out with the water. they only e water. eh, the forms were changed, but the child, that is, specifically humanistic, but the positions were preserved and therefore it is so important here. this is the end of the meeting with the frame, when we see this solidarity actually re-emerges the image of the brothers. let's look at how here, once raised, and the guns of the admiral 's squadron again. e. here, they first

rise, we see how the sailors are worried. and actually in the credits. we write a shot. or is there almost such a hitchcockian suspense, uh, all the spectators are waiting for what will be shot in the remaining potemkins or not, and the exclamation of the brothers? gives us to understand that it is not, that the admiral squadron passes potemkin and lowers it. uh, muzzle, guns are very important here. here is this solidarity, when people do not shoot at each other, because they understand that human life is the main value, and in general, these are the most seemingly banal things, but they are always worth reminding zinshtein. he reminded them of them with his film on different continents in different countries in different decades and e . , he

uh showed that the main thing is the value of human life and uh, this is solidarity and uh, the absence of this fear of the uh admiral, there is some other someone, when these sailors saw the potemkins in front of them, they realized that they can't shoot at them. he leaves, but we know that he will be arrested, but, but this is not shown in the film, it is shown in the film that potemkin leaves proudly, flying a red flag. and uh, here is this rush to freedom, with which the film ends, and this is important. by the way, regarding the red flag, then, unfortunately, in those e-copies that we can now show. uh, the flag does not look painted, because it was hand-painted by hand on the film, the very original films, and in which the flag was painted, they did not reach us and it is known that from eisenstein, uh, just uh, the first copy, even he himself with your assistants. we were discussing how to color the flag. and then they already entrusted it, and the

monters who were involved in this, in general, must be told, after all, that when the cinema had just appeared at the very beginning of the 20th century, then many films tried to completely paint by hand. it looked rather rudely lippy, but nevertheless, those technical employees who did it in the twenties are still natural. they were alive and worked in the cinema. and just here are those people who already had such experience, who there in 98-910 painted films entirely by hand, namely they were attracted to colorize. uh, this very red flag, it’s generally curious how cinema is in it, uh, cinema gradually lost color. these are fully colored frames. here are these such oafish ones in the ninth or tenth years, then in the middle tenths. eh, the frame began to be painted entirely in some one tone. and by the way, for example, with a wheelbarrow eisenstein's first film came out all the so-called api. that is, he was, uh, one, painted in such an even beige tone, a potemkin. q. in general, here eisenstein fundamentally refused

to color films. in general, this was important, because, uh, you have to remember that in the mid-twenties, most films were still painted in some kind of tone. and here we are on these posters. and we see, for example, that with potemkin is adjacent to films with the name. t e and e under the black wing, these are such adventure films or melodramas, the famous du pont rita, uh. in general, they were all painted in business, which was important to him, so that potemkin was purely black and white. it was a tougher picture. it was more of an uh, sympathetic decision to show it was. here is a chronicle stylization. eh, it is the fundamental rejection of color throughout the film and the concentration of color. only here separate so red, but these accents, because the red flag. he's red as blood. with age, changes in vision can

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only in the fact that in the frames not only how they are combined, but also how the entire film production as a whole is organized, and here is a red flag. one of these rides was supposed to be the finale of the film at the premiere. at this solemn meeting, and in honor of the twentieth anniversary since the time of the first russian revolution, eisenstein conceived. eh, the nose of an armadillo, like this one, tearing apart the camera approaching, and such a dark wing a dark corner that was supposed to break the screen physically and further parted, as if in his imagination these halves of the screen, like a curtain, parted curtain and this one turned out to be on the stage, and a festive table for meetings with e. actually, the people who survived that time and

, unfortunately, such a showman's decision. it did not work out, but they did not have time. they had to prepare it, only this final one remained. e frame e of the armadillo's nose, but nevertheless it was organized. a big premiere in the artistic cinema, where the very facade of the cinema was. eh, processed. uh, an armadillo design was created. the whole coppeldin team and the people who handed out checked tickets were handing out programs, but they were dressed in a sailor's uniform, and we even have preserved footage from this premiere. it really was. here. uh, an event for the public, which was interesting enough to spend a film on it was originally even despite the fact that he was an avant-garde artist who seemed to despise such a commercial cinema, a commercial direction from eisenstein, while very fond of, uh, avant-garde solutions that looked bright which looked very visually interesting. they also worked on renovations. but actually. it's on its own

determined. the desire to think in images and , by the way, to read between the lines, because not my cinema is much more multivariate in its e, meaning, and potemkin is also multivariant in genre. which is interesting, because uh hmm often cinema. eh, they're driving. here in such a set of genres, you know, like on kinopoisk when everything is there, either a drama, or an action movie, or something else the same, but in general, uh, potemkino can be perceived from different points of view from einstein himself, then brilliant will analyze like a tragedy in fitiah, absolutely classical tragedy. e construction and by the way, an absolutely classic article by sinstein the mood of things, where he shows. eh, just visually, how this work works, how it is perceived is another matter, what is important? it is sometimes attributed from the inside that i first thought everything out absolutely rationally, in fact , as we were convinced by potemkin. this was not so, but a rationally thought-out text

of rational analysis arose. only 14 years after the shooting of the film uh, another thing is that there can be different interpretations here, and, uh, wonderful stories, the cinema of the cinema branch of the naukevich kleiman, for example, offers a curious genre interpretation. eh, recall that eisenstein was fond of ancient theatrical forms and potemkin can be perceived as a mystery, because, uh, what were the mysteries in the middle ages. this is a reproduction of e any e biblical scenes so that viewers in the middle ages could relate themselves to them when it is played out in front of them. uh, some biblical story, they emotionally perceive it as similarly, in the twenties, when the revolution had already happened, a new myth was created, a revolutionary myth was created, and here it was important not the myth in the sense that it was put on its head in order to fool someone. and here, in the sense of e,

it is important to feel ownership of this really significant opposition between oppression and freedom , he actually, but used everything that was suitable to create that impression, which was needed here is the same installation of attractions. he used the term field genre. for this combination of different genres of visual work and in the same darkness, for example, here, and at the time when avant-garde directors were talking about the need for a hero, they were love triangles. yes, in the same potemkin, viktor borisovichsky saw just a love triangle and said about it from einstein. do you know that in fact you made the same triangle, but on a different material. how did viktor borisovich last for what? known for his wit, he said, well, how do you have an armadillo, you have it, uh, the mass of the city, and the population that supports it, they are separated by the tsarist troops, yet it’s directly

logical on the other hand. we told the students for stein that he used editing techniques and structure in the finale of wester on the american one, which was absolutely, uh, mass cinema of the twenties. nep leads very widely, of course, he himself watched it, his viewer watched it, but he said, i used it in such a way that no one guesses. i moved the assembly structure. here is the acceleration of parallel editing, which was developed by another neck. this is the tenth year. their idol is an american director. yes, i took this structure, but transferred it to these very ships that are rushing towards each other, and we don’t know how it will all end, in principle, we called such a structure american montage, and in america they will call russian montage , because only thanks to soviet cinema will i understand this and we remind you that in the studio e film critics natalya

ryabchikova and artyom sopin and we are talking within the framework of podcast tezinstein 125. i would like to return to this moment, and we talked a little about the perception of potemkin about colleagues. but everything somehow calmed down, showed colleagues spoke out, calmed down further, and the film went to germany where? well, in general it was. e, the center for e-connection, e, of soviet cinema with the world and, in principle, soviet culture, economics, politics, even eisenstein, e, went at the beginning of his twenty-sixth year of birth to prepare a version of e montage. uh, and with new credits censorship, after all, something i would like, of course, but he didn’t stay at the premiere and therefore did not see. what delight this film caused , telegrams began to arrive in moscow, then letters that put the soviet officials from the cinematography in a kind of bewilderment, because , well, and germany is full. the mood

seems to be yes, uh, but the film is not successful in working-class neighborhoods, where it was supposed to be successful, but in bourgeois neighborhoods it is watched. the european intelligentsia, they are admired by people who should not have admired, and it was so strange. uh, feeling that, uh, kind of played into creating a myth, yeah caused by the director, how did he achieve this yes, universal values, but the people who go to watch the darkness go to see prejudice in the same berlin , they perceive it first of all as a film about the russian revolution. they know exactly what they are for the soldiers and against the sailors, and uh, such a biometric description of the perception of such a viewer, prejudiced, has been preserved in the novel of millions of fires. he 's just writing down for a certain general who sits down. he knows who he is, but

process he begins to experience the sailor. he is driven by some emotion. he almost cries, it is described in such detail that fechtwangelia clearly understood what was going on in the cinema hall at that moment, while, uh, eisenstein's talents and his appeal to the very humanistic common values ​​that outweigh when he is on them reminds and uh, it is important that in the twenties eisenstein in other films. hey, i tried too. in general, well, it’s not that he called for mercy for the fallen, but rather he strove to directly help people socially you can remember the film, the general line of the village artels, uh, in which uh, uh, there was such a nep principle. this was long before the organization of collective farms. it was precisely the desire to help the peasants show them how. to organize themselves in order to earn money, to sell, to improve the conditions of their

life and work. and it was absolutely like that. uh, the human-centric idea is another matter that while the movie was being shot. it so happened that at that moment collectivization began, the opposite, and, in general, the film. to unfortunately, censorship did before, and it began to be called old new. this is a separate, long story. and uh, which was traumatic for eisenstein in general, because it was his first such serious encounter with censorship. eh, when, in general, once again he wanted to show this idea of ​​self-organization of people, then, of course, the biggest clash with censorship, which we cannot but mention. these are the stories of ivan the terrible; there are not only many significant e expressive shots showing this here, e the most. yes, for example, at the end we see this famous spectacular, but profile. uh, when uh cherkasov leans over uh, the crowd looks at these prisons with his crowd, as officers once looked with contempt at the sailors. again, this here is the motive of oppression from the other

side of such a sadistic self-affirmation. e, the king and e from einstein shoots ivan the terrible in the forties. he conceived this double empire, and he completed it just after the war, that is, in those years when stalin, e, absolutely strengthened himself in his cult, and, in general, lezzenstein. it was the most important civic act itself. he knew that stalin would watch this film and the rest were very much looking forward to this film and to show that e formidable - this is a monster, that grozny is an absolutely destructive figure, because e a person who imagines himself to be absolutely such a god on earth is a person who believes that he can decide fate left and right. this is e man who ceased to be a man, in fact, e for eisenstein. this was the most important statement, which, as you know, led to the ban, the second series and e. film b as a result, many years later he came out, or rather

10 years after his death, eisenstein was no longer alive and therefore ivan the terrible, of course, still became one of the main works of art of the 20th century and one of the most courageous civil deeds, in general, in the history of the twentieth century , perhaps, but today we are watching potemkin itself. and why is it important to look at him, why is he interesting, what is interesting to us in addition to his civic position, in addition to his position as a theorist and potemkin's teachers, it seems to me like this maximum movie cinema to the maximum. and from einstein at this moment he thinks about how to involve the viewer entirely with emotions, and the physiology of feeling the mind and its viewer are a person who, perhaps, is not even going to watch his film, but he sits down and allows himself. and to be imbued with this, and he is a co-creator from einstein, in fact, which means that

they are looking at the fact that he is often called such a director-dictator, and he did not say a movie voice, we need a movie fist. he what he wants to say is born in the head viewer his films - a textbook for reflection. generally. those calls for mercy, those calls for solidarity that are contained in this film, will never cease to be relevant, unfortunately, and this is absolutely not violent. it really is. this is the desire to reflect on how historical springs unfold, and uh, at the same time it is done in such a very expressive concentrated form, because really that is from the huge idea of ​​​​the film of the revolution of the fifth year. uh, brings the darkness focused on one episode, thus it became exactly like such a turned diamond, and therefore, many years later, the film, e, does not cease to excite and be. artyom, a film critic, was an interesting story for us.