[000:00:00;00] the formation was destroyed the collective plant, which for so long assured that it did not supply offensive weapons to kiev , completely changed its position the united states decided to deploy attack tanks used in the american army m1 abrams official statement was made by joe baidu. now i am announcing that the united states will send 31 abrams tanks to ukraine, which corresponds to one ukrainian tank battalion, these are very technically complex tanks so that we will help the ukrainians with spare parts, if necessary, we will provide technical support to train the ukrainians of course, the delivery of these tanks to the battlefield will take time, during which we must make sure that the ukrainians are fully prepared for the use of abrams tanks, and earlier the german chancellor lavsholtius announced the delivery of german leopard tanks. in addition, his decision allowed the re-export of combat cars to ukraine from other countries, kiev

, inspired by this information, immediately turned to the tactics of begging for new, even more expensive weapons, fighters and even submarines. in germany after the announcement about the start of the supply of tanks, protests began , people took to the streets of munich demanding that the authorities refuse to transfer weapons to deal with domestic economic problems, in particular, raise salaries. all day long such slogans were heard at the berlin airport, where ground workers were on strike , hundreds of flights were canceled and could not take off . thousands of teachers and doctors came out. all have the same demands to stop feeding ukraine, turning inflation and to improve the standard of living of citizens, the protesters were joined by taxi drivers. they blocked the central streets of the capital of catalonia and expressed contentment with deafening horn signals

. purchase prices for gasoline have risen. here vacation pay limits the state of profits no many. on the verge of bankruptcy such news by this minute. see you soon. this podcast triggers and with you. i am sergey for myself, he is a practicing psychologist and psychotherapist and today we are talking with tatyana about her desire to lose the so-called excess weight, but i would still like to talk to you about your loneliness. now i feel comfortable living alone. before that, i was very worried that i did not have a young

man, that i was alone, that i was 29 years old. i don’t have children, but from the side of everyone’s relatives, this is also constantly present, tanya, when there will be children, when there will be grandchildren, but now i live and i feel comfortable noah, i understand that i’m not ready to have children yet, but i not ready to give to children. what something i, well, as you understand, it's not the readiness of nature that laid you on the fact that from the age of fourteen you are already capable of this. i can't imagine how there will be a child in my house. on which i will have to devote time. and i want to break loose at any moment and go somewhere not to be tied to something, and i may have it now. if a family appears, it will all be a binding already. on the one hand, you want to always have some people in your environment, but at the same time, you don’t want good long-term strong relationships because you are afraid

of attachment. i want them. no, i want a relationship, but they are, well, i want to deal with myself first. wait, what do you mean? i want to, but not now. well, now you want and claire does not. no, does that mean you want it on monday? no, it doesn’t mean, that’s why i’m asking the question that now and now you don’t want a relationship, or does it somehow look like. otherwise, you want, but i'm afraid that this word was the most correct, and not in such a way that i'm not ready. afraid of something. i can't even say what i'm afraid of because in principle, there is nothing to be afraid of. you are deeply mistaken. there's a lot to be afraid of, from what you've already said about losing your freedom, the so-called maybe, the falseness of freedom can really be free,

to merging with another person. loss of your own identity, the inability to do the things you would like to do. well, you've been in a relationship before. well they were, how long they lasted several months. at what age and why did they end and how did he just say that everything is fine, but we are breaking up and all. and how is it all good? how did you survive.

it's very hard. i couldn’t do anything to go running, as i used to experience all my negative emotions. i drank wine, talked to a friend, the next day. i realized that i could not take it out on my own and turned to a psychologist and had two consultations. she pulled me out of this state. and something happened before my birthday. uh-huh and accordingly, well, as if pulled out and then. i continued to live. how did you manage to avoid relationships with the opposite sex until the age of 27. i'm not here know, i'm interested in my question. i don't understand why i didn't have a relationship until i was 27 . tell me what you did to ensure that these relationships were not, yes, well, it was not. it was obvious that this was also somehow invested. this is the first answer that comes to mind,

because you can't say for sure that you didn't want to. i understand, but when i ask the question, what did you do to avoid them. i suggest to you. well, such a paradoxical look at it, so that you see your responsibility , because the way you behaved. eventually to the result was that you were not in a relationship for 7 years. she did not communicate, she ran away from communication with the opposite sex. what else, apparently, during the period when, so to speak, you ended up after puberty in the relationship market, when boys show, especially interest in girls, and you closed with your weight. yes, your weight may have protected you. you looked at other girls who were slim, who were attractive,

including sexually attractive, but at the same time you didn’t do anything for this, therefore i said that you actually have a habit of reaching 85 kg without doing anything. you can quite calmly set such a goal for yourself and give a command to your brain that from now on we are getting fat and do nothing, do not go in for sports. yes , it often happens to me that i just do nothing, you reproach yourself for this. and i'm talking about the fact that you can set a goal for yourself to reach this weight. and as you rightly said, and die alone with a cat there, i don’t know, two cats. well, i don't want to. i know that you are supposedly you don't want to, but some part of you wants it. and in my opinion, this is exactly the same part that avoids relationships with people and

it’s not at all weighty, because as soon as you start to lose weight, attention to you is much more from the opposite sex, including cocoon yes, and your weight starts to protect you like a bulletproof vest, because then at least, well, how to say, it is possible to protect you from heartache. and, of course, the first heartache. you did not experience the moment when a lot of people left you much earlier, where you experienced for the first time . this is the feeling of being turned away from you. and in fact you were not accepted, you were not loved and not chosen. i'm trying to remember. well, but it doesn’t come to me, and you are out of your mind remembering, you remember sensations, your body remembered absolutely every element and every event in

your life. the fact that parents always, well, my mother said that first study, first career and then relationships. here, these words really ingrained in me, that first i have to learn how to do everything, make it work, and then already everything else to that to be alone on your own. your mother did everything to ensure that you were alone and on your own. and it is clear that she did this out of the best of intentions for you. but only you at this moment for some reason, as if betrayed one part of yourself that very part that builds relationships not because it's time. as you say, i'm not ready, but because it just turns out that you can fall in love with a person, fall in love and follow your feelings, and children turn out to be the result

love, and not the result of planned sex, of course, today's circumstances. you can freeze an egg for yourself, anything is there, and you will have a child in a test tube in 20 years, and it seems like everything will be fine, but only a large section of your own life, where nature laid your urges, where your personal laid you the urge to strive to be happy to be in a relationship to be desirable to be sexy to be bright to be shown in the end, yes, and to give. exactly this for some reason they told you that you are not ready yet. and when you told me that i’m not ready , in general, you already at that moment told me about your mother, who gave you a clear manual on how and when to do this. yes of course, she wanted all the best for the question. what do you want you tribute

what do i want? i want to live in the moment, well, enjoy my life, not be afraid, not afraid to go into relationships not be afraid to connect with people to do what i really like in the first place and live the same, well, how to live that life, which was chosen for myself, when you describe, your eyes begin to shine, you are happy, you are active, you don’t know, you are happy there. you have everything you need for this happiness, does it even matter which century? no, of course, no, no, because the weight in this is only secondary in everything. how are you today fulfilling all these obligations that you have undertaken to your mother.

how many years i'm afraid, but, well, since i work as customers. i'm afraid there's not time to hand over something there not to be in time. this is to disappoint, yes to disappoint, but rather of all, the most important person you disappoint. afraid this is your mam, but you understand that you are 29 years old. in general, today you can no longer stand at attention in relation to her. yes, i'm very afraid to disappoint my parents, and even tell them when i started running. they, too, first, so why do you need it about marathons, the same thing, right? that's a lot. yes, it's not necessary. it's unhealthy to tell them about any races before the races. i'm scared hmm i'm afraid of

disappointing them what happens if you disappoint? here nothing will happen. no , well, you're afraid of your fantasy. what scenes are drawn, what could happen to little tanya, who would disappoint her mother by bringing a deuce from school. would they and how then mom reacted, dad, dad also supported why it was so important not to disappoint them. i don't know. how did they react when you did disappoint them in some way? i hope they are supportive. well, how did you get a deuce? they tell you, well, it's okay, you can't do it, you didn't pass the exam for the first time or i don’t remember the offset and i called them and told them about it. they are so perfect for me. finally, you are a student. so let's go back a little further to childhood.

why were you so afraid of disappointing them? what were you afraid of? that what had to happen to them as a result of disappointment, they would have died or what, no. i don't know what i was afraid of, because that's what they were afraid of well, good phrase. i was always afraid to disappoint my parents, my question is simply, and what would be disappointed, what was his disappointment. what words do they expressed their disappointment, maybe they never did, but in your fantasy this scene is strictly looked like an older sister. they well, it's scary, my mother never shouted anything there with words. yes , not shouting, not raising your voice. well, literally. their gaze is enough for you to hide in a corner and understand that you are doing something, not right. have you ever seen a trained elephant?

come on, you are not admired by the fact that a small person controls a multi-ton animal. well, yes, it is admirable, but you surely you understand that this happens as a result of training, at the beginning of which terrible pain is inflicted on this elephant. yes, i didn’t have pain, no, there were tan, they just didn’t beat you. i understand that you were not beaten like an elephant, but if a person begins to be afraid of the look of another person, then this is exactly what is called learned helplessness, when people very often say and my dad once told me that we not enough sight. father was in order to die there with fear or to understand that i did something wrong. i understand it perfectly. but, if you think for a second, in what conditions does a child live who is afraid of the views of his own mother, while he is looking for him? he is looking for a loving look, he is looking for an accepting look, he is looking for a sincere look, but he is afraid to meet a cold look. when mom suddenly gets offended and shuts up and may not talk there, i don’t know

for a while. this is the most terrible punishment, as far as i understand. i'm afraid to say. see, this doesn't make your parents monsters in any way. they simply chose this way of upbringing and again, of course, they did this with the best of intentions, but now we are not talking about them about the fears that you hung on yourself, can you really disappoint people? and not only my mother, but in general anyone. and nothing happens when nothing happens, but an adult differs from a child in that an adult is able to handle what happens. but baby, why do i ask a question? what pictures do your imagination paint, because the child paints a picture in situations of disappointment that he is unable to cope with. but you have grown up, but you have not matured. and now i hope that as a result of our conversation with you, there will be

a small element of this growing up, when you see that in fact, to do all this. you don’t need what you do, you don’t need to bring it to the chopping block and throw it away. so to speak, sacrificial fire own life personal life sexual life. i don’t know my own pleasures there and everything connected with it. yes, it does not respond very well, then what speak. and now i have a direct picture of the look of my mother there to disappoint. well, she is looking at you in this picture. what is happening to you, i shrink all into a small ball. just like at the beginning. here is the feeling. yes? uh-huh yes, yes, i'm shrinking, i don't want to hide, i want to. yes, yes, hide as directly as possible. here i am , uh, if we are talking about a strict look. mom, you don't want to hide under the covers.

shrink and that's it and nothing around is happening nothing around. i am not here. no, the most important thing is that in all this there is no me, and therefore you see, when you appear to eat you eat you 55 kg, then at this moment. you can not stand this heat and you hide and hide instead of a blanket with your 13 extra pounds. how many there 11? you are hiding, actually with your body, in order to hide this little girl, who actually has a right to property for a long time. yes, you now want eclairs. no, i’ll just tell you such an exercise, i’ll give you the next time he wants eclair chips, something so sweet, when you eat, you just say what kind of mother it is. you know how a small child is fed the last spoon not for mom for dad. here is every cake that you will have in your hands, just say directly inwardly what i am eating for

mom or for mom and you, well, how to say, you see this way, this is a very conscious field. it will cease to be unconscious when you buy eclairs directly to buy yourself for your mother, for your father and for your older sister. you can also for the boss of each of those people to whom you promised that you would not be attractive and would not be free and happy. yes, thank you for this exercise . i just really got bored. thank you very much. thank you, i was very glad and great that you had the courage to do this. hello, my name is igor igritsky. i do cinema. i am a film critic and film critic. today we will talk about the cinema of exotic

countries, but actually, they are exotic only for people who are used to hollywood or transnational productions, because over the past 20 years, probably, in cinemas and on television. we discovered, of course, the dominance, er, in general, of american and transnational, because almost all non-american films still contain hollywood money, but this term big hollywood doesn’t work that way, but nevertheless, there are a huge number of countries in the world, and countries, who created their own national cinema, however, we must immediately make a reservation. the fact is that, mm , this national cinema, the so -called exotic countries are usually not very good. good afternoon is greeted by cinema audiences because, well, we understand that

it's not exactly entertainment. the fact is that, indeed, hollywood and cinematography following the hollywood fairway are mainly focused on entertainment on shows on television, so the national cinemas of countries that are not included in this one are more focused not on entertainment, but on a story about culture of these countries, this does not mean absolutely that these films are not interesting to the general public. well , you just need to understand that the viewer is used to being only entertained, to being shown some kind of show, but special effects and so on exotic countries, which we will talk about, in this case iran a, as a rule, do not have the money that can be used. to make hollywood movies, of course, it's not millions of dollars. as a rule, these are only the credits of a hollywood movie of some blockbuster. basically, it's a budget. e film e,

national of some exotic so-called country, but nevertheless, one must understand that in those countries where national cinema is not repelled by e hollywood clichés from them lesha develops his own unique cinematography, where, in general, the conversation is not about entertainment, but rather about the culture of the regions where it is filmed, and we find out that the culture of these regions is very interesting, it differs from some generally accepted clichés today in podcast. we will talk about the cinema of iran and in order to understand, but more deeply its problems. we need to delve a little into history. uh, iran is ancient. a country with a minimum of 5,000 years of history, for many centuries there were dynastic monarchies, these were the iranian kingdoms and

the last dynasty. pahlavi reigned until the seventy-eighth year, and in 1978 a revolution took place in iran under the slogans of islam from that moment on. iran has turned from a monarchy into a theocracy, despite the fact that it is called an islamic republic. which is somewhat of an oxymoron, because a republic does not imply a theocracy, nevertheless , the top leadership of iran is the spiritual leaders from france er, was returned by the aytallah of the name, who lived in exile there. ah mohammed rizapih levi was just expelled from iran and in general, iran has changed not only its political, but also in general both cultural and

spiritual whole system. and these changes had a very strong influence on the cinema, of course, because until that moment the cinema of iran developed in the same way as in neighboring countries, but certain restrictions appeared in the seventy-eighth year. this can be called, well, a kind of spiritual censorship. the fact is that e scenes of sex and violence, which were very bright in the sixties, are shown in such cinemas. eh, how france and italy and neorealism appeared in italy in france, on the wave of student performances, a famous one appeared. narrow new wave that's it since 1978, and it was banned in iran, though. cinema continued to develop, despite the fact that the islamic republic of iran began to live according to the laws that

were determined by spiritual leaders. they were fully correlated with sharia law, where the image of people and animals is not welcome, however. movies were quite a hmm allowed art form with some restrictions. and here it is important to note that this not only did not violate or somehow limited. eh, creators, and the so-called second new wave appeared in iran, where the director abbas rassadami entered, which we will just talk about today hmm we parted about the basque. this is the largest figure in iranian cinema for russia. japan and basket growth. e-e studied at the university of tehran at the faculty of arts and, in general, positioned himself. e

in his youth, as an artist and one might even say, as a poet and writer more than a cinematographer, but he has been directing, uh, short films for a very long time. he himself was born in the fortieth year, he began his graphic activity with some kind even under the shah, and one must understand that, on the threshold of his fortieth birthday, he had to change his own. well , let's just say the aesthetic system after the revolution of the seventy-eighth year, and iran broke off its diplomatic relations with the united states after the hostage-taking and hit the boys, accordingly, many cultural figures were forced to either leave the country or join the opposition, but abbas continued to grow. e, using his great authority to work at home. it didn't

affect him as an artist, these hmm restrictions, but still. he became more of an observer and ceased to engage in actual so-called contemporary art. he began to comprehend what was happening around him with a great revelation. e for hmm world cinema was that in 1997 at the cannes film festival his film taste cherries, which we will talk about now, but won the golden palm branch. it was the first iranian film in history to win the most prestigious world festival . it must be understood that the cannes film festival is a mecca for filmmakers from all over the world, it is the main film festival on the planet. it just so happened. well, uh, there are only three cannes venetian berlin, as it were, the first and win. it's like winning

an olympic gold medal there. and er, an iranian film for the first time, and got this golden palm up thanks. ah, the film of abbasok, furious, the taste of cherries. this road movie is a film made in the form of a car ride. the fact is that for kerostami, in general, a car is a symbol. hmm, in many of his films , a car is a character. actually. he acts as a cinema in the car and the viewer meets this movie and here is the main character of this film. and not professional actors to an architect by education. his name is hamayun, and he travels through such, uh, brown-yellow autumn iranian desert through the mountains and is looking for a person who will help him to commit

suicide. on this way. he meets several people, and this is a soldier. this is a worker. this is a museum worker and leads with them. uh, hmm talk. he asks these people to help him kill himself and each time he comes across a certain not very clear to the viewer, but uh from the point of view of hmm philosophy, but a very pronounced religious answer, because in one case, uh, a person does not want to commit this act, because which is repelled from the prescriptions of religion in another case, but rather philosophy. rejection of death and so so on and so forth, but you have to understand that if the abbasian about his height shot it in japan , it would be absolutely clear that this is

just a zen kaan. it's like that in general. well, i use this term zen because you have a lot of pretty connections in general, and with japan, he, uh, communicated with kurosawa worshiped azu, and that's why i'm talking about zen exactly as the japanese word in general, e, zen is a concept that has come from india to china hmm well, it 's just that we were used to this word. and what is zen well, in short, we understand what it is meditation rejection of any explanations. and this is an attempt to penetrate into nature, not starting from any. uh, literary or some kind of external sources. and as they say, know your nature and you will become a buddha, and here is the film, uh, the taste of cherry is just such a feminine kant why because we don’t understand, in fact, uh, nothing but

these strange dialogues, cinema, we used to the fact that it is usually uh, the frame is saturated with some furious details, rather subtracts the details from the frame, and we see only the general long-range plans of this one, but of the mountainous area and closes. here are the faces of the actors, uh , hmm, with whom we communicate there. there is practically no entourage of the action, and we just see the external effects of e, a car driving through the desert and hear a voice. and moreover , one must understand that for the audience this is unusual due to the fact that there is no. such musical accompaniment, as if it were such a documentary story, but at the same time we perfectly understand that it cannot be documentary, because no one, as a rule. well, ordinary people do not ask to be killed from other people if they are planning

, uh, suicide and, of course, this is not about death, but about how a person relates to death , which we are accustomed to. uh, it doesn't really exist, but how do you show it? we have the word car and the car itself are not similar to each other, therefore, when we put a camera between them, we get a certain feeling that gives us an understanding that there is some kind of other between the car and the words. reality is otherness, therefore, you need to subtract everything from the frame. it's quite a difficult moment to watch. hmm, but it needs some work. and just like in the women's koan, when we looked, we let all this in and let it inside us. well, what is called satari is not entirely true,

well, some enlightenment, and here you also need to understand that it is his cinema, and it is unusual for cinema-rastas. mm, from the point of view of psychology , usually films. e. well, in general, this is art, while for some show it has some kind of hysterical nature. well it some explosions. these are mood swings. she is completely different. i would say schizophrenic nature. these are repetitions, repetitions and repetitions and these repetitions, when there are many of them, but give rise to some sensations. hmm. that's the feeling. the otherness of the feeling of the unreality of what is happening is very important in order for the viewer not to get lost in this completely uh, in his many films and in particular in this film at the end of uh, a film crew appears , led by the director himself, who says

that uh, guys, i showed you what i actually came up with, because if this the film crew will not appear, there will be a feeling that we have fallen into some all-realistic such a different reality. and this is the philosophical understanding of reality. it , of course, is peculiar, e kerrostami, as few people, therefore it is quite possible to call him a great director of genius, and very few in the cinema. ah, who can be compared precisely in this process, in the process of comprehending reality. he gave a very powerful direction. that's it. hmm from this point of view, iranian cinema because hmm not only did he begin to shoot. these are so strange films, he has a following who certainly resonate with his findings. and we know them all. well, those who are interested,