[000:00:00;00] and here it is important to note that this not only did not violate or somehow limited, but the creator , and in iran, the so-called second new wave appeared, where the director abbas orastami entered, which we will just talk about today hmm and the basques are orastami this is the largest figure of iranian cinema for russia comparable. let's say with andrey tarkovsky there or kurosawa in japan abbas about heights, and he studied at the university of tehran at the faculty of bush studies, and in general, positioned himself. e in my youth, like e an artist and one might even say as a poet and writer more than uh a cinematographer, but he was a director of, uh, lengthy films for a very long time. he himself was born in the fortieth

year. the finale of his cinematic activity was still under the shah, and one must understand that, on the threshold of his fortieth birthday, he had to change his own. well, let's say the aesthetic system after the revolution of the seventy-eighth year, and iran severed its diplomatic relations with the united states after the capture. e hostages and hit the boys, respectively, many cultural figures were forced, either leave the country, or go into opposition, but the abbassky continued to grow. e, using his great authority to work at home. this did not affect him, as an artist, these restrictions, but nonetheless . 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. uh, for world cinema, it became that in 1997 at the cannes film festival his film was delicious, which we 'll talk about now, but won the golden palm award. branch. it was the first iranian film in history to win the world's most prestigious film festival. it must be understood that the cannes film festival is a mecca for filmmakers from all over the world. this is the main film festival in the world. it just so happened. well, there are only three of them, the cannes venetian berlin, as it were , the first one and winning there is all that wins an olympic gold medal. and here, uh, an iranian film for the first time, but got this golden palm because of it. ah, abbas film, kerami, cherry flavor. this road movie is a film made

hmm yeah, in the form of a trip by car. the fact is that among karastami, in general, a car is a symbol. mm, in many of his films, the car is the protagonist. and in fact, he acts as a cinema in the car and the audience meets with this movie. and here is the main character of this film, uh, non-professional actors, architect by education. his name is hamayun, a non-born travels through such a brown-yellow iranian autumn desert through the mountains and is looking for a person who will help him commit suicide. on this way. he meets several people, and this is a soldier. this is a worker. this is a museum worker and is talking to them. he asks these people

to help him kill himself every time. it comes across certain not very clear to the viewer, but uh from the point of view of mm philosophy, but a very pronounced religious answer, because in one case , uh, a person does not want to commit this act, because he repels from the prescriptions of religion. otherwise. ah. it is rather a philosophy of non-acceptance of death, and so on and so forth, but we must understand that if if the abbassky about the stature shot it in japan , it would be absolutely clear that this is just a zen kaan. it's uh, it's like that. well, i use this term zen because i'm quite tall in general, i have a lot of pretty connections, and he uh communicated with japan, he worshiped kurosawa, and father a and that's why i'm talking about

dan. just like the japanese word e in general, zen is a concept that came from india to china. hmm well, it's just that we are more familiar with this word. and what is zen e, well, briefly, we understand that this is meditation, the rejection of some explanations. and this is an attempt to penetrate into nature, not starting from some, but literary or some kind of external sources. and as they say, to know your nature and you will become a buddha. and here is the movie. uh, the taste of cherry is just such a feminine kant why because we don’t really understand , uh, anything, except for these strange dialogues, cinema, we are used to the fact that it is usually uh, the frame is full of some details. rather, i am growing, subtracting details from the frame, and we see only general plans. distant plans.

here is this mountain. and terrain and e closes, here the faces of the actors, uh, with whom he communicates there . there is practically no entourage of the action , and external effects of e, we just see a car driving through the desert and hear a voice. and moreover, we must understand that this is unusual for the audience due to the fact that there is no musical accompaniment, as if it were such a documentary story, but at the same time we are well aware that it cannot be documentary, because no one as a rule. well, ordinary people don't ask themselves to be killed from other people if they're up to, uh, suicide and speech, of course, this is not about death, but about how a person relates to death, and by growth he tries to show that the reality that we are used to it, but in fact

does not exist, but how can we show it? 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 otherness between the car and the words, another reality , therefore, we need subtract everything from the frame. it's quite complicated hmm for viewing. well, it takes 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. this is not entirely true, well, some enlightenment, and here you also need to understand that his cinema with balloons is unusual. hmm, from the point of view of psychology , usually films. e. well, in general, this is

the art of showing something like a show. but it has some kind of hysterical nature. well, these are some explosions. this is a change of mood in your growth , it 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 hmm sensations. here is the feeling. mmm otherness. 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 this film in particular, at the end, a film crew appears, led by the director himself, who says, uh, guys. i showed you what i actually came up with, because if this film crew does not appear, there will be a feeling that we are in some kind of all realistic such a different reality, and

this philosophical comprehension of reality is, of course, characteristic. uh, how i grow up, how few people, so it is quite possible to call him a great director of genius, but very few in the cinema. ah, who can be compared precisely in this hmm 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 he, but began to make such strange films, he has followers, which are certainly repelled by his e finds. and we know them all. well, those who are interested, of course, in cinema, and this is maksen , makhmalbav and his whole pleiades, he still has a daughter with amir mah molbao jafar panahi, the most striking of his followers is asghar-farhate, and he belongs to

the next generation of iranian directors his films began to win, and prizes at international festivals. ah, iranian, cinema, it just became. ah. a guest of almost all major festivals. e, world, they are tired of talking about such a special direction, and uh, asghar farhadeh, but with his films, and since the divorce, they began to appear in cinemas and simply because it’s not only getting, but you also have to understand that makhmalbaf’s films are made for little money. in general, as a rule, they did not collect any cash registers, but they are simply inscribed in all encyclopedias. but let's say farhade already, as soon as he appears on posters, he attracts the viewer, and and, uh, his films are already being rolled out with great success. there is already music. there is already acting. there is no longer welcome, so

like other directors with kerosts , the unprofessional participation of actors, that is , you can say that the second wave, which , uh, was so brightly abbas kerami, is presented to the world community. it continues iranian cinema continues to influence at least the cinema of the uh region and despite the fact that iran has been under sanctions for more than 40 years, it uh does not have diplomatic relations with countries that uh promote their cinema on global arena through transnational interactions and large cinema in iran not only has not died out,

it has a bright international resonance. a new wave of this iranian cinema. hmm, these directors, about whom we spoke, work sometimes, and almost clandestinely often use foreign capital, but, nevertheless , they are both in their country and in the international arena, but they play, uh, big role, they are respected people. but in general, iranian culture, thanks to cinema, becomes recognizable all over the world. abbas orastami was, in general, a father. this process, which is still ongoing. now we will talk about cinematography in the philippines and talk about a movie called the woman who gone, directed by lav diaz. this is the most famous filipino director at the moment, but before that, i just want to remember.

e, how did the cinema of this country develop? the fact is that the philippines is an island state where more than 100 million people live on the seven thousand islands . but due to the fact that this country was for a long time it was dependent on the united states and did not have independence. and with the advent of ferdinand marcos. the economy and culture began to develop rapidly there, though in 72 hmm abolished the constitution led an authoritarian rule that lasted until the year 86, but nevertheless, in the cinema of the philippines , a suddenly found its voice. again , it must be said that filipino cinema followed hollywood's path, of course, and like any other regional one. uh, movies

have been focused on entertainment for a long time, no less. there, in the seventies and eighties, authors began to appear who preferred to deal with the problems of their country more than entertain the public and the cinema. the philippines m-m began to acquire its own unique voice. uh, thanks to the director lin marriage, the most famous at that time, who began to make films about ordinary filipinos and about problems that were very many there, and in particular, crime there was one of the uh, big ones in the world of lawrence. indigo diaz is the name of the director better known to us as lovedez was born on 30 december 1958 and was named after lawrence. palych beria, his parents were communists, yes, but he simply shortened

his name by becoming love, but in general , this is his transition from e such hmm well , socialism yes, from social cinema. eh, about something eternal. hmm, this is a manner of few who tend to, and it cannot be said that he has some kind of school. by the way, he is a very simple person, not at all. hmm, but he travels to festivals. yes, sometimes without even being invited to these festivals. well, because what kind of festival can you afford? the movie is eight hours long. yes, he can come. it's so easy for an independent figure to settle down with film critics in the same room or in the same room and, uh, when you go with this person, just drink coffee, and looking at him you understand that you have a genius in front of you. this gives rise to a very strange feeling and his work follows, but the life of ordinary filipinos, but its strangeness and most importantly,

its peculiarity lies in the fact that his first films were anti-commercial, that is, those people who watch his current films, which go approximately somewhere around 4 hours. you say that uh, here's the woman who left, oh, who we're talking about is a short film, because his first paintings, and last seven eight nine hours. this, in principle , is not something special in the cinema; experimenters put on films that ran for 40 hours, but for lav-des, his standard film was somewhere more than 7 hours. moreover , he started in general, as an author, filming with his own money for a penny the movie that he wanted to do, without assuming

that it will be shown sometime in the hall or on television? it is clear that and its producers. they didn’t want to release these pictures at all in order to make films where he is, as a rule, a screenwriter , director-editor and he didn’t need a cameraman. a big team, but uh, the genius of this man was so high that, uh, over time, of course, he also had commercial offers. mm. and he made friends, of course, with the producers, but the important point is that in order to start working, he went. well, so did many, in principle. uh hmm great artists on all uh, the tricks involved in getting some money he

worked there. watchman, he worked as a waiter. he was whoever he was and his most famous film is the story of a filipino family. he filmed 11 years, he goes 9 hours. and this is just a movie e where mm there are no professional actors. it 's just such a hmm sketch of life, but nevertheless dramatic, but the film, which will be discussed, received the main prize of the venice film festival in 2016, deducing lavditsa at the international arena making it. well, more or less famous and this gave impetus to his cinematography. um, well, he got some kind of commercial component, he began to make shorter films. here are the women who left , based on the story of leo tolstoy, uh, which leo nikolayevich tolstoy himself, uh, considered the best work in general in his writing

career. it's called god sees the truth. yes , it won’t be soon to say, mmm, the women who left is a film, but a man who has spent his whole life, well spent most of his life in prison, and 30 years after leaving prison. uh is looking for the offender and finds him one way or another at tolstoy hmm in his story about a merchant who was in prison for 26 years and it turned out that another merchant committed the murder, who ends up with him there, uh , to hard labor, and he forgives him this story . god sees the truth. yes, it will not soon end with the fact that the reader must appreciate the depth of hmm, this forgiveness from love-dess in the film of the woman who left. this movie ends a little differently. but hmm the point, of course, is that a person who spent half his life in prison for another

person changes in all respects a woman who left uh, lasts 3 hours and 48 minutes. this is a short film for lav-desa. but during this time we live this story practically, not for a second. not uh, bored, because uh, well, it 's hard to explain, but the fact is that love immerses the viewer in an atmosphere of life that we, in general, have never experienced on ourselves. this is a special one. here is a special world of these characters. yes, i must say that hmm catchers shoots on black and white film, and this is due not only to the fact that he does not have enough money for color film. because he's filming. uh, already on a digital camera. well , because this, of course, is a trick, what is it about in this film, a simple filipino

woman named horace. uh goes to jail for 30 years for a crime she didn't commit, but she was set up by her former lover, but before her death. uh, the real killer writes a letter of repentance, and the police finds out. e that it was so, when she goes free she understands that e is life. uh, behind bars was much fairer than what she sees now she encounters people who are, well, obsessed with some kind of passions, and such bright iconic characters appear in the film. she meets a rather abnormal patient. a spoon that calls everyone around demons. she meets the poor

currency trader. it's like duck eggs that have, uh, formed a fetus, and, uh, actually the whole movie, what about how she tries to find her abuser. i take revenge on him when it turns out that her son is missing missing her daughter, who has not visited her for 30 years, and does not want to communicate with her. and in general, this is an immersion in such a dante hell, and she goes around the circles of this given hell in order to , uh, at the end, get some purification, watch this movie for more than three hours. hmm, it's pretty hard, but if 50 years ago, they saw such a company back there, they just saw it in the form. it's a two-part movie, but other than that, uh, there's no music either. hmm

, and there's no cuts, the shot can be 10 minutes 8 minutes long for people who not accustomed to such a turn for people who accustomed consciousness raises massive questions. that's what it's for , and it's obvious that lovedez makes films for himself, not for the audience. he shoots such pictures, simply expressing with the help of the camera his attitude towards reality to him. this is cool. it is possible with the help, by the way, to say, again, not professional actors, although the main role. here she plays, chara-santon, sconcio - well, the famous filipino actress must be shown that this is life, she preserved in her own. well,

here's your own juice can not be happy. this is a life that just overtook us, which overturned on us, and the director does not try to teach us anything, just to tell, the way he would see it. well, leo tolstoy, let's say it's quite difficult to watch films that go on for so long without any twists, some special twists and so on. but hmm , the cinematography of this is artificiality, but this here is the deliberateness of this black and white complexly built. and-and the internal plot and frame puts lavda with his cinematography right here as a separate pillar of the world's author's cinema lavdez. uh, it's a special phenomenon in philippine cinema. no one manages to make such long films. and you can say that

hmm philippines hmm as such an exotic cinematic power, this is a surprise for world cinema and one of the main characters. e of this country, er, in culture, and in general is lavde, he is like that. well, when we talk about the philippines this is the first the name that appears, and in our memory and it is very honorable, because, well, it's easy to become, uh, a laureate, there of the venice film festival for some film. it 's like getting, i don't know, the nobel prize, because it's a very prestigious award, but especially for a person who, in general, is involved in cinema. e, with your own money, what is called and since in the philippines it is really, but poverty associated with crime. mm. a very, very long time

was determined by some kind of cultural background, and the appearance of love-desa hmm, such an exotic creatures that do not just talk about how the crime is committed, but literally minute by minute describe, uh, everything that precedes or everything that follows this crime, this follows this one, and the theme of the hour. mi, a tries to make sense of this, of course, causes deep respect, because he just steps back a whole step from the usual view of these problems. well, because we know that, well, how is usually described. hmm and this kind of thing they are described by the dichotomy of good and evil. yes, here are the villains , here are the criminals. and right here, that means there fighters with them there gangsters and police

something like that in lavdes it's completely different he has no e division into good and bad. well, as a rule, a and not, in general, hmm, there is a link to whether it is good or bad everything that is connected with the murders with these here is the cruelty and the nightmare that happens there, but just such a look, the viewer is invited to it himself, but to feel this fabric . see her understand what 's going on here and why? ah, because, well, there is no exact answer to uh, these things. e always arises from the stories of the country from the other side argument, a familiar view of what is good, what is bad, but changes depending on which side we stand on people. and often they are confused, they don’t know how to relate

to this or that event, and lavdez precisely because it takes so long to show all this for so long to take it all off that he does not get up. on neither side, he does not but explains what is good, what is bad. he just watches it and at the same time he does not show with a punch, and from above he does not teach anyone. he doesn't give any e permission. by the way, and e lev nikolaevich tolstoy therefore believed. eh, your story. mm, indeed, he will see. yes, he will not soon say at the best in his work that there are no bad and good people who served for another for many, many years and forgave him, he is not good. he just put such circumstances. he cleaned all the pilaf, very typical of such a look, by the way. to say, of course, russian literature and especially dostoevsky

ah. in his other works, too, is, well, a source of inspiration. he also makes films that refer us to crime and punishment, and uh, not only great russian literature, but also cinema, of course, is for lav-dias, but an example, and he is a big fan of tarkovsky. by the way, he has been to our country. if you watch his films, and then, of course, you will definitely see a roll call with uh russian. uh, a movie with a movie in black and white, which was also with us. well , it’s clear that there is no russian movie at all. hmm. uh, such directors, such exotic countries and such exotic schedules like the filipino simply cannot exist, but because, and they just rebuild from the big hollywood and rather, of course,

gravitate towards mm. there to neorealism to uh new wave or uh, the cinema of tarkovsky or herman with you there was a podcast of the movie exotica my name is igor igritsky until we meet again, u we will explore the cinema of exotic countries with you further. good night friends. this is a podcast of jokes for everyone who does not sleep. again. good night, yes, and i'm right. what is my camera, that's all. i just need these this color. i seem to know that a plane is landing on me, like as if you know kamaz is sure to go. that is , you are not my question.

you work for someone. okay, let's start again. this is a podcast of jokes. i'm glad that some people suffer from insomnia in a good way. and this time will be spent with us. i have wonderful guests in my studio, connoisseurs of fans of the keepers of jokes, people who know how to tell them, and i will be happy to introduce them to you, this is mikhailmaka. actor singer composer not a singer just you know, now lately there have been a lot of different guises for different of people. that is, as if you forget to name there some very important definition that he is still a blogger at that moment, for example, and that’s all. people then

get offended. well, i hope you don't carry no. and i also like it when they say, there, uh, actor, tv presenter, winner of the crystal drop award. well, you see, now we will start listing galaxy with us. i want to start a conversation. you know what, uh, in the current realities, they still say, yes, well, a joke, what is it? yes. this is somehow not fashionable. moreover, it is old-fashioned. that is. well, some say not what just young men and girls. and some direct skeptics of the present time. here the youth says, do you want a joke. you want a joke, because it has become just a joke. just a joke. yes, such a short, uh, joke meme, you know, well, yesterday there or or do you want a joke opens and reads to you with the help of a gadget in our childhood. do you remember gadgets? it was an appeal. e to the person who carries you yourself is not such

a completely different meaning, and my daughters do it differently. they don't tell jokes, they talk. dad, look it's cool, yes, well, yes, read something to tell to play. maybe this reflects, as it were, the reality in the sense that, uh, in particular, the youth. yes, she stops communicating with each other earlier. to be honest, let's say, well, my childhood is there . youth is there further e in the yard. yes, when everyone gathered it was, as it were, not that cool, as it is now, he says, the youth was generally, well, it’s cool to tell a joke vying. yes, i'm not. listen, i'm tired. yes, i knew everyone there, everyone knew how to tell, and that was the means of understanding. you understand how you loved for free and counted in your mind. here is the generation, that is, the girl had to be impressed. you were not supposed to read from the phone, but to tell about the memory from

the heart, that is, to prove yourself, and now, just about the girl, to impress. two options, as i remember, are when you can play at least a few songs on the guitar, that is, always in the company. yes bravo band i played the guitar in the yard. i told you about it, yes bravo everything from the beatles daevskiy our polish heroes then it really was like that, that is, well, a guitar, that is, you don’t know how to play. goodbye, but i know jokes. and then, in principle, there would still be such an option, in sports there were those guys who, uh, pulled themselves up or something from bruce lee , they could portray it, yes, but basically at all times i’ll say this more all the best. if you feel like answering all the best performers, whether it be classical music or frank the sinator, for example, or carusa. it's not exactly the greatest vocalist at times. this is the greatest

storyteller, because the song is something, how you wanted to tell something, here you know how to tell. listen, you don’t know how to tell , ideal solfeggio, high, low notes do not take everything, so it seems to me that anecdote is still such a safety of communication precisely from eye to eye from the mouth. mouth and what you want to convey, of course, and show how, as it were, degrees and your own can already be told with your erudition of emancipation, by the way, on this occasion. eh, now you understand. why as they say dear, a spoon for dinner remembered an anecdote, and an anecdote, which is there e, there are two of them out of this anecdote, this is the great yuri nikulin yes, who was also the keeper of anecdotes. e, and. uh, his club is a white parrot there, so the story is next, uh, there is such a one, i’ll tell it to you now, so, uh, the company is sitting. well, that is, in what century