it's not about entertainment, but rather about the culture of the regions where it's filmed, and we find out that the culture of these regions is very interesting. it differs from some common clichés today in a 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 an ancient country. uh, with a minimum of 5,000 years of history for many centuries. dynastic monarchies existed in this territory. these were the iranian kingdoms and the last dynasty. peh levi reigned until the seventy-eighth year, and in 1978, a revolution took place in iran under the slogans of islam, and from that moment on, iran turned from a monarchy. in 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 uh, was returned by aytallah and no ashah who lived there in exile. uh, mohammed rizapih levy was just expelled from iran and in general, iran has changed its not only political, but also in general 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 qualification.

the fact is that the scenes of sex and violence, which were very bright in the sixties, a are shown in such cinemas as france italy and neorealism appeared in italy in france hmm, on the wave of student performances appeared famous french new wave. that's all, since the seventy-eighth year, and in iran it was forbidden, nevertheless. 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, well, hmm, a permitted art form, with some restrictions. and here it is important to note that this not only did not violate

or somehow limited, but the creators, and the so-called second new wave appeared in iran, which included the director abbas with growth, which we will just talk about today about the basque about growth, this is the largest figure of iranian cinema for russia comparable. let's say with andrei tarkovsky there or kurosawa in japan with abbot stature. ah, i studied at the university of tehran at the faculty of bushes, and in general, i positioned myself in my youth as an artist. and you can even say that he is more of a poet and writer than a cinematographer, but he was a director of, uh, long-form films for a very long time. he himself was born in the fortieth year , he began his graphic activity. even under the shah, one must understand

that, uh, on the threshold of his fortieth birthday, he had to change his. 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 to either leave the country or go into opposition, but 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. e for world cinema. the fact

that in 1997 at the cannes film festival his film of cherry flavor, which we will talk about now, won the palme d' or. it was the first iranian film in history to win the most prestigious world festival, one must understand that the cannes 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, uh, there are only three cannes venetian berlin well cannes, as it were, the first and win. it's like winning an olympic gold medal there. and here is an iranian film for the first time, but it got this golden palm because of it. ah, abbas film, kerami, cherry flavor. this road movie is a film made by hmm in the form of a car ride. the fact

is that in kiarastami, in general, a car is 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 who are architects 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 path. 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 help him kill himself and every time he comes across certain not very good ones.

to the viewer, but uh from the point of view of hmm philosophy uh, very uh, a pronounced religious response, because in one case uh, a person does not want to commit this act, because he repels from uh the prescriptions of religion in the other case, and it is rather a philosophy of non-acceptance of death, and so on and so forth, but one must understand that if e obaski with stature shot him in japan, it would be absolutely clear that this is just zen kant , this is what it is. well i use it the term zen because i have quite a lot of ties in general, and with japan, he uh communicated with ura sawa worshiped, and otzu a and, so i'm talking about den exactly as the japanese word in general e. 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, in short, we understand that this is a meditation of the rejection of any 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 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, as i rastami, rather subtracts the details from the frame, and we see only general plans, long-range plans of this one, and the mountainous area and e closes. here are the faces of the actors ah-ah, with whom he

communicates there. there is practically no entourage of the action, no, but external effects 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 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, let's leave trying to show that something the reality we are accustomed to it. uh, in fact does not exist, but how does it show us the word car?

the car itself is 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 other reality between the car and the words , therefore, we need to subtract everything from frame. it's quite a difficult moment. hmm to watch, but it needs some work. and that's how in the women's koan, when we looked, that's all this and let in inside us arises. well, what is called satari is not entirely true, well, some enlightenment, and here you still need to understand that his cinema, and cinema and growth. it's unusual. hmm, from the point of view of the psychology of ordinary films. e. well, in general, this is art, while for some show it has some kind of hysterical. well, these are

some kind of explosions, this is a change of mood, you have a completely different height. i would say schizophrenic nature. it's repetitions, repetitions and repetitions and these repetitions, when their a lot, but give rise to some hmm sensations. this feeling hmm of otherness, the feeling of the unreality of what is happening is very important in order for the viewer not to get completely lost in this, but in his many films and in particular in this film at the end, 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 film crew does not appear, there will be a feeling that we have fallen into some all -realistic such a different reality. and so this is a philosophical understanding of reality , it is finite. it is typical for aekirs, as few

people are, therefore it is quite possible to call him a great director of genius, and very few in the cinema. eh, who can be compared precisely in this hmm process, in the process of understanding reality. he gave a very powerful direction. that's exactly hmm from this point of view of iranian cinema, because hmm not only he, but began to make such strange films, he has followers who certainly start from his findings. and we know them all. well, those who are interested of course, cinema, and this is maxsen, makhmalbav and his whole pleiades he still has a daughter with amir mah molbao jafar panakhi, the brightest of his followers is asgary farhate, and he belongs to the next generation of iranian directors, his films began to win, and prizes at international

festivals. ah, iranian, cinema just became. uh, a guest of almost all major festivals. eh, mira, they are tired of talking about such a special direction, and, uh, asghar farhade, and with his films, and starting from a divorce, they began to appear in cinemas and just because not only to receive, but here one must also understand that makhmalbaf's films were 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. it is also not welcome there, since other directors, like me and u,

have unprofessional participation of actors, that is , u can say that the second wave, which here er, so brightly she was abbas kerami, and presented to the world community. it continues iranian cinema continues to influence well at least the cinematography of the region and despite the fact that iran has been under sanctions for over 40 years, it uh does not have diplomatic relations with countries that uh promote their cinema to the world stage thanks to transnational cooperation and big money, and not only has it not died out in iran, it has a bright international resonance. new wave hmm this iranian movie these directors, about whom we spoke, work sometimes, and almost clandestinely often use

foreign capital, but, nevertheless , they are both in their own country and on the international arena, but they play a 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. of this process, which is still ongoing. now we will talk about the cinema of the philippines and we will talk about the film called the woman who left, and 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 related to the fact that this country was for a long time dependent on the united states and did not have independence. and with the advent of ferdinand marcos. there it started violently develop economy and culture. true, in the year 72, hmm, marcas abolished the constitution, led an authoritarian rule that lasted until the year 86, but nevertheless, in the cinema of the philippines, a unexpectedly found its voice. it must be said again that filipino cinema followed hollywood's path , of course, and like any other regional one, and cinema for a long time concentrated on entertainment, but nevertheless. there, in

the seventies and eighties , authors began to appear who preferred to deal with the problems of their country more, than to entertain the public and the cinema. the philippines m-m began to acquire its own unique voice. uh, thanks to director lin marriage , the most famous at that time, who began to make films about simple fi and about problems, of which there were a lot. particularly crime. there was one of the biggest laurents in the world. indigo diaz is the name of the director better known to us as lavdez was born on december 30 , 1958 and was named after lawrence. palych beria, his parents were communists, yes, but he just shortened his name by becoming love, but in general his here is this transition from such a m-m,

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 so far with a film that runs eight hours. yes he can come as just self figures to settle 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 of his work and follows, but the life of ordinary filipinos, but his strangeness and most importantly, his peculiarity lies in the fact that

his first films, but were anti-commercial, that is, those people who watch his current films, who go about somewhere around 4 hours. say hmm here's the woman who left oh, which we're talking about is a short film, because his first paintings, and last seven eight nine hours. in principle, this is not something special in the cinema; experimenters put on films that ran for 40 hours, but tricks is standard. this size of his film was somewhere more than seven hours. moreover, he started in general as an author, filming with his own money for a penny a movie that he wanted to make, not assuming that it would ever be shown in the hall or on television? it is clear that and its producers. not

wanted in general, er, to release these pictures in order to make films, where he is , as a rule, a screenwriter, director, editor and cameraman. and he did not need a big team, but uh, the genius of this man was so high that over time, of course, he also had commercial offers. mm. and he made friends, of course, with the producers. well , the important point is that in order to start working. he went, uh, well, that's how they did it. many, in principle, uh, great artists of all uh, tricks associated with in order to get some money he worked there. watchman, he worked as a waiter. he was who he was and his most famous

film, 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 about life, but , nevertheless, dramatic, but the film, which will be discussed, received the main prize of the venice film festival in 2016, having brought love to the international arena by making it. well , more or less famous and it gave impetus in order for his cinematography. um, well, he got some kind of commercial component, he began to make shorter films. here is the woman 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, not soon to say hmm women who left

- this is a film, but a person who has been in prison all his life, well, most of his life, and 30 years after leaving prison. uh looking for an abuser and finds it one way or another in tolstoy's m-m in his story about a merchant who spent 26 years in prison. and it turned out that the murder was committed by another merchant, who ends up with him there for 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 the lavs in the film of the woman who left. this movie ends a little differently, but hmm , the point, of course, is that a man who spent half his life in prison for another man changing in all respects the woman who

left, uh, lasts 3 hours 48 minutes. this is a short film for love des. but during this time we practically live this story, we don’t get bored for a second, because, well, it ’s hard to explain, but the fact is that in childhood it immerses the viewer into the atmosphere of life that we, in general, have never experienced on ourselves . this is a special one. here is the world especially the world of these characters. yes, it must be said here that m-m lavdis 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. uh, that's the way it was, when she goes free, she realizes that life, uh, behind bars was much more fair, 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. the cat, which is called all the surrounding demons. she meets the poor currency dealer , 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 while it turns out that her son is missing her daughter, who has not visited her for 30 years, and not wants to talk to her. and in general, this is an immersion in such a dante's 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 3 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 aside from the fact that uh , there's also no hmm music and no cuts, a shot can last 10 minutes 8 minutes for people who aren't

used to uh. e turning for the people which accustomed consciousness raises a massive question. that's what it's for , and it's obvious that lovedez makes films for himself, not for the audience. he takes pictures like this. 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 plays the spell santos concil is well, the famous filipino actress. it is necessary to show that such a life, she was conserved in her own. here you go own juice there can not be a happy ending.

this is a life that just overtook us, which overturned us and the director does not try to teach us anything , he just tells us the way he would have seen it, well, leo tolstoy, let's say it's quite difficult to watch films that go so long without having any twists - some special turns and so on. but hmm , the cinematography of this is artificiality. eh, this is the arrogance. this black-and-white complex, built, and the internal plot and frame puts lavda with with his cinematography, just like a separate pillar of the world's auteur cinema. uh, it's a special phenomenon in filipino cinema , no one manages to make such long films. and we 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 lav-desan. he is like that. well, when we talk about the philippines, that's the first name that comes up in our memory, and it's very honorable, because, well, uh just become, uh, laureate, there's a venice film festival for some film. it's like, well, getting, i don't know , the nobel prize, because it's a very prestigious award, but especially for a person who, in general, makes films with his own money. what is called and since the philippines really. uh, poverty coupled with crime. mm, for a very , very long time, some kind of cultural background determined, and the appearance of a love-desa hmm

, such an exotic creature that does not just talk about how the crime, but literally minute by minute describes everything that precedes or everything that follows this crime follows this one, and the subject for hours, a tries to comprehend. this, of course, causes deep respect, because he simply takes a step back 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, right here. on the villains here are the criminals. and here, here, it means there. fighters with them there gangsters and police are something like this in lavdia, in a completely different way he does not have a division into good and bad.

well, as a rule, a and no, in general, hmm, there is a link to whether it is good or bad everything connected with the murders with these cruelty and the nightmare that happens there, but just such a look, the viewer is invited to feel this fabric for himself. see her understand what's going on here and why? and , because, well , there is no exact answer to e, these things, e always arises, and the stand side and the other side of the argument, and the usual one for us view of what is good, what is bad, but changes depending on which side we stand on people, huh? they are confused, they don’t know how to relate to this or that event, and lovedies precisely, because it takes so long to show all this

, it takes so long to remove all this 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 leo nikolayevich tolstoy because and considered. eh, god will see the truth in his story. 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 cleared himself. dexterous , such views are very characteristic, by the way. of course, russian literature and especially dostoevsky ah. in his other works, too, is, well, a source of inspiration. he also

makes films that send us back 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, cinema with e. cinema in black and white, which was also with us well , it is clear that there is no russian cinema at all. hmm. uh, such directors, such exotic countries and exotic cinematography as the filipino simply cannot exist, but because, and they just tune out from big hollywood and rather, of course, gravitate towards mm. there gneurealism to uh new wave or uh, the cinema of tarkovsky or

herman you had hints on exotica my name is igor and gritsky see you again. and we will continue to explore the cinema of exotic countries with you. good night friends. this is a podcast of jokes for everyone who does not sleep again. good night. yes, wait, but i'm right, what kind of camera is mine, that's all. i just need these this color. i seem to know that a plane is landing on me, as if you know kamaz is definitely coming. that is you are not my question. you work for someone. okay, let's start again. this is

a podcast of jokes. me: well, 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, lovers . keepers of jokes are people who know how to tell them, and i will be happy to introduce them to you. this is mikhail the policeman. actor singer composer not a singer just you know, now lately there have been a lot of different hypostases for different people. that is, you will forget someone, there call it some very important definition that he is still a blogger at this 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, an actor.

e, 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, they say some are not that just young people and girls. and some direct skeptics of the present time. here the youth says, do you want a joke. that's what i 'll tell you and anecdotes about them do you want a joke. that is, it has become just a joke, just a joke, but such a short, uh, joke like a meme, you know, yesterday there or you want a joke opens and protects and you with the help of a gadget in our childhood. remember gadgets. it was an appeal to a person.