yes modeling clothes, yes and sewing clothes. here. eh, it's not a technique. uh, there is hmm a one-year program of some kind. i don't know what their range is. well, listen, to be honest, this is still an absolutely soviet structure, therefore , i think that they teach tailoring there, mom, it's terrible, in short, yes, but, by the way, what profession is today? yes, what profession do you need to get, if you go to the sea, if you want to launch your own brand, is it necessary to be able to really draw an edge or is it better to go? i don't know what it's called fashion managers, but you can’t put them all together, because look, if you want to launch a brand, then you can have it, you can just, for example, recruit a team. well, it’s important for us to take a designer, which, by the way, many people are now doing in russian fashion. yes, absolutely, and, for example, they take super talented designers, and who, for example, could open their own brand, but they work for a conditionally woman there. who suddenly

decided to become a designer. yes, no offense there, yes, she has an investor, yes, and here she is realizes his fantasy. he does not draw what he sees, and what he studied. there, perhaps , to show the world your inner world. i don't know if it's good or bad, she doesn't give value judgments. i'm talking about how it works, in principle, and there is, for example, an investor who hires a team. yes, and a designer, maybe an analyst, but not a fact, i'm just lucky, because i'm in the industry from all sides, you know, insure yourself. that is, i can distinguish the seams. i can i can't just design. yes, because indeed it is very narrow, but i can take a good specialist. i do not need to be a designer, yes, but i am a 100% technologist, i can write technical specifications for production. i understand this 100%, because i'm sick and yes in order to go. that's why i say industry. it is very important for the brand to float. if we are talking about just some beautiful pictures, yes, but creative searches, that is, there should not be numbers.

because if you don't have, uh, something to start from, because again, i'm talking about a year, a budget is planned for the year of the collection, although we wouldn't even take two or two collections a year. already prekolekshen collection take winter years conditionally. yes, she must understand everything from where your proceeds will go to the purchase of fabric to cover all yours. uh, overheads and so on and so forth, so there's a whole bunch of stuff in there. if you don't see it on the numbers, you'll burn it for sure. you have such plans for your new professions. look, well, you know me, isn't this a story at all, because there are two factors. first of all, i am a freelancer, and in general i don’t get a pension. well, not that i think about it every day, but during my life i, well, you sometimes think, i'll be old. and what, yes, and i can write something until old age 100%. yes, this is just a profession that does not require any skill, physically. i'm just not talking about how it is an objective reality, yes or no, objective is talking about how i thought and why i did it. and maybe i 'll become a teaching interesting intellectually. at

the age of 70 yes, and i will have nothing to write about, but i don’t know how to live for someone to survive the curtains there, i can pants, well, conditionally. well it's listen it's some i throw on abstract thoughts worn by a grandmother who died. she was always married, her grandfather provided for the family, grandfather died, uh, and she remained in some kind of her pension as semi-nonsense, and she sewed like that all her life, and she somehow sheathed someone and earned money with it. yes, then, when i was in israel, we were in production. for the first time in israel , history, like we were taken to human production. some bushings make the best in the world and now i will not reproduce. he was a cult man already under 80 years old and he was practically everything that he earned he invested, but in the training of his workers and in the development and in general in the development of israel in some kind of charity. and then he finally sold his plant in order to open it just right. schools right here, yes, some

, well, others not only in this specialty, which means that he sold for 8 billion. warren buffett got it, and he met with pleasure russian belarusians and so on and jews. and he talks so enthusiastically about some of his activities. that's how he'll be after that's after that what he'll put in israel and it is felt that with him, firstly, he burns with it for hell on what kind of pants he has on and he asks. here in this, i'm sitting, just like this, everything is incredible. just the inspired energy of this, in general, quite a decrepit eighty-year-old man and his, well, with ideas, and ideals, and he tells us to scream. yes, and what can you do with your hands and silence, and i just have some kind of this kind of abstraction about this pension, but still a person owes a dream. but, by the way, with age, she is not small. motorcycle was embarrassing. at me it directly flickered flickered flickered. i thought, but i thought, well, it's just the time and it's

so high for me. i can sew. well, relatively speaking, somehow it’s better to inspire something like that on us, but this does not mean that it takes me as much. not at all really upscale good partners and cutter, of ​​course more time and plus i screw up somewhere 100%. listen , well, i wish you that this is more than an interesting activity for you. what if you wish me harm, now in the sense, but suddenly, on the contrary, it will destroy me. i didn't invite you to look for you. i. well, who knows, you know, you never know, maybe it's not mine. maybe it's just my hobby, which seems to me to say absolutely in design it's always like this, if you're a bad designer, then everyone will see it. all the same, love will save the world. i am for the fact that here from me, by the way, why not , we will not name even russian designers, it seemed so love for their profession. thank you this world love, because infatuation, yes, bye. it's some kind of a dash of some kind for me. i really

liked. moreover, it turned out that he works with his hands. listen, this crap saved me. and here's the whole year. actually. thank you very much, this is such a thing, it seems to me that this is really the area that, on the one hand, gives certain people the opportunity to realize themselves with pleasure, enjoy their work and give joy to other people who are just consumers of this very fashion trend, oh, which we today we talked a lot, who also get joy, despite everything, they did not look at any events or changes that are taking place in the world. all the same, we somehow remain women girls, even men men love shopping is always such a positive activity. it's even just to look at the trendy pictures here, so thanks for today's conversation. thank you this was not a podcast, and we had journalists and bloggers arina kholina and designer svetlana rodina in our studio today, smiling. let's

get together haha. hello this is a podcast of eisenstein's witnesses where we are film historians natalya ryabchikova stanislav dedinsky talk about who and how created cult little-known forgotten classic soviet films. we climb into the jungle of anarchives to tell. why watch soviet cinema now, how to better understand it, how to find new meanings and how to get the most out of it, but today we are not talking about a particular film or even a film in general, but about the place where films are shown, at the moscow international film festival the moscow festival is an event in a broad sense, which has been

filled with different content in a different sense and actually different cinematography, which was shown at this festival and about what goals and objectives were set before this, and the event before the moscow festival. today we will talk and tell our viewers. cinema, as we remember, appeared at the end of the 19th century in 1895, and the first festivals arose only in the thirties, and the first very first was the venice festival in the thirty-second year. but the second, by the way, in the thirty-fifth year was the moscow international film festival. it's no coincidence that this happened precisely by the thirties, because during the first three decades of the existence of cinema, in fact, it accumulated that amount of material. well, about which one could already seriously say that he has long stories. yes , because any festival. this is summing up the summing up of what has already happened in previous years, or those results that seem to be ahead of us, yes, based on the results of viewing the most important current news. and

in the thirty-fifth year, it is not by chance that two such totalitarian states, fascist, italy and the communist soviet union, decided that we need to show the achievements of our kemerovo art around the world and therefore first there is a festival in venice, then a festival in moscow is staged, where , in general, films created in these countries become the main object of attention it was in the thirties that two countries , which by that time were from the world, but were rather closed, and italy and the soviet union did not let, let's say, as many foreign films on their screens as before and accordingly, their paintings are also not so much seen abroad. and it is precisely these two countries that made such a window the venetian festival. the moscow festival, where in such a limited space-time mode one could show one's own achievements and see the achievements. well, if not the whole world

cinematography, then again some parts of it, of course, until the thirties there were collections of cinematographers, there were some more or less festival ones, so to say , retrospective. kazy was even performed in moscow cinemas in the mid-twenties, for example, comic weeks, that is, they took old comedy tapes of the tenth years, that is, ten years ago, and showed , for example, all week, or the writer ilya orenburg came from paris and brought the latest french avant-garde cinema, though not entirely in the film pieces, but soviet some russian film lovers. they could see what they were doing there, the lire market, what dmitry kirsanov was doing there. and in general, france was actually the country that not only is considered to be, but gave rise to cinema. yes, with brothers. well, that one a country where the active browsing movement is not just sitting and looking. and the discussion. well, in fact, the term fillet is

quite a french origin and a french cinematheque. as a matter of fact, this is one of the main such mecca of cinema lovers to this day, and such a place has been since the thirties. and thanks to its creator, the future creator of french semantics. andrey lagua, systematically collected old cinema, discussed old cinema, but also discussed new cinema, because that the concept of the festival was born in many respects from the need to watch and discuss the film, and the french feed them bread. just let me discuss some interesting cinema in the thirties. the french were also going to organize, and festivals were one of the first, but the festival is not just what we gathered to discuss. this is a state event, and therefore those countries that and whose leaders are themselves interested in cinema win the festival race here, therefore italy turns out to be the first mussolini who loved to watch movies, but he liked to imagine himself as the heroes

of the italian screen as a matsesta, the man who organized the largest film studio in europe precisely in the thirties. very not chita 30 is the time when italy wants to compete. and hollywood already by that time , already existing by that time, in general, dominant , moreover, we are in the field of sound cinema. yes, therefore, the state is interested in how and what films to show, how to duplicate them or not to duplicate them. yes? again , in the soviet union and in italy, films traditionally they began to be dubbed, that is , voiced, so you can’t hear the original and the sound track, at least, the texts of the original are not audible. and for example, in the usa it has become customary to give subtitles, and therefore they still don’t like to watch foreign films so hard to read and watch at the same time, because they have a different tradition and that’s it in italy in the thirty-second year the first venice festival was held moreover in the thirty- fourth year, a rather large soviet delegation went to italy, headed by our

boris shumyansky, then head of cinematography, then had such an idea, and to create soviet hollywood somewhere, but in the south of the soviet union, on the model of golly. where there is a lot of sun, there are many diverse landscapes, and so on, and in shumyansky they gave money, but in order to go and see, and what they do in europe and what kind of festival is there and look what is there in hollywood but this trip it led to that when shumyatsky returned, he decided that the festival needed to be organized, and in fact it they were going to organize it at the end of the thirty -fourth year, but the matter dragged on, and it took place at the beginning of the thirty-fifth. and why thirty-four? and, because in the nineteenth year of 919 lenin signed a decree on the nationalization of the film industry, he gave the entire department of the commissariat of enlightenment to mikulta. so let's say from the nineteenth year. actually it was considered. uh, the birth of soviet cinema, so 34 was

the 15th anniversary of the decade. we could not celebrate the twenty-ninth, because this is the transition to sound. this is the construction of mosfilm - this is the first five-year plan. this is industrialization. so sterilization is absolutely no time for movies. but these fourth we have chapaev, we have the youth of the maximum. now we can organize a real program. that is , there is already something that you can see for yourself and show others, and let's look at a fragment now. maxim forget the splendor, well, this house is good, where is it important that i'm in love with this street, this house, and

this car, what the hell would i and who gave them to you? what does it say, remember read? first away from this nest by deceit. i am waiting for a number of gorge faithful comrades of villains with passion beautiful countess tides to him with all her forms. ha ha make you forget the whole world, and there what kind of nonsense is this anton krechet the famous robber i don’t ask you the forbidden books, in which the manufacturer reigned something bad. writes such you read. a wonderful soviet film, one of several films that were shown at

the moscow film festival and judged and judged by none other than sergei mikhailovich eisenstein, after whom our podcast yunost maximov is named, along with several other films from the lenfilm studio. received. actually the first prize at the moscow festival. but the other two awards went to the french market clair with one of his first sound films and, by the way, wil disney is really an old disney. uh was a very important figure and a very important name for soviet animation in those years, because they actively watched the ussr how it was developing in general, how the disney film studio lives in general, where they create the main masterpieces of animation in the thirties. and, of course, we decided to export this technology and try to create it on our soil, and the films were shown at the moscow festival. this, of course, is mickey the conductor. this is the three little pigs. another tape they played a very important role for soviet animators, well, actually, that’s why

the festival was such an important cultural event, almost nothing could be seen outside the foreign festival, but in these few weeks it was possible, but all of a sudden to see something that was not usually available . this will be important later. for the revived moscow festival, but while we are in the thirties and in general, the venice festival continues, and the moscow one has never been repeated, france is going to create its own festival moreover, the first festival in cannes was supposed to open on september 1, thirty-ninth day , when nasyn germany entered poland and the actual opening of the festival took place at the end of august, and it was already unclear for the first whether to continue it or not to continue, they decided to wait further, events began to develop so quickly that, in general, the festival was it was decided not to hold it and held it only in the forty-sixth year, but these post-war years are when the festivals began right here, uh, to be born, like popcorn in a cinema, uh, one

after the other one after the other, because there was a feeling that, well, we are alive, we won, we open some new world. we open each other and it is interesting that this moment is the second half of the forties. even despite the fact that the cold war begins rather quickly. uh, this is the time when soviet filmmakers, for example, travel a lot international reviews, but not all, of course, are racists. and those who were trusted by the classics were all poods, for example, sergei yurkevich, who became our main representative in general in cannes and he was such a conductor of some kind of soviet racists into european culture. and so it happened, for example, in the fifty-seventh year, when the cranes were in cannes and yudkevich organized a screening of the film the cranes by pablo picasso n pecas e was in complete admiration, and there is a wonderful diary of sergei rusikov of the cameraman of this film, who, of course, did not speak french ,

but he describes how they went to picasso's home, how he presented him with some of his work, as he called the real russian artist himself. that is, he appreciated this visual, pictorial component of a soviet film. have you heard the legend of the war, which terrifies the german? red ghost they say hundreds of fritz.

what is your name? may 8 here we need to remember that during the cold war, the world festival of youth and students arises and one of these festivals takes place in berlin and subsequently this the tradition spreads to a variety of countries, including in the fifty-seventh year it reaches the soviet union, where the thaw is already in full swing, if i may say so, where it is actively interested in what is happening abroad in the west, where the new generation of soviet youth appears, which wants to be an open world, and

this is the point for many in 1957, when the soviet union comes from so many countries, not only socialist but also capitalist students and cultural figures, to tell and exchange some ideas and within the framework of this festival, a separate movie is watched, which then, as it is considered, will become the future swallow, the predecessor of the moscow festival revived in 195. in 2009, and in this, and at the big festival of youth students there was a small program of films, it became clear that films and film screening are an opportunity show, again, what we are doing. we are the ones who come to see us and see what they are doing in europe in the world and, uh, in 1959. this is the tradition of showing yourself to others it was not a very big festival in terms of the number of films, about 20 films in the competition, of course, not one, but

several soviet films at once , it was supposed to be given and, of course , the chairman of the jury had to be, and the representative of the soviet union was usually in the sixties - it was one from the classics of soviet cinema either sergei gerasimov or sergei yulkevich. so they tarted him, but it is interesting that the other members of the jury. most were not movie stars. not even filmmakers. but in the first festivals it were especially noticeable. there were european film critics. eh, film historians , but this is such a very interesting meeting, yes, the combination of practitioners and historians of theorists was clear that it was necessary to comprehend what we see, in general, in the moscow festival of the very first years. and in general, until today . he is looking for himself, trying to understand what place he occupies among other largest or not the largest festivals in the world of the berlin festival, which by that time had already firmly established itself and, in general, very often oppose itself to others kansk festivals and the festival where it is born

on the sly. here is the story. well, in many ways, the kansky festival was created as a kind of commercial event, where distributors promoted. they wanted to show their new films, primarily of french production. this is now a glamorous event. and then, well, it was still pretty. well, partly provincial, provincial history, which was only just beginning to create the hellish festival in general, but the moscow festival. in this, but the new world is looking for its own place, it is no coincidence that they decide to hold it not every year, but once every two years, because it should alternate with another major festival in karlovy vary in honor of the major festival of the eastern bloc, that is, we oppose ourselves also in such larger, let's say, division , and there is a festival of the eastern bloc. they may be more about art about e, humanism about international friendship. as it is stated in the slogan of the moscow festival, but there are more commercialized post-war years,

western european festivals and there festivals in capitalist countries. there is bourgeois art, it is there for berlin, for venice, for cannes, there is socialist art, and we in moscow show it to the audience and to the whole world. well, the members of the jury who come to us to watch it, and it's interesting that in the sixty-eighth year the cannes film festival came as close as possible to what happened at the moscow festival and filmmakers and the festival. just in some moment was interrupted, because they were protesting against this self-identification of the sixty-eighth year, when directors had fun on the curtains in cannes, trying to disrupt the next film screening. in general, it was like that. yes, it succeeded. the festival itself was canceled, because leftist art, including in europe , of course, they had their own view of what leftist art was, and it opposed the soviet union

, it was a different direction of leftist ideas, they won, then and in in general, the youth revolution. it was a revolution justice for, as it were, some basic principles. e work with the state. yes for union independents for working hours and so on and so forth. including for the festival to include, er, films made outside of the studio system outside of commercial a film production about people by ordinary people. and something that would be done using the newest, and cinematographic forms in general. this is a very important moment, which is directly related to the history of the moscow festival. after all, what happens after the war years. we know that vladimir ilyich lenin said that cinema is the most important of the arts, which he meant that this is the most massive form of art, with the help of which it is possible to convey some ideas to all segments of the population, as it was actually intended to remove lulière and other inventors of cinema,

and in the years after the war, the cinema is quite complicated, there are directors who openly declare that they are the authors that they make complex films that are not intended for a wide audience and festivals are ideal platforms for showing such films. well as a matter of fact, we all know this is fairy antonio allen remarking. french director godard whose films in the sixties are becoming more and more intricate multi-layered and a host of other european masters. eh, and festivals are just becoming the platforms where these films are watched, criticized, scolded, praised, and in general, these films pave new paths in the art of cinematography. the directors of the whole world are guided by them, they are inspired by them, they take some tricks that they spied on in such, in fact, experimental work. and the moscow festival in 63. it just becomes the place where serious disputes flare up around the film federico fellini 8.5. this is only the third

festival and, by the way, it must be said that it is just for the mass audience, maybe it was not originally designed for it, but the mass audience. just a shaft knocks on the moscow festival. this is a very important part of cultural life in general, not only in moscow but also in others. but where are these films, then come and often the viewer of the moscow festival in the sixties does not know, in principle, what he will watch. uh, season tickets are bought in advance, and then the name is exchanged. it's all a little. such a work is random, but the audience knows nothing about what a category is, and the festival category for them is any foreign film. this is already a novelty, but for the director it was very important. and in general, how would the classification of world festivals be arranged in such a way that only the festival where the premiere of a particular film takes place for the first time can have a category a, that is, an important condition should be that the film look nowhere else. well actually , as today we know that the premiere will take place in cannes. this is because, firstly

, the festival of the category, and secondly, everyone aspires to go there, thirdly. uh. in general, as it were, this is already such a standard. well , that wasn't the case in the 1960s. it's only just she's born, so we can easily imagine that someone has already seen 8 1/2, but not seen moscow. and now he enters the competition, of course , federico fellini, we already know him from the film the road, for example, and we, in general, already we love, nevertheless, for the jury, even this film became very problematic and caused a grandiose scandal, which we fortunately know about, because that year the jury was represented by a wonderful director and subsequently a memoirist. grigory chukhrai tells him, chukhrai talks about how the fate of the main crisis of the festival was decided, because , of course, the jury members wanted to give this prize to the filini, but we said that soviet cinema is a very important part of the moscow

festival. yes, and he also watches soviet films and was supposed to at least to the departments of culture by the department of propaganda of the central committee that the main prize would be taken by a soviet film. that year it was some kind of completely, orthodox , realistic film called meet the pamper. and no one remembers na sarzhevsky now, except for this scandal with fellini, because the installation was given to give a prism. meet baluev and the jury, in general, rebelled, moreover , the chairman of the jury, grigory chukhraev, rebelled. he said that he would resign from all his posts if, against the will of the jury, and there already half were ready to leave for their own country without waiting for the award. and if, in addition to more than a jury, a film about filini, the prince does not give a scandal , the grandiosity was brewing absolutely yes, and in the end , all the same, chukhrai and the jury members.

the winner of the filinnee received the prize said from the stage that this is the most important principle for him, because he received it in the soviet union and to some extent the situation was saved, but in the following years it became customary that three main prizes are awarded one soviet film another film capitalist countries and a third film from the eastern bloc or from one of the countries of asia or latin america. i remind you that this is a podcast of eisenstein's witnesses where we film historians natalya ryabchikova and stanislav didensky talk about who and how created the classic forgotten cult unknown soviet films and about how they were watched, today we are talking about exactly this how the moscow international film festival was held in the classic years of its existence recalls a very characteristic story of a dispute with one of the jury members, oh, which happened to him when they were discussing the film empty flight, the content

of this film absolutely eluded the foreigners, because they did not understand. what is the collision. why one of the main characters of this film, a truck driver , cuts off the road when he travels from the logging station to the regional center. that's why he drains gasoline in the taiga. after all, it is meaningless to explain for the sake of a bonus in order to receive a socialist bonus. but what a big bonus there is is practically symbolic for your money. well, why then does he do it? well, that is, in general, but for foreigners absolutely slipped some realities that were familiar to the inhabitants of the soviet union for the viewers of the soviet union, and they really just sometimes did not understand the logic of the characters' actions. and therefore actually this film has caused some certain scandal. let's see , in fact, an excerpt from it, the main role is played by alexander demyanenko, a journalist who comes to write an article about this state farm, so he discovers this ownership of this gasoline. you see

how much do you know, nikolai is a man about you , i have almost finished it will be called ultralespromkhoz nothing, huh? you know, i'm sure that not only someone could write, what are you thinking about today, but also what you will think about, tomorrow the day after tomorrow, that's what when home to moscow, now soon it remains only to artistically explain how you succeed achieve success. ride tomorrow. and tomorrow i say, go collect the fact and flutter from here, otherwise, look, another wolf will bite. and then they will say chrome shoved, you do not take the hassle. ride. here all the same chukhra, apparently, it was possible

to find a compromise and the film he was given a silver award. in general, it must be said that there were a lot of awards at the moscow classical festival. here are three main prizes, then another for an actor and an actress, and another silver and some other minor ones and, uh, a special prize from the organizing committee and a special prize from the allies of the necrophists and smaller ones and, in general, the complete list is quite significant. and this actually reduced the value of the prizes of the moscow festival, because if everyone receives awards, if friendship wins, then it turns out that no one won, and chukhrai just again notes with his memoirs that after the story with the fellinium from the film eight and a half, the prestige of moscow time in the world began to slowly decline, because for soviet cinema, by definition, a soviet film is better than all non-soviet films, therefore it was impossible not to give a prize, and it was also difficult for one of those soviet films that participate in the program. him to explain to foreign guests. well, by the way,

one of the first soviet winners even before the scandal with fellini was, in general, a film that still remains a classic of soviet cinema - this is sergei bondarchuk's film the fate of a man. it seems to me that you can look at this fragment to see. and what did the moscow audience watch then, and what did the jury judge at the moscow festival? vanyushka do you know who i am? i am your father. it takes me so long to find me neat.

sergey madarchuk, uh, was private, well, you can say a regular at the moscow festival, because his film war and peace was also one of the participants in the program and it would have been a colossus one of the great films of the sixties. and in general, when a chikhrai says that the festival is a little losing its significance for the big world, nevertheless it becomes more and more important in the soviet union, because for the audience it is such a window to the world, thanks to which the audience opened themselves to world cinema. and in general it cannot be said that the festival was just like that, deprived of the attention of the stars. here, of course, nothing fucking exaggerates a little, for example, uh, in the late seventies, significant events occurred when francis ford coplala, godfather movie director, the talk of many others bring their hottest new release to the festival. the moscow film apocalypse of our days or apocalypse today brings them a version that has not been seen in another world of a version that has a different ending,

where the protagonist refuses the decision to kill and simply throws a knife refuses this fate, which circumstances themselves impose on him. yes, he does not kill the colonel kutsa, and here is the very bivalence of this tape, no matter how vividly it was demonstrated precisely on this session, that in general this film could have such an ending, or it could have been different. and this did not in any way affect the artistic fabric as a whole. the film's perception changed, but the impression that the audience received did not change. in the eighties, this is the peak of the moscow festival, because after, uh, long years of stagnation in the soviet union , perestroika begins and at the end of the eighties another festival takes place. where absolutely all the stars converge. well, no, everyone, of course, but a lot of big names are coming . robert nero is coming. well, there are many different stars. depardieu marchela. some kind of mood was absolutely incredible festival in the eighty-seventh year, when really, on the wave, the transformation

of some kind of soviet aggression after the fifth congress of the allies was still on the wave. stov after the release of many bookshelf films of incredible interest in what is happening in the soviet union, including in the field of cinema, and this year one of the notable films of the festival was the film courier we have a small piece. you can see. what was the feeling then? viewers of this film? see. everything is taken with hostility, everything is made into a performance of buffoonery, elevated to the principle we do not need anything. we all know this fundamental question masha i, our generation wants to know for whom we lived and fought. the building we erected. and what,

actually worry, it would be interesting to know the principles of the young man. according to which you are going to exist in the most uncomplicated society, i would like to have a decent salary, a car, an apartment in the city center and a cottage in its vicinity. yes, even work less. well, the material good is necessary in this there is nothing. in general, this is one of my favorite fragments from this film, it is so vividly shown there. this is the difference between the generations, the generation that knows all the words, but we see the emptiness behind them and the generation that is new, which is trying to break out, including from under the power of these words, from under the power of this generation of the previous one, and, in general, declares what it wants, but it declares it frankly in this sense, films become like such a window into reality. yes it's not just a work of art. this is an opportunity to see the changes that

are taking place in society. we sometimes forget that this is not just a work of art that is created in a vacuum. yes, it's something that somehow reflects the moment the movie is being made, even if the movie's plot doesn't actually refer to that moment. yes, that's why the text is important, because very often the moscow festival today is criticized for competitive films, which i , well, or often do not correspond to, but to the level of the critic, which used only to the masterpiece of world cinema, and love festival in fact, this is a selection of screenings, because this is the crucible through which it must pass, and ratings, and with the jury of the audience, and the film before someone decides that it really a masterpiece or not masterpieces in the nineties, the moscow festival undergoes the same way as russian cinema as a whole, but turbulent times, because, in principle, this east-west dichotomy breaks up and at some point we are away from, uh, a

biennial festival moving on to the annual festival, because you no longer need to look at karlovy vary and not really, of course. what, let's say , domestic films can be shown, because in the early nineties, at least , not very many of them are being shot. and at the same time, new festivals are being born , the moscow festival no longer competes with world festivals within the country, because the 1990s appear on the taurus , a film shock appears there and as a result. uh, the festival is reorienting in many respects already to asian cinema, for example, there will sometimes very often arise strong programs and programs dedicated to asian cinema, in principle, this is openness, and post-soviet russia to the world, including from the point of view of festivals, for the moscow festival has become a little bit. added complexity because now the big films could get into the big festivals. yes, we have such a, uh, group of directors. well , for example, you can remember pavel