[000:00:00;00] honesty and subtle emotions, as she writes, and look, she dedicated ivanna jubi to him, she dedicated a poem to him, these are actually the lines of iryna zhy-zhylenka, on the parquet floors on the sofas there is dirt, saliva, blood and piety, ionna was baited here, i will flow from with gentle eyes, and it turns out that ivan dzyuba, the leader of a generation with whom everyone was in love, has already been rejected by this generation, because ms. marta fil' mentions that when he left this sizo, he was only met, she says , kochur, yes, tobacconist grihyr, and several other people, all the rest transitioned to another age, and part of the people simply condemned him, the ukrainian intelligentsia , yes, in particular the luminaries, in particular stus, stus wrote terrible words about ivan dzyuba, and on the other hand, part of the people were afraid of him, as if he was a person

disloyal to authorities er, how do you answer for yourself regarding this compromise, where is the limit of compromise, now there was a story, i also prepared it, i wrote it out for myself, so there was a story when last year, literally last year, the kyiv rada, and the kyiv rada , kyivans who wanted that, bazhena avenue, amrosia buchma street, the street... pavlo tychyna and leonid pervomaiskyi in kyiv should be renamed, because these people cooperated, collaborated with the soviet regime, where for you is the limit of collaboration with the soviet regime, by the way, mykola bazhan was like that telling episode, les stannyuk once told me about it, this was a club of creative youth in the early 60s and i say i invited the beloved, mykola

platanovych, he says he went on stage, there are young people sitting in the hall, and suddenly, they all this hall started to chant, well, so quietly, as if like that an inner voice, a person stands in the sunny kremlin, well, a movie, a famous, a famous poem, bazhana about stalin, dedicated to stalin, and i say, well, it is clear that as bazhan perceived it , the younger generation openly says, you are a traitor, you served the katyusha, the devil , you are a servant of the devil, but bazhan endured it and continued, he told me, les stepanovych, he says, yes, he talked, talked, talked, and began to convince me of something, bazhan is a great poet, a man, just genius, and bazhan, as far as i'm concerned, genny, vyrichov, this is the most important thing for us, dovzhenko, who also went to

to huge compromises. you understand, but they kept the sky over ukraine, this is necessary, this is the main thing, and no, not compromises, and in compromises they were allowed to survive and survive them, their muse, this is the main thing, and this muse was ukrainian, yes, she went to compromises with the communist totalitarian system, but if everyone went for yes, vasyl stus had the right to say that to ivan dzyubli, because he had been in concentration camps, he had put his whole life on the line, so he had the right, and the majority of people who sat under their warm apartments, the dzyubas did not have such a right to speak, because they had no deeds behind their souls, and these were deeds, so and dzu, the beaks were deeds, and how many of them there were, by the way, to the address of dzyuba,

one day you will drink about it, no no once upon a time, and recently, just for the anniversary of ivan mykhailovych, oksana pokhlivska wrote a brilliant text, and she replied to those who were already in their 80s, who started to say what they were saying and the 60s shut up, that they did not fight, that, well, at the turn of the 90s and zero , they say virgins, sixties, here, ivan juba wrote about how much of a workaholic he is, by the way, he is a human being, when they asked about yu. he wrote a whole manifesto against juviy, he hated anniversaries, he hated them because they take time, they take time away from work, he worked for ukraine, for ukraine, he is the minister of culture, the first minister, well, the second minister of culture, who laid the beginnings of cultural policy, strategy, something that still does not exist, absolutely, and so on, that is, he is a person

who did, imagine that... let's imagine that all this would not have happened, the compromise was justified, if after this compromise, to put it bluntly, ivan mykhailovych had lost his temper, oh, then we would say, well then. and he didn't talk about what or who, but he, he overcame it and he did so much for ukraine that god forbid his critics, even if he does a hundredth part of it, you already started talking about how brave he was, and he really was, i read somewhere that he, he came out at some writer's plenum, or somewhere, he said , what do you think, you will lie here, and i will remain silent, and that's how he did not remain silent on september 4. .. of the 55th year, by the way, we will now talk about what happened on at the premiere of parajanov's film shadows of forgotten ancestors, but interestingly, i think it was an absolutely brilliant move, in the film ivan and marta, serhiy bukovsky, serhiy bukovsky

used two sirens as the basis, the siren that sounded on september 4, 1965 of the year in the cinema of ukraine, where the premiere of shadow of the forgotten ancestors was held and where dzyuba performed. the first to say that today is a tragic day , today is a happy day, but also a tragic one, and began to list who was arrested from ukrainian intellectuals then, and in response to this, the administration of the cinema ukraine, they turned on the siren, this is where serhii bukovsky's film about ivan dzyuba begins, and this is how he ends the film, but this siren already sounds later, during the russian-ukuk' war in the first months of 2022 , what did you, when you first heard about what happened in the ukraine cinema in 1965 , you know, when i heard already in the early

90s about what happened in 1965, when did you learn about it? no, well, in 1965 , i was still a schoolboy in alexandria, and i definitely did not hear about it, well, you understand what. any information was blocked, well, that's about it in kyiv knew, that's why i was already somewhere in the third or fourth year, someone, someone told, well, about porodzhanov, there are a lot of all kinds of things there , well, including told, and you know how it was there, how it was, how it ended for paradzhanov, in general, all this the story with this protest, for paradzhanov, well, then it's nothing, ivan mykhailovych said, i was terribly afraid that i was born. he says, well, why did you record the premiere for me, with such a political gesture, he says, it's not that he wasn't offended, it's not that he wasn't angry, he says, he had the impression that, that it was his

such excitement, that's what he loved, just give it to paradzhanov, paradzhanov already loved such sharp, non-standard actions, especially related to them, and he says that after the film, he took marta and i by the hands and led us to his home, and to we were at his place in the morning, because, well, he was afraid that we, well, not us , but ivan would be arrested, well, they were not arrested, then, by the way, marta volodymyrivna tells me humorously, there are versions, she says, and he says, that he walked all night with ivan khreshchatyk and that, well , years later, all kinds of things, but it was like that, and it was sometimes they say, indeed, that this is the first maidan, that’s right, near the maidan, the deceased is unfortunately already dead, not the ukraine cinema, because let ’s hope that it will be revived after all, but it was an action, this, this is a brave,

a person boldly speaks about zay, declares what was talked about only in the corners, what he said at first, he said at first, yes, that there are arrests, then, chornovil, joined in and said that those who are against arrests, stand up, and stood up , by the way, very few people, and well , it couldn’t be any other way, this is the 65th year, 65th year, they say that there were about 700 people in the hall, 50-60 people stood up, well, no more, yes, no more, and that’s a lot more, as in those days, because it pops up, not everyone knows , then stus said, the same word, yes, then between series, somehow during the break, stus also said , and there was no series, no, there was no break, the movie was all over, somehow, somehow, there was like some kind of break, no, well i, i wasn't there, but as he told me so much about it, uh, no, yuriylenko told me that he left the hall at all, well, when the screening started, he sat down

there in the square opposite, and he says, right then and there he saw several military vehicles drive up, soldiers with machine guns jumped out of them, and in fact surrounded the cinema, but it would seem that there was just such a small local protest in the cinema, yes and that the system is introduced there by a battalion of soldiers who surround the cinema, well, well, later. they crumbled, that is, not so clearly, but it was so to say , these things drove away fear, as soon as you stepped forward, they tried to hit you so that you understood that the next time they would hit you in such a way that in general, a wet place will remain from you, poetic cinema, let's still have time to talk about poetic cinema, in fact, in fact, it was also something like that, you said about the russian sovietsky bleiman's cry, yes bleiman, mihain bleiman, who spoke,

who criticized this myth of poetic cinema, how poetic cinema was dangerous for the soviet authorities, or why it was under such, such a ban, why everything was put on the shelf in the end, one moscow film connoisseur once explained to me, he said: "everything that a soviet official did not understand, he was horrified and tried to ban it, but once he didn't read it. well, why a myth, because it was based on a myth, on myths, what are the shadows of forgotten ancestors, that is folk, folk rituals, there is all this on this, sorry , now we are showing, this is babylon 20, we are showing excerpts from myka ivan's film mykolichuk babylon 20, well, this is also the same mythopoetic movie and by the way, it is based on

romanov vasyl zemlyak, a brilliant, well , folk philosopher, this ivan played the role of this fabian, a village philosopher, in which the features of both grigory skovoroda and vasyl compatriot, he also walked all over the hills of kiev, philosophizing, that is, he wrote one novel there at the age of 6-7, and more than that, he spoke like the ancient philosophers, and he loved it. he says this on the go, reflecting, by the way, on the life of kyiv at that time in the 60s and early 70s, it was largely carnivalized, well, the same parodzhanov, he was at the center of this group, which also included mykolaichuk, and ilyenko and balayan, many younger and slightly older cinematographers, and they met almost every day, not

just by the way, at parajan's, let's say, in yanukovych's apartment, oh my god , yakutovych, it was also such a band, and they, they 're like parranjanov, it's a holiday all the time, festivity, there are a lot of such stories, that's how roman howls balayan still, when he hears something, as if it were a true version from parodzhan, says, seriously, the truth, well, the same mykolaichuk, what a fantasy, once, when i spoke with him for the first time, well, not the first time, well, in the first period, in the house creativity, and we left after a long conversation, and leonid cherrivatko, who knew him much better, looked at on zora, he says to me, he says to me, well, how, i say, well, it’s great, how much he told everything, he says, and yet, first of all, he says, but how

beautiful, because ivan was also carried, like parajanov, when he saw in front of him what this maidan was, what if, in 2004, when i was standing there on the maidan in the most orange, it seemed to me that parodzhanov was standing somewhere and was rejoicing, because this is his element, this is it, this fair , these people are fair people who, well, it's a holiday, collect, collectively, that's a collective. came out and this and this holiday of freedom, because everyone is free here, everyone takes off their masks, puts on different ones, this is a holiday of freedom, and he is in this carnival, he forgot, they say that parodzhanov was very afraid of prison, but he forgot so much that you have to be careful, do you remember anything about it , how did he behave in general in this regard, i know pradzhanov, because when i entered he was already arrested, that's why i

couldn't know him, i saw him several times when he came to kyiv in the late 80s x years ago, but even then it was absolutely like that, it was instantaneous, well simple, for example 40 days after mykolaichuk's death, paradzhanov arrives late at baikovo, and immediately there is such a visual sensation that he is in the center, everyone around is like that, and he is like that, he looked around, then, oh, ah... there, across the grave, is a monument on which it is written, the orphan, he comes up, hugs the monument where the photographers are, the orphan couple , he immediately made a paste here, and i remember perodzhanov on the grave of mykolaichuk , and he opens bottle after bottle of champagne like that and pours champagne on the grave, mykola's grave, that too such an action, that is, it

must have been something in his imagination, he, he, yes, he is all the time, as far as i know, i don’t know much, but there are a lot of all kinds of stories, he really creates all the time... such plays, i asked his wife, well, they divorced quite quickly, they lived together for a few years, shcherbatbatyuk ivanivna , i'm bent on ivanivna, and why did you leave, she left parodzhanov, even to the shadow, and she said: "well , how could i, a woman with a child, and here the theater is 24 hours a day, she says, all the time, and he he tells me, how are you, how are you dressed?" so you have to change clothes, you have to buy a harp and so on further, that is, she was an actress in his theater all the time, she says, well, it’s 24 hours, at least 8 hours with some, with some break, it ’s a total such theater, and that’s it, he got tired, the same roman balayan to me

he said what he said more than once, i always wondered what serozhan is like when he is alone, because it is impossible to imagine him alone. there was a carnival, that’s what, and it’s in his films, there is, this one, why did the shadow seem to him to be armenian and he got so deep, and that’s how he got to know all this, well, together with his other colleagues, precisely because it here, he got into this paradise of his, or is it his, it is terribly close to him, it was close, this carpathian, this hutsul carnival, and let me return to the question with which we started, how poetic... cinema threatened the soviet power , i miss not only because she did not understand cultural codes, yes, i think that it is precisely because the soviet authorities understood cultural codes, which are there, which are there, behind, so to speak, sewn up, yes, this is a poetic cinema, let 's go back to why why all these movies

including babylon right i understand he was also on the shelves, am i wrong, no, i won’t be, because it’s already the 80s, all poetic films, but before that, yes, in the film osyka, there is illenka, parajana, they got on the shelf, that is, there were dogs that didn’t get on, they were simply pushed away, it's not always a well for good people, it was banned, shadows of forgotten ancestors was banned after parajanov was arrested, tried and imprisoned, well, under such conditions, it means that the director's work is not shown, well, according to those rules. it is clear, although he was jailed for his, under the article not anti-sovietism at all, yes, him humiliated, you know, it was articulated more than once that this, this is also the government and the government at that time, and its characteristic, that they let him in, because for these prisoners, who are the article under which, under which

he was imprisoned, a homosexual, this is humiliation, it means that he is, well, a man of the bottom, that is, he was practically doomed. he was destroyed there because these prisoners simply in one way or another, but paradzhanov came into contact with them, they appreciated his very carnivalesqueness, this festivity, he was a holy man, gosh, yes, in him, in him such an abyss there were human, positive things that even these prisoners, who, of course, are people, were often there. and balayan told me with mykhailo belyk, they visited him - in the camps, and after that, he always introduced this conboyer, he says, he has 100, look, this is a genius, he has 100 stories, write down 10 and there will be 10 masterpieces, after

moreover, these convicts came here to the belikovs there, and that is, with a note from parodzhanov, that is, he knew how to see, even in some convict, in some escort, his talents would be appreciated, and people felt this, and that is why he survived at the expense of such people, in order for him to be able to see in people, this rich world of humanity, he saw people in people, and the authorities did not like that, the authorities did not like his and the films of mykolaichuk, ose kilenko, others, here i am... the other day i watched the bread and salt of grigory kokhan. a brilliant film of the 70s by stelmach. this is also, in principle, a poetic film. well, i didn't like the fact that it was a ukrainian movie. that it is raised by the layers of the ukrainian culture itself, that is what

you quoted at the beginning, that there were always in in harem pants, in embroidered jackets, and yet the thing is that ukrainianness was reduced to this kind of harem making , that is, to this ethnographic, if such a low culture, it should be, it is the basis, but then you moved to the city, arrived, and you have to build on this basis others, a different culture, russian-speaking, oriented not at all to ukrainian sources, to ukrainian codes, to ukrainian narratives, all this had to be erased, but these 600-year-olds refused to erase this layer, on the contrary, they began to build it up, and at the same time, the secretary central committee became malanchuk, who simply began to destroy writers, well, who stood out for their ukrainianness, what was grigor the tobacconist, why

did he commit suicide, because it was proved, it was the 80th year, it seemed that everything, that was all, this system was coming to an end , i am from, it so happened that i came to the funeral of grigor, with mykolaichuk , just in time, and we were standing near... that grave, it was the 80th year, the 80th year, the month of march, and eh, mykolaichuk cried terribly for a few minutes, mykolaichuk was crying, mykolaichuk was simply angry, well , obviously he felt that his destiny was to die in 1987 and he too, well, from a terrible disease, but she poured him into it to zero, and as you can see, the topic, the topic of the sixties, the topic of cultural prohibitions and the topic of the conditions in which ukrainian culture was able, it is very deep, and only mr. serhiy and i started this topic,

started discussions, and i hope that we will finish reading the sixties, seventies and, in general, the ukrainian dissidents, yes , we will still notice them, read them, study them and take them to our baggage, internal, today, i thank serhiy trimbach, film critic, screenwriter. for being you today were with us, it was a program of our own names, we will see you in exactly a week, read, because reading and understanding the knowledge of ukrainian culture is the first resistance to the aggressor. thank you.

hello, this is svoboda ranok, an informational project of radio svoboda. top guests every day, this is the ship district, kherson, inclusion live. we are somewhere in the vicinity of bakhmut, we are telling the main thing. on weekdays at 9:00. verdict by serhiy rudenko, from now on in the new one. two-hour format, even more analytics, even more important topics, even more top ones guests, foreign experts, inclusion from abroad, about ukraine , the world, the front, society, and also feedback, you can express your opinion at any time of the day with the help of a telephone survey, turn on and be included, the verdict with serhiy rudenko,

every day on weekdays from 20 to 22 for espresso.

watch this week's program collaborators traitors from who was waiting for russia in a resort town? we are entering russia, russia is our state, this is our future. but how will the local peddlers flirt with the occupiers? i thank you vladimir vladimirovich putin for the possibility of holding a referendum. greetings, i'm olena kononenko and this is a collaborator program about traitors who went to serve the occupiers at the call of their hearts and wallets. after the shameful escape of the russian army from kherson, the invaders appointed him as their regional governor. the center is the small town of heniches on the coast of the sea of ​​azov. about 15,000 people lived there before the full-scale war, but many left at the beginning of the occupation. only those who find it difficult to do so, due to health or other circumstances, remain. all of them are waiting for the armed forces, but there are also those who were happy for the russians, and even more so, cooperated with them. the names of collaborators from henichesk are in the issue today. the city of

henichesk on the coast of the sea of ​​azov in khersonsk. oblast, many ukrainians with small children came here in the summer for years, and the resort appeal of the district center ended when ginichesk was occupied by russian barbarians. at that time, several thousand local residents were not afraid to resist and came out to protest with ukrainian flags. ukraine, however, unfortunately, among the locals there were those who rejoiced the russians, even more so, went to serve in the occupation administrations of the city. today we have made our choice, we are joining russia. russia is our state, this is our future. before the occupation, some of the collaborators worked in the city council, when genichensk was a ukrainian city free from the russians. this is oleksandr pinaev, born in 1976. in his peaceful life , he was an employee of the sbu and a deputy of the city council of henichesk, and even the

mayor. but he stayed in this position for only two years. years, in 2012 the deputies corps announced a vote of no confidence in pinaev and him suspended among his main achievements in office was the construction of a public toilet, which all the locals still call the pinaiv toilet. genchan, i did not give you away, because of changes in the city, i suffered for the truth. with shame , pinayev was dismissed not only from his position in the city council, but also from the security service of ukraine. he left there with a scandal and with a mark in the personal file of prof. unfitness. however , he came in handy in the occupation administration. he sat down in the chair of the deputy of the occupying military-civilian administration of the city. and here he is already calling the locals residents to vote in an illegal referendum on the inclusion of kherson oblast, and genishisk in particular, into russia. i am oleksandr viktorovych pinaev, deputy head of the military-civil administration of the community.

i congratulate all of you on the fourth day of the referendum. i urge all of you to fulfill your civic duty. the kherson regional prosecutor's office has already notified this toilet duckling of suspicion. law enforcement officers charged oleksandr pinaev with justifying the armed aggression of the russian federation against ukraine and glorifying it participants a prison sentence is not far off. this is olena terskikh, born in 1983, currently a gaulleterka of henichiv district. before the occupation , the woman successfully worked as a deputy. of the city council and was the head of the department of land issues and land management, and with the arrival of the russians , the woman changed her color dramatically and already on camera i thank the leader of the rashists, putin. on behalf of the general administration, on behalf of the entire team, on behalf of all the citizens of our district, i thank vladimir vladimirovich putin for the opportunity to hold the referendum. in addition to active participation in holding a fake referendum,