all right welcome back you without you live from moscow where it's an hour seven thirty saturday night your headlines now libyans look ahead to a country without gadhafi and nato the shady circumstances of the colonel's death cost the blood stained shadow over the nation's future the libyan interim government claims he died in a shoot out with a leaked video shows a man boasting that he executed. new york sees a dozens of new arrests during peaceful and you corporate demonstrations as the occupy wall street movement grows stronger by inspiring more people all across the world to call for economic justice. as e.u. ministers gather in brussels for another round of crisis talks euro skeptics in the u.k. are pushing for a nationwide referendum on britain's membership in the e.u. . writes about this all for me here in my colleague bill daughters here in half an

hour's time but first an alternative cinema challenge hollywood this question and many others surrounding the film world are asked by spotlight host al going off in his chat with the director of the two one international contemporary film festival our interview show is next. well again the welcome to spotlight. on r.t. i'll bring our bank today my guest on the show is alex. kollywood movies are dominating big screen gold what some make in comes approval and to the budgets of self-interest but the lasting success of noncommercial movies that's very stressed shows that people are hungry for help turn the cinema so can this provide anti-dote this spectacular blockbuster to one international contemporary film

festival is ongoing in moscow and its program director. knows the answer. critics say cinema is going through his story. the so-called independent plan of these top box offices by hollywood blockbusters because we know the truth around amateurs stick it on the whole critics complain cinema has become very predictable and it's hard to find a really original work that's why the two in one pastoral was created its organizers say they don't choose be on directors names or a critical period their pastor will only features a little surprised and press. thank you very much for being with us thank you for inviting me welcome to the show well first of all to in one festival one has to be all while actually it doesn't

mean what you perhaps would have suppressed but it's not about how the children. well definitely about. blurring the borders about the french on the scene in much different kinds of cinema and all blurring the border between cinema and country. re art. documentary infection or commercialized cinema so this about making cinema a unified space where we can explore going can where we can find something interesting where we can showcase the best findings in their areas of. cinema well i don't know that you call your first of all a contemporary thought for us to rupert are all food first rules showing contemporary movies this is this the idea of a festival of well not necessarily dwinell i mean there are wonderful film festivals that are pockets that are concentrated on the bread prosperity for

example i don't know given some films are talking contemporary they are sometimes very talented to retrospect to get started for example ground in some sebastian film first off well we are not the biggest film festival in the world so we we are trying to create what is important for in our days we're not sure placing we're not presenting retrospectives lots of them. we are sort of trying to focus our attention on the transplant had to be particularly interesting inventing new risks you know there is a rule you can to improve your it which i personally dislike the wounds of the so for i don't really understand what form it means i think that i think that piece of work including movies can be good or bad but well this is it you can also be forty three or sixteen when i know it well the world this is and the same for many years

but still they see professions like yourself say that their every thirst at all today has its own format is there a format for your festival and what films what movies into two in one for a while personally we are together on this cause. i hate the word might as well i mean. this is not about war my this is about a selection selection of course it has to be done according to some critically rare but i one main criteria and we've got a strict for selection i believe out of all the first film festivals in the world because we like or dislike them or view either works either it doesn't work so or. it's not about form art we can include. blockbuster movie in the competition if it's really a work of art and for a world call for personal expression you know it's not vodka vodka can't be out of

form and so the cold war or all warm i mean. well the other wards. and makes you feel good. about sometimes it doesn't the band upon the poulter of vodka depends upon it at first here i don't want to. well not only quantity but hang in the selection selection of fairly selection of companies who there's a local hero. for everything through a movie yeah exactly so ok let's let's drop for a minute so do you the atmosphere of your first among those it's. supposed that you have to have some some some special sort of these because you said it could be anything including you want us to well it can be anything anything but in terms of class first of all i would like to say that only gets who are really interested in what is coming up for example for well i can mean your son

names the you'd like to cause for as a present on the jury we've got for robert siegel a wonderful american filmmaker who was the proto of wrestler with. the. i mean india is tuned by people who are really interested in what's going on we are not and by complete bull for money we're not in by complete will to stroll on a red carpet place is completely irrelevant for us if we are inviting someone who says grown versus mean herbs means that we are going to have press conferences and master classes meeting with the audience and we mean the arts we hope not only the audience but the people who are invited or guests will be satisfied with this experience because the past twelve is a place for communication the communication means communication between the audience and it will be it means of communication between blair audience member

filmmakers and between filmmakers themselves because this is the best place to make friends after all one of the papers quoted you as saying that you are first of all your festivals main feature is to surprise at least this year doesn't mean that you would show a movie there it's all for aesthetically where sharky surprising. well shocking doesn't necessarily about the half to earth see some shocking scenes of violence for the person in the somebody in front of the camera and now shocking only means that we need can change the culture of popes for our own movies because predictability i would say is the worst enemy of art in contemporary film and not only fun because everything is predictable you know what to expect out of the can use show out on in your state of submission and move be made by some well known

filmmaker and what you really lap is a sense of surprise when you have something of the liberals when you have something but really surprises you can catch unaware this is what we're searching for in the competition an obama competition or you know i guess. i do think that predicts predictability is so bad i mean for example. when characterizing a person when characterizing somebody well people usually say he's brutal i mean i mean this is good it's very hard to deal with unpredictable people unpredictable countries unpredictable situations in life so why do we want life to be predictable and films to be unpredictable does that mean that films should be should be close to life. while it means. you know you're saying well there's the second point actually being you know we really like a person like

a person's life found for. everything that surrounds us to be reliable i don't say predictable but reliable when little is lying around here and on a certain kind of read. well we still need to explore something new because this is why we're here for her for being what well this is. for me. this is the hourglass of your life to explore the unpredictable areas of for creative enough in life. art in everything because otherwise it would be simply boring so you have a program this year. called bollywood strikes back these are the indian remakes of the most successful hollywood blockbusters are you showing these films just to satisfy the moscow public or why.

a well. ordering where is the unpredictability and well certainly certainly all the films assured of satisfying demanding it must be partly because of multiple audiences because they're a very particular very specific audience with very specific case but in terms of talking about this program hollywood triangles tribes bollywood squads back i think it's very in cajun an interesting idea because. when i first heard of there we made of mantle moment is a movie by christopher nolan a famous hollywood director who took on their back and franchise was very honest in hollywood from all over the world and i've heard about a maybe a remake of new motto bar which is a very harsh and tough ram are after me here and it's kind of

a thriller with very gripping one when i heard the baby and made it we are one along when you make up the art songs and downstairs in bollywood i couldn't believe my own ears when i saw it i couldn't bring miles in. so i thought all this is a battle zone the right. now i mean what is important for this bollywood product program is in terms of imagination and there are far beyond what the. program in other projects where within the framework of your first it was called generation campers who are the teachers and who are the students well the teachers are all well. but everyone who wants to come here i mean and i want. i i hope that the president of the jury

robert said well the scriptwriter rustler my mansion already he's going to be one of the lecturers and i'm sure that some people from new york film academy will show up. there's the. students all the students from some schools around europe and around the world who are willing to come and who are willing to experience something you've. given not only experience something new about to make a few. short movies which i don't have to be presented at the closing ceremony so i would say that there's a program director of the twenty one international contemporary film spotlight and sure if we are there we take a break so they would have we'll be back with this interview.

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welcome back to the spotlight and al green aravind just a reminder that my guest on the show today is alexander division program director of the two and one international contemporary film festival i would say we started talking about different features of your film festival well let's talk about another one big festivals have to face as well when one makes most of the festivals one is to promote non-conventional i missed the festivals one can promote not supply and noncommercial and on the other hand they advertise movies for the white public that they sort of are. show them to the to the press to the public what role do you see as the principal row for your first. all the two are in one well what you are saying i think it's really

relevant only for one full first fall in the world which is the council currently on the council first of all because. we use also really we launch launch in a film that was built in film war as a competition on three counts film first of all the that conserve european european distribution maybe even use her benes but her ardor wise no i don't believe so i mean film festivals always like to stress the fact that film for poor children for example for the competition underwear later distributed in their country and we have such successful examples for example we have of film. my close friend potence a land co one of the best czech phone filmmakers who maybe are. very interested in

contemporary version of current out of the province but not for your skin and it was picked up by the distro russian distributors and he was released after all in print we are doing that of all first of all about the toll phone first of all but i wouldn't over if to me because for all mainly i would say phone first of all is a noncommercial launch pad for. for our phones and that can gain some profit but in a small for us but you know like like we don't need lots of footman spark without further moans and can buy this old this is one of the things the same thing goes for a so-called noncommercial movies. the i say well actually the worst ten years have seen since in russian cinema from the deep crisis spotlight. reports that. however you measure the success of the film industry

box office or international awards contemporary russian cinema has a tall there are some successful attempts in hollywood like for their blunder chokes epic historical dramas or two more book number of saif fired war busters bed of commercial success or been paved his way to holywood however he's nightwatch grazed less money in europe than andres bergen serves the return we try to see the golden lion in venice the slow moving psychological drama managed to commercially beat a dance narrative with multiple twists and turns while russian commercial movies are quite really released outside the country then on commercial counterparts conquering the world the last few years have seen all example gretzky's triumph of the knowledge this pull through a shot at the real station in the arctic reap the harvest of international awards

another russian film silent triumphant premier with a twenty minute lawns and innovation in vanished last year this year big cannes film festival awarded zigzagging civs you lana and that success was followed by alexander said more of snakes in the van this is a golden lion with his false impressionistic philosophical works by contemporary russian only because if you two have greater appeal to viewers worldwide after all whole produces enough blockbusters on its own so maybe the right thing for russian filmmakers is to stick to which st you're a long tradition of raising serious issues and focusing on the character's thoughts and feelings rather than their actions. well our reporter mentioned back when very small films there's been lots of talk about the only one they really they really became popular he became popular in hollywood but

do you think that it makes sense for russian filmmakers to try to imitate blockbusters though they will never be better than that the hollywood blockbuster is because because the the the history of russian cinema is like thought provoking likelike very very meditative. films is not true. well see doesn't make sense to imitate anything known especially hollywood style but if people are inclined to make her kind of action movies like. my claim make it in hollywood well the best way to just kills your last money for a ticket to california to i don't know how to find a proper job as a waiter in mcdonald's try can't right on through the suggestion or a script war or projects or if you're an actor just cultural. screen to

solve whatever because hollywood is indeed the best place to do a true action films well if you were inclined to do something out well i think russia is by far not the worst place in the world to have it because we still have a significant state support for the view from four or two or filmmakers . i would say you can. you can make a person here still for. i don't know half a million dollars which would be impossible in america for a you were saying in one of the interviews i quote the problem with contemporary art movies is there they are mostly about the personality of their authors but it's almost impossible to say if a film is good or not what are the criteria for judges of such films.

when you when you're in the jury. well i used to be on the jury right now i'm not on the program director so i thought i'd. like and thought of my judgment on one of these in the composition of twenty one for the first of all are certainly of the best. possible movies but. for the for the jury members i will say that the master important thing is to understand to feel if it's real or fake because it's very easy to make a fake her art will be no one pays interest and makes little shorts for almost no dialogue going with the thinking building walls around here you know like what would dripping from. one frog in five minutes here and back

would probably create from. the. rational you're going to not get and it's really hard cause we must look for compliance of work for competence if varies than one thing out of nothing can say let's talk about about multiplying your own thoughts and feelings should honor it is today not only in movies and general expressed anything else except his own feelings is personality well this is. we're coming back to your first question what does it actually to in one mean yeah when one like a person on the world around here. was a crowd accounted for your world greatness in. a reflection of war on the wards and

years but wouldn't be interesting because they're so. self is an art form but. to use some reality while expressing yourself like you cannot for you cannot i'm it our eyes are part of creation and you cannot only trust because we need something to express and you need something to talk about bucking camel to me trail it would cost you have to use it if it's not well to fail in the twentieth century the cinema was characterizing the cinema life was characterized by the existence of a number of living classics. some of the made movies some of them quit making movies but they were around and they certainly reference as they set an example for everybody else today twenty first century is a time of their with orally and i mean i mean authorities overthrown with every new generation even with half a generation they overthrow their authority is is it is that you have the same

situation in cinema and well i would say still because. because like all there are all the schools whom we really in life and the war from the second part of the twentieth century there aren't getting younger you know like three we talk about woody allen more or last even the last frontrunner year or archita reason i or other teams european and american filmmakers they are all ready for twelve or fifteen we don't have them do what we have a new generation but it's not it's these means are not you know like brand means really more if you want distributed your film by new filmmaker well nobody nobody would. go and watch it otherwise there is a special reason thank you thank you very much for being with us and just

a reminder that my. yesterday it was same with visit program director of the two and one international contemporary film. that's it for now from all of us here at spotlight we'll be back to the internet party and take your. place to play. play .