many people, then they edited different ones, there may be options, for example, film director oleg kovalov is its own interpretation of this material, there may be other interpretations, actually, since now in digital culture this is all much simpler, another thing is that here, of course , it is important with what... a person approaches this, because there may be some distortions here, in general quite ridiculous, and we we know how one of the filmmakers , turning to this story, could turn it inside out. another thing is that this material, as a result, thus exists like a film from einstein, precisely the material, these frames that we see, they pass from film to film as quotes, as quotes from poetry, in general, in one arise in one place, arise in another place, and as certain aphorisms. and - one way or another we can get to know them from alexandrov’s assembly, from oleg kovalov’s editing version, from the film, which mary seaton once made in america in the late thirties, finally, based on this presentation by jay leidy, in general, in its various forms this film continues to live, bu

and from it many people later... there may be different options, for example, the cinematography oleg kovalovinterpretation of this material, there may be other interpretations, actually, since now in...

fact that it lives and many people later edited it into different versions, for example, in 1998 oleg kovalovaybe there may be other interpretations, in fact, since now - in digital culture it’s all much simpler, another thing is that here , of course, it is important how a person approaches this, because there may be some distortions here, in general, quite ridiculous and we we know how one of the filmmakers, turning to this story , could turn it inside out, another thing is that this material exists in this way as a result, like a film from einstein, exactly the material, these frames that we see, they move from... movie like quotes, how quotes from poems, in general, appear in one place and appear in another place , and how certain aphorisms, and one way or another we can get acquainted with them from aleksandrov’s assembly, from the editing version of oleg kovalov, from the film, which is still merry sitton, who once made it in america in the late thirties, finally based on this presentation by jay leidy, in general, in its various forms, this film continues to live, but it seems to me th

lives and many people later edited it into different versions; for example, the film director oleg kovalove film sergei zinshtein in 1998, mexican fantasy, this is its own interpretation of this material, there may be other interpretations, in fact, since now in digital culture is all much simpler, another thing is that here, of course, it is important how a person approaches this, because there may be some distortions, in general quite ridiculous, and we know how some of the filmmakers turn to this history could have turned this inside out. another thing is that this material, as a result, exists in this way, like a film from einstein, exactly the material, these frames that we see, they move from film to film, like quotes, like quotes from poetry, in general, in one place arises in another place. they also arise as certain aphorisms, and one way or another we can get acquainted with them from alexandrov’s assembly according to oleg kovalov’s editing version of the film that mary seaton once made in america in the late thirties, finally, based on this presentation by jay leidy, in general