Сайт журнала
"Тёмный лес"

Главная страница

Номера "Тёмного леса"

Страницы авторов "Тёмного леса"

Страницы наших друзей

Кисловодск и окрестности

Тематический каталог сайта

Новости сайта

Карта сайта

Из нашей почты

Пишите нам! temnyjles@narod.ru

 

на сайте "Тёмного леса":
стихи
проза
драматургия
история, география, краеведение
естествознание и философия
песни и романсы
фотографии и рисунки
 
Главная страница
Страницы друзей "Темного леса"
Страница Владимира Мильмана
 
Барышня и иммигрант
Барышня и иммигрант (киносценарий)
Молчаливая Жанна
Смерть наступила....
В синюшном Переделе
Мой друг, бомж
Сон в летнюю ночь об Одессе
Охота на любимого оленя
Манон, по прозвищу "Кроха-дансюз"
 
Пятна тишины
подборка стихов
подборка стихов
подборка стихов
Акафист всему живому на земле
 
Рецензия на фильм "I Wish You Love"

I Wish You Love, a feature film by Svetlana Koseniv

Watching it even on a big high quality TV monitor in high definition / blue ray wouldn’t have been the same experience as watching it in a theatre – the quality of the DOP work is high, hence, is my first big compliment. The director did not compromise for any lousy work, which is the first soothing sign of cinematography with dignity being offered to me by this director.

Further I must go deeper. Humans advantage from classifications (after all, our human languages is nothing else, but systems of classifications), and I will apply one of the needed here high end of it: film productions break into two big groups, those that belong to the entertainment industry vs. those that are pieces of Art. Entertainment industry productions can be and should be easily classified further, because these are nothing, but professional attempts to please money-paying public. It’s much harder with Art, because Art is by definition authentic, so, each piece of Art is something new. Backward comparing doesn’t work here, and only forward analysis makes sense. Hence, my first statement: this film is a piece of Art. Consequently, it is authentic; it cannot be treated by methods of conscious or sub-conscious comparison. As true artist, the director is brave. Probably, not even registering this quality in herself – typical for artists. As any true artist – she goes by instinct. Instinct tells her to start with characters being clumsy – so, this is how film starts: camera centers on clumsily running woman in the midst of busy daytime street life. Yet, something keeps us watching – we want to watch, which is another sign of true Art. There is something intriguing and entertaining in this clumsiness – Art always exploits entertaining/intriguing/borderline elements, thus, catching the attention of audiences, and this very element is the salty essence of its bravery. With development, though, in a direction that artist wishes to lead us, things smooth: the excitement of deep warmth and beauty comes, it polishes everything to the shining shimmering state, which we may call “desire to live” – that’s the ultimate goal, to which the artist leads us; this is exactly what on her strong artistic instinct does the director of this film. Everything else that we may AFTERWARDS, after acknowledging that this film belongs to Art, register makes series of observed acknowledgement details: funny/sketchy characters as background for the main ones, the precision of the main ones and those that “on concentric circles” surround them (that is, altogether sharp precision of casting), the solid precision of the constant change of the staged plot environment towards the final goal, with complete lack of banality in the series of along the road situations, in which it is so easy to sink into it (only very talented artists can bravely walk this narrow path – simply because they know that this is needed, yet, not slip down), sharply beautiful choice of fully original and talented supportive music score, visuals that closer to the set directors’ goal become stunningly beautiful visuals, and, finally, balance, distinctly kept balance – “standing on its toe Shiva is never in any need to have his other foot down, which would , mean destruction”, this is what do true artists, this is what does the director of this film. Bravo!

Unfortunately, there is a number of critics of the so called “mainstream”, that is, of the entertainment industry, that are unlikely to understand, to spot any of this; for them in their teenagers’ kind of convenient backward pragmatism all of this will forever remain gibberish.

And, of course, from everything I’ve just stated the acceptance of this film by the film festivals around the world (e.g. Singapore International Film Festival and China Woman Film Festival), and the prestigious awards that are already received by this film (e.g. Accolate Global Film Competition award recognition of woman film-maker - Svetlana Koseniv, award of recognition of leading actress - Christina Schimmel, Global Music Award, bronze medal - original score) only make a natural consequence.

  V. Milman
  Recipient of the award of being listed among 10 best plays 2008, Moscow, Russia


main page of the site temnyjles.ru
V.Milman's page

 

ПОДЕЛИТЬСЯ: