#Chulpan Khamatova

[haveyouseenthismovie-poll]

[screenzealots]

"Quiet Life"

Told through the lens of a family caught in a web of trauma, despair, and resilience, the film provides a viewing experience that is as emotionally taxing as it is compelling.

The hushed intensity of director Alexandros Avranas’ “Quiet Life” is underscored by subtle dark undertones that blend mild sci-fi and horror elements in its exploration of the human cost of a broken immigration system. Told through the lens of a family caught in a web of trauma, despair, and resilience, the film provides a viewing experience that is as emotionally taxing as it is compelling. This…

[marejadilla]

Yann Tiersen, "Summer 78" For the film's soundtrack "Good Bye, Lenin!" Directed by Wolfgang Becker Composer, Writer: Yann Tiersen, BSO, ℗ 2003

"Where are you now, can't you see me? Where are you now, can't you hear me?

Falling, trying, searching, losing Falling, trying, searching, losing

Where is this land we've built for us? Where are these streets we've built for us?

When I am laid in earth, in earth, Can't you be there, near me? near me

When I am laid in eart, in earth, Can't you hold me? Can't you hold me?

Please..."

[watchingalotofmovies]

Petrov's Flu

Petrov's Flu    [trailer]

A day in the life of a comic book artist and his family in post-Soviet Russia. While suffering from the flu, Petrov is carried by his friend Igor on a long walk, drifting in and out of fantasy and reality.

The plot summary gives a good indication of what to expect. But it has to be watched to experience the energy it has. It's a chaotic, surreal tour de force where a lot is going on. It's virtuoso on a technical level. And often darkly funny.

It slows down for a while in the second half when time switches back to (I think) childhood memories. It feels like a different movie. But it's fine to get a break from the frantic pace of the rest.

I love how Chulpan Khamatova turns up in all kinds of films. I always enjoy seeing her.

[ulrichgebert]

Ralph Fiennes verfilmt schön karg und kunstvoll das Leben des jungen Rudolf Nureyev bis zu seiner abrupten, dramatischen Flucht in den Westen, obwohl  er nach eigenem Bekunden keine Ahnung vom Ballett hat und das Leben des älteren Nureyev womöglich noch interessanter geworden wäre. Vielleicht gibt es ja noch eine Fortsetzung mit Valentino und Muppetshow. Selbstredend gelingt es niemandem, so überheblich wie der echte Nureyev rüberzukommen (vielleicht war es ja auch in seiner Jugend noch nicht so schlimm), aber Oleg Ivenko schlägt sich sehr tapfer. Und hat auch Ahnung vom Ballett.

[onenakedfarmer]

Watching

TUVALU Veit Helmer Germany, 1999

[russianreader]

North Korea Sounds Nice

Chulpan Khamatova, Sobchak Live, 6 June 2012 [Ksenia] Sobchak: You want your children to live in a stable country without revolution? [Chulpan] Khamatova: Without revolution. It could be some kind of changes in mindset. Without revolutions. I don’t want revolution. I’m categorical on this point, because the heads of completely innocent people fly in revolution and all these wars. I don’t think…

[latenightcinephile]

Film #488: 'Good Bye, Lenin!', dir. Wolfgang Becker, 2003.

When the list is so full of 'important' films, without any consideration to the actual pleasure of sitting with a text for two hours, it's a relief to be able to encounter a definitive crowd-pleaser. Good Bye, Lenin! is a film that I have recommended to many people, including my parents. It's the kind of film that was produced in Europe quite often in the late 1990s and early 2000s, and that I fondly remember looking through in the 'Festival' section of my local video store before those places ceased to exist - a mix of comedy and poignancy designed to get the audience thinking about things, but not on a particularly deep level. It's usually combined with a frenetic or notable style of cinematography or editing that sets it apart from the Hollywood fare of the time. So, the film makes for an enjoyable watch, and it's a well-produced and entertaining movie. And yet, halfway through my most recent watch, I found myself thinking... why is it on the list?

The list is not particularly revealing on the subject, either - most of its write-up on the film touches on the same issues I touch on above: its poignancy and humour. Its final paragraph does hint at one of the themes of the film, though: how a character's outward actions can make sense on a logical and narrative level, while possibly representing that character's deeper, unspoken concerns as well.

The life of the teenaged Alex (Daniel Brühl) is as stable as one can hope for in the dying years of the German separation. He has lived with his mother Christiane (Katrin Sass) and sister Ariane (Maria Simon) in East Berlin ever since his father left, apparently to live with another woman (and class traitor) in the West. His mother descended into a catatonic state until, partly as a result of Alex's love, she recovered and threw herself into socialist enthusiasm and civic work. By 1989, however, Alex has become disillusioned with East Germany's blind patriotism. His mother sees him arrested at an anti-government protest and suffers a heart attack, following which she falls into a long coma. The long-awaited political upheaval comes at a thoroughly inconvenient time - by the time Christiane awakens, the Berlin Wall has fallen and her beloved East Germany has ceased to exist. Warned by doctors that any shock might cause a fatal heart attack, Alex ropes his sister and friends into an elaborate deception so that Christiane never learns what has happened.

This level of deception is almost impossible to maintain, as before long even the view outside the bedroom window carries unmistakable signs of the march of capitalism. Alex has to spend his days sourcing jars from long-discontinued products, persuading his mother to give them access to her life savings so that they can secretly convert them into West German marks, and collaborating with his colleague to forge news programs explaining away the strange occurrences. Meanwhile, he has also fallen in love with Lara (Chulpan Khamatova), his mother's nurse who he briefly met at the protest. Lara is an understanding and empathetic partner, despite her reservations about the level of deception Alex is involved in. On a brief visit to the family's holiday home, Christiane reveals that her husband didn't actually abandon his family. Rather, he had made preparations for his family to join them in the west, and it was Christiane who refused to leave, worrying for the safety of her children. It seems the stress of this revelation causes her to relapse, and she is taken to the hospital that night. Alex manages to trace his father's whereabouts, and convinces him to visit Christiane in the hospital. Aware that his mother will probably not recover, he organises one final 'broadcast', in which East Germany's new president announces that the borders will be opened to the west. He shows his mother this broadcast, unaware that Lara has already revealed the truth to her: touched by the level of love and care her son has shown, she pretends to believe the news report. Christiane dies a few days after the German reunification, with Alex secure in the knowledge that his mother believed in a change in German society more aligned with her politics than the messy reality.

While Good Bye, Lenin! is a touching and entertaining film, there's not too much about it that feels special, which is why I was a little mystified to see it here. The commitment the film has to its central story means that it moves at a brisk pace, but this commitment does mean that it lets some of its plot threads dangle, especially towards the end of the film. Ariane, who has left her studies to get a job at Burger King, sees her long-lost father in the drive-through one night. Distraught by his apparent lack of communication over the years, she refuses to speak to him when she sees him at the hospital. The film doesn't show any kind of reconciliation between the two, nor does it get bogged down in any kind of complexity when it comes to Alex and Lara's relationship. Lara is angry at Alex for his deception, but then she is supportive. Aside from telling Christiane what has really happened while she has been isolated from the outside world, there is no process of acceptance or negotiation. The film would like the audience to always be aware of the absurd practical complexity of this ruse, but to dismiss the emotional complexity as unimportant. Too much focus on the ethical implications would kill the lightness of the mood. As an example, Christiane's amnesia means that she has initially forgotten where she hid her life savings. The pressure Alex and Ariane put on her to remember is understandable, as there is a deadline for the exchange of the old currency into the new, but without Christiane knowing the true context, the scene carries an edge of harassment. At last, she remembers that she hid the money in a piece of furniture that was put out for trash collection. Conveniently (although perhaps six months might have passed?) the discarded furniture is still there, so Alex can retrieve the money, but it is slightly after the exchange deadline. The next scene shows a drunk Alex hurling the useless banknotes into the wind. While the outward tone of the scene is zany, the film is constantly prodding at a twin pair of pains: the pain of duping Christiane, and the pain of losing hundreds of thousands of marks. What's more, these concerns never really reappear in the film - they've served their comic purpose and can be discarded.

I don't want to imply that this is a failure of the film on any level, but it's an indication that Becker is trying to strike a balance that doesn't feel quite right. There are no shortage of sequences which are hilarious and cringeworthy in equal measure, but in a good way: a massive billboard for Coca-Cola interrupts a birthday party, and Alex races to invent a news bulletin that reveals that Coca-Cola has been an East German invention all along. For every two comfortably funny scenes, though, there is one that slices a bit too close to the bone, and lays bare Lara's perspective, that the deception has pushed beyond a defensible level. The end result, with everyone gathered amicably at the scattering of Christiane's ashes, feels like a neat closure that isn't fully earned - one that waves away too many inconvenient details.

Some Marxist commentary has been put forward on the film suggesting that Alex is a clear representative of 'Ostalgie': a nostalgia for East Berlin that arose in some Germans following disillusionment with the West and its capitalist ruling structures. While it is true that Alex has a fondness for some of the cultural touchstones of the pre-reunification lifestyle, with apologies to the writers at the Green Left Weekly, I think this is an over-simplification of the emotional message of the film, and it also overlooks the obvious fact that Alex, Lara and Ariane are all pro-West. There are certainly some indications of capitalist malaise in the film (and some humour is wrung from this, such as the sight of various demographics of people all crammed into a shop to mindlessly watch soft-core pornography). Overall, though, Alex's intentions here are not to recapture the experiences of East Berlin for his own sake, but rather because this period of political history has become inextricably linked with his mother. The death of East Berlin is synonymous for Alex with the death of his mother, and he seeks to make the latter less painful for himself by easing his mother out of the former. As he says in voiceover, he wants to give East Berlin the send-off it deserved, and that logic easily extends to Christiane. The final faux-broadcast could have been an unvarnished advocacy of the new Germany - Alex even summons one of his childhood heroes, a German cosmonaut who now drives a taxi, and temporarily fashions him into a new German leader - but the content of the final broadcast is a plea in favour of the open-hearted community spirit that belongs to Christiane. That's what makes the scene so affecting: it's a pageant put on for one woman, who experiences the last few moments with the understanding that her son is who he is because of her. In the final scene where they spread Christiane's ashes by attaching them to a model rocket, Alex wryly observes that neither East or West Berlin would have legally allowed this to happen, a sign that his mother's wishes supersede any political structure.

Good Bye, Lenin! is an unusual film on its surface, but it's not one that is so unusual in any aspect that it obviously belongs here. On a granular level, the list is always going to be arbitrary, but the familiarity of this film and its techniques (editing from Run Lola Run; a soundtrack by Yann Tiersen that reuses a piece from Amelie two years earlier) mean that it's not indispensable by any means. I think that's okay - they can't all be groundbreaking experiments in cinema, and sometimes it's enough for something just to be pleasing. And if something like this is going to be a general audience's first encounter with popular German cinema, things could be far, far worse.

[indiejones]

WORLD CINEMA’S TOP 236 ACTRESSES OF ALL TIME! (@INDIES)

http://www.imdb.com/list/ls569475215/

Position.  Name.

1 Barbara Stanwyck 2 Olivia de Havilland 3 Meena Kumari 4 Geraldine Page 5 Audrey Hepburn 6 Suchitra Sen 7 Vivien Leigh 8 Ginger Rogers 9 Elizabeth Taylor 10 Katharine Hepburn 11 Kate Winslet 12 Julia Roberts 13 Norma Shearer 14 Nathalie Lissenko 15 Hasmik Agopyan 16 Catherine Deneuve 17 Chulpan Khamatova 18 Nataliya Vdovina 19 Elena Solovey 20 Brigitte Bardot 21 Aleksandra Khokhlova 22 Jeanne Moreau 23 Anna Karina 24 Isabelle Adjani 25 Romy Schneider 26 Léa Seydoux 27 Mélanie Laurent 28 Audrey Tautou 29 Ekaterina Chtchelkanova 30 Vanessa Paradis 31 Simone Signoret 32 Emmanuelle Béart 33 Isabelle Huppert 34 Sandrine Bonnaire 35 Carole Bouquet 36 Anne Parillaud 37 Fanny Ardant 38 Sophie Marceau 39 Nathalie Baye 40 Anouk Aimée 41 Alexa Davalos 42 Josiane Balasko 43 Clémence Poésy 44 Natalija Janichkina 45 Laetitia Casta 46 Eva Green 47 Elodie Yung 48 Kristin Scott Thomas 49 Anna Mouglalis 50 Astrid Bergès-Frisbey 51 Charlotte Gainsbourg 52 Capucine 53 Roxane Mesquida 54 Jane Birkin 55 Bérénice Bejo 56 Olga Kurylenko 57 Leslie Caron 58 Josephine Baker 59 Pom Klementieff 60 Noémie Merlant 61 Adèle Haenel 62 Adèle Exarchopoulos 63 Emma Mackey 64 Yael Grobglas 65 Emmanuelle Seigner 66 Juliette Binoche 67 Ellen Burstyn 68 Madhavi Mukherjee 69 Isabelle Weingarten 70 Sarah Adler 71 Christa Théret 72 Karin Viard 73 Déborah François 74 Marie Gillain 75 Juliet Berto 76 Mélanie Doutey 77 Monique Mélinand 78 Stéphane Audran 79 Léa Drucker 80 Dominique Labourier 81 Angélique Litzenburger 82 Françoise Lebrun 83 Valérie Donzelli 84 Bernadette Lafont 85 Sylvie Testud 86 Cécile de France 87 Katia Leclerc O'Wallis 88 Zouzou 89 Françoise Fabian 90 Maria Schneider 91 Agnès Jaoui 92 Valeria Bruni Tedeschi 93 Aurora Cornu 94 Stacy Martin 95 Lola Créton 96 Laurence de Monaghan 97 Dominique Blanc 98 Béatrice Romand 99 Mélanie Thierry 100 Caroline Cellier 101 Michèle Moretti 102 Geneviève Page 103 Elina Labourdette 104 Anne Wiazemsky 105 Marie Dubois 106 Claudine Auger 107 Annie Girardot 108 Juliette Mayniel 109 Brigitte Fossey 110 Martine Carol 111 Dolly Scal 112 Patricia Gozzi 113 Marilou Berry 114 Maria Mauban 115 Janine Darcey 116 Suzanne Flon 117 Colette Marchand 118 Françoise Arnoul 119 Ludivine Sagnier 120 Béatrice Dalle 121 Claude Nollier 122 Josette Day 123 Nicole Stéphane 124 Catherine Salée 125 Dominique Sanda 126 Marina Hands 127 Cécile Aubry 128 Nicole Ladmiral 129 Bulle Ogier 130 Véra Clouzot 131 Simone Renant 132 Sylvia Bataille 133 Suzy Delair 134 Jane Marken 135 Nane Germon 136 Lucienne Bogaert 137 Renée Carl 138 Catherine Frot 139 María Casares 140 Arletty 141 Odette Joyeux 142 Marguerite Moreno 143 Madeleine Robinson 144 Héléna Manson 145 Paulette Dubost 146 Micheline Francey 147 Ginette Leclerc 148 Mady Berry 149 Edwige Feuillère 150 Jacqueline Laurent 151 Mila Parély 152 Florelle 153 Claudette Colbert 154 Danielle Darrieux 155 Rolla France 156 Annabella 157 Anne Chevalier 158 Lya Lys 159 Simone Mareuil 160 Maria Falconetti 161 Yvette Andréyor 162 Musidora 163 Nora Arnezeder 164 Virginie Ledoyen 165 Michèle Morgan 166 Marine Vacth 167 Louise Bourgoin 168 Caridad de Laberdesque 169 Pauline Carton 170 Sévérine Lerczinska 171 Odette Talazac 172 Léora Barbara 173 Simone Simon 174 Marion Cotillard 175 Mireille Darc 176 Edith Scob 177 Chantal Goya 178 Emmanuelle Riva 179 Chiara Mastroianni 180 Claire Maurier 181 Marika Green 182 Delphine Seyrig 183 Mylène Demongeot 184 Marie-France Pisier 185 Françoise Dorléac 186 Marina Vlady 187 Stella Dassas 188 Marpessa Dawn 189 Elsa Zylberstein 190 Bleuette Bernon 191 Sara Forestier 192 Pascale Ogier 193 Amanda Langlet 194 Julie Delpy 195 Linh-Dan Pham 196 Nelly Borgeaud 197 Nicole Garcia 198 Irène Jacob 199 Myriem Roussel 200 Arielle Dombasle 201 Marie Rivière 202 Solveig Dommartin 203 Émilie Dequenne 204 Ariane Labed 205 Zabou Breitman 206 Romane Bohringer 207 Sabine Azéma 208 Hafsia Herzi 209 Andréa Ferréol 210 Jeanne Balibar 211 Isabelle Renauld 212 Mireille Perrier 213 Juliana Samarine 214 Catherine Mouchet 215 Aurora Marion 216 Anaïs Demoustier 217 Judith Chemla 218 Marie Laforêt 219 Michele Valley 220 Hélène Alexandridis 221 Anne Consigny 222 Macha Méril 223 Anne Brochet 224 Miou-Miou 225 Anne Teyssèdre 226 Joséphine Sanz 227 Gabrielle Sanz 228 Fantine Harduin 229 Charlotte Véry 230 Élodie Bouchez 231 Natacha Régnier 232 Pili Groyne 233 Yolande Moreau 234 Emmanuelle Devos 235 Nina Meurisse 236 Florence Darel

[saturdaynightmatinee]

CALIFICACIÓN PERSONAL: 7.5 / 10

Título Original: Good Bye, Lenin!

Año: 2003

Duración: 118 min

País: Alemania

Dirección: Wolfgang Becker

Guion: Wolfgang Becker, Bernd Lichtenberg

Música: Yann Tiersen

Fotografía: Martin Kukula

Reparto: Daniel Brühl, Katrin Saß, Chulpan Khamatova, Maria Simon, etc

Productora: X Filme Creative Pool, ARTE, Westdeutscher Rundfunk (WDR)

Género: Comedy; Romance; Drama

TRAILER:

[feelmir]

THE BLACK BOOKS OF ...

Following the demise of the USSR and Eastern European socialist bloc, anti communist crusade continues as the CIA and its European hidden networks have bought academics and journalists highly paid with two main objectives,(1) hammer in the popular psyche the idea that communism has failed,that communism=Stalin=Gulag (2) the pervasive propaganda of TINA(there is no alternative) popularized both by Miss Thatcher, that is there is no alternative to capitalist system and the so called liberal democracy and Francis Fukuyama’s “the end of history” To achieve the first objective, the CIA and its hidden European networks and organizations funded academics, filmmakers, intellectuals and journalists used as proxies to serve the economic and geopolitics of the USA in Europe. Two works to illustrate such anti communist propaganda, it is worth noticing (1) the movie “Good bye Lenin” directed by Wolfgang Becker, Scripted by : Bernd Lichtenberg, Wolfgang Becker, with actors Daniel Brühl, Katrin Sass, Alexander Beyer, Chulpan Khamatova, Florian Luka, (2) the” black book of communism, crimes, terror, repression” a collective work published in 1997 under the direction of the infamous anti communist historian Stephane Courtois and French and foreign historians at the occasion of the 80th anniversary of the Bolshevik revolution. Strangely, these fake historians who are but anti communist propagandists have turned blind eye to the crimes, terrors, repression and endless bloody wars of capitalism, and its two corollary colonialism and imperialism. Fortunately, in reply to fake anti communist historian, authors of “black book of communism”, a voluminous and collective book entitled “the black book of colonialism” has been published in 2001 under the guidance of a real and genuine French historian, Marc Ferro, author of several book on the Russian revolution of 1917. In the very seminal book, one can discover for instance that the 20th century was started with the first genocide committed in today Namibia by the German colonizers of the II Reich who were built up the first camps of concentration serving as pattern to nazi camps to intern and to repress between 1904 and the 1908 the revolt of the Herrero, and nama indigenous tribes as nearly 80% of Herero people and 50% of nama people have been massacred and exterminated that is nearly 65 000 Herero and 10 000 Nama.

[haveyouseenthismovie-poll]

[somebaconlover]

Petrov's Flu (2021)

Directed by Kirill Serebrennikov

Cinematography by Vladislav Opelyants

Starring Semyon Serzin, Chulpan Khamatova and Yuri Kolokolnikov

"Oh sky,oh sky,I shall dream of you.

It could not be that you've gone utterly blind.

And the day burned up like a blank page.

a little smoke and a little ash."

[lamilanomagazine]

Rai 5, in prima serata il film “Nureyev – The White Crow”

Rai 5, in prima serata il film “Nureyev – The White Crow”.    Danza e passione, amore e spionaggio s’intrecciano in un film biografico che racconta la vita di Rudolf Nureyev e il momento in cui, a soli 22 anni, decide di fuggire dall’Unione Sovietica per stabilirsi in Occidente. Venerdì 6 gennaio alle 21.15, a trent’anni dalla scomparsa dell’artista, Rai 5 propone “Nureyev - The White Crow”, basato sulla biografia di Julie Kavanagh e realizzato nel 2018 da Ralph Fiennes, il quale oltre a dirigere il film interpreta anche il ruolo di Puskin, che del grande ballerino fu mentore. È il 1961 e durante la tappa parigina di una tournée all’estero, il ballerino riesce a sottrarsi al controllo del Kgb e a ottenere asilo politico in Francia. In poco tempo sarebbe diventato una leggenda della danza classica. Nel cast, Oleg Ivenko, Adèle Exarchopoulos, Chulpan Khamatova, Ralph Fiennes, Aleksey Morozov, Raphaël Personnaz, Olivier Rabourdin.        ... #notizie #news #breakingnews #cronaca #politica #eventi #sport #moda Read the full article

[xlockscreenx]

Goodbye Lenin - 2003 | Lockscreens

[onenakedfarmer]

Watching

PETROV'S FLU [Петровы в гриппе] Kirill Serebrennikov Russia, 2021