Rustam Hamdamov once said:
"When you have a style, you forgive everything, any nonsense."And clarified:
"Style is when a person since childhood, from the very beginning he knows that the eyebrows will be such and there are such earrings."Renata Litvinova from the first scenario ("The principled and foul look Ali K." was written back in the 1980s, long before the implementation called "a fundamental and foul look" - approx. Ed.) Everyone knew about eyebrows and earrings, and now 30 She all says goodbye to her, including graphics.
The Gothic fairy tales of Litvinova come not for the sake of a fascinating plot, but behind the narcoleptic fit, short experience of non-drugs. In this sense, it is difficult to imagine the best time for the premiere (for the year deferred because of the pandemic) than the Macabric Russian February of 2021. Maybe the effect of such anesthesia and is small - as from the blasting of the spirits "Krasnaya Moscow" in the bucket for washing the floors (so Alya did, the heroine of Litvinova in the series Alexander Mitty "Border. Taiga Roman"), - but here all the means are good.
The magnetism of Litvinovsky films is mainly kept on it: Her status of the heiress of Kira Muratova, Enigmatic retro, and the fact that Russia cannot digest it to the end. Mikhail Yampolsky in the book "Muratov: the experience of filmfactor" so wrote about Litvinova:
"With its beauty and brutalized to grotesque, the appearance of the thirties of the thirties, the vulgarity of gestures and the language, a mixture of high polity and pretentious manners with Lumen's pests is a strange hybrid that is difficult to think within the framework of some social types. It reproduces the structure of the monster, combining the incompatible elements of different animals (chimer, for example, has a lion's head, the body of the goat, and the tail in the form of a snake). Like every product of this kind of combinations, the character of Litvinova is completely unique, but the components of it each separately are banal and clispusted. "Close - that's for sure. The North Wind contains all the on duty attributes of Litvinovsky style: Esoteric Campa, Muratovsky Kosonazech, Champagne, Voronov, Stuardess, Gorbunov, Women by name Fain, etc., etc. All now, however, in unprecedented scales - compared with previous films. Yes, and the virtuoso operator's work of Oleg Lukicheva cannot be noted (he, by the way, removed the "Green Theater in Zemfire").
Fragment of the film "Green Theater in Zemfire"
Music Zemfira sounds in the "Northern Wind" - it either, as if of granted. Litvinova can do without a clear plot, Zemfira - without a complex melody: the capital track "Angry Man" is literally built on two recurring intervals, a small terration and a large second, and still this is a big real music, and not collected by the Russian Shracin Streaming Recall the Wildlock phrase of the RL from 2004). The new plate Zemfira has not yet emerged, but it is already clear that this is the main Russian-speaking album - 2021, which would be told about "change epochs". Announced it, by the way, it was Renata, calling "ingenious", - and, with all its distortion and love, this is probably so. Even if it consists of small polls and reduced chords. Or trowes on a windy. Or naive romance of wine and window sills. This is the album of Zemfira, and on this conversation is over.
However, the Soundtrack "Northern Wind" is not a monosfire: the ambient wrote an electron-made Roman Litvinov, he is Mujuice (by the way, he also has a new album soon). It is good in the film and sound engineering work: noises are recorded qualitatively and reduced, the ringing of glasses, the sound of opening chests - these trifles are in vain neglected Russian produced.
And now back to the plot. In the fictional state, the northern fields (one of the Sorokin versions of the future of the future) is an influential clan of manufacturers, where women are filled with everyone. They live in anticipation of men - "strong and loved ones" (one in this phrase it can be seen how unbelieving Litvinova is using indulgence on vulgarity). Clan representatives are not simple mortals - they have "thirteenth hour" in stock. At the head of the matriarchate, Margarita (Litvinova) stands, decently tired of the Board and waiting for the opportunity to convey power to Benedict (Anton Shagin), as soon as he marries. And on the threshold there is a beautiful bride of Fanny (Ulyana Dobrovskaya, very similar to Litvinov in the film "Holly"). She works with a flight attendant (another favorite image of the RL) and - oh no! - Dies in the next flight.
With the death of Fanny, everything starts to literally rot. Fields and appliances in the chests-safes, flesh and reason (first of all sprung Benedict). Unregistered with the loss, the son of the Matriarkhin marries the sister of the late Faine (Sophia Ernst) and trying to make a copy of his beloved from her. Sit into the profile, put on her clothes, speak to her name. Freudian transfer of Benedict only opens perverse carnival: in the North Wind, there are generally a lot of unrealized libido. The only "happy family" is the Union of Professor Flavor (Nikita Kukushkin) and Adda (Manana Totibadze) - also disintegrates, in the process, destroying the masculinity of the spouse (hell goes to a woman, ignoring blackmail and abuse "Dailed").
None of the film Litvinova did not accept such a totality. Men irreversibly crushed - whether from the hyperophecks of power women, or from lost love, or from constant wars that do not subside in the northernmost fields. In general, Renata Litvinova from the earliest interviews rigidly criticizes men, but not from feminist, but from aesthetic positions. Men relax, climbed, whores. To some extent, Professor Zhgutich is a collective ID of socially neutered men. The most pretty character of this universe is paradoxically provided by the eunu-end secretary of Margarita (Kirill Trubetskaya). Here is such a Female Gaze.
Litvinova herself is outside the warring binarity: its image in life and on the screen, according to Tatiana Moskvina, is the embodiment of Femina Sapiens. It is trying on social and external andfrunity, which in Russia falls into a dangerous register of invisible and unrecognizable. She is both Dietrich, and Garbo, and James Dean. This is how Moskvina describes it:
"Renata Litvinova mythologically inherited, of course, the role of Bella Ahmadulina - the connection of talent, beauty, presence in light, turbulent personal life and early glory - with an amendment for times and individuality. Enchanted view, brittle gestures, surprised singer intonation, habits imaginary defenselessness, even diagonal Tatar eyes - everything coincides. "Litvinova removes original films, and I would like to finish, - but it is impossible to ignore the elephant in the room. "Northern wind", like everything in Russia, fell victim to Nepotyism. And it's not even in friendship with Surkov - who we are to condemn, as they say. And not in the fact that his son is filmed in the film, and Natalia Dubovitskaya is in the creditor of the producer. There is a friend here more - and even the excellent production is not capable of disguise them.
They make the film irreparable harm. Well, Renata Litvinova has a lot of talented friends (or ingenious, like Zemfira). But in this, because the cunning of the "Tusovka" is: with all the kindness of intentions, it reduces something sincere and talented to a motley intransigence, broadcasting from the VIP parties.
It should be noted that Renata Litvinova is one of the few Celebrity of the highest echelon, setting on the weak. She opposes the discrimination of LGBTK + (and is unlikely to pay a report, how her fan base is huge in community), supported the artist Julia Tsvetkov pursued and ratified for the abolition of the arrest of Ivan Golunov. But when it comes to the cinema - "So many friends around." Esthetics of eyebrows and earrings eclipses the ethics of those who wears them. And if you open a solemn chest - you can see not only Camp wealth, but also the promised plot of rot.