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Russian/Slavic Film Festival: Men and Women in Extreme ConditionsAll film screenings will start at 6.15 p.m. and will take place in Florida Gym, in room 210 (FLG 210). All screenings are free and open to the public. If you have any questions, please contact Dr. Galina Rylkova (grylkova@ufl.edu), the organizer of the Film Series. The Cranes Are Flying
The Cranes Are Flying, directed by Mikhail Kalatozov in 1957, is one of the landmarks of Soviet film and, in Josephine Woll’s words, “the first indisputable masterpiece of post-Stalin cinema.” The film was instantly greeted as a revelation in the Soviet Union and became an international success, winning the Palme d’Or at Cannes. Even today, seeing The Cranes Are Flying is a moving experience, and it may not be difficult for contemporary viewers to recapture the sensation which the film is said to have evoked in those who saw it when it was new: that of a fresh wind sweeping through a musty house. Kolya
Winner of the 1997 Academy Award for Best Foreign Language Film, this charming Czech drama uses the backdrop of the Russian military occupation in Prague for its funny, sad, and ultimately delightful story of a 55-year-old man's friendship with a 5-year-old boy. It doesn't exactly start out as friendship: Louka is a cellist who lost his symphony job after writing a sarcastic remark on an official form, and although he's struggling financially he still enjoys the company of several young women who find him irresistibly sexy. The last thing he needs is a surrogate child, but that's what he gets when young Kolya is abandoned by his mother, a Russian woman Louka had agreed to marry so she could avoid being sent back to Russia. The mother runs off to her boyfriend in Germany, leaving Louka with a 5-year-old kid who only speaks Russian! - Jeff Shannon The Mirror (Zerkalo)
Andrei Tarkovsky, the acclaimed master of Soviet cinema, takes a moving and personal turn with this striking meditation on life in Russia during the bleak days of Stalin’s rule. Tarkovsky uses his own coming-of-age experience to convey the mood and action that dominated a country ravaged by war. Through a fascinating two-tired time frame, the director blends his own harsh childhood with an adult life that is troubled and broken. Powerful images – a mother faced with political terror, a divorcing couple’s quarrel – are underscored by Tarkovsky’s powerful manipulation of film stocks and recorded sound. The Mirror becomes a stream of consciousness, nostalgic visions of childhood mixed with slow-motion dream sequences and stark WWII newsreels. Cukoo [Kukushka]
“Russian writer/director Alexander Rogozhkin set his idiosyncratic anti-war fable in Scandinavia in 1944, just days before Finland, Germany’s ally during the Second World War, surrenders to the Allies. Three people – a wounded Soviet military officer, a pacifist Finnish soldier and a widowed Laplander peasant – are marooned together on the woman’s reindeer farm. The catch: no one speaks or understands the other’s language, a barrier that has both comic and near-tragic ramifications. The Soviet captain repeatedly tries to kill the peace-loving Finn in the mistaken belief that he is German. Anni, who has been without a man since her husband’s death four years ago, can’t believe she suddenly has two men at her disposal. All three actors are wonderful.” - Jean Oppenheimer. Former Slavic Film Festivals
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