Filmsuche

Leto 2331

Summer 2331

Konstantin Selin // Russische Föderation // 2021 // 14:48 min

Documentary

Synopsis:
Der Fall Nawalny und die Enthüllungen zu Putins Palast veranlassen tausende Menschen in St. Petersburg zu Protesten gegen die Regierung; unter ihnen auch ein vierzigjährige Taxifahrer, der zum ersten Mal auf die Straße geht.

Drei Fragen an die Regie

1. Short Film has a unique way of telling stories and exploring themes. What is it that fascinates you about the short format?

Konstatin Selin: One of the best Russian writers Anton Chekhov formulated the best answer to this question: "Brevity is the sister of talent." A short form is sometimes much more accurate and clear than a full-length statement. Like a bullet heading straight for a target. My film is like a time capsule where my feelings, experiences and observations are concentrated against the background of chronicle important events.

2. The program your film is selected for is called “Mementos of Late Capitalism”: What connection do you see between your film and that title?

Konstatin Selin: I was pleasantly surprised by this interpretation, but I do not see a direct connection with this formulation. I would be curious to know the opinion of the program editor.
I am concerned about the people who find themselves in trouble on the opposite side of the barricades. And the main tragedy is the crossing of the red line — human violence and unconscious cruelty. After you make a blow, there is no way back, only repentance, which can only exist in a conscious society.

3. What film has inspried you most to make films yourself and what part of it do you see in your own work?

Konstantin Selin: At school, during a music lesson, we were shown the film "Andrei Rublev" by Andrei Tarkovsky, which touched me deeply, opening cinema for me as an art. But literature had a greater influence on me. One of the earliest impressions is the injury of Andrei Balkonsky, when he looked into the sky of Austerlitz and felt so small, like a tiny sliver, on the verge of death. Intuitively, I try to follow this tender feeling for life when you are on the edge of a cliff and only see what is really important. In my film, the most important thing is my fear of losing those wise glances, the sincere smiles of a new generation that took so long to form after the tragedies and mistakes of the 20th century.