Rental ten

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Film distributor «Russian World Vision»:“Moscow Spartakiad, 1936. The strongest team of wrestlers has been invited. The decisive duel: someone will win, someone will be defeated, and someone will experience an unexpected turn of fate… Two martial arts masters. One, from childhood, studied the art of judo in Japan — Vasily Oshchepkov. Another, who went through the Russo-Japanese War and is developing techniques for self-defense, is Viktor Spiridonov. Both are obsessed with the idea of ​​creating a national fight. This is how sambo was born. The tension of battles, the intrigue of competitions, the great era of discoveries and hopes — all this is intertwined with the destinies of the two great creators of sambo and their student Anatoly Kharlampiev.»

The Master and his Muse

< li class="doc_board__post">Director: Dieter Berner
• Cast: Emily Cox, Valentin Postlmayr, Tatyana Paugofova, Anton von Luc, Wilfried Hochgoldinger
• Genre: drama, melodrama, biography, history/Austria, Germany, Switzerland, Czech Republic/88 min.
• In theaters: from November 9

< p>Film critic Andrei Plakhov: “Kokoshka was considered a wild weed and stood out for his particularly eccentric, unbridled disposition. He was nicknamed the “Viennese Faun” and his works “syphilitic”; The film shows how the heir to the Austrian throne, Archduke Franz Ferdinand, threatens to break the bones of a young impudent man for his paintings. A couple of decades will pass, and they will incur the ire of Mussolini and Goebbels: the latter will display them at an exhibition of “degenerate art” organized by the Nazis.

But this is already beyond the scope of the film, which does not turn into a standard biopic spanning decades, but provides an emotional clot of the destinies of two superpersonalities. They connected for a short period of time when the world was experiencing the shock of an impending world war; their stormy, suicidal passion resonates with the destructive hurricanes of the era. This passion gave birth to Kokoschka’s crowning masterpiece, The Bride of the Wind; To work on the film, the famous painting was even removed from the exposition of the Basel Museum. Fortunately, the director does not pretend to reveal “all the secrets” of the creative process, probably knowing that in cinema such attempts usually fail. And focuses on the psychology of love rather than creativity. Although Alma had ambitions in the artistic field, considering herself a professional composer, in the film this motif sounds more like a routine reference to the feminist agenda.

The main burden ultimately falls on the actors: Alma was played by Emily Cox, and Oscar was played by Valentin Postlmayr, whom the director had been looking for for two years and found after seeing his passionate and energetic Romeo in a Shakespearean play. Essentially, the film is a visualized dialogue between the characters, filmed with two cameras, as if from two points of view. Its culmination is the appearance of Alma, who has disappeared from Kokoschka’s life, in the form of a “copy” — a human-sized rag doll.”

More details about the film can be found in the Kommersant material “Careful about extravagance.”< /b>

• Director: Demian Runa
• Cast: Ezequiel Rodriguez, Demian Salomon, Silvina Sabater, Luis Cymbrowski, Marcelo Michino
• Genre: horror/Argentina, USA/99 min. li>
• Slogan: “The time for prayer is over”
• At the box office: from November 9

Film critic Mikhail Trofimenkov:“A zombie mother eats the brain and entrails of her child. The possessed girl cuts a huge cleaver into her forehead over and over again. Under the mess of corpses of teachers killed by hellish schoolchildren, a monster rotting alive and dead is barely moving, begging to be killed. I haven’t even retold a twentieth of the on-screen delights yet. There are also devil-possessed goats, crazed dogs, and maddened autists going on a rampage.

And it all starts with a mere trifle. Hearing revolver fire in the surrounding forest at night, the gloomy brothers Pedro and Jaime set out the next morning to search. And they find the body of a character unknown to them, neatly cut in half, who had a set of strange gadgets with him. Something like a compass, something like a huge compass, something like, in short, something.

What is remarkable is the reaction of Argentine farmers to the eerie discovery. Nobody is hysterical. They're just wondering: maybe it was local landowner Ruiz who killed some outsider pepper. Well, then let him lie cut, as he lay. The agrarian question, you know…

One of Pedro’s children is autistic: a character relevant to world cinema. But the Argentines, such wicked people, are turning the politically correct situation against any correctness. It turns out that demons—the “rotten ones,” as they are called—are capable of burrowing into the brains of people with autistic disorders. Only they get confused, lose orientation, “unravel mental knots” and sometimes take possession of a darkened mind for several months. But when they master it properly, mom, don’t worry. The finale of the film is connected precisely with an autistic character who loves apple ice cream, and is nightmarish in its incomprehensible physiology. The only point of support in this crazy Argentina is a set of rules for dealing with “rotten” demons.”

More details about the film can be found in the Kommersant material “Some kind of rottenness in our pampas.”

Feelings Anna

• Director: Anna Melikyan
• Cast: Anna Mikhalkova, Timofey Tribuntsev, Oleg Yagodin, Ekaterina Andreeva, Ekaterina Novokreshchenova
• Genre: fiction, drama/Russia/130 min.
• In theaters: from November 9

Film critic Yulia Shagelman:“The film takes place in our time, but with a slight bias towards dystopia. There is still a pandemic going on here (not of Covid, but of some unnamed virus), a huge screen hangs above the bus stop with a counter of sick and dead people, people wear respirators and, when entering public transport, stop at the door to be treated with an antiseptic — however, while the mask is working , as in real life, everyone often slips under their chin, and by the end of the film the characters almost forget about them altogether. On TV, announcer Ekaterina Andreeva (playing herself) talks about the upcoming dispatch of volunteer colonists to Mars: when the main character arrives in Moscow, she will be greeted there by the banner “Mars is ours!” at the «October» cinema. A barely perceptible phase shift is emphasized by the black and white image, making everything that happens in the film conventional and timeless exactly to the extent required by its creators.

In this convention lives the most ordinary family: Anna (Anna Mikhalkova), whose job at a confectionery factory is to rake chocolate mass on a conveyor belt, her husband Sergei (Timofey Tribuntsev), who works at a sausage factory, and their two children. A teenage son (Fedor Butin) dreams of becoming a popular YouTube streamer, a daughter (Margarita Zubareva) is needed in the plot to highlight the parental emotional upheavals. Parents are not particularly tender towards their children, but the spouses have quite a loving relationship, and life in general, although boring, is stable and comfortable. She rolls along her usual rut, until one day Anna, having received an electric shock from a broken electrical wire, falls on the street, hits her head and stops sleeping at night — she becomes a “contactee” for extraterrestrial civilizations and records messages to humanity under their dictation… Posted on social networks the video where Anna reads all this out makes her a star.”

For more information about the film, see the Kommersant material “Space cards tucked into candies.”

Heir

• Director: Park Hoon Jung
• Cast: Kim Seon-Ho, Kang Tae-Ju, Kim Gang-Woo, Ko A-Ra, Ho Joon-Suk, Jung Ra-El
• Genre:action, crime/South Korea/118 min
• Slogan: “The chase has begun”
• At the box office: from November 9

Film distributor «Kino.Art.Pro»:“Young boxer Marco Khan — so-called copino, of Korean-Filipino blood — lived his entire life in the Philippines and never saw his Korean father. His mother is seriously ill, so, trying to save up for treatment, the guy grabs any opportunity to earn money and looks for Korean relatives. One day, lawyers come to him, claiming that his rich dad has finally found his lost little blood and is eager to meet him. Marco flies to Korea, but already on the plane the guy begins to be intimidated by a strange guy who calls himself his friend.”

The Next Victim

• Director: Jung Joo Ri
• Cast: Kim Shi Eun, Bae Doo Na, Jung Hwe Rin, Kang Hyun Oh, Park Woo Young, Choi Hee Jin
• Genre:drama, detective/South Korea/138 min
• In theaters: from November 2

Film critic Yulia Shagelman:“So Hee, in general, is no different from millions of her peers. She loves to dance, hang out with friends, and sometimes drink. Occasionally she gets into trouble because of her explosive temperament, but on the whole this does not prevent her from studying quite well without upsetting her parents. And it is her school director who chooses her to undergo an internship at the call center of a large telecommunications company. In fact, the direct employer will be a subcontractor, but this is still the first time that such an important potential employer has paid attention to the school, so it is very important that So Hee completes her internship with excellence and favorably recommends not only herself, but the entire educational institution…< /p>

The practice, however, turns out to be absolutely soul-sapping. The main task of So Hee and a couple of dozen of her colleagues — regular employees and fellow interns — is to answer calls from irritated clients who are ready to refuse the company's services, and to persuade them not to do this, fooling them with «exclusive promotions», «special offers», etc. . etc. Anyone who has ever had to have similar conversations on the part of a client will find it quite difficult at first to sympathize with these young women, but quite quickly we become convinced that they themselves are under constant pressure from their superiors, who are constantly raising production standards and are openly cheating with payment and allows himself to simply yell at those who do not show sufficient zeal.

Artless, almost documentary filming, faded lighting, and the dominant gray color in the frame, erasing all other colors, emphasize how So-hee feels in in this quiet corporate hell, how gradually, drop by drop, joy and interest in life flow out of her. However, it turns out to be impossible to escape from this trap.”

More details about the film can be found in the Kommersant material “Call Center Party.”