Rental ten

< h2 class="doc_board__name">Maternal instinct

• Director: Benoit Delhomme
• Starring: Anne Hathaway, Jessica Chastain, Josh Charles, Caroline Lagerfelt, Anders Danielsen Lee, Lauren Wafe
• Genre: thriller, drama/USA/94 min.
• Slogan: “Don’t trust anything except your instincts”
• In theaters: from March 28

Review of “Kommersant-Weekend”:“They were inseparable, as were their schoolchildren sons: former journalist Alice (Jessica Chastain) and former nurse Selina (Anne Hathaway), who after their marriage, as was expected in 1950s America, abandoned their jobs and devoted themselves to caring for the houses that stood side by side. about the side. One day, while digging in the garden, Alice saw her friend’s son from the balcony reaching out to hang a birdhouse on a tree. She ran, began shouting: “Get off!”, burst into the house, which Selina was selflessly vacuuming at that moment, and therefore did not hear anything, jumped out onto the balcony, and then Selina, who followed her, saw only her friend on the balcony, and under the balcony — the corpse of her boy. Selina threw Alice's son's favorite stuffed rabbit into the baby's coffin, so that the boy, bending down to say goodbye to his friend, could see it. And when the boy Alice’s birthday came, during the holiday, his grandmother died under extremely suspicious circumstances. Further — more corpses.

«Maternal Instinct», as the credits insist, is both an adaptation of the 2012 novel by Belgian Barbara Abel, and a remake of the film based on it in Belgium in 2018 and which took all the locals «Oscars.»

For more information about the film, see the Kommersant-Weekend material “Desperate Housewives.”

Abnormal

• Director: Ilya Malanin
• Cast: Alexander Yatsenko, Natalya Kudryashova, Elisey Svezhentsev, Illarion Marov, Xu Shiyue
• Genre: drama, comedy/Russia/103 min.
• In theaters: from March 28

Film critic Yulia Shagelman:““Nonnormal” can be considered a symbol of progress, which over the past six years has somehow unnoticeably happened in Russian mass cinema. There is no violence in the methods of the hero Yatsenko, the ship engineer Yuri, who firmly believes in the same gymnastics and exercises as opposed to pharmacology. He sincerely loves the boy Kolya (Elisey Svezhentsev) and in his home-grown therapy follows his inclinations and desires — for example, having noticed Colin’s interest in music, it is she who makes it the key to their joint activities. Moreover, when the boy with annoyance calls himself “abnormal,” Yuri delivers a convincing monologue about how normality is greatly overrated: after all, “normal” people, like Kolya’s own father, who abandoned his family as soon as his son was diagnosed, do not fulfill their promises , deceive and betray, considering all this to be the norm. Disability doesn’t make Kolya something different, although the authors still don’t see any other happy ending for him than a miraculous cure.

However, the matter is not limited to the latter. The line from the past, in which Yuri teaches Kolya to ride a bicycle and play football, while gradually paving the way to the hearts of his mother (Natalya Kudryashova) and grandmother (Nadezhda Markina), which turns out to be the most difficult to conquer, is intertwined with the modern one, in which he grew up and The already completely healthy Nikolai (Illarion Marov), together with his stepfather, comes to Shanghai for an international piano competition. Here a new point of tension is outlined in the film: the selfless love of his adoptive father, which once served as Kolya’s support, now begins to limit and strangle him.

More details about the film can be found in the Kommersant material “Well Separated” clavier.”

The Tales of Hoffmann

• Director: Tina Barkalaya
• Cast: Ekaterina Vilkova, Evgeny Tsyganov, Maxim Stoyanov, Alexey Guskov, Ksenia Kutepova, Nargis Abdullaeva
• Genre: drama, comedy/Russia/98 min.
• In theaters: from March 28

Film critic Mikhail Trofimenkov: ““The Tales of Hoffmann” pretends to be both a light tale about difficult times and a vague parable.

Difficult times are the very end of the 1990s, which, judging by the small details, is dated. It’s funny that Vilkova and Tsyganov just played in Alexander Veledinsky’s film “1993,” where the same era appeared from its bloody side. And here all her signs are rather funny and harmless. The corrupt transformation of the library, where Nadya, who is in love with the dust of pages, handwritten forms and tanned bookshelves, works, into a karaoke bar. “Black cash” earned by Nadya and stored by Vitalik in the freezer in a box with expired dumplings. The Tamagotchi was finally given by Nadia to her husband and has since absorbed all the attention of this soulless domestic tyrant.

Tamagotchi, by the way, is not entirely politically correct called Aziz in honor of the son of Nadira, the reliable — in every sense of the word — servant of the Strakhovs (the impressive Nargisa Abdullaeva). And just as politically incorrect, Vitalik cheats on his wife with Nadira, justifying himself with the same fictitious illness: they say, I didn’t even notice who I was fucking with while the hell you were.

The supposed parable is that Nadya—let’s attribute this to the logic of the alleged circumstances—has incredibly beautiful, graceful, cinematic hands. Since, after library hours, she also works part-time as a cloakroom attendant in the theater, Garik pays attention to her hands. It appeals precisely at that moment when he is tormented by an insoluble creative problem.”

More details about the film can be found in the Kommersant material “Staff in Hand.”

A Better Life< /h2>

• Director: Francesca Archibugi
• Cast: Pierfrancesco Favino, Nanni Moretti, Kasia Smutniak, Berenice Bejo, Laura Morante
• Genre: drama/Italy, France/126 min.
• In theaters: from March 21

Film critic Yulia Shagelman:“In the original film, as well as the novel on which it is based, is called “Hummingbird” — this is the nickname Marco Carrere (Pierfrancesco Favino) was given in childhood by his mother (Laura Morante), since he was born the smallest of her three children and even at fourteen he looked by ten. Another, less obvious metaphor is shouted in the face of the now adult Marco by his wife Marina (Kasya Smutnyak) in the heat of a quarrel: a hummingbird in flight flaps its wings so quickly that it freezes in place — so does our hero, in the opinion of him upset and, as we know By that moment, not having a completely mentally healthy wife, he forever froze at one point, allowing the lives of his own and those close to him to rush past without affecting him in any way.

Spectators also find themselves in the same position of passive observers, before whose eyes Marco’s story unfolds over the course of two short hours, in which there will be meetings and partings, losses and gains, births and deaths, amazing coincidences and inexplicable accidents, marvelous Italian landscapes, panoramas with balconies of luxury Florentine apartments and views from the windows of Parisian hotels. There will not be a single argument in favor of the fact that this particular story should be of interest to us.

To disguise this unfortunate fact, Francesca Archibugi and the two co-writers who helped her adapt the novel for the screen abandon the linear narrative and constantly jump from one decade to another — from the early 1980s to the present day. The trigger that sends you to the past or future can be a phone call, and when opening the door from the room to the kitchen, the characters suddenly find themselves in their own youth. But all these time travels invariably lead to the same family villa on the Tyrrhenian Sea, where young Marco (Francesco Centorame, strikingly similar to the young version of Favino) once fell in love with the neighbors’ daughter Louise (Elisa Fossati in her youth, Berenice Bejo in adulthood).

Read more about the film in the Kommersant material “Villa and Forks.”

Flying Ship

• Director: Ilya Uchitel
• Cast: Alexander Metelkin, Ksenia Traister, Andrei Burkovsky, Polina Gagarina, Fedor Dobronravov, Leonid Yarmolnik
• Genre: fantasy, melodrama, adventure, comedy/Russia/100 min.
• At the box office: from March 21

Film critic Yulia Shagelman:“In a palace reminiscent of a ceramic tile salesman’s fever dream, lives the Tsar (Leonid Yarmolnik) with his wayward daughter Zabava. However, not everything is going smoothly for them either: the royal treasury is empty (where the money went is not explained), so the sovereign is completely dependent on the rich man Polkan (Fedor Dobronravov), who finances the endless renovation of the palace, and also, as it turns out later, bought up all the royal guards .

In response to this, the moneybag expects that Zabava will marry his son, who studied abroad for ten years and therefore changed his name Polkan Polkanych to the foreign one Paul (Andrei Burkovsky). But the princess, showing commendable patriotism, falls in love with a simple sailor Vanya (Alexander Metelkin), and he, in order to become a worthy groom for her, goes to the magical forest to find gold. The creation of a flying ship is not his goal at all, but turns out to be an accidental side effect of this quest.

And this is not the only change in the plot familiar from childhood. To turn the 18.5-minute cartoon into a full-length film, the authors came up with, for example, not only Paul, but also a witch named Lady Jane (Polina Gagarina), whom he keeps in a cage, subjugating her magical powers. And the songs of Maxim Dunaevsky, arranged beyond recognition, based on the poems of Yuri Entin, were diluted with modern musical numbers, if, of course, the compositions “Hop Hey Lala Lay” and “At Dawn” can be considered modern. The first of them is also performed by the Nightingale the Robber (Anna Ukolova), who was absent from the original, and the second by Vanya himself, whom he challenged to a musical duel. Thank you, at least Vodyanoy (Sergei Garmash) was left with his own song, although it acquired a distinctly chanson sound.

More details about the film can be found in the Kommersant material “Riot of Fairy Tales.”

Tender East

• Director: Sean Price Williams
• Cast: Talia Ryder, Earl Cave, Simon Rex, Ayo Edebiri, Jeremy O. Harris, Jacob Elordi
• Genre: Drama, Comedy/USA/104 min.< /li>
• Slogan: “Everything that can happen will happen”
• At the box office: from March 21

Review of “Kommersant-Weekend”:“Gloomy girl Lillian (Talia Ryder) and a group of noisy friends come to Washington on an excursion. They are from conservative South Carolina, but the sexually mature girls and boys who have broken free are somehow not interested in the sights of the American capital, either because of alcoholic libations and other entertainment events. You don’t have to go far for adventures: at the very first karaoke bar where the girl goes, far-right activists break into the place, looking for a lair of pedophiles. Lillian quickly escapes with her new capital friends through the fire exit leading to the tunnel. Alice's adventures in Wonderland began in much the same way.

Soon Lillian will become bored with the new company — the hipsters dressed as punks turn out to be antifa activists who are going to disperse a secret meeting of neo-Nazis somewhere in the forests. But this plan also misfires, and now the girl, who has already strayed from the company, finds herself at that same meeting of adherents of the racial cleansing of America and meets a pretty teacher who is ready to shelter a stranger. Of course, this is not the last stop: there will be filming in independent films, a forest rave with Islamists, and even a monastery. Unlike Lillian, who sooner or later finds herself bored everywhere, the viewer of “The Tender East” simply has no time to take a breath: this is a very dynamic, regularly knocking down and funny movie.”

More about the film — in the Kommersant-Weekend material “Alice in the Land of Unfulfilled Dreams.”

Prime number theory

• Director: Anna Novion
• Starring: Ella Rumpf, Jean-Pierre Darroussin, Clotilde Courau, Julien Frison, Sonia Bonny Ebumbu, Xiaoxing Cheng
• Genre: drama/France, Switzerland/112 min.
• In theaters: from March 21

Film distributor Yulia Shagelman:“Unlike Goldbach’s problem, Prime Number Theory is a very simple equation in which the whole never exceeds the sum of its parts. Six screenwriters, including director Anna Novion, turn the narrative in the most predictable direction at every turn, and cinematographer Jacques Giraud illustrates their ideas with the most predictable visual techniques — like numbers floating over the heroine's face in double exposure, accompanied by uplifting voice-over music.

Of course, the sequence of mahjong tiles tells Margarita a formula that becomes the key to a new method of proof, and, of course, this is followed by sleepless nights, feverishly writing down numbers in a notebook and waking up at the table. Then the heroine paints the walls black so that she can write on them with chalk, and then, when Goldbach’s problem turns into an obsession for her (and, of course, it does), the notes cover every free inch in the apartment, including windows, mirrors and toilet rolls paper.

The only cliche that the filmmakers, to their credit, skip: Margarita, even in her rebellious club period, does not suddenly become a beauty by taking off her glasses and washing her hair, but remains a nerdy nerd in ugly sweaters. True, the authors still organize happiness in her personal life: where a man would have enough to solve a problem (and, perhaps, a Nobel Prize), a woman, in their opinion, still needs a handsome prince to boot.”

< p>More details about the film can be found in the Kommersant material “What was required to be shown.”

Territory of Evil

• Director: William Eubank
• Cast: < /b>Liam Hemsworth, Russell Crowe, Luke Hemsworth, Ricky Whittle, Milo Ventimiglia, Chika Ikogwe, Daniel MacPherson
• Genre: action, thriller/USA/113 min.
• In theaters: from March 21