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These hail every little thing played getting rid of barely the sophisticated keys, so you ought to keep effective toward crush extra listed below barely a limited area of time. Google automatically generates html versions of documents as we crawl the web. Also see my website - http: Therefore Christians find themselves in a multicultural and polyreligious world, which means that they must understand the relative character of their social forms and learn to rise above them, as the Gospel has universal and cross-cultural meaning. Such precedents in Russia and other Orthodox countries are well-known and described. On top of multiple references within the text, the structure itself, the organization of the Biblical text asks to be studied interactively and put to use in a creative way in missions work.

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Some of the sounds from her flat are also too loud, for example a dripping tap. The director explained that the idea came from a real life experience of his wife, who started hearing specific sounds much louder when she was pregnant. Some of these sounds were imperceptible to other people. In Stalker, Andrei Tarkovsky also extensively used the disconnection between sound and images in order to blur the line between reality and illusion. This last technique gives the illusion of time-space distortion, which may or may not be due to the mysterious events that created the Zone.

I will use photography and video, media ironically considered documentary and objective, to capture and reproduce the way our mind reacts to and reinvents reality and our surroundings. The following are different angles under which to explore this problematic: I hope this may make it possible to engage in a deeper level of communication with the audience.

Visionary artists William Blake and their aim to physically present a self contained imaginary world. Dada and its critic of the absurdity of modern life. German expressionist cinema, and its interest in madness.

Urban exploration and psychogeography within situationnism and beyond. Modern psychogeographers such as Iain Sinclair. David Lynch, Ihor Podolchak. Video Artist Markus Schinwald.

Critical theory I want to make Art that can be enjoyed on different levels and is open to interpretation. I hope the audience will be able to relate my work to their own concerns and experiences, rewrite their own version it, and make it part of their inner worlds.

When a commentary is required within the context of academia, I will explain how the original idea came to me and evolved: Rather, I am saying that references to other work should stem from the desire to share the appreciation of it with the audience.

Parallel theory Freud in particular research on dream images and the concept of the Uncanny. Methodology I continuously gather 2 types of raw material: I try to enter these places without preconceptions, let them tell me their story and react to them rather then impose a model on them that would taint my perception of them outer space. This is where the theoretical research come into play. The final piece presents the self contained world of the images, that aims to infect the inner world of the viewer.

I then need to create images from scratch to make a physical representation of my inner world and mix them in with the outside images. This type of piece shows the ambiguous, fluctuating border where the outer world invades the inner world as the same time as the inner world reinvents the outer world, so that the line between dream and reality becomes increasingly blurred and possibly eventually dissolves.

Outcome Photographs as prints and online. Rather, it might be described better as a feature-length piece of video art by a graphic artist desiring to work with new media. A native of Lviv, Podol'chak has achieved fame for his numerous international exhibitions, and has the distinction of being the first artist to exhibit his work in space, although the latter consisted of two postcardsized woodcuts that two Russian cosmonauts brought to the Mir Space Station in His various paintings, woodcuts and multi-media installations generally feature masochistic scenes, such as tortured and dismembered female bodies, placed within dark and unrecognizable spaces.

While his cinematic debut dispenses with much of the violence evident in his earlier work, there are several familiar motifs in Las Meninas: Most notably, we rarely see whole bodies in the film, as cinematographer Serhii Mykhal'chuk shoots most of the scenes in close-up, moving his camera from hands to legs to breasts, to a back, and occasionally to a darkened face. The interior location, in which most of the action is set, is barely lit, destabilizing the space that the characters inhabit.

While such counter-realist use of exaggerated sound has been used—from http: Rutger Wolfson, the director of the Rotterdam International Film Festival, introduced the association with the painting during the Las Meninas premier: I am sure that the director loves and deeply understands the art of this period.

The mirror in the background of the painting reveals the figures of King Philip IV and Queen Mariana, and the artist himself stares from his easel in the direction of the viewer. We might interpolate that Podol'chak employs the title to explore similar problems of representation, especially given the long history of critical discourse in film studies on scopophilic pleasure and symbolic identification.

That is, the film becomes an exercise, on the one hand, in overcoming technical difficulties, and, on the other, in confounding the audience. Few spectators could make this claim, honestly, even accepting the truism that taste is subjective. According to the press release, the film revolves around an older couple terrorized by their sick, but manipulative son.

While such a theme appears at times throughout the film, it is overshadowed by discussions of how to prepare fish, the lateness of a dinner guest, and other non-sensical and unfinished sentences and interactions. Most of the action takes place around the dinner table, with the http: Most of the action takes place around the dinner table, with the camera slowly panning over the objects and the miserable humans that surround it.

For what this reviewer could tell, there were no explicitly Ukrainian themes explored in Las Meninas. Yet, Podol'chak shot the film in his native Galicia, with local, nonprofessional actors, and his characters speak Ukrainian, a not insignificant fact considering that most films made in Ukraine during the ss were shot in Russian. After all, there is a lot of beauty contained in the film—the oversaturated colors and its slight lack of sharpness makes for some truly exquisite imagery for the most part.

In this respect, we might agree with one Dutch reviewer, who wrote after seeing its premier in Rotterdam, that the life of Las Meninas began and ended on that screen see Sanders. Review of Las Meninas, movie2movie.

Las Meninas, Ukraine, Color, 99 minutes Director: Serhii Mykhal'chuk Art Direction: Ihor Diurych and Ihor Podol'chak. One of a handful of independent Ukrainian films made over the last two decades Las Meninas was funded by the director himself. It was conceived as a step on the way of revival of Ukrainian national cinema with Ukrainian talent, story, and language. It reflects on the importance of the choices we make and how limited these choices are in the first place. The plot evolves around a family of four.

They live in the suburbs in a strange villa that appears, through a complex game of mirrors, to be more like a piece of installation art than a real house. Podolchak who is an accomplished artist, recognized in his home country and abroad. Thursday, February 18, , at 7: The film will be screened in its original Ukrainian language version with English subtitles.

Free and open to the public. Track This Flag Link. Children of the Green Dragon working title tells the story of an unlikely friendship between a Hungarian real. The film, directed by Bence Miklauzic and produced by Jozsef. Producers Opus Film Poland are looking for sales outside Poland, where the film will be released this fall.

House is a drama about a teenage girl who resist her father's plan to build a house for her. Director Zuzana Liova's script has already won several international awards. Slovakia with Film Europe Czech Republic. Erratum, a drama from director Marek Lechki, follows a man on a emotional journey to his home town. Head - Hands - Heart depicts a woman's relationship with three army officers, set against the backdrop of World War I. Release is scheduled for November.

Kajinek is a true-crime thriller from director-producer Petr Jakl of J. The film tells several parallel stories about its characters' interactions on line. Apricot Island, from Slovak director Peter Bebjak, tells the story of a woman who inspires passion and rage in a pair of brothers. The Greatest Czech, from director Robert Sedlacek, follows a crew of frustrated filmmakers as they pursue various and unusual records. Produced by Radim Prochazka, the film will be released in August.

Panoptican is a thriller set in a small town where all is not as it seem. The Show Must Go On, a drama-thriller from director Nevio Marasovic, is set in a near future when the contestants of a reality show are not aware of the war that rages outside the set.

Produced by Copycat Croatia , the film will be released later this month. Adalbert's Dream working title is a black comedy based on a true story of coincidences that took place in Romania in The film is directed by Gabriel Achim and produced by Dan Burlac.

Visitors to the panel also had the chance to see footage from the set of Leaving, a drama from debut director and former Czech president Vaclav Havel, currently in production.

The film is based on the real story of a family from Lvov. But it could have happened in any town and in any country. Their life is a kind of infinite ritual.

The main character of the film is a year-old son, who almost does not appear on the screen but we feel his presence all the time. He has been suffering from eczema and asthma since childhood and he takes the advantage of his illnesses and exploits his parents and sister. It is a kind of metaphor of human unfreedom which is displayed through the repulsive everyday routine.

According to Lilia Mlirovich, the co-producer of the film, first the music by Alexander Schetinsky and Yury Yaremchuk appeared and only then the video. Alexander Schetinsky is one of the ten best modern symphonic composers and Yury Yaremchuk is a classic of avant-garde Ukrainian jazz.

Their soundtrack became the basis for the images and as a result the film became a kind of jazz improvisation. Igor Podolchak together with his creative producer Igor Durich are known as the authors of a number of provocative works. Leave your comments Attention! The comments are first. Jungleman Page 1 of 5. A being at whom we want to laugh and also cry for.

It is simply a tragic comedy or a comic tragedy about us. Among the characters of these life scenes are an overweight woman, a disgruntled psychiatrist, a heartbroken groupie, a carpenter, a business consultant, an elementary school teacher with emotional issues and her rug selling husband.

Ihor Podolchak This film is about what the routine of everyday life can do to the human mind and psyche. It also reflects on the importance of the choices we make and how limited these choices are in the first place. They live in the suburbs, in a strange villa that appears, through a complex game of mirrors, to be more like a piece of installation art than a real house.

The main character, who hardly appears on screen, is the son, a man in his thirties. Suffering from asthma and eczema since childhood, he uses his condition to manipulate his parents and his sister. It is up to the viewer to assemble them in order to form his very own picture — something that makes the film itself personal and unique. One is an orderly, one is a leading sportsman, and one is a master taxidermist.

One desires love, the other success, and the third immortality. The grandfather lives in his fantasies and on cold winter evenings he warms up his freezing little shed with his feverish dreams. Nothing can stop his fertile imagination. The father stuffs himself.

For four years he was the first in his section in the Confectionary Industry. He is still unbeatable in chocolate wafers with an individual record of 2. The son stuffs animals. He was born one and a half kilos. Now he has less than one and a half minutes left. He goes in for something that nobody has ever imagined before. This film is about what the routine of everyday life can do to the human mind and psyche. The video works featured in this program reveal how Ukrainian artists regard the newly created Ukrainian state and the community to which it has given rise.

The medium of video is especially appropriate for dealing with these themes, since it unintentionally records those details of everyday life that grow more attractive as time passes. The works created during the s document the struggle with the myths of the USSR, Freed suddenly from the duty to illustrate propaganda slogans, artists felt the need to deconstruct the existing representational canon in works where men in ballet skirts turn up aboard a warship, and art is presented to astronauts aboard a spacecraft.

The generation of artists that came of age during the Orange Revolution was also searching for new answers to questions concerning the role of art. Social inequalities came to constitute an important point of reference, while migrant workers seem to their favorite subject thus far. Young artists started began once again to represent the problems of peripheral group, as if untouched by the crisis of faith in utopia, and driven by the belief that they are taking an active part in making this world a better place.

Ukrainian video works during this period took two main forms: These latter works were often created as staged, theatrical forms of action or as documentation of such actions, and in many cases had an absurdist quality. Art videos created in the early s were a way of transgressing the limits of the permissible both in the world of art, and in the realm of society at large. Over the past decade, however, artists have grown less interested in video as a means of gaining a critical distance from reality and examining it from an ironic perspective; instead, they have increasingly turned to creating works that may be described as a form of artistic reportage or research.

Voices of Love, , 5: This video offers a commentary on the rapid collapse of a familiar reality and the transgression of seemingly impossible barriers. This complex artistic gesture, which was performed at a defense facility that just a few years earlier could be accessed solely by authorized military personnel, constituted precisely such a transgressive act.

The documentation of these practical preparations is transformed into a work in its own right, in which the transportation of an empty, transparent glass coffin along the streets of Kiev acquires an absurd resonance, while alluding to the overall sense of the collapse of everything familiar, the readiness to reject outdated values and practices, and the fear of a hazy future.

This landscape was still dominated at the time by traditional social-realist conventions, which eschewed the absurd and the non-illustrative. In the context of the Ukrainian art scene, Polataiko may be described as a paradoxical artist: The decree banned the publication and import of Ukrainian language books in the Russian Empire, the translation of foreign literature into Ukrainian, the performance of plays and the organization of literary readings in Ukrainian, and even the publication of Ukrainian lyrics.

Polataiko researched this event, which is of marginal importance in the history of the small German city where it took place, yet is highly significant in the context of Ukrainian history. L Ivan Bazak B. This video was shot in Rome, one of the centers of Ukrainian labor migration in Europe. It is concerned with the life of migrant workers, which appears fairly ordinary until we realize that what we are viewing is a self-organized labor market, where cleaning women, cooks and builders come to be recruited for work.

This archaic process of selecting workers is imbued with disturbing connotations, such as those that come to mind when we notice the stretched rope used to separate those who have come to offer their labor from those who buy it.

Nevertheless, the images still appear strikingly conventional, exuding the kind of relaxed atmosphere associated with activities at a community center or church function.

This deceptive sense of comforts subverted by the sound of a hymn sung in St. The members of this group, which was formed during the Orange Revolution in , live and work in Kiev. In this video, REP employs a light tone to address a problem that extends far beyond Poland and the Ukraine. The global provision of caretaking and domestic services has created a continuum between the private and http: As a result, the women from economically poorer regions who deliver these services become absent from their own homes.

Rather, their relations are determined by macroeconomic processes in two countries that coped differently with the collapse of the communist bloc.

This poetic work by Volodymyr Kuzniecov is actually a record of a performance that took place in Connewitz, a post-socialist suburb of Leipzig, where both nationalist and left-wing manifestations have been quite common.

A small car with a tape recorder fastened to its roof moves through the quiet dark streets of what appears to be a contented Western city. As the cry of a baby is suddenly heard, the tape recorder starts playing Ukrainian lullabies. This intimate gesture of singing a lullaby for a sleeping city reaches a beautiful finale when a woman with a child appears in a window. As in the video created by REP, here too the public and the private meet; rather than a gesture of exploitation, however, what is at stake here is the creation of a bond born of time spent together.

This manifestation of indifference and endless patience, born of the need to accustom oneself to rapid changes, is an essential component of the work.

Cherson, ; lives and works in Cherson Toilet Stories, , 6: A toilet bowl provides the scenery for this series of anti-aesthetic short films, whose protagonists are horrid plastic animals made in China and sweet cookies, while money and actual actors also make an appearance.

There are various battle scenes, including one in which ladybugs, although superior in number, are defeated by a small duck; a scene featuring a meal consumed by an animal resembling excrement, who is seen eating raw dumplings; colorful cookies that form beautiful ornaments on a toilet seat; and genre scenes set in and out of doors. Rs could get to the end before you, which isn't all that fun when you've played something for three week and find out that you can't actually beat it.

Plus, it was very difficult to tune and balance. So we added a minimal amount of scripted things to keep things going in the game. Basically, we wanted to keep the underlying structure and allow you to finish it without compromising the freeform design. So have there been any really painful sacrifices you've had to make?

Not up until this point - at least not from my perspective. Certainly in the S. R community, there was a lot of anger when sleeping and eating were cut. We were running out of time and we needed to make sacrifices, and it was decided that sleeping and eating weren't critical to the game - or even that much fun.

R community was livid about it. But that's just the nature of any game with a big following. You're never going to be able to please everybody.

The question is, how much do you let that control what you're doing?

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