IN THE RUBRIC "VIDEOTEKA" our heroines talk about their favorite films and TV shows - important, vivid, inspiring, those that are hard to forget once you see them. In this issue, producer and director Ksenia Gapchenko recalls the cloud of horror films she watched in childhood and confesses her love to her colleagues in documentary films.
INTERVIEW: Alisa Taezhnaya
PHOTOS: Alena Ermishina
MAKEUP: Anastasia Pryadkova
producer, documentary filmmaker, curator of film programs
If I had the opportunity to meet anyone in the world, I would choose
I was born in Kolomna, near Moscow. My parents are not connected with cinema, but they always watched and watched it. Childhood is a great time. What are the secretly watched "Silence of the Lambs" by Jonathan Demme and "The Wall" by Alan Parker - somehow I caught a glimpse of the footage at a parents' party, remembered where the tapes were (these tapes were hidden, of course). She sat down alone and looked, screwed up her eyes. I remember forever Cronenberg's Videodrome and Existence, Children of the Corn and Twin Peaks on TV. And there were also many horrors that used to look very easy, but now are unbearable.
In my city there was the only cinema "Horizon", which, of course, did not reach a serious arthouse, as it does not reach now, but there I watched "Where is my car, dude?", "Titanic" and "Godzilla". But on the side of the entrance to the hall there was a video salon, where I began to take my first serious films and somehow grabbed "Underground" and "Time of the Gypsies" by Kusturica. I heard that Emir Kusturitsa was in the wrong place, but I still adore "Black Cat, White Cat": my three-year-old daughter Sasha says that the music from this film is the music of superheroes.
The turning point for me as a teenager was Run Lola Run. He not only provoked my school hobby for the German language, Lola immediately became a woman's ideal. The three holes in my right ear are my personal homage to Lola. I watched the film, the next day I bought a burgundy Tonic balm and came to school with a beetroot head. “Lola” is amazing for me even now, but then I wanted to run, accelerate, knock down all obstacles in my path, save my boyfriend, win at roulette, die and be reborn.
At the age of eighteen or later, I found out about the existence of torrents and started downloading movies in huge numbers. I needed everything at once: I remember seeing Lynch's Eraser Head, Polansky's Disgust and Zhulavsky's Obsessed, in one day - a strange cocktail that definitely left traces in my head. I also remember very well all the dates in the cinema: in "Illusion" at the show "8 and a half", in "35 mm" - on the film "The Libertine". Once, when I was already old enough, a documentary about the Czech brothers-artists Saudek was shown in the CINE FANTOM cinema club in the "Fitil". Probably, at that moment I realized that documentary films are much more interesting and unpredictable than fiction films, and I went to the school of Marina Razbezhkina. At the interview, I was carrying some kind of nonsense with excitement and still don't understand how I got into this world.
Doc is love. It doesn't matter if it's a new movie or an old one. For example, recently I was lucky to see the world premiere of the restored film by Dziga Vertov “Anniversary of the Revolution”, on which the film historian and one of my favorite teachers Nikolai Izvolov worked. Amsterdam, full at Pathé Tuchinsky - one of the most stunning cinemas in Europe - and people are watching us from the screen. There are exactly one hundred years between us. You sit with your mouth open and ask them questions: "Who are you?", "What happened to you and your family?", "How was it then?"
And I often think about Kira Muratova. I think that I am still too stupid to understand all the layers in her films.Remember the dialogues in Short Encounters? Amazing though. And there she is, beyond description. And Vysotsky is a geologist with a beard. This waltz of Karavaichuk is in my permanent playlist. Probably, if I had the opportunity to meet any person in the world, I would choose it.
Films of graduates and students of the school Marina Razbezhkina and Mikhail Ugarov
"Hey, bro!" Alexander Elkan, "Songs of Abdul" by Anna Moiseenko, "In the center of the cyclone" by Liza Kozlova, "Zhanym" by Zaki Abdrakhmanova, "25 September" by Askold Kurov. It's hard to choose one film. I would like to say about all the guys - this is courage, this perseverance, this is character. I have not yet filmed anything really, except for one dear to my heart a short film about Women's Day at the factory. The guys are constantly on the set, and some already have more than three films. Our school is passion and pride, it's great that we smell each other a mile away.
Agnes Varda, 1965
I have always been interested in the topic of family happiness and marital fidelity. What is real happiness within the nuclear family? Varda makes a very subtle feminist film, which even feminists may find ambiguous. She is sensitive to moral questions and does so visually flawlessly: notice the change of seasons in the film.
Mila Turailich, 2017
The other side of everything
Apartment in Belgrade. The windows face an intersection where something is happening all the time. Serbian filmmaker Mila Turailic observes her mother, one of the main Serbian revolutionaries, and through these and archival footage tells the story of an entire country and generation. The apartment has two doors closed - what happens behind them? This is an amazing intimate portrait of the family and the relationship between daughter and mother. It seems to me that this movie should be shown on repeat in modern Russia: we are responsible for future generations.
Volker Schlöndorf, 1979
An unforgettable adaptation of the book by Gunther Grass. I watched the film because of my long-standing love of German: first I read the book in the original. Someone says that the film is overly physiological, but I adore and am afraid of it - remember at least a shot when they catch eels or when Oscar falls into the basement.
Rada Shesic, 1997
Room Without a View
A documentary experimental film of the director, originally from Sarajevo, she emigrated to the Netherlands during the war in the Balkans. Rada did not return, became a citizen of Holland and shot a film during the first years after forced emigration: she was not allowed to visit the house until permanent residence was issued. It is a melancholic poetic documentary essay, a hybrid dock with several staged shots that did not leave me indifferent: I had similar feelings when I lived in Europe.
Quentin Tarantino, 2009
Everything is clear here - Shoshanna, Christoph Waltz with a perfect strudel, dead Tarantino in Nazi uniform with a swastika on his forehead in the crowd at the beginning, Diane Kruger, Til Schweiger, Daniel Brühl and Brad Pitt. I went to the movies five times and listened to the soundtrack.
Alex Laura, Antonio Tybaldi, 2015
Thy Father's Chair
The story is simple: two twin brothers in their fifties, Orthodox Abraham and Shraga, rent a house in the Bronx. They are very sloppy and weird intellectuals. The landlord threatens eviction for a terrible mess: the brothers love cats, but do not often clean up after them. And once strangers burst into their apartment - brave cleaning guys. The director shoots a two-day cleaning, which is fought on both sides, the brothers argue, rake in the trash and immerse themselves in shared and personal memories.
Milos Forman, 1963
One of Foreman's first films about growing up. In the center of the story is seventeen-year-old Peter, who takes his first job and wants to earn his own money in order to be independent, but he is not very successful. It's amazing that this movie was shown to us at the editing workshop while studying at the documentary film school.
Mike Lee, 1983
Gary Oldman and Tim Roth are two of the most charming, talented and sexiest actors on my personal list. They are twenty-five in the film. One is a skin, the other is a little "inhibited". Sad England 80s, recession and everyone is doing their best.
Boris Khlebnikov, 2009
“It’s like butterflies sat on a pedestal”: the coolest dialogues, brilliant script, direction, favorite Russian actors. Delicate, human and very talented. And infinitely sad. Well-fed and Dreyden. Duck house and "butterflies" on a pedestal. In our film school, watching all of Khlebnikov's films was a must. And I still remember my excitement when Boris came to the showing of our term papers and even smiled a little when they showed mine.