TOP 12: video
Meet the 12 most popular feature films of our library:
12. Robert Bresson
Extreme asceticism, refusal of expressiveness (cinema – not theater), often – refusal from pavilion shootings and professional actors, refusal from nude are peculiar to Bresson films.
Important features of the style: the unity of the content and form of Bresson’s cinema; his Christianity, moralism; the conflict of the humiliated "saints" and the rich powerful "villains"; visible defeat of holiness in the world and its secret triumph; asceticism is his language.
A striking illustration of these traits is the following quote from his interview with Paul Schroeder:
“The simpler the ordinary life, the less the word“ God ”is pronounced in it, the more I sense the presence of God in it. I do not know how to explain this.
I do not want to shoot so that God was too visible. You see, my first films were a bit naive, too simple. Making a movie is difficult, so I relied on great simplicity.
The deeper I immerse myself in work, the more difficulties I see in it, the more cautious I am with it, in order not to overload it with ideology. Because if it is felt from the very beginning, by the end there will be nothing left.
I want people who watch the film to feel the presence of God in everyday life, like the Meek in the face of death. Probably five minutes before suicide. This is ideology. There is death and there is a secret, as in “Mushette,” in the way she kills herself: that is, you feel that there is something in all this, that I don’t want to show and I don’t want to talk about. But here is the presence of what I call God, and I do not want to show it explicitly. I prefer people to feel it. ”
11. Filming Senkevich’s novel “Kamo Ridges”
“Camo Ridges” (Quo vadis, Where You Go) is a name taken from the ancient legend about the Apostle Peter. According to legend, when the apostle Peter, after the destruction of almost all Christians of Rome, secretly left the city, outside the city, he met Christ and asked him: "Where are you going, Lord?" Christ replied: "Since you leave my people, I am going to Rome for a new crucifixion." After that, Peter returned to Rome and was martyred.
“Kamo ridges” is the best work of Senkevich, a novel from the life of early Christians. Mainly thanks to “Kamo Ridges”, Senkevich was awarded the Nobel Prize. Senkevich wrote:
“Reading the Annals, I often felt that the thought was ripening in me to give artistic opposition to these two worlds, one of which was the omnipotent ruling power of the administrative machine, and the other represented exclusively spiritual power.”
Several screen adaptation of the novel Senkevich about the first Christians.
– Film Jerzy Kavalerovich
– Miniseries Franco Rossi
– Mervyn Leroy film
10. Krzysztof Zanussi
Zanussi cinema is very atypical. This is a rationalist director, very “cold” – both in the cinema itself (honed, almost meticulous), and in the “problematic”.
Zanussi is a moral researcher, he can be called a moral philosopher. Intellectual. Psychologist. Conscious Christian, he always "looks" from the depths of faith.
Consciously and "confidently" a Catholic believer in socialist Poland who studied physics and a philosopher – these facts of the biography will help him to understand his films.
The cinema of Zanussi brings to mind the forgotten things that the patristic era knew and Catholicism was famous for: philosophical theology and rational theology. "Moral philosophy" in the sense in which this expression is included in the full name of "Philokalia".
“Whether a return is possible is hard to say, but I suspect that without Christianity, the development of culture is impossible for us, for our part of the world. We will not think of anything better. Not only Christians need culture, but culture also needs Christians. ”
9. The Dardenne Brothers
"The conscience of modern cinema", "the best directors of the 2000s," according to film critic A. Dolin. He is not alone in this assessment.
The brothers make an amazing movie. By naturalness, spontaneity are the followers of neorealism. Each story is a beautifully thought out story.
The beauty of these stories is not that they are “moral”; they do not teach, but show that man is an ethical being.
Not that the heroes of dardennovskogo cinema "awakened" conscience. Just brothers can show that conscience, sin, repentance, forgiveness, love are always present in a person, they are the axis around which his life is built.
A typical darden film is built like this. Someone commits a sin. The camera will watch the hero vigilantly, look at his face, watch every movement – but not so that in perverse voluptuousness he will spy on the consequences of evil (although it, of course, captures the tragedy, and also unsightly). The Dardenne chamber is rather a kind of invisible love, the look of an angel, in the excitement of watching what happens to this soul, in the hope of saving this soul.
If you look a little deeper, the viewer will notice not just the “ethics” of Dardenne's films, but also the Christian logic of this ethics, and then a multitude of Christian symbols and allusions woven into the fabric of the fabric — for example, the metaphor of the religious process, which appears in almost every Belgian film.
The works of the Dardennes is a truly moral and Christian film – but not one where the film degenerates into pathology and convulsion or into a sickening teaching "how to live."
8. The film "Chronicles of Narnia"
The Chronicles of Lewis – the magnificent tales of the English writers Clive Staples Lewis; in the words of one author, this is "the best Christian catechism." In the library there are several versions of the "Chronicles":
– “The Chronicles of Narnia” – BBC TV series.
– “The Lion, the Witch and the Wardrobe” is a cartoon.
– "The Chronicles of Narnia. Clive's story. S. Lewis "- a documentary.
7. The adaptation of "Father Brown"
Chesterton's stories about Father Brown – the very embodiment of the amazing ability of English literature (especially its Christian representatives) to write at the same time easily and seriously. This is a brilliant "easy reading".
A classic detective story and at the same time a classic of “teaching” literature (which was not very popular already at the time of Chesterton).
Natalia Trauberg, an expert and translator of Chesterton, writes about the stories about Father Brown as follows:
“With all my love for Lewis, Dorothy Sayers, Charles Williams, I have to admit that Chesterton is more sharply and more clearly opposed to the stereotypes of this world.” It is not by chance that he is compared with both holy fools and blessed in the Gospel sense of the word. One of his usual inconsistencies "world" – a combination of properties that are considered incompatible and even opposite. Actually, the whole Brownian cycle is based on the combination of simplicity with wisdom. ”
– “Father Brown” – British TV series 1974
– German film versions: “Black Sheep” and “Deadly Passion”
– “Father Brown” – an English film of 1954
– “Face on target” is a Soviet film.
6. Ingmar Bergman
Bergman is on a par with such hysterically religious creators as Dostoevsky, Tarkovsky, Kierkegaard.
Alexey Herman said that he had gained faith after watching the films of Bergman. Let us give a bit of a dialogue between Lyubov Arkus and Alexander Sokurov:
– It seemed to me obvious that in the films of Bergman, his never-ending dialogue with the Creator is a single continuous content. (…) Bergman, with his ability for questions and waiting for an answer, with his “walking under God” as it were, always seemed to me to be a deeply religious artist.
– (…) I do not think that Bergman has a motive for doubt. It seems to me that he never doubted the existence of the Creator. Not doubt, but despair from the impossibility of understanding the structure of the world, the place of man in this world. After all, the creation of the world, as well as the problem of art, is one and the same.
Here is another quote by film critic O. Surkova:
“Bergman’s mysticism is theatricality, prankiness, this mysticism is called upon to tear off the mask and to show that behind it is a tormented, sick, lonely, not having any hope man. Where then is God? – asks Bergman. Why do we suffer so much? He seeks God, but does not hear him. (…) Bergman has empty skies that have opened above the earth, and an unhappy man entangled in his sins. (…) Bergman’s presence of God is a certain result, because Bergman is a realist and a man who doubts. ”
5. Andrzej Waida
One of the modern classics of cinema, the representative of the great Polish cinema, which always one way or another refers to the rich Christian heritage of his country.
The rich, but tragic, catastrophic historical experience of Poland in the 20th century is interpreted by Wyda as an existential experience, often understood through the prism of biblical images.
4. Alexander Petrov
Modern Russian multiplier, "live classic".
His work is, of course, not “cartoons”, but outstanding works of art; symbiosis of cinema and painting. Petrov draws in the technique of "painting on glass" – squeezes paint on the glass, draws and removes the result on film. One shot – one frame (in this way, each frame of these films is a separate work).
All of his paintings are based on literary sources – Platonov, Dostoevsky, Shmelev, Hemingway. This literary component, as well as the script and direction, and, of course, an unparalleled visual series makes every Peter film not only wonderful “animated pictures”, but also deep philosophical reflections.
3. Alexander Sokurov
Maybe the biggest modern cinematographer. Living proof that Russian culture has not died, that it can still stand at an extraordinary height. And that Russian culture can, dares to be Christian.
Here are some quotes from the director’s interview on this topic.
“In every film we made, there is a biblical motive anyway. In every movie. In “Alexander” with Galina Pavlovna Vishnevskaya in the lead role. In the picture based on "Crime and Punishment" – in "Quiet Pages." In the Eastern Elegy, which was filmed in Japan. In the film “Mother and Son” – in the film for which they gave the Vatican Prize. In “The Guilt”, “Spiritual Voices” and others. ”
“My interests as a person and artistic author coincide with the interests of the Church.”
“The tradition of spirituality in cinema is only taking shape. The main thing – the observance of moral standards. You can not multiply evil. There must be a complete denial of violence on the screen, and not a demonstration of it as a universal force. Cinema is the most dangerous kind of culture. It is necessary to develop a dogmatic ideological platform for cinema. What is the basis? The commandments.
“I have a tetralogy:“ Moloch ”,“ Taurus ”,“ Sun ”, now we are going to“ Faust ”. In all these films, I strive to show how important humanized power is. And that power is not from God, it is from people. ”
Saying about his meetings with Tarkovsky, Sokurov wrote: “And God sees, I didn’t want to talk with him about cinema, about art. I wanted to talk about people, about destiny, about the world, huge and small in geographical understanding and about the endless – as about the space of the Divine soul. ”
2. Karl T. Dreyer
This director is a classic of cinema in the same sense that Homer is a classic of literature, and Mozart is of music. Dane. A bastard farmer and a farmhand Dreyer's mother died while trying to have an abortion. He was brought up in a foster family, where a strict Lutheran atmosphere reigned. These facts of his biography had a significant impact on his work.
The principled religiosity (heavy, problematic religiosity) of his films is often revealed through the image of the struggle of a weak suffering woman against a cruel merciless world.
Dreyer was always interested in moral issues, shown very harshly: through sin, serious crimes, death. The religious and philosophical reflections of Dreyer in their intensity and tension are similar to the agony of Dostoevsky’s heroes and existentialists. This religiosity of the 20th century is difficult, hysterical. And yet a miracle is possible – so the foolishness and faith of the child resurrect the heroine of the Lay.
Dreyer began as a journalist and continued to work in print as an established, well-known director. Came to the cinema as a title editor. Gradually, he began writing screenplays (22 films were put to them before his first independent work). Dreyer always found money for his projects with great difficulty, with frequent breaks in work and the production of films abroad. Only at the end of his life the Danish government drew attention to his “living classic” and transferred the capital’s cinema “Dagmar” to Dreyer’s disposal, from which he made his last film.
Dreyer’s cinema is the pinnacle of silent movies, The Passion of Joan of Arc. They are often called simply the best movie ever.
Dreyer is an innovative director, his work has raised cinema to the level of undisputed art. About his "style" and "method" Jean Renoir said best of all: "Dreyer is beyond and above all theories."
It is symptomatic that Dreyer’s biggest dream was to make a film about Christ. He also wanted to film "Doctor Zhivago." Unfortunately, he did not have time to translate into reality these dreams.
1. Andrey Tarkovsky
Tarkovsky takes a place in our cinema similar to Pushkin in literature: First Classics. Here are some excerpts from his diaries:
“Today I had a terribly sad dream. Again I saw the northern (I think) lake somewhere in Russia, dawn. On its opposite bank are two Orthodox Russian monasteries with cathedrals and walls of extraordinary beauty. And I felt so sad! It hurts so much! ”
“What erroneous and false ideas about people we live in! (About the French, about the Negroes, and about individual subjects.) And who treated us better than the French? They give citizenship, an apartment, the Committee collects money and pays for everything and for the clinic. And in the clinic, one Negro woman is just an angel: she smiles, tries to do her best, dear, sweet. Our ideas need to change. We can not see. And God sees and teaches to love your neighbor. Love overcomes everything. And this is God. And if there is no love, then everything collapses. I absolutely do not see and do not understand people. I treat them biased and obviously intolerable. It drains spiritually and confuses. But the work in Stockholm helped me a lot. ”
“The most important thing is this symbol, which is not given to understand, but only to feel, to believe, in spite of everything – to believe … We are crucified on one plane, and the world is multidimensional. We feel this and are suffering from the impossibility of knowing the truth … But it is not necessary to know! Need to love. And believe. Faith is knowledge through love. ”
“God! I feel your approaching. I feel your hand on the back of my head. Because I want to see your world as you created it, and your people as you try to make them. I love You, Lord, and I want nothing more from You. I accept all yours, and only the severity of my malice, my sins, the darkness of my base soul do not allow me to be worthy of your servant, Lord! Help, Lord, and forgive me! ”
“An image is an impression of the Truth that the Lord has allowed us to look with our blind eyes.”
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