DIRECTION AND SCREENPLAY Alexander Sokurov
MUSIC Andrei Sigle
Alexander Burov PHOTO SHARING
Galina Vishnevskaya, Vasily Shevtsov, Raisa Gichaeva, Andrei Bogdanov, Alexander Kladko, Aleksei Nejmyshev, Rustam Shahgireev, Evgeni Tkachuk
Cannes: Nominated for the Palme d'
ALEXANDRA camera is in its shadow, the star Galina Vishnevskaya, opera singer and now actress, real-life wife of great Russian cellist Mstislav Rostropovich Leopóldovich. The camera chases the old lady who decides move to Grozny, the Chechen capital, to meet up with a grandson who has not seen for seven years, because it stays there for the troops installed in the area by the Russian army to control and suppress violent insurgencies and the ever-combative Chechen population. Sokurov deposited in the eyes of this woman's position fireproof your own look. The director makes an exciting show of humility and effort to instruct the wise, clean stubborn longevity of this without despondency, that through all his wanderings outside the official slogans, questioned, and make patent unmask the absurd and senseless mechanisms governing all military installation. Adheres Sokurov all the dramatic setting of his film to the innocent honesty, perplexed and veterans of the protagonist's face it pours. The film is the actress. She folds the director becoming dizzy, tired, ailing and transparent narrative. Sokurov's ALEXANDRA reveals a different situation, since the mythical nature of this discovery and unforgettable character required to adapt to the canons of classical minimal descriptive narrative features a simple well away from the railway impenetrability, he has undergone since its inception. However, in no way takes formal option to abandon the principles that have characterized a great show authorial statement in works as disparate to it as "THE SUN", "TAUNUS" or "MOTHER AND SON." The mediation of the old woman with acute restraint can capture the brutality of the devastation of geographic space: the houses in ruins, dilapidated vehicles, paved roads and dusty and pain fill the stage to discover the walking parsimonious and sign of the protagonist. The same could be said of the description so stark, penetrating closer and makes us soldiers. Sokurov's very short flat close by, in which their faces are shown with an unforced naturalism, searching, inquisitive human being rather than of men in uniform. The impression of Alexandra, character, succeeds, as has been said, exhausted loosen the rigor with which the great Russian director used to surround his characters. There is no oppression, but recognition compared. "ALEXANDRA" just shaking because Sokurov, perhaps, is the first octogenarian moved by this utopia that picture in hand, radical humanely the true meaning of this beautiful film that we offer today in the CineClub Imaginary.
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