It's Time For The Cube Now
The new filmlist Vitalia of the Mansco Rodine or Death, was launched on 21 July. The picture tells us about Cuba, not about the island of paradise, but the real world, very close to those who survived the Soviet era.
- How many ideas did you go to Cuba?
- With a desire to go through some sort of ride, it's a time machine. To experience the past, to look at the life of a socialist State from the height of our experience. We live in a State that only plucks out of socialism.
- Did you look for this?
- My first trip was a study tour - about Cuba, I had a very probable performance. I naturally watched the Buena Vista Club, Vima Wenders, a few more pictures, the main films made in Cuba and Cuba. Looked at countless skates about Cuban prostitution on YouTube. That's the baggage I landed at the havan airport. By taking the Russian-speaking Cuban driver with the car, the producer and I drove the whole country along and across. That's the problem. We were driving and deciding whether to stop at this house right now. I didn't want to get the film material, I just wanted to figure it out.
You got it?
- At some point, the phrase that a Cuban has said in the years of 60: "I remember before the revolution." For us, it's like a 1917-year-old. Stalin died recently. And since Fidel is in great control now, 51 years ago, today Cuba is the Soviet Union on the eve of Stalin's death. I thought it would be interesting to get into that Soviet Union by a man who knows what's going to be a stack, stunning, restructuring, stunning again. Clums who don't know anything about it.
- Did it feel possible to have a direct analogy?
- I let her. And eventually, it wasn't wrong.
- Did you find proof of your premonition?
- Yeah, with Cuba being a completely different culture, another continent, everything! But the Cubans seemed even closer to me than the many heroes I film in Russia. I've come to them with some special sympathies, I guess I'll have to say that word. But it doesn't cover all the feelings, it's a bigger feeling.
- The film begins with an episode in the cemetery where there is a formal reburial of the dead. People remove the remains of their loved ones from the coffins, break their bones, put them in some boxes. Why did you start with those personnel? To make the mood,or death?
- I wanted to bring life and death together, put them in the frame. It's impossible to think of that at all. It's beyond the edge.