Ilya Khrzhanovskiy and Jekaterina Oertel impressively punishing chamber piece is ostensibly self-contained, yet to view it with no knowledge of the DAU project feels tantamount to framing a single square inch of a large-canvas painting. Not that you need any advance knowledge of the project to follow its grim, simple setup, painted as it is in gray minimalist strokes. Joys in her life are few: Non-working hours are largely spent in the closed canteen, drinking and kvetching with her younger colleague Olga Olga Shkabarnya , despite the fact that the two women openly despise each other. A selection of other, less feature-formatted DAU films were screened last year as part of an immersive gallery experience across multiple Paris venues. It plays, for better or worse, as a more conventionally challenging arthouse endurance test, steeped equally in stern Russian formalism and Dogme 95 austerity. Are they actors or subjects? Still, the egged-on interrogation scenes linger in the mind less than her roaring, glass-smashing love-hate confrontations with the equally formidable Shkabarnya: The pair paint such an arresting portrait of two women at once beholden to, and screwed by, the system that you want to zoom in closer, to see their whole lives outside of the institute. Reviewed at Piccadilly, London, Feb. In Berlin Film Festival.
Natasha by Ilya Khrzhanovskiy, Jekaterina Oertel. He began work on DAU, a multi-disciplinary project at the intersection of cinema, art and anthropology, in Degeneratsia DAU. She studied at the Film and Theatre School in Moscow and worked as a freelance make-up artist on numerous films and television productions.
DAU was pitched at IDFA in as a movie based on the life of Soviet atomic weapons scientist and Nobel Prize winner Lev Landau , before morphing into a project where the filmmakers recreated a Soviet research institute, where Landau worked for three decades until Natasha takes this idea of fake lives becoming our reality to the extreme. The shoot took three years, involving principal actors and 10, extras. The Institute, as the filmmakers named the facility, saw the participants live life as faithfully as possible as Soviet citizens. When the cast arrived, it was in DAU time, and the directors took excessive attention to period detail to its very limits. Every few weeks, they would update the costumes, hairstyles and food packaging so that the participants would experience the facility in fast-forwarded, chronological order.
What am I getting myself into. The scriptures say that one of the main reasons good people don't join the church is because they just haven't been introduced to it. As a community, we're not set up for screening each funding request [more]. You should ask yourself if you want to pursue a future partner who was raised in an environment that causes drastic sexual suppression and you may never have a healthy sex life if she is your wife. It's all about timing, and you're in two different places.