Many years ago the captain of a fishing schooner Marat went to the sea together with the beloved. The storm sank the ship, the team was lost, the girl was gone, and Marat the elements threw out on the sandy coast. After imprisonment for negligence the captain without the ship comes back to the same port. Only the port was reduced to ruins, the sea left, having reserved the lifeless desert. Locals consider that Marat drew a damnation, and the seaman undertakes to find alone the road to the sea and to find calm for the soul.
The picture opened the seventh Roman film festival last year
Initial титр the film «It is made with support of the Ministry of culture of Kazakhstan» and the subject «left familiar spots» literally forces to glance the seas in directories – and what the Kazakh cinematographers do? It appears, in a quantitative ratio everything is quite quite good – for incomplete 2013 Kazakhstan was noted more than three tens pictures. Means, the industry if is both directors, and screenwriters, and projects of various genres works. Such weak work, how «Waiting for the sea» from where undertook?
The tape is a joint product of cinematographers of Russia, Germany, France, Belgium, Kazakhstan and Ukraine, and participation of the native of Moldova Anastasia Mikulchina in it and the native of Dushanbe Bakhtiyera Hudoynazarova expands geography even more
Weakness of a picture is felt literally from the first shots, from the first dialogues of heroes. Founders of arthouse dramas ceased to hide long ago that simple fact that their pictures often become «for export», with a sight on the international festivals, narrow hire on the world centers of culture, demonstration in cinema higher education institutions. From here obvious transition in film and viewer communication from confidential conversation on hysterical shout – very often literally cries out festival cinema from the screen: «Here I what! Look! Do not pass also a shot! I will tell about the main thing!» «Waiting for the sea» shouts especially stridently – here to you the desert, here women in national suits happy lovers manage ritual before an exit in the sea of the fishermen, here, whose hair were swept by a disobedient wind, here children, here the white pigeons heating and without those the dazzling picture from the steppe sun. Each shot director Bakhtiyer Hudoynazarov as if clamps the head of the viewer in a vice and inspires:« Here it – Kazakhstan. Here the steppe, here fragile local dwellings, here the unfortunate, forgotten, thrown people, all communication with which civilization consists in rare visits of the regional bus. Here it is the real life. Original salt of the earth».
And it is fine a visual row, to cope with sand, almost colourless picture it is possible, as over time unusual landscapes manage even to like. Where affairs are worse are with the scenario – if history of the captain, not wishing to leave the ship and looking for the road to the sea, it is possible to understand, that manner by which this history is played – never. To present that actors quite seriously can use so dullly the talents, very difficult. Each dialogue turns into a ridiculous reading of the remarks, each drama meeting smothers the theatricality in the worst sense of a word, with each step heroes as if overcome a normality barrier, limit of naturalness, thickness of adequacy to throw out inappropriate a kolenets, передавить to change, bend so strongly that it is unpleasant to look at it. This manner would be pardonable to the students theater-goers considering that on a scene it is necessary to die, even if you say only «To eat is submitted», or to postmodernists like Kira Muratova, in the «Eternal return» unscrewed the handle of balance of game and life before situation «a scenic maximum». But in the film about everyday and quite serious history behind which it is possible to make out thought, this aping not too pertinently looks. Especially Egor Beroyev’s lips, the actor who has not been deprived of talent and skills of game.