Weekend

Young financier Igor got on monetary frauds to the old accountant. To hide traces of the criminal actions, Igor makes the way in an office of the accuser and kills him. It would seem, the young man thought over everything, any traces did not leave and has an alibi, but one left proof forces Igor to return to the office, and on the way back the malefactor appears locked in a lift cabin on all days off. At this time under his name in its car on the city and vicinities freezed hooligan Max who manages drives about to draw upon itself a great deal of trouble. Igor manages to avoid suspicions in murder of the accountant, but other, heavier charges fall upon it.

Weekend

Yes, the sixth sense does not deceive you, if gnaws from within when reading synopsis, all this really vaguely is familiar – Stanislav Sergeyevich Govorukhin undertook to put in a new way Noel Kalef’s classical already detective novel «The lift on a scaffold». Work it uses explainable interest of cinematographers throughout already five tens years – except with the same name with the novel of the film of Louis Malya of 1957 the version of a fascinating story of a crime and punishment in 2010 was removed by Japanese, and now here and in the Russian hire there will be own option «songs about universal justice».

Weekend

The first display of a picture happened in November, 2012, then «Weekend» became the opening film «the Kinotavr – 2013», but only now, remounted and with the changed music, leaves on the big screen

Do not look slyness and advances with critics of a word of Govorukhin that a picture it is for it only one of small stages of a creative way. "Weekend" (the director insists that Russian-speaking and English names of a picture are equivalent) looks experiment. First attempt at writing or warm-up before something big. Abundantly clearly that the form of a picture prevails over the contents, Govorukhin plays in нуар, classical black-and-white cinema with the detective plot, the twirled intrigue and an unexpected outcome, but plays quite superficially – it is possible to show mass of claims both to the script, and for not always equal rhythm, places irritating installation or game of actors. But the master presumes here so поразминаться, the official of such level and the director with such track record has a possibility to arrange for itself a small holiday – shooting «for itself».

Weekend

Picture demonstration last year in Sochi upset Govorukhin with reaction of the audience. The director considered that his work did not understand, threatened to finish with direction, but now departed and already works over a new tape based on Sergey Dovlatov’s works

"Weekend" really remains a such transcendental object and a thing for itself. The author does not put before itself a problem to show a justice celebration, inevitability of punishment or perversity of criminal plans and actions, no. In a picture characters are weaved so that anybody does not receive an unequivocal assessment – neither mind losing for horror the protagonist, nor the second criminal who has gone mad from impunity, female characters, all as on selection shitty and near, even the inspector, not shunning jugglings of proofs and frank pressure. Govorukhin enjoys not made effect, and it is rather a process – savors details, plays the chamber and light, alternates the squeezed shots of a liftovy cabin to open open spaces of the sea coast, and gray metal of the chamber changes for shine and richness of expensive restaurants. To look at it it is rather interesting, but no more than that.

Weekend

Without thinking about names and merits "Weekend" it would be quite possible to call the quite good film, if not the extremely rough casting. Dissociation, a discordance, and somewhere, probably, and a lack of talent turn viewing into a session of easy torture. If Maxim Matveev executes the role naturally, rather vividly representing change of mood and deeply enduring changes in destiny of the hero if Victor Sukhorukov and Victor Sergachev’s skill is not challenged, from Vyacheslav Chepurchenko and Julia Hlynina’s game cramps cheekbones, and at the sight of Ekaterina Guseva it would be desirable to break hands and to roll up eyes pokhleshche it heroines. It is a pity, what not all were entered in team properly. Even if to consider the film as experiment, other chance to prove to be in work with the deserved director can and not drop out.

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