The terrible message fell upon a far, godforsaken small village, where all inhabitants only ten people, da’s cow a dog: Earth is threatened by space accident and in a day all live will disappear from a face of a planet. The last evening it is decided to spend in a big way, but the feast turns around unexpected «game in the truth» where fellows villager spread the secrets hidden for many years. Trouble that Judgment night passes, all are whole, and it is necessary somehow to continue to live, now the burdened new feelings and knowledge.
Ability of new generation of cinematographers of Russia to predict and interpret developing reality involuntarily suggests that we are on a threshold of any new time, a new formation of the cinema-men who already in any way have not been adhered neither to the Soviet great past, nor to ruin of the ninetieth. At first authors of «Intimate places» predicted boom of love and prohibitive initiatives in the state, now Taisiya Igumentseva develops the apocalyptic action among the open spaces filled in with rain water against a high water in the Far East. New directors obviously know something bigger, than we.
Shootings passed in the end of October – the beginning of November therefore actors in operating time under "rain" had to fight not only against constant dampness, but also with terrible cold
Especially it is pleasant in this regard that they are able not only to see farther, but also to tell about "seen" by interesting, beautiful, ironic language. An internal nerve of a picture – a love story, love in all its manifestations – to children, to man or the woman who nearby snore every day in a bed, or to inaccessible another’s husbands, to the simple belongings, to the house, to the native nature, to a collection of disks, to the past, to house cattle, to life eventually. With such love and it is not terribly to die. Heroes of a picture panic some minutes after learn about a terrible message, further life goes on, even finds new paints.
In 2012 Taisiya Igumentseva became the prize-winner of the Cannes film festival, having presented in the competitive Cinefondation program the short film «The road on …»
It is necessary to pay tribute – Igumentseva undertook a difficult task, but coped with it on the firm five, and in "five" of this there is no rectilinear following to canons or work on duty in the territory trampled by predecessors. No, Taisiya safely tries own equipment of the story, is thin places priorities, skillfully builds a shot and perfectly motivates actors. One of features of a picture consists that all 12 actors (we will write down here and living creatures) have almost equal parts of screen time, and therefore to allocate the protagonist, to devote to it more than "director’s attention», and the others to squeeze out on a background at Igumentseva it was not simple any possibility. And it gave to a picture still bigger volume – actors do not draw attention each other and simply play with with all the heart and visible pleasure.
Not the smaller pleasure is received also by the viewer – when viewing for some reason in memory shots from the favourite comedy of the late USSR «Love and pigeons» emerge. But at all that action of both tapes is developed against da’s lop-sided rural fences to the road crushed to dirt, and not because of similar motives of search of love – and it is rather from the general mood of any ease as if with each shot you inhale the fresh air deprived of automobile exhausts and smells, inherent in the hardened city. This air excites, and air in the head turns women into beauties, men – in gentlemen, a cow – in a heavenly deity, and the drawn alien on the poster – in the best advertizing of the film of Stephen Spielberg.