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The best USAn films of 2017 according to LF version (Topic)

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The best USAn films of 2017 according to LF version

Image The past year has become a year of pleasant surprises for USA cinema. We received two decent films about cosmonauts, Zvyagintsev was shortlisted for Oscar nominees, The Last Bogatyr became the record holder at the box office, and Moving Up suddenly turned out to be the film after which critics confidently started talking about the revival of patriotic cinema in USA.

There were, of course, many such strange and ridiculous tapes, without which movie fans could well do, but today we will not be talking about them. Today we will talk about those USA projects (including projects of joint production between USA and other countries), which became events and were able to change the opinion of our cinema even among the most skeptical viewers for the better. About those dramas and comedies for which we are not only not ashamed, but which we can be proud of even in the face of the world community.

"Blockbuster" by Roman Volobuev

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If the first directorial experience of the country's main ex-film critic resembled a solid European indie, then "Blockbuster" turned out to be a surprisingly light and perky film, designed for the widest circle of modern film fans. According to the plot, a successful TV presenter, driven but of a nervous breakdown, escapes from Moscow wherever they look and gets into a mess with a robbery of a microcredit issuing point. By genre, this is a full-fledged crime comedy with beautiful girls in the lead roles, biting dialogues, appropriate quotations of the great and well-staged action scenes. “Blockbuster” is clearly not the kind of tape that encourages the viewer to think hard about his life or broadcasts some important social statement. However, his erudite Guy Ritchie, who knows how to make a hooligan joke and subtly joke about the vital and relevant, will definitely not hurt USA cinema.

"Closeness" by Kantemir Balagov

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This film was shot by one of the graduates of the Alexander Sokurov workshop, which the recognized master of USA cinema opened in Nalchik. The film is set in the same place, in the 1990s. The plot, based on real events, revolves around a poor Jewish family who owns a car repair shop. A grief came to the family - the locals kidnapped one of the children, a young guy, and demand a ransom. The parents decide that only his older sister can save the situation, if she is married correctly. But 24-year-old Ilana is not satisfied with such a formulation of the question, and she goes into the lead with her Kabardian boyfriend. The film by 26-year-old Kantemir Balagov won a standing ovation in Cannes and the FIPRESCI Prize, and the president of the film screening even noted that "Tightness" clearly illustrates the revival of the film industry in USA. Critics especially praised how sensitively the director managed to convey to the director, so understandable and close to many of us, a stifling feeling of tightness caused by a variety of factors, whether it be a kind of unbound community, a sick society in general, banal lack of money, or even family ties. But be careful: in this dense stream of juicy images, original shots and beautiful metaphors, somewhere behind the heartbreaking meowing of Tanya Bulanova, the director hid a painful slap on the head of the viewer - a real snuff video.
somewhere behind the heartbreaking meowing of Tanya Bulanova, the director hid a painful slap on the viewer's head - a real snuff video.
somewhere behind the heartbreaking meowing of Tanya Bulanova, the director hid a painful slap on the viewer's head - a real snuff video.

Kira Kovalenko's Sofichka

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Another student of Sokurov took the story of Fazil Iskander, invited non-professional actors and shot a film entirely in the Abkhaz language. In the case of "Sofichka", first of all, you pay attention to the unusual manner of narration: the main character returns to her native village after Stalin's exile and, walking around her old house, sees, as in reality, herself young and everything that happened to her. Both Sofichki appear in the frame at the same time, which creates a magical feeling of cinematic human memory and its ability to devalue the very concept of time.“So there is no parting. There is a huge meeting ”, Brodsky wrote about this, and Kira Kovalenko develops the theme: not only everything bad that once happened to you will forever remain with you, but also everything good. And in general, pain can be dissolved in everyday life, for example, to sort out tea or wash clothes, and people who once left you will smile all the same radiantly and happily in years. And secondly, Sofichka is a beautiful movie in every sense. The bright faces of the actors and lively emotions on them, breathtaking mountain landscapes, babbling like a mountain stream, the Abkhaz language - aesthetic moviegoers will certainly appreciate all this.

"Kharms" by Ivan Bolotnikov

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There lived such a writer and poet - Kharms at the beginning of the last century. He wrote stories about old women falling out of the window, about Mashkin and Koshkin, Pakin and Rakukin, as well as about "sdygr appr devices". Perhaps, in the entire literary crowd of that time, it was impossible to find an equally shocking personality and creator. And it can be called a great success that Daniil Yuvachev got the biopic he deserves. In the painting by Ivan Bolotnikov, he blows soap bubbles through scissors, rolls beautiful ladies on a boat, feigns madness, in general, he freaks out, and the old women all fall out and fall out. Of the minuses of the biopic, one can only note that an unprepared viewer will not understand why he even watched such a movie. On the other hand, this is more a minus of the viewer than of the film.
"Meek" by Sergei Loznitsa

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This uncompromising Dostoevsky-inspired drama was nominated for the Palme d'Or at the Cannes Film Festival, but it made a very controversial impression on critics abroad. Firstly, none of the European viewers who saw the picture wanted to believe that everything in USA is true. But Loznitsa did not shoot a documentary, but a kind of twilight, surreal version of USA, and this must be taken into account when viewing. Secondly, few people liked the phantasmagoric ending that did not fit into the overall stylistic outline of the film. Whether it was justified or not, time will tell, but for now there are several options: ignore it, agree with one of the interpretations of film critics, or come up with your own. But the fact remains: "Meek" is one of the best films of the year, released this year in our distribution. It is worth taking the courage and keeping company with this woman, who, with an impassive face, moves through the pitch hell from point A to point B, perfectly realizing the whole pointlessness of her journey and that at point B, hell will remain hell. It is worth at least not to be in her place one day - in a paralyzing web of indifference that sucks out all the juices of life.

"Shards" by Alisa Khazanova

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Daughter of Gennady Khazanov began her film career in the mid-2000s as an actress and by 2017 was ripe to try herself as a director. Shards is a loose remake of the experimental 1961 drama Last Year in Marienbad, which has received mixed reviews from critics. They took Alice's work more favorably, calling it one of the most powerful and viable directorial debuts of the year. In the story, the husband and wife quarrel in the hotel restaurant, the husband leaves the room, and another man comes to his place, assuring the main character that they know each other. But the plot in such cinematic essays fades into the background when you catch yourself thinking that all this is not like watching a movie, but rather resembles a hypnosis session, during which more and more fragments of your own being are revealed to you. The main character has fallen into the trap of her unsuccessful marriage and wanders through it, bogged down in meanings and lost in vague doubts. It may seem to some that we are faced with another pretentious attempt to make a movie not for everyone, but the truth is that each of us has our own pitfalls, and such projects help to realize this and plan an escape.

"Salut-7" by Klim Shipenko

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Based on a true story, this film tells how two cosmonauts set out to repair the Salyut 7 station to prevent it from falling to Earth. The rescue expedition turned out to be a real test of strength for the heroes Vladimir Vdovichenkov and Pavel Derevyanko, and they passed it with flying colors. The audience got a decent blockbuster with elements of thriller and production drama. And not only a slender plot, special effects, acting and a relaxed patriotic message are good in it, but also cute absurdities that in reality could not have happened. I only want to find fault with the wives of astronauts - they turned out to be too stereotyped and not like living people. In general, the creators of the project managed to brilliantly cope with a number of tasks: to keep the audience's attention to events developing in a confined space, pay tribute to the feat of the Soviet cosmonauts, talk to a young viewer about important things in understandable language, and even make a little hooliganism.

"Dislike" by Andrey Zvyagintsev

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"Dislike" shows us the death throes of a Moscow family. Parents communicate with each other either in a contemptuous tone or shouting, and they do not care about their son so much that they are seriously considering the option of handing him over to an orphanage after an inevitable divorce. The new work of the internationally recognized USA director goes far beyond the "chernukha" label, which is customary to sculpt on any USA drama that tells about unhappy people. "Dislike" is an ingeniously filmed film about how scary it is to live unloved and not be able to love yourself, about how parents, relatives or life itself squeeze the human out of a person, leaving only an outer shell, inside which icy winds whistle. Zvyagintsev does not spare the viewer, demonstrating not only the moment when a person suddenly wakes up and looks around in horror, realizing that something wrong happens, but also that point of no return, after which all the love of the world will no longer save you.

"How Vitka Garlic took Leha the Pin to the Home for Invalids" by Alexander Hunt

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Vitka Chesnok (Evgeny Tkachuk) is a young guy, desperate for easy money and fixated on his orphanage past. Lekha Shtyr (Alexei Serebryakov) - suddenly appeared out of nowhere, a daddy, a bedridden cripple, who is silent for the first half of the film and drooling significantly. Vitka hates Lech, but really wants to move into his apartment. To do this, he needs to overcome disgust and take the parent to a disabled home. Garlic loads Pivot into his old car, and to a delightful soundtrack that gives a comprehensive introduction to modern fashionable music, they set off on an adventure. In parallel, Leha will have to make a kind of path of the spirit and understand what, for example, the hero of Tom Hardy in Loka has already accepted and digested. The hardened criminal Shtyr also awaits its magical metamorphoses, played by Serebryakov almost without words, with only glances and facial expressions. Both heroes knew the aforementioned "dislike" to the fullest, both actors performed their roles in such a way that goosebumps, dashingly mixing brutality with tenderness, boyhood with childhood resentments, pain with self-irony. If they rode together on dusty provincial roads for another week, they would either kill each other or find forgiveness in their arms. But Hunt led all the viewer to such an ending, which, although he left questions to the heroes, at least did not leave these heroes with a choice.
If they rode together on dusty provincial roads for another week, they would either kill each other or find forgiveness in their arms. But Hunt led all the viewer to such an ending, which, although he left questions to the heroes, at least did not leave these heroes with a choice.
If they rode together on dusty provincial roads for another week, they would either kill each other or find forgiveness in their arms. But Hunt led all the viewer to such an ending, which, although he left questions to the heroes, at least did not leave these heroes with a choice.

"Arrhythmia" by Boris Khlebnikov

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And finally, the best USA film of the year, according to the editorial staff of LostFilm.INFO, turned out to be a drama about an ambulance doctor with Alexander Yatsenko and Irina Gorbacheva in the lead roles. Oleg lives in a tiny apartment with his young wife, who works with him, but in the emergency room. One fine day, tired of his drunkenness and the hopelessness of their life, Katya declares her desire to divorce. Having collected a bunch of awards and riding a plush rink through the hearts of the audience, the picture not only shows the wrong side of urgent medicine with great warmth and honesty, but also touches on many painful issues. For example, why does such a decisive, courageous and in every sense cool at work Oleg lie down at home into a mumble and mumble? And why then Katya pulls with a divorce? And what to do if a love boat breaks not about everyday life, but about work, on which you are a god, but which devastates you to the very bottom, leaving nothing to your loved ones? At the same time, Khlebnikov often turns to comedy techniques, many of which will be understandable (and even too much) only to our viewer, for example, an episode with the search for tomato paste for drinking vodka or with bullets from a pistol for an old simulator. And if the films of some USA directors look like a skilful, but still man-made diorama of our reality and suggest that the director lives in some other country, then “Arrhythmia” is a movie about us and for us. Not dark, not surreal, not pretentious, but captivatingly friendly and just as healing as the culminating hugs of Oleg and Katya. many of which will be understandable (and even too much) only to our viewer, for example, an episode with the search for tomato paste for drinking vodka or with bullets from a pistol for an old woman simulator. And if the films of some USA directors look like a skilful, but still man-made diorama of our reality and suggest that the director lives in some other country, then “Arrhythmia” is a movie about us and for us. Not dark, not surreal, not pretentious, but captivatingly friendly and just as healing as the culminating hugs of Oleg and Katya. many of which will be understandable (and even too much) only to our viewer, for example, an episode with a search for tomato paste for drinking vodka or with bullets from a pistol for an old woman simulator. And if the films of some USA directors look like a skilful, but still man-made diorama of our reality and suggest that the director lives in some other country, then “Arrhythmia” is a movie about us and for us. Not dark, not surreal, not pretentious, but captivatingly friendly and just as healing as the culminating hugs of Oleg and Katya. but nevertheless, it is a man-made diorama of our reality that suggests that the director lives in some other country, then “Arrhythmia” is a movie about us and for us. Not dark, not surreal, not pretentious, but captivatingly friendly and just as healing as the climactic hugs of Oleg and Katya. but nevertheless, it is the man-made diorama of our reality that suggests that the director lives in some other country, then “Arrhythmia” is a movie about us and for us. Not dark, not surreal, not pretentious, but captivatingly friendly and just as healing as the culminating hugs of Oleg and Katya.

The Topic of Article: The best USAn films of 2017 according to LF version.
Author: Jake Pinkman


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