The threepenny dream

Round table talk.



Anton Mazurov

Provocation plus enlightment

Major principles of creating a festival of arthouse cinema in Moscow are considered by Anton Mazurov — Programme director of «2morrow» film festival. Complicated distribution situation, absence of theatre strategy and viewers' unpreparedness for comprehension of difficult films are specified. Essential trends of development of non-profit cinema in Europe are also analyzed.

Аrthouse cinema, distribution, non-profit cinema

Olga Shakina

The fourth dimension

Review of Michelangelo Frammartino's LE QUATTRO VOLTE (Italy — Germany — Switzerland).

Nina Tsyrkun

Childish questions

Review of Li Hongqi's HAN JIA (China).

Olga Artemyeva

Quiet days in Clichy

Review of Oscar Ruiz Navia's EL VUELCO DEL CANGREJO (Columbia — France).

Alexei Medvedev


Programme director of the 1st Moscow film festival «2 in 1» recapitulates experience of arthouse films' selection, analyzing radical changes in the world's contemporary art cinema. Through the term 'mutations' the author explores intrinsic processes of diffusion of genre, feature and documentary, auteur's and mainstream cinema.

Аrt cinema, diffusion of genre, mainstream

Elena Paisova

It hurts, ergo sum

Review of Nikola Lezaic's TILVA ROS (Serbia).

By the example of the Serbian helmer's Nikola Lezaic's TILVA ROS the method of film watching for up-to-date youngsters and forms of outpouring of post-teen subculture are explored. National typology of age-specific anarchist rebellion as well as its universal characteristics are investigated.

Film watching, post-teen subculture, of age-specific anarchist rebellion

Tamara Dondurei

Keep off the doors

Review of Agnes Kocsis PAL ADRIENN (Austria — Hungary — Nietherlands — France).

Analysis of possibilities of modern psychological monodrama telling of finding of personal identification through reconstruction of one's own past and restitution of times split. The Hungarian film PAL ADRIENN, noted by world cinema forums, calls for investigation of various principles of the author's interrelation with reality, that is documentary Entfremdung, active dialogue, artistic transformation.

Identification, reality, documentary, Entfremdung

Olga Shakina

«Battleship». Twighlights

Review of Janus Metz' ARMADILLO (Denmark — Sweden).

Analysis of the Danish film ARMADILLO, telling of one of the most dramatic episodes of the war with talibs in Afganistan as symptomatic for «new new Realism», that is the European trend of the latest decade. Diffusion of document and performance, play on documentation and other aesthetic mystifications allot authenticity as if of historical evidence and artistic universalization to this war action.

War action, new new Realism, universalization

Ksenia Rozhdestvenskaya

No breathing-out

Review of Xu Xin's KARAMAY (China).

Aesthetic principles and ethical background of the artistic embodiment of the real tragedy into screen document — though smashing emotional and accusatory, but far from being propagandistic; historically authentic, though based not on chronicle, but on the witnesses' relation are treated. The author concentrates on analysis of the outstanding 6-hours film KARAMAY by the Chinese documentary-maker Xu Xin, desperate confessions of parents' of three hundred kids perished in fire during the concert in the city of Karamay.

Real tragedy, authenticity, documentary

Elena Stishova

Adventures of The Crystal Globe


Both formal and substantial artistic innovations, discovered by the author in the programmes of the International film festival in Karlovy-Vary are summed up. The backbone theme of the Festival, that is evolution of cinema of the Eastern European countries, is specified.

Artistic innovations, evolution of cinema


Olga Andreyeva


Woyzeck, romantic

Boris Lokshin

Schooting Friedmans

Phenomenon of socio-psychological anxieties and phobias, in particular such seeming in American everyday life as hysteria connected with campaigns of pursuit of real and fictional delinquents accused in pedophilia. The author treats the theme through the story of the famous clown David Friedman and his family, registered in the much talked about film CAPTURING THE FRIEDMANS.

Socio-psychological anxieties and phobias, hysteria, campaigns of pursuit



Veronika Chugunkina

Dancing with the camera

Portrayal of the noted cinematographer/director Christopher Doyle.

Teodor Kurentzis:

«I also play this game»

A noted conductor interviewed by Olga Andreyeva.

Thomas Balmes:

«Reality is somewhere in the middle»

Indi-helmer interviewed by Elena Paisova.

Bogdan George Apetri:

«I live somewhere in between two worlds»

Conversed by Angelika Artyukh.


Has the doc right for art?


Round table talk.

Iosif Bakstein

«I am like a foreigner in my native land»


Viktoria Belopolskaya

According the laws of drama


Interview by Sergei Sytchov.



Vyacheslav Ivanov:


«Documantarism is the only value left in cinema»

Conversed by Elena Kalashnikova.



Alexandre Gonorovsky



A script.




Contents of the IK-2010.



Шторм и натиск. «Черная пантера», режиссер Райан Куглер


Шторм и натиск. «Черная пантера», режиссер Райан Куглер

Нина Цыркун

Продолжается прокат фэнтези «Черная пантера». Нина Цыркун – о новой порции супергеройских приключений и установлении символического афро-матриархата во вселенной Марвел.

Экзамен. «Моего брата зовут Роберт, и он идиот», режиссер Филип Грёнинг


Экзамен. «Моего брата зовут Роберт, и он идиот», режиссер Филип Грёнинг

Антон Долин

В связи с показом 14 ноября в Москве картины Филипа Грёнинга «Моего брата зовут Роберт, и он идиот» публикуем статью Антона Долина из 3-4 номера журнала «Искусство кино».


Вышел февральский номер «ИК»


Каждый год журнал обращается к фестивалю «Артдокфест». И это не случайно. Программы, включающие и дебюты, и работы известных отечественных и зарубежных мастеров, позволяют говорить не только о важнейших проблемах сегодняшней документалистики и даже не только о главных трендах кино, но и — шире — об актуальных тенденциях мирового современного искусства. Вот и в этом номере материалы, напрямую или косвенно инспирированные «Артдокфестом»-2012, составили большую часть содержания.