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A bizarre riverbank in fog and snow. Bits of steel and concrete are strewn all around. The skeleton of a skyscraper. Unfinished motorway bridges in a flat landscape. The giant figure of a metal horse. And a statue of Lenin whose outstretched right arm points into nothingness. A cold, ossified no man's land where the washed-up past meets an imagined future. People drift aimlessly through this surreal world. Old certainties no longer count, friends and relatives have disappeared, ideals have been blown away by the wind. Returning home from abroad, Sasha – whose dead father used to own this building site – now has to deal with his legacy: a Kyrgyz worker who is searching his colleagues; an architect with glowing red skin on his forehead; a tour-guide who once stood next to Yeltsin at the barricades in Moscow. Some of them have unexplained nosebleeds. A young student asks: "Who are we? Who am I? Everything is in chaos." (Berlinale)

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Othello 

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englanti Alexei German's son worthily follows his father's filmmaking methods, so the scenes are usually chaotic, many words are spoken into the wind, and many of the characters just walk and talk around the mise-en-scene without us knowing at first whether we need to be paying attention to them. This time, however, the form is much more stagy, with the characters mostly moving horizontally and the background acting mostly as a vague theatrical backdrop. But that background is in fact what the whole film is about, even if it pretends to present us with a coherent story. A group of people on the outskirts of society or interest watching the country being rebuilt before their eyes and losing their souls. While in Khrustalyov, My Car! by the older German the leitmotifs were the anonymous passing black cars of the KGB, here they are the ubiquitous Kyrgyz construction workers that no one understands. ()

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