Вощможно ли прослушать с помошью телефона разговоры в доме

Эту технику гипноза, можно использовать для самостоятельной регрессии в прошлую жизнь. Я отыскал. Какую бы информацию мы не читали, все остается в памяти и в нужный момент, как говорят, "выстрелит" с пользой! Вот и рассмотрим более подробнее группы продуктов и вспомним, что с чем может сочетаться, что не очень.  · Kantemir Balagov hails from the Kabardino-Balkaria Republic of the Russian North Caucasus, a fraught multi-ethnic region rarely represented in the country’s cinema. Formerly a web producer, Balagov turned to directing after enrolling in Alexander Sokurov’s five .

By Devika Girish on April 3, More damningly, they expose to Ilana her secondary importance within her own family, as her mother tries to forcibly marry her off in exchange for money.

True to its name, Closeness is a sustained study of claustrophobia, whether formal, familial, or psychological. The constant simmer of ethnic conflict compounds this pressure-cooker premise, getting too close for comfort when Ilana, Zalim, and his friends watch an execution video from the Dagestan massacre in its entirety.

You write yourself into the film in a very interesting way. Why did you decide to do it that way? First of all, when we showed the film to Russian critics, they were afraid that audiences in Europe or the U. So that was the first target.

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The second, and the major reason for including the subtitles, was that I needed another level of trust between me and audience. What specific experiences inspired this film? The first time that I heard about a kidnapping was from my father, and I thought that hey, that could be interesting.

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  • Family relationships, relationships between tribes, and relationships between men and women from different nationalities. I had a relationship with a Jewish girl, which also inspired the film. I thought the kidnapping would be interesting if a member of the family disappeared, and the mother wanted to sacrifice another member of the family in return.

    You should love your daughter the same way you love your son. As a Kabardian man, what made you decide to center the movie on a Jewish woman?

    When I was with a Jewish girl, I saw the relationships in her family, and I saw that women were in charge. And why a female character? We are very predictable. Women often step out of these borders and are able to be unpredictable. Women are much stronger than men. It means not just the lack of space between people, but this closeness between family members that can hurt someone.

    Like when a mother is so overwhelmed by her love for her daughter that it hurts the daughter. This selfishness within families is what we wanted to convey with the title. Speaking of excessive closeness within families, the relationship between Ilana and her brother David seems to have an incestuous undertone. Did you intend it to be that way?

    For me, they are too close and she loves him, but as a human being, not a man. I just like it when my characters want to touch each other, want to feel each other.

    I want it to be a touchable movie. Darya Zhovner is really mesmerizing in the film. She has this intense performative energy that drives the film forward. How did you work with her to elicit that performance?

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    But I needed her to feel this region, because she was born in St. Her movement was that of a girl from St. I needed to make her a little bit slower, because she was too dynamic for this region.

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    We had some rehearsals with her, and as soon as I saw her working, I knew that I had made the right choice. She has a rebellious spirit. I think she is familiar with most of the problems between mother and daughter in this film. I truly believe that 90 percent of the film is based on her performance.

    I also wanted people to feel like this was a true family on the screen, and so I collected all of them—Ilana, the mother, the father, David—and had them just talk to each other, laugh, tell stories.

    With some directors, actors just meet each other on set. I read that during the workshop, you were asked to refrain from depicting excessive violence and religion because those are sensitive topics in the region.

    How did Sokurov react to Closeness , given that it has both graphic violence and religious conflict? You should be scared by it. Why did you decide to include it in the film? I was like 14 years old when I first saw it.

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  • It was on CD I guess, and the whole school was watching this film. It was my first meeting with death, and the most striking thing about it was that it was our neighbors.

    It was scary for us. But then someone would say that the Chechens are right, that you should kill the Russians, etc. No, no, in reality. Were you concerned about that?

    Did those reactions surprise you? That was a major part of it. The other part was, of course, the emotional impact. I thought of re-creating it fictionally, but I knew the emotional impact on the audience would not be the same. I wanted them to respect these deaths.

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    So I knew I needed the actual tape. I want to talk about another instance of violence in the film. There is a scene in which Ilana is being forced to marry her family friend, so she goes and has sex with her boyfriend. And that sexual encounter, at least to me, seemed like it was non-consensual. That way, the audience can feel like they are watching in on someone.

    The emotional impact is completely different from when you shoot it in a close-up. You should give your characters their own lives and their own space.

    Your film has that social realist aspect, but it is also heavily stylized. Every shot is meticulously composed, especially with an emphasis on color. I need to work on my style, on my vision. When you see a film by the Dardenne brothers or by Haneke, you can immediately say—this is a Dardennes film, this is a Haneke film, this is a Sokurov or Tarkovsky film. Everyone can be a director, but an artist?

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    Not so many. I knew that if my film was not stylized, and had dark and gray colors, it will be just another social movie about social problems. I wanted it to be a drama of colors, and I gave each character their own color. For Ilana, it was blue. It [signifies] freedom, heaven, skies. Zalim, her boyfriend, is also blue.

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  • I wanted colors to separate some characters, and to join others. By the end of the film, David, the brother, is wearing all green, which is the color of his bride Lea. For me, that meant that he just left his family and went to another family.

    Interview: Kantemir Balagov

    Rosetta , by the Dardenne Brothers. Those were the first few films in which I was truly mesmerised by female characters, and I was like, yes, they are the heroes of our time. These films have some of the strongest female characters ever. You said that you wanted to set this film in North Caucasus because that area is underrepresented in Russian cinema.

    Do you think that might change after the success of your film? Sokurov had 12 students, and I am one of them.

    He helped four students with their first feature film. No one other than him helped us. And this is our pain, you know. People are always talking about our problems, but we want to show the world who we are, that we have some feelings, too, like you do.

    But the region, the government of the Kabardino-Balkaria Republic, they could at least support one feature film in two years. I definitely will. I hope my third film will be about North Caucasus again, but about different problems. But why subtitles instead of, say, a title card? Was that a deliberate choice? I agree. Someone said that in reality? Or are you talking about the film? Are there any specific films or filmmakers that inspired Closeness? Categories: Interviews. Article from the July-August issue.