JM Carre docdrama triology on putinism as personal tsardom of authoritarian monarchy in modern Russia.

The Putin System JM Carre   NB Приложил руку в формиривании концепции докдрамы Карре и Эмери как Системы Путина строящего личную диктатуру власти.

This doc serial 2007, 2014 shows, through interviews with Putin’s close advisers and press footage, how Putin gained his power step by step by monopolizing oil and gas, endorsing corruption, rigging elections and jailing journalists, all with former President (now Prime Minister) Medvedev’s slavish support. Medvedev changed the constitution to allow Putin to be re-elected. The film also exposes the dramatic rise of collusion between Church and State during Putin’s regime Seven years after the Putin system, Jean-Michel Carré, paints a new portrait of Russian President Putin called forever? “I had not planned to make another film about him. His political hard arbitrary forced me. We had to shoot this new metamorphosis, much more violent than that observed in my first film, “says Jean-Michel Carré. In the documentary, the filmmaker shows how Vladimir Putin became the absolute master of Russia and invented after the rigged elections of 2012, the “monarchical démocrature”.  

https://www.youtube.com/watch?v=HUb-vSkRTEU 20014

Poutine pour toujours Putin forever Jean-Michel Carré was able to show the disturbing ambitions of an aspiring Tsar Eurasia.

Andrey Tarkovsky Visionary Poetic Cinema as Tarkovskian iconography Time Sculpture

Tarkovsky reshaped cinema, opening up new possibilities to the forming of time and its effects on contemporary life. http://www.madmuseum.org/series/andrei-tarkovsky-sculpting-time He produced an enigmatic and poetic body of work that has helped revolutionize a wide range of genres, including science fiction, war stories, film essays and historical dramas. зеркало, тарковский Andrei Tarkovsky’s reminiscence of life as a child in Russia during World War II

The film features Margarita Terekhova, Ignat Daniltsev, Alla Demidova, Anatoli Solonitsyn.
Mirror is known for its non-linear structure. It unfolds as an organic flow of memories recalled by a dying poet (based on Tarkovsky’s own father Arseny, who in reality would outlive his filmmaker son by three years) of key moments in his life both with respect to his immediate family as well as that of the Russian people as a whole during the tumultuous events of the twentieth century. His visionary approach to cinematic time and space, as well as his commitment to cinema as poetry, mark his oeuvre as one of the defining moments in the development of the modern art film. Although he never tackled politics directly, the metaphysical preoccupations of films such as Andrei Rublev (1966), Mirror (1974) and Stalker (1979) provoked ongoing hostility from the Soviet authorities. Like many other artists in the Soviet Union, his career was marked by constant struggles with the authorities to realise his vision.

тарковский Сталкер Andrei Tarkovsky’s Stalker

Stalker follows the journey of a shadowy guide as he leads a writer and professor into a site known only as the “zone.” As legend has it, at the center of the “zone” is a room with the power to fulfill a person’s innermost dreams.

As the trio traverses the fantastic world of the “zone,” which seems to shift in reaction to their endeavors as if it has a mind of its own, the effects of their intentions for entering the space begin to engulf them. Loosely based on the novel Roadside Picnic by the Soviet-Russian Strugatsky Brothers, Stalker has grown to become an iconic piece of Russian film history, inspiring artists, writers and filmmakers around the globe.