ENG
режиссёрское высказывание
Я родом из Бурятии — азиатского региона России с уникальной культурной историей и сложным опытом её сохранения. Будучи наполовину азиаткой, я сталкивалась с чувством отчуждения и буллингом как в России, так и за её пределами. Это личное ощущение непринадлежности лежит в основе фильма.
Чтобы передать это состояние, я использую субъективную камеру на протяжении большей части фильма — либо от лица Хлои, либо через взгляды, направленные на неё, — позволяя зрителю почувствовать, как формируется её образ в глазах окружающих. После её исчезновения перспектива становится более отстранённой, отражая холодную дистанцию общества.
Региональное кино в Бурятии часто ориентировано на создание благоприятного образа региона, оставляя за кадром часть сложных тем. Мой фильм предлагает иной взгляд и смещает точку зрения: здесь именно внешняя героиня оказывается в положении «другой».
Для меня кино — это пространство, где я могу говорить открыто через художественный язык. Этот фильм существует как напоминание о том, что культура России многослойна и многообразна, и важно сохранять разные голоса и истории.
Чтобы передать это состояние, я использую субъективную камеру на протяжении большей части фильма — либо от лица Хлои, либо через взгляды, направленные на неё, — позволяя зрителю почувствовать, как формируется её образ в глазах окружающих. После её исчезновения перспектива становится более отстранённой, отражая холодную дистанцию общества.
Региональное кино в Бурятии часто ориентировано на создание благоприятного образа региона, оставляя за кадром часть сложных тем. Мой фильм предлагает иной взгляд и смещает точку зрения: здесь именно внешняя героиня оказывается в положении «другой».
Для меня кино — это пространство, где я могу говорить открыто через художественный язык. Этот фильм существует как напоминание о том, что культура России многослойна и многообразна, и важно сохранять разные голоса и истории.
первая сигарета богу
Хлоя, 16-летняя французская студентка по обмену, приезжает в Бурятию — азиатский регион России. Она живёт в семье с девочками-близнецами, которые зарабатывают карманные деньги необычным способом. Часть дома занимает похоронное бюро — семейный бизнес. Её школьный куратор — неопрятный мужчина, который постоянно разглядывает её тело. Для одноклассников и учителей Хлоя становится экзотическим объектом. Она старается вписаться, но её невинность лишь провоцирует худшие качества в окружающих.
directors note
Once, I experienced an unusual emotion I could not name. From it, a scene was born,
and then the film. I wanted to preserve this feeling as an artifact, sharing it beyond memory.
I found it in the moment when a daughter turns to her mother for an abortion.
The film follows a lost teenage girl seeking her place in the world and her significance in her mother’s life. The mother expresses care through control, while the daughter resists but also longs for closeness. The heroine asserts control over her body and choices,
yet ultimately returns to her mother, allowing shared responsibility. The abortion is her decision, carried out by another, binding their lives through a deep, shared experience.
In the end, they reach a dialogue: the daughter entrusts her wellbeing to her mother, then follows her to a rite of purification, where the mother returns control to her. The film closes with portraits of both, highlighting their individuality and mutual respect.
and then the film. I wanted to preserve this feeling as an artifact, sharing it beyond memory.
I found it in the moment when a daughter turns to her mother for an abortion.
The film follows a lost teenage girl seeking her place in the world and her significance in her mother’s life. The mother expresses care through control, while the daughter resists but also longs for closeness. The heroine asserts control over her body and choices,
yet ultimately returns to her mother, allowing shared responsibility. The abortion is her decision, carried out by another, binding their lives through a deep, shared experience.
In the end, they reach a dialogue: the daughter entrusts her wellbeing to her mother, then follows her to a rite of purification, where the mother returns control to her. The film closes with portraits of both, highlighting their individuality and mutual respect.
Toli
Anya is a young woman who seeks to discover something about her absent father figure,
but the strained relationship with her mother doesn’t allow for much leeway. When the mother brings home a strange male figure, their relationship only gets worse. Between raves and rituals typical of Buryatia, a republic that, despite being part of Russia, is marked by Siberian culture and traditions, Anya strives to rid herself of the anguish in her body.
but the strained relationship with her mother doesn’t allow for much leeway. When the mother brings home a strange male figure, their relationship only gets worse. Between raves and rituals typical of Buryatia, a republic that, despite being part of Russia, is marked by Siberian culture and traditions, Anya strives to rid herself of the anguish in her body.
диана машанова
режиссер:
диана машанова
сценарий:
драма
жанр:
directors note
Once, I experienced an unusual emotion I could not name. From it, a scene was born,
and then the film. I wanted to preserve this feeling as an artifact, sharing it beyond memory.
I found it in the moment when a daughter turns to her mother for an abortion.
The film follows a lost teenage girl seeking her place in the world and her significance in her mother’s life. The mother expresses care through control, while the daughter resists but also longs for closeness. The heroine asserts control over her body and choices,
yet ultimately returns to her mother, allowing shared responsibility. The abortion is her decision, carried out by another, binding their lives through a deep, shared experience.
In the end, they reach a dialogue: the daughter entrusts her wellbeing to her mother, then follows her to a rite of purification, where the mother returns control to her. The film closes with portraits of both, highlighting their individuality and mutual respect.
and then the film. I wanted to preserve this feeling as an artifact, sharing it beyond memory.
I found it in the moment when a daughter turns to her mother for an abortion.
The film follows a lost teenage girl seeking her place in the world and her significance in her mother’s life. The mother expresses care through control, while the daughter resists but also longs for closeness. The heroine asserts control over her body and choices,
yet ultimately returns to her mother, allowing shared responsibility. The abortion is her decision, carried out by another, binding their lives through a deep, shared experience.
In the end, they reach a dialogue: the daughter entrusts her wellbeing to her mother, then follows her to a rite of purification, where the mother returns control to her. The film closes with portraits of both, highlighting their individuality and mutual respect.
Toli
Anya is a young woman who seeks to discover something about her absent father figure,
but the strained relationship with her mother doesn’t allow for much leeway. When the mother brings home a strange male figure, their relationship only gets worse. Between raves and rituals typical of Buryatia, a republic that, despite being part of Russia, is marked by Siberian culture and traditions, Anya strives to rid herself of the anguish in her body.
but the strained relationship with her mother doesn’t allow for much leeway. When the mother brings home a strange male figure, their relationship only gets worse. Between raves and rituals typical of Buryatia, a republic that, despite being part of Russia, is marked by Siberian culture and traditions, Anya strives to rid herself of the anguish in her body.
Фестивали и награды:
