Sacralization of Private Life by A. Tarkovsky and A. Zvyagintsev: a Statement through Demonstration of Contrary in the Movie "Dislike"
The topic of continuity in the history of domestic cinema which is a subject of this article as, however, and other articles by N. A. Khrenov published in the previous issues of this magazine, is revealed on the example of movies by national film director A. Zvyagintsev whose name often appears in recent years in media, and, both in the domestic and foreign ones, informing on artists, conferred prestigious prizes and awards at the international Film Festivals. A. Zvyagintsev is one of successful directors whose each movie causes discussions. Appealing to A. Zvyagintsev's creativity, the author touches upon only one subject: what this director borrows from the other director, the director of the previous generation whose name in the West is not less known than in Russia. This is A. Tarkovsky who updated during the thaw era poetics of national cinema. On this subject the author found a different common ground between these directors in the previous articles as well as differences between them. In this final article the author stops on the last film by A. Zvyagintsev «Dislike». Undoubtedly, influence of poetics of A. Tarkovsky’s movies is felt also in this movie by A. Zvyagintsev. It is proved first of all by what A. Zvyagintsev picks up at A. Tarkovsky and continues to develop and it is a subject of private life sacralization which at totalitarian regime, in fact, was brought to nought. This subject appeared for the first time in movies by A. Tarkovsky. And the follower of this line in domestic cinema is A. Zvyagintsev. However this subject in A. Zvyagintsev’s works gains drama development. Developing it, he goes from contrary. The statement of sacralization of family life values, images of the father, mother, children in his works is undertaken through desacralization. To some extent such situation is a consequence of totalitarianism, apparently, which is in the past, but left many injuries. One of them is alienation of parents from children. Of course, not only the totalitarian modes, but, including, a modern civilization are the reason of it what A. Zvyagintsev emphasized. And in it he appears as A. Tarkovsky's follower too. In this article the author concerns another movie by A. Zvyagintsev «Elena», where the accent is made on a choice problem. In this movie the heroine solves whether to accept the values of the liberal paradise, which were accepted by parents of the killed boy in the movie «Dislike» or to adhere to those moral guidelines to which she got used to. In this movie the subject of private life, life of family is also important, as well as in the movie «Dislike».