Posted 17 августа 2021, 17:37

Published 17 августа 2021, 17:37

Modified 25 декабря 2022, 20:54

Updated 25 декабря 2022, 20:54

The film "Emigration" as a new manifesto of hopelessness

17 августа 2021, 17:37
Алина Витухновская
Since our oppositionists are leaving one after another, and whoever does not leave, he sits down, becomes the object of all kinds of persecution, Julia Lemark's film "Emigration", released this year, looks more relevant than ever.

Julia herself - and a screenwriter, and a director, and a producer, starred in it as a school teacher.

Alina Vitukhnovskaya, writer

In general, I am more than indifferent to national cinema, especially in recent years. The only exception was, perhaps, the TV series "Topi". But I watched the film "Emigration" to the end. And regardless of the fact that I have some skepticism about the quality of shooting and acting, I want to mark it as a new manifesto of the hopelessness of the merciless Russian adat.

The author of the film posits a false dichotomy in which every Russian is actually doomed from birth - to go to cops and officials or to bandits and prison. Become a conformist layman or a loser rebel. Or, as the majority "swim in troubled waters" in search of small benefits and momentary cheap pleasures. One could assume that the director even plays on the side of the system, if not for the truly existential despair that pierces the entire plot of the picture.

The rebellion of the "little man" - Constantine predictably ends with "a fair investigation and inevitable punishment."

The summary of the film - there is no way from Russia, Russia is a dead end, the ultimate instance of being. Hell and Purgatory in one bottle. Still, it seems to me that the global world offers us much more options for interacting with the surrounding reality and benefits for ourselves.

By the way, the idea of profit has always been defamed here. And even those who had nothing but profit. For example, Sobchak.

After an interview with Veronika Stepanova, Sobchak was seriously offended and began hysterically to prove that “she had achieved everything in life herself”. Here is both stupidity and hypocrisy. And not only Sobchak herself, but also public.

Let's see - is it so good to achieve everything yourself? Especially in Russia. Here is a life experience. What did he give me? Never mind. From life experience only the appearance deteriorates. That's all the gestalt gesheft.

The true ontology of being was known to me from birth. We cannot learn from books beyond what we know (that is, beyond that very gnosis). Likewise, from life we do not learn much about life. We only deform.

Labor has made a man "that which must be overcome." Will talent make its way? Well, yes, head. Education? What kind of education is there in Russia? Writing? Torture. Slow suicide. So bring it to me on a silver platter. Everything and more. I do not mind.

But back to the film "Emigration". On the one hand, his conclusions are somewhat strained, on the other, he painfully resonates with current events.

Ex-activist in Pskov Artyom Milushkin was sent to jail for 11 years. On charges of selling drugs. The planting of weapons and drugs is a favorite KGB theme again in action. And it is not surprising when the courts are turning from legal institutions into an instrument of reprisals against political opponents. Milushkin destroyed the cage during the announcement of the verdict. This is bestial despair. But the government forgets that despair is the fuel of the revolution.

One of the heroes of the film "Emigration" is an internally lost child who ran away from his parents on the eve of leaving for America. This little boy is a real zombie Russian, already completely loaded with television propaganda, well suited to the topic of family relations. "Here is my grandfather someone like you would shoot!" - he shouts in the hearts of the protagonist.

Perhaps it was not accidental that Julia Lemarque gave the same name to both the boy and the protagonist. To show that the main character, as if seeing himself in childhood, saving the boy, is actually trying to save himself. Saving a child, he saves himself, or rather his consciousness, from further pangs of conscience. But, as mentioned above, it is impossible to save anyone in Russia. Therefore, the boy goes to America "hated" to him, and the adult Constantine goes to prison.

Despite the general viscous, oppressive atmosphere of gray hopelessness, the film "Emigration" nevertheless appeals to the critical viewer consciousness. He asks a question to all of us who have remained inside a fully formed dictatorship. Are we ready for non-standard moves and solutions in the face of chaos, turbulence, uncertainty, risks? I suppose, yes, they are.