An auteurist orientation, therefore, is neither good nor bad, but it is certainly mismatched to an industry—especially during periods of robust growth—in which so-called “spectators’ cinema” [zritel’skoe kino] is in higher demand by producers.
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This essay provides context for roughly thirty-five current and upcoming Russian films, loosely clustered around four topics: directors; debuts; economic health; and dominant industry trends.
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By the end of Andrei Zvyagintsev’s Leviathan, I wanted to scream.
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