Podcasts about aleksei german

Khrustalyov, My Car! (1998) / The Death of Mr. Lazarescu (2005) This week we're not feeling so good as we try to survive the doctor's plot with Aleksei German and go from bellyache to the grave with Cristi Puiu

In the forty-third episode of Season 5 (Dystopia Myopia) Kyle is joined by novelist Samuel Cullado and writer August Gummere to discuss the long gestating creative magnum opus from Aleksei German, the full disconcerting immersion into the scum and spit ridden dark ages as a reflection on history and suffering in Hard to Be a God.

Aleksei German month at The Pink Smoke kicks off with this primer spearheaded by Martin Kessler of the Flixwise: Canada podcast. Kessler is one of the English-speaking world's leading authorities on German - this episode is intended as an entry-point into the filmmaker's work, a titan of Russian cinema who remains surprisingly unknown outside of his native land.

Gianna D'Emilio and Spencer Parsons join Mike to talk about Aleksei German's Khrustalyov, My Car! (1989). Set against the death of Stalin and the last days of his Doctor's Plot, the film is a dizzying display of filmmaking.Prof. Jonathan Brent discusses the Doctor's Plat while producer Guy Seligmann talks about working with German.Learn more about your ad choices. Visit megaphone.fm/adchoices

Gianna D'Emilio and Spencer Parsons join Mike to talk about Aleksei German's Khrustalyov, My Car! (1989). Set against the death of Stalin and the last days of his Doctor's Plot, the film is a dizzying display of filmmaking. Prof. Jonathan Brent discusses the Doctor's Plat while producer Guy Seligmann talks about working with German.

Måns Mårlind, co-creator of Scandi-noir sensation The Bridge is back with a big budget show set in the immediate aftermath of WW2, he joins us to talk about it. Plus, a discussion on Soviet filmmaker Aleksei German's GOMA retrospective, and a review of Shaka King's new feature film.

Måns Mårlind, co-creator of Scandi-noir sensation The Bridge is back with a big budget show set in the immediate aftermath of WW2, he joins us to talk about it. Plus, a discussion on Soviet filmmaker Aleksei German's GOMA retrospective, and a review of Shaka King's new feature film.

Måns Mårlind, co-creator of Scandi-noir sensation The Bridge is back with a big budget show set in the immediate aftermath of WW2, he joins us to talk about it. Plus, a discussion on Soviet filmmaker Aleksei German's GOMA retrospective, and a review of Shaka King's new feature film.

Måns Mårlind, co-creator of Scandi-noir sensation The Bridge is back with a big budget show set in the immediate aftermath of WW2, he joins us to talk about it. Plus, a discussion on Soviet filmmaker Aleksei German's GOMA retrospective, and a review of Shaka King's new feature film.

Måns Mårlind, co-creator of Scandi-noir sensation The Bridge is back with a big budget show set in the immediate aftermath of WW2, he joins us to talk about it. Plus, a discussion on Soviet filmmaker Aleksei German's GOMA retrospective, and a review of Shaka King's new feature film.

Måns Mårlind, co-creator of Scandi-noir sensation The Bridge is back with a big budget show set in the immediate aftermath of WW2, he joins us to talk about it. Plus, a discussion on Soviet filmmaker Aleksei German's GOMA retrospective, and a review of Shaka King's new feature film.

Ted is back this week to talk with Glenn Kenny, who's been writing knowledgeable, incisive film criticism with verve, discursive sentences, attitude, and the pop culture acumen of a rock critic for decades. On this episode we discuss his new book Made Men: The Story of Goodfellas, his love of Martin Scorsese's film and filmmaking, both from encyclopedic and a proximity standpoint, his New Jersey upbringing, the literary influence Nabokov had, and his time at Premiere magazine in the '90s when it was in competition with Entertainment Weekly. Also: his love of the grand cross-pollinating pop-cultural narrative histories of Greil Marcus, his influence from Lester Bangs, why Aleksei German's Hard to Be a God is actually an amazing screwball comedy worth 12 viewings, his book on Robert DeNiro, and why that actor takes the roles he's taken for the last few decades.Glenn Kenny is a film critic whose work currently appears in the New York Times and RogerEbert.com. He has also written for The Current, Rolling Stone, the Village Voice, the New York Daily News, Playboy, Film Comment, and was formerly an editor for Premiere magazine. He also publishes on his blog, Some Came Running.Ted Haycraft is film critic for WFIE-14 and co-hosts Cinema Chat on its Midday show. He can also be found on Cinema Chat's Facebook page.

Hi everyone! We’re closing out the week with our final entry for this quarter in our series “Under the Kanopy”. Kanopy is a library and university funded streaming service that grants card holders six free streams a month, featuring a combination of classic, mainstream, independent, and international films. They currently have streaming deals with some of our favorite distributors, like A24 and Kino Lorber, which offer the critically acclaimed, if not commercially successful films. Today’s film I sort of chose at random when filling out the schedule for the quarter, not really realizing it was a Russian film, or a black and white film, or would have a bunch of awesome experimental editing and storytelling. Finding these surprises is part of the great fun of exploring the films on Kanopy. I’ll be up in a bit with my thoughts on LETO, or Summer in Russian, but for a few other films in this series, check out THE BATTLE OF ALGIERS (Episode #738), MARIANNE AND LEONARD: WORDS OF LOVE (Episode #731), and HAVE A NICE DAY (Episode #724). Before the review, we’ll have a promo from our good friends at the Cinema Recall podcast. Every episode, The Vern takes a look at iconic scenes in classic movies. You can find them on Twitter and Instagram @cinema_recall, and also subscribe to their podcast at anchor.fm/cinemarecall. Don’t miss a single episode! Subscribe to stay current with the latest releases. Contribute at Patreon for exclusive content. Connect with us over social media to continue the conversation. Here we go! ///// > ///// Today’s movie is LETO (2018), the Russian biopic directed by Kirill Serebrennikov, and written for the screen in collaboration with Lily Idov, Michael Idov, and Ivan Kapitonov, based in part on the memoirs of Natalya Naumenko. It’s the summer of 1982 in Leningrad. Mike Naumenko (Roman Bilyk) is the leader of Zoopark, a Russian rock band, and a member of the Leningrad Rock Club. While visiting the countryside with his wife Natalia (Irina Starshenbaum), he is introduced to Viktor Tsoi (Teo Yoo), an aspiring musician Mike takes on as a prodigy, which ultimately leads to the formation of the band Kino. No spoilers. So, since this is the last Under the Kanopy segment for a while, I’ll let you in on a little secret on how I choose which films to watch. Every week, I keep track of all the films which were released in the theaters which receive a Certified Fresh rating at Rotten Tomatoes. A lot of those films rarely make it outside the Los Angeles and New York markets, often films imported by smaller distributors like Kino Lorber, Oscilloscope, and today’s distributor, Gunpowder & Sky. Every quarter, then, when I’m planning I take a look at the films off that list which make it to Kanopy, and pick whatever eleven films are available. And it generally leads to a wonderfully diverse assortment of films. LETO was one of those films this quarter, which I just added to my Kanopy queue and watched as time permitted. I didn’t remember what the film was supposed to be about at all, and was honestly worried it was going to be a Jared Leto biopic. But like most films in this series, I went in with an open mind and an open heart, despite being nervous about watching a black and white Russian film, the last one I watched being HARD TO BE A GOD, Aleksey German’s final film, which was kind of long and boring at times. Thankfully, LETO is definitely not that. LETO is actually more akin to Aleksei German, Jr.’s most recent film DOVLATOV (Episode #307), which gave me a contemporary film that peeked behind the Iron Curtain to look at non-propagandized life in Russia from an artistic point of view, in this case, notorious writer Sergei Dovlatov. LETO takes place just over a decade later, in the early 1980s as Russia is beginning to shift more and more towards glasnost. The underground parties and black markets for American goods in DOVLATOV’s time period were slowly being integrated into the rock clubs and import/collectors markets in LETO. Both films obviously have a specific point of view about Soviet Russia, but for me, the real joy is seeing just how similar lives were between the US and Russia. The most important cultural similarity explored by LETO is the sense of rebellion among the youth, a punk spirit that was finding more traction and airtime in the west, but was also finding a similar subversive expression in the east. I had never heard of either Zoopark or Kino before seeing this film, but LETO explores the two musicians who head up each group, working around censors to make sure talent gets heard. LETO also explores the influences for many of the more famous songs by both bands, told as these amazing long-take music videos, saturated with layered ink pencil like edits. Each music video segment takes the viewer away from the realism of the main story, for a more surrealist look at what is happening, and usually ending with a character playing the personification of punk reminding us that the music video events didn’t actually happen. Kirill Serebrennikov does excellent work here. LETO isn’t just a story about the music, though. In addition to the history lesson, we’re also invited into the complicated politics and relationship of Mike, Natalia, and Viktor. Natalia develops a crush on Viktor, which Mike doesn’t have a problem with until, predictably, he does, causing creative and political turmoil. The complicated interplay between the three is at times familiar to many other love triangles, but also insightful set against the context and time period. Cutting the film in black and white allows the film’s realistic drama elements and surrealistic musical elements to gel together for a great picture. But as the film comes to a close, Serebrennikov begins to inject color back into the film, even showing previous black and white film pieces and segment now in filtered color, a shocking accent mark against a beautiful filmscape. I can’t think of many films where I get to learn something, and feel something, and be surprised by something, but LETO did all three for me. After watching LETO, I also gave both bands a listen, and discovered even more to love. Honestly, I can’t think of a better way to end this quarter’s Under the Kanopy series. LETO is a film for music fans, particularly fans of the punk and new wave movements in the early 1980s. Kirill Serebrennikov smashes together a quick history of two Russian rock musicians with the emotional turmoil of their love triangle, set against a lovely black and white backdrop with the occasional surrealist transition. Music fans, fans of contemporary Russian cinema, or folks wondering what life was like behind the curtain, should definitely check out this film. Rotten Tomatoes: 78% (CERTIFIED FRESH) Metacritic: 69 One Movie Punch: 8.5/10 LETO (2018) is not rated and is currently playing on Hoopla and Kanopy.

Martin Kessler (of Flixwise Canada fame) joins to discuss Aleksei German’s KHRUSTALYOV, MY CAR! Recently released by Arrow here in the US, this movie gives us the opportunity to revisit the absurd-grotesque-comedic world, that feels like a parallel universe to HARD TO BE A GOD… probably because it is. Martin is one heck of a guest, and he makes an impassioned argument for why we should all be fans of German’s work.

This week, Lara Alonso Corona talks to Culture.PL editor and Stories from the Eastern West podcast presenter Adam Żuławski about his grandfather Jerzy Żuławski’s science fiction series The Lunar Trilogy and On the Silver Globe, the film adaptation directed by another family member, Andrzej Żuławski and first shown in 1988, and showing in London as part of Kinoteka – the London Polish Film Festival. They also discuss many of Andrzej Żuławski’s other films, the Young Poland modernist movement, and the challenges of making cinema in Communist Poland. SELECTED REFERENCES Blinded by the Lights (TV series, 2018) – https://www.imdb.com/title/tt6520930/ Boris Godunov (dir. Sergei Bondarchuk, 1986) – https://en.wikipedia.org/wiki/Boris_Godunov_(1986_film) Braindead (dir. Peter Jackson, 1992) – https://www.imdb.com/title/tt0103873/ Cosmos (dir. Andrzej Żuławski, 2015) – http://cinema-scope.com/cinema-scope-online/bleurghing-the-unspeakable-a-stroll-through-andrzej-zulawskis-cosmos/ DAVIES, GLIŃSKI & ŻUŁAWSKI, Quarks, Elephants & Pierogi: Poland in 100 Words (2019) – https://culture.pl/en/work/quarks-elephants-pierogi-poland-in-100-words-mikolaj-glinski-matthew-davis-adam-zulawski Philip K. Dick Hard to be a God (dir. Aleksei German, 2013) – https://www.bfi.org.uk/news-opinion/sight-sound-magazine/reviews-recommendations/review-hard-be-god FRANK HERBERT, Dune (1965) – https://en.wikipedia.org/wiki/Dune_(novel) Stanisław Lem – https://culture.pl/en/artist/stanislaw-lem Bronisław Malinowski – https://en.wikipedia.org/wiki/Bronisław_Malinowski On the Silver Globe (dir. Andrzej Żuławski, 1988) – https://www.rogerebert.com/reviews/on-the-silver-globe-2016 Possession (dir. Andrzej Żuławski, 1981) – https://www.timeout.com/london/film/possession-1981 Solaris (dir. Andrei Tarkovsky, 1971) Stories from the Eastern West (podcast) – https://culture.pl/en/stories-from-the-eastern-west Jules Verne H. G. Wells STANISŁAW WYSPIAŃSKI, The Wedding (1901) – https://culture.pl/en/artist/stanislaw-wyspianski Young Poland – https://en.wikipedia.org/wiki/Young_Poland JERZY ŻUŁAWSKI, The Lunar Trilogy (1901-11) – http://translatingmarek.com/the-moon-landings-and-the-prophecies-of-jerzy-zulawski-polands-hg-wells-1969

Ally is joined by Martin Kessler, filmmaker and host of Flixwise: Canada to discuss this 1930s-set film that is part memoir, part crime drama. CONTENT WARNING: the film depicts a suicide attempt. SPOILERS from about 23 minutes in until the end. Martin has also written a series of in-depth essays on Aleksei German and his films published by film site The Pink Smoke.My Friend Ivan Lapshin stars Andrei Boltnev, Nina Ruslanova, and Andrey Mironov. If you'd like to get in touch and tell us what you thought of the film and/or the podcast episode, here are some ways you can do that: Twitter: @RussophilesU Email: russophilesunite@gmail.com Facebook: www.facebook.com/russophilesunite/ Instagram: www.instagram.com/russophiles_unite/ Letterboxd: https://letterboxd.com/Ally_ Support the show/fund Ally's caffeine habit at: https://ko-fi.com/russophilesunite Listen to Ally's other podcast appearances at: https://www.podchaser.com/creators/alistair-pitts-107ZzmUqmI

We are joined by Martin Kessler from Flixwise Canada to discuss Aleksei German's film, HARD TO BE A GOD. Terrific movie, a classic in the Russian film tradition, and one worth discussing with someone as knowledgable as Mr. Kessler. After you listen, check out Martin's essays over at The Pink Smoke to learn more about the films made by one of Russia's most talented directors.

Based on a book by the Strugatsky Brothers, Hard to Be a God is a three hour medieval sci-fi film fromAleksei German wherein the inhumanity of man comes to the fore. The material was also the source of Peter Fleischmann's 1989 film Es ist nicht leicht ein Gott zu sein.

El cineasta ruso Aleksei German pensaba al revés y filmaba al revés. Ignorado, incomprendido y censurado por el Estado soviético, primero, y por el mercado capitalista, después, se atrevió a filmar lo que le dio la gana: películas sin tramas aparentes y con una puesta en escena donde todo se mueve, se mezcla y explota, como en la mirada de un niño asustado ante un caos absoluto. Una historia semiautobiográfica y una cinta de ciencia ficción fueron las últimas obras de este artista único y capaz como pocos de estampar imágenes y sensaciones en la conciencia de un público que ya no necesita entender. De esto y más hablamos en el podcast.