Podcasts about serebrennikov

durée : 00:06:37 - "Limonov, la ballade" de Kirill Serebrennikov

durée : 00:26:48 - Les Midis de Culture - par : Marie Labory - Au programme du débat critique, du cinéma : "Limonov, la ballade" de Kirill Serebrennikov et "Leurs Enfants après eux" de Ludovic Boukherma et Zoran Boukherma. - réalisation : Laurence Malonda - invités : Murielle Joudet Critique de cinéma pour Le Monde; Adrien Dénouette Critique de cinéma et enseignant

Eduard Limonov was a poet, a punk, a Russian “émigré” and provocateur whose anti-system politics eventually saw him embrace fascist tendencies. Filmmaker Kirill Serebrennikov tells Olivia Salazar-Winspear why he chose to make a “ballad” of Limonov's life and not a biopic, revealing that British actor Ben Wishaw even had the Russian crew members fooled with his impressive embodiment of the character. Serebrennikov tells us how Limonov's political arc follows the far right movements within contemporary Russia and mirroring the geopolitical situation around the world. And, as an immigrant himself, the award-winning director tells us why he thinks Moscow's attempts to silence Russian artists means the government has little influence over those who criticise it.

Der russische Regisseur Kirill Serebrennikow widmet sein Stück "Legende" bei der Ruhrtriennale allen politischen Häftlingen. Er sei für einen weiteren Gefangenenaustausch: Russland solle gern seine Mörder zurückbekommen und dafür Künstler freilassen. Serebrennikov, Kirill www.deutschlandfunkkultur.de, Rang 1

durée : 00:08:53 - L'invité de 7h50 - par : Sonia Devillers - Le cinéaste russe en exil Kirill Serebrennikov a présenté son adaptation rock du roman d'Emmanuel Carrère, avec "Limonov, la ballade". Il s'inspire de la vie rocambolesque d'Édouard Limonov.

durée : 00:08:53 - L'invité de 7h50 - par : Sonia Devillers - Le cinéaste russe en exil Kirill Serebrennikov a présenté son adaptation rock du roman d'Emmanuel Carrère, avec "Limonov, la ballade". Il s'inspire de la vie rocambolesque d'Édouard Limonov.

Vladislav Opelyants is a cinematographer from Moscow known for Petrov's Flu (2021), directed by Kirill Serebrennikov which was selected to compete for the Palme d'Or at the 2021 Cannes Film Festival where it won the Vulcan Award for cinematography. He has also collaborated once again with Serebrennikov on the beautifully shot and critically acclaimed Tchaikovsky's Wife (2022) which also premiered in competition at Cannes 2022.  Vlad spoke to us about his approach to what he calls the ‘international language of cinematography', how he first became a director of photography, and the creative approach to his craft.

durée : 00:54:40 - L'Heure bleue - Kirill Serebrennikov était au micro de Laure Adler à l'occasion de la sortie de son film "La Femme de Tchaïkovski" et sa pièce "Le Moine noir" au théâtre du Châtelet. L'occasion de mieux comprendre son rapport à l'art et comment il a souhaité raconter le célèbre compositeur dans son nouveau film.

durée : 02:30:12 - Le 7/9.30 - Kirill Serebrennikov, réalisateur, Michaël Zemmour, maître de conférences à l'Université Paris 1, Anne-Sophie Alsif, cheffe économiste de BDO France, Elvire Emptaz, autrice de Je suis dehors - Quelle vie pour les femmes après la prison ?, sont les invités de la matinale.

Vor der Premiere der Gogol-Bearbeitung von „Der Wij“ wurde dem Thalia Theater kulturelle Aneignung vorgeworfen. Warum die freie Adaption der Erzählung durch Serebrennikov und Bohdan Pankrukhin keine russische Propaganda ist, erklärt unser Kritiker.Von Michael Laageswww.deutschlandfunkkultur.de, FazitDirekter Link zur Audiodatei

Este jueves se inauguró el Festival internacional de Teatro de Aviñón con un invitado de lujo, el dramaturgo Kirill Serebrennikov. El apreciado artista ruso, crítico del Kremlin, presentó “El monje negro” en el patio de honor del Palacio de los Papas. RFI lo entrevistó. El Festival de teatro de Aviñón abrió sus puertas de par en par a Kirill Serebrennikov, uno de los artistas rusos más solicitados del momento. El conocido disidente y archienemigo de Vladimir Putin inauguro el festival en la escena más prestigiosa de todas: el Palacio de los Papas. En las paredes de piedra de este recinto medieval retumbaron las palabras de “El monje negro”, obra maestra de Antón Chéjov, que Serebrennikov adaptó con un reparto internacional. La obra narra la historia de Andrei Krovin, un intelectual con los nervios de punta, atormentado por el fantasma de un monje negro. Un cuento sobre el hundimiento de un hombre en la locura y sobre la esencia humana. "El monje negro no habla solo de la locura. Es una pieza que cuando la leí en mi juventud me puso la piel de gallina. El personaje principal está frente a una situación crítica, que cualquiera podría vivir. Pero lo que más me interesaba explorar es ese momento en el que debemos tomar una decisión crucial: si aguantar o abandonarnos a la locura", detalla para RFI el dramaturgo. “No creo que haya un teatro político. El teatro es la política" Kirill Serebrennikov es sin duda uno de los platos fuertes en Aviñón. El director de cine y de teatro vivió durante meses en arresto domiciliario en Moscó, antes de huir y radicarse en Berlín. Es detestado aún más por el Kremlin al asumir una postura resueltamente antibélica. “Quisimos terminar la pieza aquí en Aviñón haciendo un nuevo llamado a parar la guerra en Ucrania. Para eso también es el teatro: no podemos olvidarnos de eso, tenemos que seguir denunciando, recordarle a la gente que en estos momentos en los que asistimos al teatro, hay gente muriendo bajo las bombas”, destacó Serebrennikov. “No creo que haya un teatro político. El teatro es la política, porque es el lugar donde hablamos de la realidad, donde expresamos nuestra opinión y donde esperamos que la gente que viene a un espectáculo, salga transformada”, agregó. Como hizo en el último Festival de Cannes donde también fue invitado con su película “La esposa de Tchaikovski”, Serebrennikov se pronunció contra la guerra en Ucrania, proyectando al término de la representación en Aviñón, el mensaje “No a la guerra” en inglés y ruso, sobre las paredes del Palacio de los Papas.

durée : 00:28:27 - La Grande Table culture - par : Olivia Gesbert - Rendez-vous cannois avec l'actrice luxembourgeoise Vicky Krieps, à l'affiche de deux films présentés dans la sélection Un Certain Regard (« Plus que jamais » d'Emily Atef et « Corsage » de Marie Kreutzer) et le cinéaste russe Kirill Serebrennikov pour son film « La femme de Tchaïkovski ». - invités : Vicky Krieps Actrice; Kirill Serebrennikov Cinéaste

durée : 00:28:27 - La Grande Table culture - par : Olivia Gesbert - Rendez-vous cannois avec l'actrice luxembourgeoise Vicky Krieps, à l'affiche de deux films présentés dans la sélection Un Certain Regard (« Plus que jamais » d'Emily Atef et « Corsage » de Marie Kreutzer) et le cinéaste russe Kirill Serebrennikov pour son film « La femme de Tchaïkovski ». - invités : Vicky Krieps Actrice; Kirill Serebrennikov Cinéaste

durée : 00:28:27 - La Grande Table culture - par : Olivia Gesbert - Rendez-vous cannois avec l'actrice luxembourgeoise Vicky Krieps, à l'affiche de deux films présentés dans la sélection Un Certain Regard (« Plus que jamais » d'Emily Atef et « Corsage » de Marie Kreutzer) et le cinéaste russe Kirill Serebrennikov pour son film « La femme de Tchaïkovski ». - invités : Vicky Krieps Actrice; Kirill Serebrennikov Cinéaste

Julia Roberts sul tappeto rosso. E poi Viola Davis e Omar Sy.

durée : 01:58:24 - Musique matin du jeudi 19 mai 2022 - par : Jean-Baptiste Urbain - Pour son quatrième film sélectionné à Cannes et après plusieurs années d'interdiction de sortie du territoire russe, c'est un Kirill Serebrennikov libre que nous retrouvons au festival pour la projection de son film "La Femme de Tchaïkovski", dans lequel il saisit la "rhétorique homophobe russe". - réalisé par : Figaro Freslon Le Floc'h

durée : 00:33:06 - Boomerang - par : Augustin Trapenard - Il est le cinéaste le plus attendu de cette 75ème édition. Bouc émissaire du régime de Vladimir Poutine, incarnation d'un cinéma dissident et subversif, il a déjà été en lice pour la palme d'or à deux reprises. Kirill Serebrennikov est l'invité d'Augustin Trapenard. - réalisé par : Lola COSTANTINI

Schröder, Axelwww.deutschlandfunkkultur.de, InterviewDirekter Link zur Audiodatei

Schröder, Axelwww.deutschlandfunkkultur.de, FazitDirekter Link zur Audiodatei

durée : 00:58:39 - Plan large - par : Antoine Guillot - Plan Large sur des cinéastes persécutés par leur gouvernement, et qui signent chacun des films en forme de manifeste. Rencontre, à distance, avec l'Iranien Mohammad Rasoulof pour "Le Diable n'existe pas", et le Russe Kirill Serebrennikov, auteur de "La Fièvre de Petrov". - invités : Mohammad Rasoulof cinéaste iranien; Massoumeh Lahidji Interprète, commissaire, ancienne collaboratrice de Abbas Kiarostami; Kirill Serebrennikov Cinéaste; Joël Chapron spécialiste du cinéma russe, responsable de l'Europe Centrale et orientale chez Unifrance; Diane Bracco Enseignante au Département d'Etudes Ibériques et Ibéro-américaines à l'Université de Limoges; Mathieu Macheret Critique de cinéma, journaliste au Monde et aux Cahiers du Cinéma

durée : 00:58:39 - Plan large - par : Antoine Guillot - Plan Large sur des cinéastes persécutés par leur gouvernement, et qui signent chacun des films en forme de manifeste. Rencontre, à distance, avec l'Iranien Mohammad Rasoulof pour "Le Diable n'existe pas", et le Russe Kirill Serebrennikov, auteur de "La Fièvre de Petrov". - invités : Mohammad Rasoulof cinéaste iranien; Massoumeh Lahidji Interprète, commissaire, ancienne collaboratrice de Abbas Kiarostami; Kirill Serebrennikov Cinéaste; Joël Chapron spécialiste du cinéma russe, responsable de l'Europe Centrale et orientale chez Unifrance; Diane Bracco Enseignante au Département d'Etudes Ibériques et Ibéro-américaines à l'Université de Limoges; Mathieu Macheret Critique de cinéma, journaliste au Monde et aux Cahiers du Cinéma

In Wladimir Putins Russland ist Kirill Serebrennikov ein verurteilter Betrüger, für den Rest der Welt ist er einer der aufregendsten Theatermacher unserer Zeit. Trotz Hausarrest realisiert Serebrennikov weiter seine Projekte – nur eben nicht vor Ort, sondern per Video-Schalte. So auch die Inszenierung von Wagners „Parsifal“ an der Wiener Staatsoper. SWR2 Opernredakteur Bernd Künzig hat sich die Premiere mit Jonas Kaufmann und Elīna Garanča in den Hauptrollen angeschaut.

The big story is the constitutional vote, but I honestly have nothing new to say about that, so instead I take three controversial court cases - Kirill Serebrennikov the director, Colonel Miniakhmetov the investigator, and the alleged (and unlikely) "terrorists" of the Set' (Network) group - and explore what they say about power and performative repression in Russia. Indeed, the 'Three Russias.'If anyone is interested, my take on the constitutional vote is in the Spectator here and on the Afghan bounty case in the Moscow Times here, while the Naked Pravda podcast I reference is here.You can also follow my blog, In Moscow's Shadows, and become one of the podcast's supporting Patrons and gain question-asking rights and access to exclusive extra materials right here. 

Save Meduza!https://support.meduza.io/enOn Friday, June 26, a Moscow court announced verdicts in the controversial “Seventh Studio” case involving the alleged embezzlement of almost 129 million rubles (about $1.9 million) allocated to the Culture Ministry's “Platforma” project (a state-led contemporary art incubator). All four defendants — director Kirill Serebrennikov, former Culture Ministry official Sofia Apfelbaum, former “Seventh Studio” general producer Alexey Malobrodsky, and the studio's former CEO, Yuri Itin — maintain their innocence. This week, “The Naked Pravda” takes a closer look at Kirill Serebrennikov to try to understand what makes him so special in Russia's art world.  In this episode: (2:54) Joshua Yaffa, The New Yorker's Moscow correspondent and the author of the new book “Between Two Fires: Truth, Ambition, and Compromise in Putin's Russia,” explains the contradictions that have defined Serebrennikov's career in theater. (7:04) Maria Alyokhina, a founding member of Pussy Riot and Mediazona, describes what makes Serebrennikov unique in Moscow's art scene and how he cultivated solidarity among artists and entertainers.  (18:06) The Calvert Journal features editor Katie Marie Davies explains the role of state subsidies in Russian theater and cinema. “The Naked Pravda” comes out on Fridays. Catch every new episode by subscribing at Apple Podcasts, Spotify, Google Podcasts, or other platforms. If you have a question or comment about the show, please write to Kevin Rothrock at kevin@meduza.io with the subject line: “The Naked Pravda.”

durée : 00:19:53 - Journal de 18h - Le réalisateur de "Leto" et les trois personnes qui comparaissaient avec lui ont été reconnus coupables. Mais Serebrennikov, qui était jugé pour "fraude à des fins d'enrichissement personnel" et a toujours clamé son innocence, a été laissé libre, condamné à trois ans de prison avec sursis.

durée : 00:19:53 - Journal de 18h - Le réalisateur de "Leto" et les trois personnes qui comparaissaient avec lui ont été reconnus coupables. Mais Serebrennikov, qui était jugé pour "fraude à des fins d'enrichissement personnel" et a toujours clamé son innocence, a été laissé libre, condamné à trois ans de prison avec sursis.

Der russische Regisseur meint, dass wir nach der Krise andere Menschen sein werden.

Esta semana os "Feios, Porcos e Maus" encerram esta caminhada pela santíssima trindade do Sexo, Drogas e Rock and Roll, com uma conversa sobre o mundo da música no Cinema ,que vai dos "Doors" de Oliver Stone, passando por Kaurusmaki, Jarmusch, Crowe, Serebrennikov e o "Variações". Na próxima semana o podcast volta ao "normal" e será dedicado a alguns dos melhores filmes banidos na história do cinema. Seguramente haverá mais Sexo, Drogas e Roll, mas em tempos de quarentena, vale tudo.

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.

Il viaggio di Kiosk in questa ottava puntata è partito da Marrakech, dove il 10 dicembre si aprirà la conferenza intergovernativa sulle migrazioni, che vedrà gran parte dei Paesi del mondo firmare il Global Compact For Migration. Con la decisione di non firmare il patto, l'Italia si unisce ad un gruppo di stati membri dell'UE che rimane minoritario, ma molto rumoroso nella propria contestazione delle politiche migratorie: vi troviamo i quattro di Visegrad, l'Austria, e la Bulgaria. Allineandosi alle posizioni di Orban, questi paesi d'Europa centro-orientale si fanno portatori di una retorica anti-immigrazione, sovranista e securitaria, nonostante siano toccati in maniera marginale dal fenomeno migratorio.Abbiamo discusso in seguito di Ucraina, dove l'ultimo sabato di novembre si è commemorato l'ottantacinquesimo anniversario dell'Holodomor. Insieme allo storico Ettore Cinnella, abbiamo rievocato il contesto storico e le modalità in cui, all'epoca delle grandi collettivizzazioni lanciate da Stalin, fu orchestrata la carestia artificiale che portò alla morte di oltre 4 milioni di ucraini. Ci siamo anche interrogati sulle difficoltà di un riconoscimento internazionale di questo vero e proprio genocidio del popolo ucraino, e su come le odierne relazioni tra Ucraina e Russia si riflettano nella narrazione e nei dibattiti che ne accompagnano la commemorazione.Siamo poi tornati a parlare di attualità spostandoci in Georgia, paese che ha appena eletto la prima presidente donna della regione del Caucaso del Sud. La vittoria di Salome Zurabishvili, arrivata lo scorso 28 novembre al secondo turno delle elezioni presidenziali, ha segnato un momento storico per il paese, ma va problematizzata – non solo a causa del generoso sostegno dimostrato dal partito dell'oligarca Ivanishvili alla candidata ‘indipendente', ma anche a causa delle critiche che le sono state rivolte dalle organizzazioni per i diritti delle donne.La recente uscita nelle sale russe del film “Ponte di Crimea”, commedia ‘romantico-patriottica', ci ha infine portati a discutere dei legami tra cinema e propaganda nella Russia di oggi. Con Martina Napolitano, redattrice di East Journal, abbiamo approfondito la riflessione su libertà e censura nella sfera culturale parlando anche del regista Kirill Serebrennikov, attualmente sotto processo per frode e appropriazione indebita di fondi provenienti dallo stesso Ministero della Cultura. Infine, torniamo a parlare di politiche linguistiche, questa volta in Lettonia, attribuendo il premio Polveriera balcanica della settimana alla testata Il Post.PLAYLIST• Человек и кошка - Ноль / Celovek I koska – Nol' | https://open.spotify.com/track/5l7TSUNrjx52jOctJe7oVf?si=6tN-8_xMSRi3NrQ8y6_8WQ• Tigran Hamasyan - Drip | https://open.spotify.com/track/56aT6RHzJGhsnprd9bFSvP?si=jOLJ8apAT8as1EvMUi5ecg • Naadia – Sputnik | https://www.youtube.com/watch?v=nHsCSQeAEw0• Lyapis Trubeckoj - Tancuj | https://open.spotify.com/track/1xRcwm5dOS2shgLHneeR05?si=6DgjsSObTLSAVDvv_PEHTw• Tigerfish - Baigalaas Irsen Ohin | https://open.spotify.com/track/3BrRUjt8mMXLdcL8a7jgy5?si=CgEjBEvnRFul1vB2MdXOFA

Die Märchenoper "Hänsel und Gretel" soll in Stuttgart von Kirill Serebrennikov selbst auf die Bühne gebracht werden. Niemand wird die Inszenierung des in Moskau unter Hausarrest stehenden Regisseurs vollenden. Das hat der Stuttgarter Intendant Jossi Wieler bekanntgegeben.

Tercera jornada de la 69 edición del Festival de Cannes. La directora aleman Maren Ade ha recibido dos tandas de aplausos durante la proyección de la hilarante Toni Erdman, mientras que Rithy Pahn nos deja fríos con 'Exil', su primera película desde que fuese nominado al Oscar y reconocido por Cannes con 'La imagen perdida'. Completamos la jornada con Le Disciple, un drama muy interesante sobre los extremismos religiosos que ha presentado el ruso Kirill Serebrennikov en Un Certain Regard.