Marlen Khutsiyev
출생 : 1925-10-04, Tiflis, Georgian SSR, Transcaucasian SFSR, USSR [now Tbilisi, Republic of Georgia]
사망 : 2019-03-19
약력
Marlen Martynovich Khutsiev (Russian: Марле́н Марты́нович Хуци́ев; 4 October 1925 – 19 March 2019) was a Georgian-born Soviet and Russian filmmaker best known for his cult films from the 1960s, which include I Am Twenty and July Rain. He was named a People's Artist of the USSR in 1986.
Khutsiev studied film in the directing department at the Gerasimov Institute of Cinematography (VGIK), graduating in 1952. He worked as a director at the Odessa film studio from 1952 to 1958, and worked full-time as a director at Mosfilm from 1965 onward.
Khutsiev's first feature film, Spring on Zarechnaya Street (1956), encapsulated the mood of the Khrushchev Thaw and went on to become one of the top box-office draws of the 1950s. Three years later, Khutsiev launched Vasily Shukshin "as a new kind of popular hero" by starring him in Two Fyodors. His two masterpieces of the 1960s, however, were panned by the authorities, forcing Khutsiev into something of an artistic silence. In 1978, Khutsiev began teaching film directing master classes at the VGIK.)
His 1991 film Infinitas won the Alfred Bauer Prize at the 42nd Berlin International Film Festival.
Self
After the release of "Nostalgia", Andrei Tarkovsky runs out his Soviet authorities permission to work abroad: he has to go back home. But he understands from the messages of some friends and colleagues that his life in Russia would be even tougher than before. So he then decides to break with Soviet authorities and, a year before the Milan Conference of 1984 during which he will announce publicly his decision, he leaves his friends that are hosting him in Rome and takes refuge in a secret location.
Himself / Narrator
In the world, there is a city-port Odessa, which was specially created as a refuge for people of different nationalities and religions. Humor is a special language that helps people from Odessa to communicate and get along with each other. Legends are spreading about Odessa's humor and accent. But - a paradox - people are constantly leaving it. It is loved, but it is left as a child leaves his mother. On the example of this city and its inhabitants, we wanted to understand - why people flee from their cities. We tried to find the answer taking pictures of Odessa citizens in Germany, Israel, Ukraine, Russia, Austria, France and other places. Michael Zhvanetskij, Roman Kartsev, Leonid Barats and Rostislav Khait Victor Loshak, Oksana Fandera, Valerij Todotovskij, Mikhail and Anatoly Kontush and many others are telling their stories and giving their opinions on what is the phenomenon of the city by the Black Sea.
Himself
To be somewhere precise yet stand nowhere at all, to embody one’s convictions, yet never miss the essential, to rise up and be present at the critical moment, to bear witness to a world waiting to tell itself and be retold, to come and go, both at once, abandoning reckless speed, but rather gently touching the human soul with images, with whispered words, the cracks in the wall of life: this is the choreography masterfully created in the film Beyond Territories, Valerie Osouf’s portrait of the world acclaimed filmmaker Abderrahmane Sissako.
Director
베니스영화제 70주년을 맞아 세계 각국의 감독들이 만든 2분 내외의 짧은 단편들로 구성한 옴니버스 영화. 한국에서는 김기덕, 홍상수 감독이 참여했으며 그 외에도 지아장커, 클레어 드니, 왕빙, 압바스 키아로스타미 등 70명의 감독들이 참여했다.
Self - Режиссер
Writer
The second World War echoes throughout the whole Khutsiyev's oeuvre. The director himself did not participate in the war: "The thing is, I didn't fight. I had been a sickly boy, so I was turned down because I still looked like a child. This is sort of like a debt I've been repaying ever since". In "People of 1941", Khutsiyev recites his favourite pieces by war poets and invokes documentary footage.
Director
The second World War echoes throughout the whole Khutsiyev's oeuvre. The director himself did not participate in the war: "The thing is, I didn't fight. I had been a sickly boy, so I was turned down because I still looked like a child. This is sort of like a debt I've been repaying ever since". In "People of 1941", Khutsiyev recites his favourite pieces by war poets and invokes documentary footage.
Screenplay
Fifty-year-old Vladimir Ivanovich Prokhorov, relieved of his worldly possessions, takes a journey back in time. Accompanied by a traveling companion barely half his age, he revisits the people and places of his youth and witnesses the dark forces that shaped the 20th century.
Director
Fifty-year-old Vladimir Ivanovich Prokhorov, relieved of his worldly possessions, takes a journey back in time. Accompanied by a traveling companion barely half his age, he revisits the people and places of his youth and witnesses the dark forces that shaped the 20th century.
Writer
A young man is forced to spend a few days with his father in law...
Director
A young man is forced to spend a few days with his father in law...
Ramzes
About one day of a large mining family. In the center of the picture is a veteran, a former miner, and now a pensioner Panteleimon Dmitriyevich Grinin, who on Victory Day decided to introduce children to his “lady of the heart” hairdresser Zinaida. The action lasts only a day, but a lot happens during this time with the sons, daughters-in-law, daughter and Zinaida...
Director
Originally called World '68, later retitled The World of Today Romm’s film was conceived as an impassioned, large-scale essay on the origins of the 20th century and the subsequent reality the disappointed director felt slipping away from him. The film itself slipped away from him and was left unfinished at the time of his death. His younger colleagues, Marlen Khutsiev, Elem Klimov and German Lavrov, completed the film from the elements he left behind in addition to segments from Ordinary Fascism, closing the film with Romm’s ultimately optimistic outlook: "And still I believe that man is sensible..."
Author
Virtually unseen since its Soviet television broadcast in 1971, the film, Peter Rollberg writes, is “devoted to the anniversary of the Paris commune, mixing historical footage with images of present-day Paris.”
Director
Virtually unseen since its Soviet television broadcast in 1971, the film, Peter Rollberg writes, is “devoted to the anniversary of the Paris commune, mixing historical footage with images of present-day Paris.”
Director
A few days after the unconditional surrender of German troops, a group of Soviet soldiers is billeted at a farmyard which the war somehow never seems to have reached. This apparently peaceful picture is eerily undermined when the Red Army soldiers are confronted with the full extent of Nazi terror.
Third 'cuckoo' player (prince)
This late 60s Russian films is set in 1920, just 3 years after the October revolution. Folks had the choice between red and white, revolution and contra revolution. In that torn-apart-time, one man, the comedian Volodya, tries to mediate, not between different ideologies, but social life and art. While others just want to wash away their gloom, he reflects on the everyday sorrows and the role of art in that time of changes.
Командующий войсками Антанты
The movie is set during the last days of a foreign intervention against Soviet Russia. Police are searching everywhere for a Bolshevik named Brodsky but cannot find him. Meanwhile, a man named Michel Voronov serves as a teacher to a rich woman's son, Zhen'ka.
Writer
인쇄소에서 일하는 레나와 과학자인 볼라댜는 결혼을 약속한 삽십 대의 젊은 커플이다. 두 사람은 북적이는 대도시에서 활기찬 시간을 보내고 친구, 동료들과 즐거운 대화를 나눈다. 하지만 대화를 나누는 사람들의 표정 속에서, 또는 빠르게 스쳐가는 도시 풍경 속에서 문득 텅 빈 것 같은 순간들이 찾아온다.
Director
인쇄소에서 일하는 레나와 과학자인 볼라댜는 결혼을 약속한 삽십 대의 젊은 커플이다. 두 사람은 북적이는 대도시에서 활기찬 시간을 보내고 친구, 동료들과 즐거운 대화를 나눈다. 하지만 대화를 나누는 사람들의 표정 속에서, 또는 빠르게 스쳐가는 도시 풍경 속에서 문득 텅 빈 것 같은 순간들이 찾아온다.
Director
Three lifelong friends who return to Moscow after their military service and whose fathers have been killed in the war see their aspirations juxtaposed against everyday life in 1960s Soviet Union. They reflect on their possible futures and their place in society.
Writer
Having returned from the army, 20-year-old Sergei settles down at the thermal power station and merges into ordinary life. Every day he meets and spends time with childhood friends — the young family man Slava and the merry fellow Nikolai, and once at first sight he falls in love with a stranger on the bus. A lyrical story about a generation of young people entering adulthood, a reappraisal of values, life principles, traditions in culture and art.
Director
Having returned from the army, 20-year-old Sergei settles down at the thermal power station and merges into ordinary life. Every day he meets and spends time with childhood friends — the young family man Slava and the merry fellow Nikolai, and once at first sight he falls in love with a stranger on the bus. A lyrical story about a generation of young people entering adulthood, a reappraisal of values, life principles, traditions in culture and art.
Director
At the end of the Second World War, Fedor is demobilized and returns home where he meets a homeless boy, small Fedor. They decide to live together. The adult works in the building trade and the boy goes to school and looks after the house. They get on very well until Natacha arrives in big Fedor's life. After marrying big Fedor, Natacha tries to win the child's love. But he remains hostile.
Scenario Writer
Director
공장에서 일하는 노동자들을 대상으로 러시아어와 문학을 가르치는 티티아나는 자신의 수업을 듣는 공장 노동자 샤샤를 만나게 된다. 샤샤는 첫눈에 티티아나를 사랑하게 된다.
Assistant Director
A group of Moldavian folk musicians compete for the top Soviet prize. Singer Lyana loves the flautist, but he's fallen afoul of the group leader.
