Sergei Dvortsevoy
출생 : 1962-08-18, Kazakhstan, Soviet Union
약력
From Wikipedia, the free encyclopedia.
Sergey Dvortsevoy (born 1962) is a filmmaker from Kazakhstan. His 2008 feature film Tulpan was Kazakhstan's 2009 Academy Awards official submission to Foreign Language Film category.
Dvortsevoy worked as an aviation engineer before studying film in Moscow in the early 1990s. His films immediately garnered international acclaim, receiving prizes and recognition at festivals around the world, including the nomination of Bread Day (1998) for the prestigious Joris Ivens Award at the Amsterdam International Documentary Film Festival. The following year his work was presented at the Robert Flaherty Film Seminar, an institution dedicated to Flaherty’s adherence to the goal of seeing and depicting the human condition. Dvortsevoy’s documentaries are committed to observational filmmaking. His subjects—people living in and around a Russia in transition—try in their individual ways to eke out an existence.
Tulpan was Dvortsevoy's first fiction film; it was nominated for the 2009 Asia Pacific Screen Awards for Best Feature Film (which it won) and Best Achievement in Directing.
Description above from the Wikipedia article Sergey Dvortsevoy , licensed under CC-BY-SA, full list of contributors on Wikipedia.
Producer
더 나은 삶을 꿈꾸며 모스크바로 온 20 대 이주여성 아이카. 어렵게 얻은 일자리를 지키기 위해 아기를 낳고 첫 젖을 물리기도 전에 병원에서 도망친다. 아픈 몸을 이끌고 일터로 복귀하지만 월급은 떼이고 다시 새로운 일을 구해야 한다. 일을 찾아 헤매는 거리에 무겁게 쌓인 눈처럼 고단한 매일이 그녀를 짓누른다.
Editor
더 나은 삶을 꿈꾸며 모스크바로 온 20 대 이주여성 아이카. 어렵게 얻은 일자리를 지키기 위해 아기를 낳고 첫 젖을 물리기도 전에 병원에서 도망친다. 아픈 몸을 이끌고 일터로 복귀하지만 월급은 떼이고 다시 새로운 일을 구해야 한다. 일을 찾아 헤매는 거리에 무겁게 쌓인 눈처럼 고단한 매일이 그녀를 짓누른다.
Screenplay
더 나은 삶을 꿈꾸며 모스크바로 온 20 대 이주여성 아이카. 어렵게 얻은 일자리를 지키기 위해 아기를 낳고 첫 젖을 물리기도 전에 병원에서 도망친다. 아픈 몸을 이끌고 일터로 복귀하지만 월급은 떼이고 다시 새로운 일을 구해야 한다. 일을 찾아 헤매는 거리에 무겁게 쌓인 눈처럼 고단한 매일이 그녀를 짓누른다.
Director
더 나은 삶을 꿈꾸며 모스크바로 온 20 대 이주여성 아이카. 어렵게 얻은 일자리를 지키기 위해 아기를 낳고 첫 젖을 물리기도 전에 병원에서 도망친다. 아픈 몸을 이끌고 일터로 복귀하지만 월급은 떼이고 다시 새로운 일을 구해야 한다. 일을 찾아 헤매는 거리에 무겁게 쌓인 눈처럼 고단한 매일이 그녀를 짓누른다.
Writer
Asa, a young and cheerful dreamer, returns from his Russian naval service to his sister’s nomadic family on the desolate Hunger Steppe of central Asia, so that he can begin his own life as a shepherd. But before he can tend a flock of his own, Asa must first win the hand of the only eligible girl for miles—his mysterious neighbor, Tulpan.
Director
Asa, a young and cheerful dreamer, returns from his Russian naval service to his sister’s nomadic family on the desolate Hunger Steppe of central Asia, so that he can begin his own life as a shepherd. But before he can tend a flock of his own, Asa must first win the hand of the only eligible girl for miles—his mysterious neighbor, Tulpan.
Director
Low key documentary recording the daily life of an elderly blind man in Russia.
Editor
The highway of the title is a 2,000 mile dirt road in Kazakhstan. Along this route, a traveling family circus journeys in their crowded hand-cranked bus, stopping in villages. The filmmaker accompanies the Tadjibajevs, capturing their quarrels, performances, and intimate moments.
Writer
The highway of the title is a 2,000 mile dirt road in Kazakhstan. Along this route, a traveling family circus journeys in their crowded hand-cranked bus, stopping in villages. The filmmaker accompanies the Tadjibajevs, capturing their quarrels, performances, and intimate moments.
Director
The highway of the title is a 2,000 mile dirt road in Kazakhstan. Along this route, a traveling family circus journeys in their crowded hand-cranked bus, stopping in villages. The filmmaker accompanies the Tadjibajevs, capturing their quarrels, performances, and intimate moments.
Editor
Depicts a community of pensioners living in near isolation outside of St. Petersberg as it enacts the weekly ritual of bringing a delivery of bread—left at a rail junction two hours away—into the village for distribution.
Producer
Depicts a community of pensioners living in near isolation outside of St. Petersberg as it enacts the weekly ritual of bringing a delivery of bread—left at a rail junction two hours away—into the village for distribution.
Director
Depicts a community of pensioners living in near isolation outside of St. Petersberg as it enacts the weekly ritual of bringing a delivery of bread—left at a rail junction two hours away—into the village for distribution.
Editor
Sergey Dvortsevoy makes his international debut with this astonishingly intimate portrait of a nomadic family on the Kazakh plains. Several scenes in this slow, elegant film betray a certain dry humor -- a child devouring the last of a bowl of yogurt and then crying; a cow getting its head stuck in a pail; and a woman singing to herself, accompanied by her snoring husband. Other scenes capture the nomads' hardscrabble lives -- drunken herdsmen in the grips of existential despair, growling dogs, and a camel enduring a rather grim septum piercing. By the end of the film, the family pulls up stakes and herds its sundry four-legged beasts -- camels, cattle, goats, dogs, and horses -- to a more fertile plain. This film was screened at the 1999 Yamagata International Documentary Film Festival.
Producer
Sergey Dvortsevoy makes his international debut with this astonishingly intimate portrait of a nomadic family on the Kazakh plains. Several scenes in this slow, elegant film betray a certain dry humor -- a child devouring the last of a bowl of yogurt and then crying; a cow getting its head stuck in a pail; and a woman singing to herself, accompanied by her snoring husband. Other scenes capture the nomads' hardscrabble lives -- drunken herdsmen in the grips of existential despair, growling dogs, and a camel enduring a rather grim septum piercing. By the end of the film, the family pulls up stakes and herds its sundry four-legged beasts -- camels, cattle, goats, dogs, and horses -- to a more fertile plain. This film was screened at the 1999 Yamagata International Documentary Film Festival.
Cinematography
Sergey Dvortsevoy makes his international debut with this astonishingly intimate portrait of a nomadic family on the Kazakh plains. Several scenes in this slow, elegant film betray a certain dry humor -- a child devouring the last of a bowl of yogurt and then crying; a cow getting its head stuck in a pail; and a woman singing to herself, accompanied by her snoring husband. Other scenes capture the nomads' hardscrabble lives -- drunken herdsmen in the grips of existential despair, growling dogs, and a camel enduring a rather grim septum piercing. By the end of the film, the family pulls up stakes and herds its sundry four-legged beasts -- camels, cattle, goats, dogs, and horses -- to a more fertile plain. This film was screened at the 1999 Yamagata International Documentary Film Festival.
Director
Sergey Dvortsevoy makes his international debut with this astonishingly intimate portrait of a nomadic family on the Kazakh plains. Several scenes in this slow, elegant film betray a certain dry humor -- a child devouring the last of a bowl of yogurt and then crying; a cow getting its head stuck in a pail; and a woman singing to herself, accompanied by her snoring husband. Other scenes capture the nomads' hardscrabble lives -- drunken herdsmen in the grips of existential despair, growling dogs, and a camel enduring a rather grim septum piercing. By the end of the film, the family pulls up stakes and herds its sundry four-legged beasts -- camels, cattle, goats, dogs, and horses -- to a more fertile plain. This film was screened at the 1999 Yamagata International Documentary Film Festival.
