Dmytro Lavrinenko

Zhenya is 45 years old, he lives in Ukraine, and works as a street cleaner. His mother lives in the US and got him a green card. To maintain it, he has to travel to America every year. Zhenya is looking for a woman and wants to get married. He records his life on video. This movie explores the reality of selfies by using two cameras: one belongs to the protagonist, the other is operated by the director. As a result, the two realities merge in one film.

Zhenya is 45 years old, he lives in Ukraine, and works as a street cleaner. His mother lives in the US and got him a green card. To maintain it, he has to travel to America every year. Zhenya is looking for a woman and wants to get married. He records his life on video. This movie explores the reality of selfies by using two cameras: one belongs to the protagonist, the other is operated by the director. As a result, the two realities merge in one film.

Zhenya is 45 years old, he lives in Ukraine, and works as a street cleaner. His mother lives in the US and got him a green card. To maintain it, he has to travel to America every year. Zhenya is looking for a woman and wants to get married. He records his life on video. This movie explores the reality of selfies by using two cameras: one belongs to the protagonist, the other is operated by the director. As a result, the two realities merge in one film.

Zhenya is 45 years old, he lives in Ukraine, and works as a street cleaner. His mother lives in the US and got him a green card. To maintain it, he has to travel to America every year. Zhenya is looking for a woman and wants to get married. He records his life on video. This movie explores the reality of selfies by using two cameras: one belongs to the protagonist, the other is operated by the director. As a result, the two realities merge in one film.

Zhenya is 45 years old, he lives in Ukraine, and works as a street cleaner. His mother lives in the US and got him a green card. To maintain it, he has to travel to America every year. Zhenya is looking for a woman and wants to get married. He records his life on video. This movie explores the reality of selfies by using two cameras: one belongs to the protagonist, the other is operated by the director. As a result, the two realities merge in one film.

Attentive non-paraded portrait of Leonid Fedorov-a member of the group "Auktsyon"

Many many words have been written and a few ingenious TV documentaries have been filmed about the great Russian rock band Auktyon ("Аукцыон"), which recently celebrated 30 years of playing music. Everything is completely different in the case of the film Encore: it took seven years for the director, Dmitry Lavrinenko, to make it; he needed just that amount of time to capture the wayward grace still preserved by Fyodorov, Garkusha, Ozersky and their associates. If you look behind the powerful music facade, you find not a story of a band but chronicles of a voyage aimed at incredible, incomparable music. Encore shows how the songs which are now known by heart were composed; it also shows things generally left aside: pieces of everyday life, tour diaries, conversations, including the key phrase: "You should not look at the liberty too much, you might feel dizzy."

Many many words have been written and a few ingenious TV documentaries have been filmed about the great Russian rock band Auktyon ("Аукцыон"), which recently celebrated 30 years of playing music. Everything is completely different in the case of the film Encore: it took seven years for the director, Dmitry Lavrinenko, to make it; he needed just that amount of time to capture the wayward grace still preserved by Fyodorov, Garkusha, Ozersky and their associates. If you look behind the powerful music facade, you find not a story of a band but chronicles of a voyage aimed at incredible, incomparable music. Encore shows how the songs which are now known by heart were composed; it also shows things generally left aside: pieces of everyday life, tour diaries, conversations, including the key phrase: "You should not look at the liberty too much, you might feel dizzy."

Many many words have been written and a few ingenious TV documentaries have been filmed about the great Russian rock band Auktyon ("Аукцыон"), which recently celebrated 30 years of playing music. Everything is completely different in the case of the film Encore: it took seven years for the director, Dmitry Lavrinenko, to make it; he needed just that amount of time to capture the wayward grace still preserved by Fyodorov, Garkusha, Ozersky and their associates. If you look behind the powerful music facade, you find not a story of a band but chronicles of a voyage aimed at incredible, incomparable music. Encore shows how the songs which are now known by heart were composed; it also shows things generally left aside: pieces of everyday life, tour diaries, conversations, including the key phrase: "You should not look at the liberty too much, you might feel dizzy."