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TIFF Review: "State Funeral"by Daniel Glassman, 2019-10-01, www.povmagazine.com

According to a survey done earlier this year by the Russian polling firm Levada, 70% of Russians are of the opinion that Josef Stalinʼs rule was good for the country. To those in the West who equate Stalin with the likes of Hitler and Mao as men whose colossal crimes mark them as bloodthirsty tyrants and whose names are almost bywords for evil itself, this nostalgia is surprising, to say the least.

A Hypnotic but Contextless Portrait of Stalin’s Death and Its Aftermathby Massha Gesssen, 2019-09-30, www.newyorker.com

In March of 1953, Moscow, and the rest of the Soviet Union, fell under a spell. On March 5th, a sombre male voice on the radio, heard on loudspeakers mounted in public spaces throughout the U.S.S.R., announced that the great leader Joseph Stalin had died.

La mummia del poteredi Giacomo Tagliani, 2019-09-07, www.fatamorganaweb.unical.it

Non siamo più abituati all’idea di un evento che non sia sempre anche mediatico. Non lo siamo più da quando ciascuno di noi ha con sé una protesi tecnologica con la quale insieme produce e consuma contenuti mediali in tempo reale. Ma ancora più addietro, è nella fase ruggente della televisione e della presa diretta che il couplage tra l’evento e i media che lo creano, lo definiscono e lo riproducono ha assunto una saldatura pressoché perfetta, rendendo quasi ridondante quel binomio non più pensabile separatamente.

В Венеции наконец похоронили СталинаСтас Тыркин, 2019-09-07, www.kp.ru

Фильм продолжительностью 135 минут - уникальная возможность примерить на себя события марта 1953 года, испытать этот опыт, пройти этот неслабый «иммерсивный экспириенс». Знаменитый документалист Лозница смонтировал кадры, снятые в преддверии и во время похорон вождя и учителя двумястами советскими операторами.

Венеция-2019: Хроника Дряхлости - От Похорон Сталина До Шедевра Полански И Слабого КонкурсаЕкатерина Барабаш, 2019-09-07, www.kino-teatr.ru

А в новом монтажном фильме Сергея Лозницы «Государственные похороны» показано, как в сделку со злом вступила вся страна. Более чем двухчасовая картина подробно рассказывает о том, что происходило в СССР с 5 марта 1953 года кончая моментом, как гроб с телом Сталина внесли в Мавзолей.

State Funeral: Venice Reviewby Jonathan Romney, 2019-09-06, www.screendaily.com

In one documentary mode, he films observational pieces such as Maidan, Austerlitz and Victory Day, while in another he creates complex assemblages of archival work mapping the surface appearances and underlying complexities of modern Russian history; notably in The Event and last year’s The Trial. His new film State Funeral is in the latter vein, an epic, implicitly ironic evocation of the elaborate ceremonies that followed the death of Joseph Stalin in March 1953.

Venezia76 – State Funeral, di Sergei Loznitsadi Leonardo Lardieri, 2019-09-06, www.sentieriselvaggi.it

5 marzo 1953, ore 21.50. Dopo alcuni giorni di agonia, muore per una crisi respiratoria, causata da un ictus, Josip Stalin. “Morto Stalin, viva Stalin”. L’Unione Sovietica si ferma per i suoi funerali di Stato. Con filmati d’archivio, in gran parte inediti, Loznitsa mostra l’intera cerimonia della sepoltura, seguita da tutto il Paese, orfano del suo comandante supremo, che l’organo di stampa Pravda descrisse come “Il Grande Addio”.

Кремль построил вокруг кладбище и околдовал людейДмитрий Волчек, 2019-09-06, www.currenttime.tv

Почему фильм о событиях почти семидесятилетней давности оказался очень актуален в современной России? И что происходит после смерти диктатора, который собрал в своих руках колоссальную власть? Обо всем этом кинорежиссер Лозница рассказал в интервью Дмитрию Волчеку.

Пепел и ДонбассАндрей Плахов, 2019-09-06, www.kommersant.ru

Лозница по-новому аранжирует кадры похорон, ставит их в современный контекст, высекает барочные цветовые эффекты из контрастов черно-белого с вкраплениями кумача и алых цветов (кровь прочитывается за кадром).

Спи, богатырь, спиАнтон Долин, 2019-09-06, www.meduza.io

Название «Государственные похороны» — нарочито нейтральное, будто стертое. Даже английская версия выглядит богаче: «State Funeral» можно перевести как «Похороны государства», и сразу откроется богатство трактовок. Но Сергей Лозница не облегчает жизнь своим зрителям.

Venezia 76 - State Funeralda Anton Giulio Onofri, 2019-09-05, www.close-up.it

La sera del 5 marzo 1953, per un’emorragia cerebrale che tre giorni prima gli aveva paralizzato mezzo corpo, muore inaspettatamente Iosif Vissarionovic Stalin. L’avvenimento produce uno shock fortissimo in tutta l’Unione Sovietica, come la morte improvvisa di un padre. E Stalin era davvero un grande padre, in quel preciso momento storico, amato, quasi venerato e ancora considerato, anche fuori della Russia, colui che aveva sconfitto Hitler influendo in maniera decisiva sull’esito della Seconda Guerra Mondiale.

Where Does Homeland Begin? Close-Up on Sergei Loznitsaʼs "Victory Day"on Notebook MUBI, 2019-02-14, www.mubi.com

May 9, 2017. Belarus-born, Ukraine-raised, and now Berlin-based filmmaker Sergei Loznitsa brings his camera to Treptower Park, in former East Berlin, to document the 61st celebration of Victory Day. What results is rich and knotty work of documentary cinema by one of the great chroniclers (and occasional critics) of 20th century Russian history.

An Extraordinary New Film Captures the Spectacle of Soviet Show Trialsby Massha Gesssen, 2019-01-15, www.newyorker.com

A palpable sense of randomness is Loznitsa’s singular accomplishment. As in the trial itself, there is no story in “The Trial”—only the spectacle of the transformation of people into totalitarian subjects.

First Look 2019: Donbass and The Trial by Daniel Witkin, 2019-01-11, www.reverseshot.org

The lifeless choreography makes for the starkest contrast with the darkly anarchic Donbass. While cameras and their operators occupy a privileged position in Putin’s info-war, here we can imagine the figure behind the camera being as frightened as all the rest, anxiously determined not to fuck up or else.

First Look 2019: Donbass and The Trialby Daniel Witkin , 2019-01-11, www.reverseshot.org

Donbass is the film in which Loznitsaʼs work as both fiction and documentary filmmaker come into closest harmony. Comprised of largely disconnected, almost sketch-like fragments (the director has cited Buñuelʼs Phantom of Liberty as an influence), the film has a pronounced ripped- from-the-headlines quality, even as it casts doubt on the veracity of the headlines themselves.

Trial Runsby Tony Pipolo, 2019-01-09, www.artforum.com

To hear them refuse to defend themselves, confessing error, and begging for mercy is to witness the full, terrifying, and repugnant effect of Stalinist ideology. In the tradition of propagandistic cinema, the dour proceedings indoors are sporadically interrupted by footage of hysterical mobs marching in the streets and demanding death for the “imperialist betrayers” of the glorious working class on “trial” inside.

"Reality" as Embattled Story: Donbass in Odesa and Their Own Republic at Doclisboaby Carmen Gray, 2018-12-20, www.sensesofcinema.com

In perhaps the most harrowing scene of all, unbearable in its gradual mood shift and escalation, a man is tied to a pole with a sign announcing him to passersby as a pro-Ukrainian mercenary killer. Its intricate weave of interaction is a lesson not only in how mobs function, but how traumatic experiences and attitudes passed down through generations move virally and boil up again with little need of prodding.

The Trialby Lawrence Garcia, 2018-09-06, www.cinema-scope.com

What the industrious Belarus-born director has created is a profoundly (and productively) contradictory object that resists easy topicality: a fastidiously researched, nonfiction account of a fastidiously composed fiction, and hence a canny inversion of the courtroom drama template.