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Learn moreOn August 14, the Russian-Indian drama premiered in Russia. It stars Mark Eidelstein, Chingiz Garayev, and Alexandra Kiseleva, as well as many other members of Roman Mikhailov's "gang." Film critic Timur Aliyev shares his impressions of the pseudo-documentary, which explores the process of creating arthouse films in the Indian city of Varanasi. The film touches on themes of love and creativity, showing how something beautiful can emerge from chaos.
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What is this mockumentary about?
A group of Russian actors has arrived in the Indian city of Varanasi to take part in a unique arthouse project directed by Roman Mikhailov. The team includes Mark Eidelstein, Maria Matsel, Alexandra Kiseleva, Chingiz Garayev, and Illarion Marov, who are full of enthusiasm and ready to take on a new challenge in their creative journey. The director, who spent two years preparing for filming, promises the participants an unforgettable cinematic experience. However, the ancient atmosphere of Varanasi and its special energy alter Mikhailov's vision, making the filmmaking process even more exciting and unpredictable. Events in this historic city become not only the backdrop but also a crucial part of the plot, enriching the project's artistic vision.
The filming process promises to be unforgettable for the actors and the entire crew—the sets are ready, the roles are rehearsed, and the locations are prepared. However, the work schedule is disrupted when Mark accidentally meets a Russian-speaking girl, Sveta, on the streets of Varanasi. This mysterious character quickly changes his life, adding new layers to it. Falling in love at first sight, the actor, who should have been focused on filming, forgets his duties and begins planning a vacation with his beloved in Goa. This story of love and passion is capable of changing not only the destinies of the characters, but also the process of filmmaking itself.
During the period of forced downtime, the actors of the project begin to lead an unusual lifestyle. Maria Matsel, for example, decides to stay in India, radically changes her appearance, and plans to live in an ashram. Chingiz becomes fascinated with local psychotropic substances, exploring their impact on perception of reality. Illarion, for his part, becomes obsessed with the idea of creating a film based on his dreams. Such unconventional solutions highlight the actors' creative approach and their desire to use downtime for self-development and inspiration.
The filming process of Roman Mikhailov's film faces challenges, but it is precisely in this chaos that a unique cinema emerges—spontaneous and vibrant. The team, who arrived in Varanasi, created "Firebird," the director's latest film, which has already reached audiences. This film is a shining example of how unconventional conditions can contribute to the creation of an original and memorable work of art.
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Who created and directed this?
Roman Mikhailov is a unique figure in contemporary Russian cinema, boasting significant achievements. A Doctor of Physics and Mathematics and a professor at the Russian Academy of Sciences, he is also a laureate of the Andrei Bely Literary Prize. In 2022, Mikhailov rapidly entered the world of cinema, releasing seven feature films and a large-scale series set in the 1990s in three and a half years. Through his creative approach, he has created a cinematic universe in which reality is captivatingly intertwined with dreams, and everyday life combines elements of the miraculous. Mikhailov's work captivates audiences with its originality and depth, making him an important figure in Russian cinema.
Mikhailov's path to cinema was unique and diverse. His passions for poker and gambling, as well as his interest in marginalized religious communities and his extensive study of Indian philosophy, have shaped his creative approach. He has authored over 60 scientific papers and stage productions that have won the Golden Mask Award. This broad experience allows Mikhailov to perceive cinema from a unique perspective, which sets him apart from other directors.
In "We Need to Make Films About Love," Mikhailov portrays a confused director who gradually loses control of his project. This isn't his first role. In "Let's Go to Macau with You," he played a gambler father, and made cameo appearances in "A Fairy Tale for Old People" and "Heritage." Cinematographers Elena Metla and Alexey Rodionov use a handheld camera, creating a backstage effect that lends the film a unique and realistic feel. Thus, "We Need to Make Films About Love" becomes not only a story about creativity, but also a deep reflection on the filmmaking process.
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Roman Mikhailov: A Unique Approach to Photography and His Creative Vision
Roman Mikhailov, a talented photographer, is known for his original style and depth of perception. His work is distinguished by a unique approach to creating images, where each frame tells a story. Mikhailov masterfully uses light and shadow to highlight the emotional component of his photographs. He strives not only to capture a moment, but also to convey atmosphere and mood, focusing on detail.
His works often explore themes of transition and change, which is reflected in the titles of his projects. The phrase "You just have to get to the other side" symbolizes not only the physical but also the emotional transition that every person goes through. Mikhailov explores this process in his photographs, inviting viewers to reflect on their own experiences and transformations.
With simple yet expressive compositions, Roman creates visual images that linger in the memory. His ability to find beauty in the ordinary and convey it through the camera lens makes his work relevant and in demand. Mikhailov continues to develop his style and experiment with new techniques, confirming his status as one of the most interesting contemporary photographers.
How This Cinema Works
The main success of the film "We Need to Make Films About Love" lies in its ability to create a balance between depth and accessibility. Unlike Roman Mikhailov's previous works, which required a certain amount of preparation from the viewer, this film offers a more understandable and accessible language. The mockumentary genre allows the director to play with the boundaries of reality: the viewer simultaneously perceives what is happening as authentic, but also recognizes its conventionality and playful nature. Mikhailov masterfully combines elements of documentary and fiction, making the film attractive to a wide audience.
The film is a pseudo-documentary chronicle of the collapse of the author's concept, which gradually transforms into a parable about how true art does not obey pre-established plans and schemes. Varanasi, with its tangled narrow streets, dense fog, and endless funeral pyres, becomes a mystical space where the connection between cause and effect loses its force. This city, founded, according to legend, by Shiva, the god of creation and destruction, forces heroes to rethink their values and open themselves to the unpredictable. The film raises important questions about the nature of art and its interaction with reality, which makes it a relevant and profound work.
The kingdom of the dead and eternal life, where Funeral pyres burn at every turn, and pilgrims from all over India purify themselves in the sacred Ganges, become the film's central element. The smoke of cremations lends a soft, dreamlike quality to the images, and the ancient streets recall unrealized cinematic masterpieces. Mikhailov presents India through the eyes of a man who perceives it not as an orientalist fantasy, but as a complex and multidimensional space, full of life and deep traditions. The film immerses the viewer in the country's cultural heritage and spiritual practices, creating a unique atmosphere where life and death intertwine in a single rhythm.The director skillfully applies the concept of restoring a shattered world through love. Sveta becomes not just a girl Mark encounters on the street, but a symbol of divine light capable of healing a fractured reality. Her name has profound meaning: she disrupts the director's plans, but simultaneously inspires them to new life. Interestingly, Daria Bryukhanova is the only actress in the group who plays a character with a predetermined script, rather than herself. This gives her role special significance and adds depth to the entire work.
The scenes in which the actors discuss what kind of film should be made are particularly notable in the film. Their reflections on the art mainstream, fairy tales and dreams, as well as on films that bring joy and light to the soul, form a kind of manifesto for Mikhailov himself. This is exactly the kind of cinema he creates in reality. In one of the central scenes, the director shares with the actors the theory of holes in the film canvas - special lacunae into which the viewer immerses themselves, actively using their imagination. This concept is reflected in the film "We Need to Make Films About Love."
Mikhailov masterfully explores the topic of the acting profession, drawing parallels with the webcam industry, where people also "sell their faces for the camera." This is a modern reinterpretation of the Gospel phrase "He who is without sin among you, let him cast the first stone." sounds relevant and witty, emphasizing the commonalities between two worlds, where publicity and self-expression play a key role.
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Mockumentaries: 15 best pseudo-documentaries
Mockumentaries - This is a genre that combines elements of documentary film and fiction. Often based on satire and comedy, these films present fictional events as real, creating the effect of documentary authenticity. This list presents 15 of the best mockumentaries that are worth checking out.
Among the most famous mockumentaries is Borat, in which the main character, played by Sacha Baron Cohen, goes to America to learn about American culture and life. It's a Spin-Off is a film that parodies reality TV, demonstrating absurd situations and behavior of the characters.
Equally interesting is The Mighty Wind, which tells the story of a musical group trying to reunite for a concert. This film not only entertains but also raises questions about friendship and nostalgia.
Also worth mentioning is "What We Do in the Shadows," which mixes vampire themes with comedy, showing the daily lives of vampires in New Zealand. This work attracts viewers with its unique approach to the genre and witty humor.
Other examples include "In Bruges," which, while not a pure mockumentary, contains elements typical of the genre and explores difficult topics through the lens of black comedy.
Mockumentaries continue to gain popularity due to their ability to combine reality and fiction. They intrigue viewers, make them laugh and think about serious topics, while remaining accessible and entertaining. If you're looking to expand your film knowledge, be sure to check out these 15 best mockumentaries that will keep you captivated.
What are the project's problems?
The film "We Need to Make Films About Love" has many strengths, but it also suffers from the shortcomings typical of Mikhailov's work. In this film, much information is conveyed through dialogue rather than visual images, which at times makes it difficult to understand the plot. In addition, there is an element of naivety that makes the film difficult to perceive as a full-fledged work of fiction, especially in those episodes where the actors begin to engage in "spontaneous" conversations.
The acting in this work leaves an ambivalent impression. Daria Bryukhanova, as Sveta, displays impressive persuasiveness and an air of mystery that sets her apart from the rest of the cast. However, the core cast of the "Mikhailov sect" looks more like a group of friends on vacation than professional actors who've come to work in another country. Their speech is replete with colloquial phrases, such as "well, like... in short," which sounds unnatural and unfamiliar, as such language is used much less frequently in real life. This creates a sense of inconsistency between the characters and the overall atmosphere of the work.
The director looks charming in the frame, but his character, the creator, is almost ready to cross the line of narcissism. Mikhailov, as the guru with his disheveled hair and red bandana, resembles a caricature of himself. Perhaps this is a manifestation of the author's self-irony, which adds depth and layering to the character.
The film's ending raises some questions, as it feels dramatically forced. The lovers' reconciliation and reunion are too easy, and neither character faces any challenges. Mikhailov tends toward harmonious endings, even when they seem unnatural. Given the mockumentary format, the dialogue feels overly balanced, and the linear plot structure fails to create a sense of spontaneity and improvisation. The lack of a broken narrative and visual chaos makes the film less in keeping with the traditions of the genre.
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Moscow Skyscrapers and Kamchatka Surfing: Russian Documentary Film Festival Beat Film Festival
Beat Film Festival is a unique documentary film event that attracts audiences with its vibrant and relevant films. The festival program features films exploring a variety of topics, from the architecture of Moscow skyscrapers to the exotic surfing of Kamchatka. The festival offers viewers the opportunity to see the world through the eyes of talented directors and immerse themselves in documentary stories that inspire and provoke thought.
This year, the focus is on the combination of the urban aesthetics of megacities and wild nature, reflecting the diversity of Russian culture and lifestyle. The festival's films allow viewers not only to enjoy cinema but also to discover new horizons, whether in the bustling streets of the capital or on the waves of the Pacific Ocean.
Beat Film Festival is a platform where art, nature, and contemporary trends intersect, creating a unique experience for every viewer.
How to watch this movie
The film "We Need to Make Films About Love" explores how true art emerges from life, capable of shattering familiar stereotypes. Unlike the author's previous works, this film is aimed at a wide audience due to its accessibility and the absence of radical experiments that previously attracted the attention of Mikhailov's fans. This film focuses on the universality of human emotions and experiences, making it understandable and relatable to every viewer.
The film "We Need to Make Films About Love" occupies a special place in Mikhailov's oeuvre, offering a universal reflection on the nature of art. While "Vacation in October" was saturated with cinephile references to Lynch and Soviet cinema, and "Let's Go to Macau with You" was a chamber drama about the relationship between fathers and children in the context of the world of poker, Mikhailov's new work strives to become a broader statement about love and creativity. This picture not only reflects the personal experiences of the author, but also opens up new horizons for the audience to understand the art of cinema and its role in human life.
The director analyzes his creative method, explores the influence The film explores the influence of chance on the creative process and examines the limits of authorial control. These themes make the film particularly appealing to viewers interested in Mikhailov's work, as well as those planning to see or already viewing his film "Firebird," made in India.
Mikhailov remains a unique phenomenon in Russian cinema, a director who creates not just films, but profound emotional experiences. His films resemble mysterious dreams—at first glance, they may seem meaningless, but upon closer inspection, they reveal their hidden logic. The apparent simplicity of the plot conceals a depth characteristic of a parable. Mikhailov masterfully creates multilayered works with "holes" through which the viewer falls, immersing themselves in the atmosphere. His films can be perceived as a comedy about a failed shoot, as profound reflections on the nature of creativity, and also as a fairy tale about love, which has the power to heal the world. These features make his work relevant and in demand, attracting the attention of both viewers and critics.
