So that’s what often happens – you grab some first book you come across to put it under a sheet of paper you are giong to write on, and on closer examination this book turns out to be last year’s catalog of the MIFF, and then the thought comes: what is there with the current MIFF – the very same festival that they were going to postpone to the fall?And by coincidence, which are only in films or books, it turns out that the festival has not yet passed and that it begins as early as tomorrow, October 1st.I like everything about my going to the festival, including a walk along Novinsky Boulevard, and a touching attempt to catch the last warmth of the fall sun.This time I didn’t try to get into the festival atmosphere and enter into conversations with someone – as they say, the situation is inappropriate today to communicate too much – it’s good that the festival is held at least in some form.I went to two films in a row at once – “Run, Uwe, Run” (Sweden) and “Salvation” (South Africa)….And here I am hanging in a certain timeless space, alone with the darkness, my trusty tablet and a wide screen.Which movie did I like more?The second film – “Salvation” – looks like a kind of real festival movie, the actors have impressive facial expressions, you want to peer into their faces endlessly, no matter what they say, some frames are so beautiful that it makes you want to take a screenshot on the sly, you want to shazam the music, and in the end you have to secretly wipe away your tears.The first film was made according to more familiar rules and, despite a certain degree of Swedish flavor (architecture, inscriptions), it is extremely understandable to the Russian viewer both in its picture (small rooms with grandmother’s carpets and a swiveling stool near the piano), and in its cinematic language, and even according to their logical text patterns in the conversations of the heroes (laughter was often heard in the cinema hall). It evokes a pleasant feeling of belonging to the pan-European global world.
