Irina Evteeva
1956 (69 лет)
Демон
Irina Evteeva
Based on a painting by M. Vrubel, a poem by M. Lermontov and the play "Faust" by Goethe. This film is the first part of the trilogy 'Everlasting Variations'. The author attempts to expose the atmosphere of early 20th century Russian romanticism, which Vrubel's works so brilliantly illustrate.
Demon
Мелодия струнного дерева
Irina Evteeva
Vladimir Koshevoy, Vladimir Adzhamov
According to Egyptian mythology, Ka is a life force that exists separately from its “master”. These are not the people themselves, but their materialized souls. On the one hand, this is a story about how the ancient Egyptian Pharaoh Akhenaten transmits his Ka to the main character, the Poet. On the other - the love story of Leyli and Medlum, the heroes of the poem of the same name of Khlebnikov. Like the eastern and western stars, they are found in the sky.
The Melody of String Tree
Петербург
Irina Evteeva
Aleksandr Cherednik
A poetic essay on the city of St. Petersburg in the 18th century, based on poems by Alexander Pushkin and Alexander Blok and a novel by Andrey Belyi. The film contains reworked footage from Aleksey Batalov's "Overcoat", Eisenstein´s "Strike", Petrov's "Peter The First", Tikhomirov's "The Queen Of Spades" and others. Petersburg is an unbounded visual fantasy where reality and imagination merge into one. The history of the city represented in a digital form may live its independent life. Yevteyeva presents sights of St.Petersburg that have become the genetic code of the Russian culture in a particular manner in her film. Each shot of the film was hand-painted with special strokes.
Petersburg
Loshad, skripka… i nemnozhko nervno
Irina Evteeva
Irina Evteeva’s debut quickly became a kind of manifesto for the one-room experimental studio: it defines classification by interweaving animation, appropriated footage, feature and documentary to form a unique whole, a film that rushes backwards into the future, thereby re-inventing Futurism. Mayakovskiy is the star; his occasional presence holds together a film driven by the sound, the beat, of his poetry. Evteeva develops a dramatic structure of flaring, fading, being from light: violin strings become rays, quivering dull yellow spots, pictures. The plot assails the material from which it derives energy from material. History, growling and roaring, finds its form.
The Horse, the Violin and a Little Bit Nervous
