TULPAN
Sergei Dvortsevoy
2009 Appeared in the journal The footage
elected Plains
Former radio engineer at Aeroflot past darling documentary festival programmers, Sergei Dvortsevoy book first fiction film in exotic infectious humor, designed in the vastness of poetic steppes of Central Asia.
The surprise has incorporated Tulpan on the international circuit is matched only by the freshness and humanity of his approach, sufficiently free of austerity and exotic flashy alleged before this type of co-Is West, recalling a success unknown, the heartfelt Desert Dream Zhang Lu However, we must not forget that Dvortsevoy an authentic creature designed and weaned by festivals, could have a free after accumulating a huge amount of awards around the world. In Tulpan, the simple life of a family of sheep farmers is transformed into a den of human experience (and animal) rendered with acuity and insight of a documentary narrator, one capable of transforming the picturesque Fairy . We quickly forget the overly pathetic caricature of Kazakhstan Borat , it was also hilarious.
If the Kazakh steppes evoke westerns, Dvortsevoy sticks to a study of manners among members of a clan anything but sad, always about to explode ... but where can you save when you live in the middle of nowhere? Remains a life organized under the basic needs, child rearing and breeding of sheep, in the middle of nowhere (the movie was filmed in an area called Betpak located in southern Kazakhstan, 500 km from the nearest village ...) in those regions where the sky visibly occupies more space than the ground.
In this end of the world, humans do not seem to be worth more than the beasts, the women men than older children. And yet, the family of Asa, who returns to live among his own at the end of his military service in the navy, customs defers constantly to survive, resulting in several spats and sometimes bewildering changes of tone .
Asa would like to marry and start a family, but Tulpan, his unapproachable promised pushes because of his protruding ears too, which applies to our newly decorated pan embarrassing comparisons with Prince Charles, it appears a photo at every opportunity to ridicule. But this is not a whole movie, and hastens Dvortsevoy to lead the cast of unexpected guests, as an exuberant singer jeep and camels recalcitrant. They seem to run their number under a tent in the open, with only spectators as their hosts, themselves caught in a precarious haven it would look bad not to share with passengers. Although
Tulpan not take refuge in any other drama that dashed hopes of this band of merry men with severe strokes, the filmmaker has the kindness and tact to avoid some waffle with any use of postcard effects, preferring the film with good intentions. The camera, always looking, often translates the beauty in the unexpected, such as mop mysterious Tulpan - we will see only once, back - or those wide shots of a purple sky hot and threatening time of a lightning storm striking.
Fan of Vigo, Antonioni and Forman, Dvortsevoy directed his first feature film out of spite, exhausted by the search for funding from the television during his years as a documentary. Tulpan, one notices quickly, reflects a yearning for freedom and authenticity uncommon. The film exudes energy and mainly a form of gratitude to the spontaneity of his subjects to show through their compassion and afford to ridicule the image of the rural back exile among his own people with the attitude of civilized triumphant.
With certain privileges to own documentary as the duration of filming (full year), the filmmaker has been so complete that the key scene of the birth of a sheep after several weeks spent studying the response of females made pregnant face humans in such situations, as another scene involving the death of a lamb. In both cases, this actor has never had to deal with such an event before, but the preparation, execution and intuition Dvortsevoy has kept many movie moments oxygenating.
© 2009 Charles-Stéphane Roy
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