One country is crawling through the rubble; the other is building new arts centers.
producer Nastia Korkia, opened with a title card signed by Russian filmmakers protesting the war. The movie, which follows the project to turn an abandoned Moscow power planet into a cultural center, feels like the country’s attempts to modernize in miniature; the opening scene, set in a swanky shopping mall, recalled the more recent footage of upscale Moscow boutiques with their shelves stripped bare as European companies pulled their wares.
The movie’s highlight is an extended deadpan sequence in which an un-renovated section of the planet is briefly converted into an exhibition space for a single Kandinsky painting, watched over by a beefy security guard that looks like a Russian Channing Tatum. Using fixed camera angles vaguely reminiscent of agag, the film focuses on art-lovers entering the room in small groups and becoming instantly transfixed—not by the canvas on display, but by the guard’s rippling muscles and tight shirt.
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