#olga yulia

[hollywood-addicts]

After four months the original Hollywood Addicts are finished! Now I can focus on plot details and new characters later on!

#hollywood addicts #oc #original character #reference #lola tilly #molly alfie #kitty precious #mr. mustard #loops fruit #chestnut elmers #betty batty #fox underwood #lara peabody #lucky foot #burns forrest #malia tusko #olga yulia #ramen anter #butters coco #seeno evel #kalihari noodles #spinner spider

[reesecomic13]

Happy Pride Month!

(Context: Lola, the one in the black jacket, is a creator of a sitcom and the rest are the writers of it.)

Original Meme:

#oc #hollywood addicts #pride month #breaking bad #breaking bad meme #Lola Tilly #olga yulia #Seeno evel #ramen Anter #butters coco #spinner spider #kalihari noodles

[meri-l]

Video from the set of Major Grom: The Game

It's time to open the veil of secrecy and look on the set of the movie "Major Grom: The Game". Especially for you, straight from Plus Dacha - an exclusive video from the team of BUBBLE Studios and Kinopoisk!

#major grom #major thunder #major grom the game #tikhon zhiznevsky #lyubov aksenova #alexander siteikin #alexey maklakov #olga sutulova #matvey lykov #andrey trushin #evgeny chebatkov #andrey atlas #konstantin khabensky #sergei goroshko #sergey goroshko #oleg trofim #igor grom #yulia pchelkina #dima dubin #sergei razumovsky #sergey razumovsky #psychiatrist rubinstein #august van der holt #maria arkhipova #otto schreiber #fedor prokopenko #bubble comics #bubble studios

[otmaaromanovas]

Lili Dehn's last moments with the Romanovs, as described in her memoir

"We walked slowly towards the head of the great staircase . . . the moment for saying farewell had arrived … I tried to be brave . . . the silence was unbroken save by Tatiana 's stifled sobbing. Olga and the Empress were quite calm, but Tatiana, who has been described by most contemporary historians as proud and re- served, made no secret of her grief."

Lili named her daughter, born after the revolution, 'Maria Olga' presumably after the Grand Duchesses.

Source: The Real Tsaritsa - Lili Dehn

Photo: Tatiana Nikolaevna with Lili Dehn, circa 1910, at Anna Vyrubova's house

#Yulia Dehn #Lili Dehn #sources #Alexander Palace #1917 #captivity #OTMA #Olga Nikolaevna #Tatiana Nikolaevna #big pair #Alexandra Feodorovna #oh darling Tatiana

[patricedumonde]

This is perhaps my favorite video to exist on youtube! I watch it way too often lol. These students were so lucky to share a stage with the dancers from Bolshoi.

It is so difficult to even choose favorite dancers in this performance. I would say Xenia Zhiganshina and Yulia Stepanova stood out for me though. Alyona Kovalyova danced my favorite variation, and I think she did a marvelous job here. I thought it was breath-taking. She's so tall though that in the end when she does the tour jete, it low key looked like she tripped lol. I know it's part of the choreography but my heart still skipped a beat. This performance is my Avengers Endgame haha.

Ooh, also. In the mazurka, look at how tiny the 2023 graduates are. Time flies. I still find it unacceptable that I'm now older than some prima ballerinas. Anyway, take a break for an hour and make sure to watch this the whole way through! I can also compile a playlist of the variations if anyone's interested. Oscar Frame 2017 graduate (variation from the ballet Le Conservatorie, music by H.S.Paulli) Eleonora Sevenard 2017 graduate (variation from the ballet Trilby, music by Y.Gerber) Alyona Kovalyova 2016 graduate (variation from the ballet Le Roi Candaule, music by C.Pugni) Xenia Zhiganshina 2014 graduate (variation from the ballet Gretna Green, music by E.Guiraud) Olga Smirnova 2011 graduate (variation from the ballet Paquita, music by L.Minkus) Mikhail Lobukhin 2002 graduate (variation from the ballet Don Quixote, music by L.Minkus) Yulia Stepanova 2009 graduate (variation from the ballet The Little Humpbacked Horse, music by C.Pugni) Evgenia Obraztsova 2002 graduate (variation from the ballet Le Pavillon d’Armide, music by N.Tcherepnin) Denis Rodkin (variation from the ballet La Source, music by R.Drigo) Svetlana Zakharova 1996 graduate (variation from the ballet La Sylphide, music by R.Drigo)

#russian ballet #bolshoi ballet #vaganova #eleonora sevenard #alena kovaleva #alyona kovalyova #xenia zhiganshina #olga smirnova #mikhail lobukhin #yulia stepanova #evgenia obraztsova #denis rodkin #svetlana zakharova #anastasia nuikina #maria khoreva #maria bulanova #anastasia demidova #alexandra khiteeva #yulia spriridonova #svetlana savelieva #sofia valiullina #maria koshkareva #anna sharova #angelina karamysheva #Youtube

[adini-nikolaevna]

Romani people have always seemed to me as unique beauties. Especially the children of Tsar Nicholas I and Tsar Nicholas II were wonderfully beautiful. My question is the famous dark blue eyes of the Romanovs, which are known to everyone. Are there any quotes about these eyes, which are admired and praised by everyone? Were their eye colors really that perfect? Thanks in advance for your answer 🤗

Hi! Here are a few quotes for you:

"Her eyes have that unusual sparkle which poets and lovers describe as heavenly." - Dutch General Friedrich Gagern on Grand Duchess Olga Nikolaevna (1822-1892)

"... a tall and slender blonde, a perfect beauty, with the profile of a cameo and big blue eyes." - A.I. Sokolova on Grand Duchess Olga Nikolaevna (1822-1892)

"She was slightly above the medium height, with a fresh complexion, deep blue eyes, quantities of light chestnut hair, and pretty hands and feet." - Yulia "Lili" Dehn on Grand Duchess Olga Nikolaevna (1895-1918)

"Extremely pretty, with brilliant blue eyes and a lovely complexion, Olga resembled her father in the fineness of her features, especially in her delicate, slightly tipped nose." - Anna Vyrubova on Grand Duchess Olga Nikolaevna (1895-1918))

"She had not the regular features, the almost mystical beauty of her sister, Tatiana Nikolaevna, but with her rather tip-tilted nose, her wide laughing mouth, her sparkling blue eyes, she had a charm, a freshness, an enchanting exuberance that made her irresistible." - Meriel Buchanan on Grand Duchess Olga Nikolaevna (1895-1918)

“... very tall, slender as a reed, [with] an elegant cameo profile, grey eyes and brown hair. She was fresh, clean and fragile, like a rose." - Lili Dehn on Grand Duchess Tatiana Nikolaevna

“Certainly she was a different type from the others even in appearance, her hair being a rich brown and her eyes so darkly gray that in the evening they seemed quite black... " --Anna Vyrubova on Grand Duchess Tatiana Nikolaevna

"She had beautiful, regular features, and resembled some of the beauties among her royal relatives, whose family portraits decorated the palace. Dark haired, pale, with wide-set eyes – she had a poetic, faraway look that did not fit her personality.” -- Anna Vyrubova on Grand Duchess Tatiana NIkolaevna.

"A real beauty, with enormous blue eyes." - Grand Duchess Maria Alexandrovna on Grand Duchess Maria Nikolaevna

“Marie Nicolaevna was like Olga Nicolaevna in colouring and features, but all on a more vivid scale. She had the same charming smile, the same shape of face, but her eyes, ‘Marie’s saucers,’ as they were called by her cousins, were magnificent, and of a deep dark blue. " - Baroness Sophia Buxhoeveden on Grand Duchess Maria Nikolaevna

“… tall, healthy, with sable eyebrows and a bright blush on her open Russian face; she was especially lovely to a Russian heart… her eyes illuminate her entire face with a unique, radiant luster; they sometimes seem black, as long eyelashes throw shadows over the bright blush of her soft cheeks. She is merry and alive, but she has not yet awakened completely to life; probably concealed in her are the immense forces of a real Russian woman.” - Sofia Ofrosimova on Grand Duchess Maria Nikolaevna

 "Her features were regular and finely cut. She had fair hair, fine eyes, with impish laughter in their depths, and dark eyebrows that nearly met." - Baroness Sophia Buxhoeveden on Grand Duchess Anastasia Nikolaevna

"... her eyes, exact copies of the soft blue eyes of her father." - Gleb Botkin on Grand Duchess Anastasia Nikolaevna

#answered

[pwlanier]

Vedernikov Yuliy Anatolyevich (1943-2015) "The Loss." Early 2010s.

Oil on canvas, 77×60 cm.

In the lower right corner is the author's signature. On the back is the copyright name, date and signature.

Provenance: collection of the artist's widow, Prokhorova Elsa Modestovna.

Member of the Union of Artists of the USSR (1980). He was born into a family of musicians Anatoly Vedernikov and Olga Goekker. The Vedernikov family had close friendly relations with S.T. Richter and R.R. Falk. Since early childhood, Yuliy Vedernikov dreamed of becoming a musician, like his parents, he was seriously engaged in music at the Gnessin school. But there was a tragedy, an unexpected illness deprived the boy of his hearing. As an artist, Yuliy Vedernikov was formed in the late 60s and early 70s. His aunt Irma Göcker, being a professional artist, introduced Yulia to her friend, her former classmate and famous representative of the Moscow underground of the 60s Vasily Yakovlevich Sitnikov, who at that time recruited students for his school who would not have the slightest idea of painting. Yuliy Vedernikov is an artist-philosopher who gives us the opportunity to look from the outside at the cycle of momentary human relations, the fall of our values and the confusion of goals, immorality, greed and hypoclicitousness that reduce people's relationship to animal instincts.

Litfund

[thorsfavoritelesbian1]

My favorite fancast for Nat since ScarJo, Olga Kurylenko, Maggie Q, Yulia Snigir, and Ravshana Kurkova are problematic.

Milla Jovovich - Serbian-Russian

A reminder that 616 Nat has the ability to be scary and brutal. Milla would be able to portray that.

#natasha romanoff #natalia romanova #marvel fancast #fancast #yuliya snigir #black widow #milla jovovich #ravshana kurkova

[poettier]

SQUARESPACE - Everything To Sell Anything (Director's Cut) from Ian Pons Jewell on Vimeo.

Director: Ian Pons Jewell DOP: Mauro Chiarello Producer: Jon Adams Production Designer: Robin Brown Production Designer: Tristan Mur Lead Wardrobe Stylist: Ameena Kara Callender Gimbal Operator: Florian Hatwagner Casting Coordinator/DA: Emm Le Chat Service: Radioaktive x Metro VFX: Black Kite Studios

Service: Radioaktive (UA) Executive Producer: Sasha Bevka Producer: Tanya Sokolova 1st AD: Aleksei Smoliar Production Manager: Yulia Sotnikova Art Director: David Kharaishvili VFX Supervisor: Denis Reva Wardrobe Stylist: Kostia Goncharuk MUA: Dasha Taivas Production Coordinator: Olga Avrahova Production Assistant: Anna Refel Stills Photographer: Artem Nadyozhin DIT: Dmitry Samus 1st AC: Vlad Dobrik Playback Op: Sergey Rupos Service: Metro (GE) Executive Producer: Sandro Gabilaia Head of Production: Maiko Gurabanidze Line Producer: Masho Tevdorashvili Unit Production Manager: Tamar Tvaradze 2nd AD: Sopo Parjiani Production Manager: Tato Pantsulaia Gaffer: Misha Ramishvili Rigging Gaffer: Giorgi Marsagishvili Key Grip: Shalva Leluashvili Production Coordinator: Pikria Kikodze Unit Manager: Merabo Rostomashvili Set Manager: Koka Chkaidze Transportation Manager: Davit Peradze Transportation Coordinator: Davit Maghlakelidze Location Manager: Achi Kevlishvili Location Manager Assistant: Natia Chomakhidze Casting Director: Tina Khizanishvili Casting Assistant: Beka Khachidze Production Assistant: Nini Iashvili Production Assistant: Mariam Gugushvili ProductionAssistant: Irakli Kakabadze Chaperone: Marisha Jincharadze

VFX: Black Kite Studios VFX Supervisor: Adams Croker VFX assist: Guillaume Weiss VFX assist: George Brunt VFX assist: Dan Sanders Colourist: Tom Mangham VFX Supervisor: Denis Reva VFX Producer : Tamara Mennell

Music and sound design Supervising Sound Editor: Lawrence Kendrick Sound Design and Mix: Will Cohen, Lawrence Kendrick, Joe Wilkinson, Jim Stewart, Adam Smyth Music Composition “Everything”: Joe Wilkinson Music Composition “Time": Adam Hare Music Composition “Future": Jim Cornick Audio Producer: Laura-Leigh Smith Music Research: Jon Rust

Talents LA Podcast Host: Michael Delgado Voice Over: Candace Camille Reporter: Nicola Lambo Motivational Speaker: Micah Bijon Talents Spain Doula Guide: Rachel Lascar Mom: Neema Lahon Farmer: José Luis Matienzo Frasquet Boulder Instructor: Roqueta Navarro Xavier Robot: Mireia Ruiz Callado Boat Guide: Aniez Atlas Manicurist: Antony Jaime Perez Pilot Student: Irene Aguilar Plane Instructor: Motokazu Kawamara

Talents UA Writer: Eugeniy Skisov Biker: Maria Jeniffer Writer Assistant: Oles Dmytrenko Talents GE Cafe Girl: Mariam Sanogo Lobby Suit: Salome Chitaia Tarot Reader: Ana Meskhi Cafe Dusk Fan: Ana Gogiashvili Dad: Gigi Loria Chef: Dato Bekoshvili Cafe Guy: Preston Zein Finishing Tutor: Tamar Khurtsilava Wine Man: Tengo Avalishvili Astronaut: David Chokuri Flotation Tank Guy: Ituka Bright Lobby Suit: Vika Kalandia Lobby Suit: Giorgi Chigogidze Lobby Suit: Goga Khapava Lobby Suit: Chy Vic Lobby Suit: Irma Lapiashvili Book Signing Fan: Gegham Book Signing Fan: Ana Taladvanze Book Signing Fan: Nino Gachechiladze Book Signing Fan: Kanji Sakemi Book Signing Fan: Preshels Tudebi Cameraman: Giorgi Shetsiruli Boulder Pusher: Indira Reyes Boulder Pusher: Ana Zubashvili Boulder Pusher: Jack Hubbell Boulder Pusher: Mohamed Keshta Tourist: Milan Lee Tourist: Nuca Dopadze Tourist: Nadejda Tsoi Tourist: Alexander Tsoi Tourist: Shbi Kbngwa Lenel Richy

[hollywood-addicts]

Hollywood Addict Character List

Lola Tilly: The Main Character

-Lola’s Background

Molly Alfie: Lola’s Assistant (and Future Love Interest)

-Molly’s Background

Kitty Precious: Lola’s Best Friend

-Kitty’s Background

Mr. Mustard: Lola’s Co-Star

-Mr.’s Background

Loop Fruit: Voice Actor on Batty Banter

-Loop’s Background

Chestnut Elmers: Lola’s Agent

-Chestnut’s Background

Betty Batty: Child Co-Star

-Betty’s Background

Fox Underwood: Batty Banter Manager

-Fox’s Background

Lara Peabody: Makeup and Hairstylist Department

-Lara’s Background

Lucky Foot: Waiter and Co-Owner in Burns’ Restaurant

-Lucky’s Background

Burns Forrest: Lola’s Childhood Best Friend and Restaurant Owner

-Burns’ Background

Malia Tusko: Costume Design Department

-Malia’s Background

Olga Yulia: Batty Banter Head Writer

-Olga’s Background

Ramen Anter: Batty Banter Writer

-Ramen’s Background

Butters Coco: Batty Banter Writer

-Butters’ Background

Seeno Evel: Batty Banter Writer

-Seeno’s Background

Kalihari Noodles: Batty Banter Writer

-Kalihari’s Background

Spinner Spider: Batty Banter Writer

-Spinner’s Background

#hollywood addicts #original story #original premise #lola tilly #Molly alfie #kitty precious #mr. mustard #loops fruit #chestnut elmers #Betty Batty #fox underwood #Lara Peabody #lucky foot #burns forrest #malia Tusko #Olga Yulia #ramen anter #butters coco #seeno evel #kalihari noodles #spinner spider #oc

[reesecomic13]

Olga Yulia (She/Her and Ace/Bi)

Background:

She is the Head Writer on “Betty Batty” and she is the first writer that was hired in the current gang. She was recruited when Lola read a short story she wrote about limb loss in the newspaper.

Personality:

Over Confident, Head strong, Very kind, Very blunt, Loud, Good at dealing with situations, Over the top

Facts:

Her limb loss is a result of a car accident, but she likes to twist the story- Lara and her bond over it, She likes to switch out her prosthetics often to go with what she’s doing, She refuses to drive or go in a car with anyone, Walks literally everywhere, Sex repulsed, Her mom is a Ferret and her dad is a Three-Toes Sloth, She is Russian and Ukrainian

Animal Category:

Carnivore

Addictions:

Turkish Delights.

Height, Weight, Age, Birthday:

6.2ft, 230lbs, 35 years old, 4/2

Voice Claim:

Erin Fitzgerald aka Abby Bomible from “Monster High”

#olga yulia #olga #hollywood addicts #oc

[meri-l]

Introducing a new column on my blog, "Fan theories about Major Grom: The Game"

Attention, spoilers, unverified information, fan theories!

Finally, we saw the plate with the names of the actors on it. On the first shooting day, there were two plates and a close-up showed only the one with only the members of the crew written on it, without the actors.

Actors who starred in "Major Grom: Plague Doctor," and who will continue to star in the movie "Major Grom: The Game:

Tikhon Zhiznevsky (Igor Grom)

Lyubov Aksenova (Yulia Pchelkina)

Alexander Seteykin (Dima Dubin)

Alexei Maklakov (Fedor Prokopenko)

Sergey Goroshko (Sergey Razumovsky) (Originally, they promised he wouldn't be in the film)

Konstantin Khabensky (Psychiatrist Rubenstein)

There will also be new actors and their roles are not yet officially known. But we do have some great fan theories:

Standup comedian Andrew Atlas. Fans decided that he will be instead of Ignat Buster because the Kievstoner who played Ignat won't be able to film in Russia.

Olga Sutulova. There is no unanimous choice here. Either one of the princesses from the 3rd volume of comics Major Grom "As in a fairy tale" or the former girlfriend of Igor Grom Sasha Filipenko. Or maybe even a completely new role, which came up specifically for this movie

Matvei Lykov. The fandom unanimously decided that this was the perfect actor for Agust van der Holt head of HOLT International

And here is a photo from the shooting of the film and you can see Matvey in a white suit

Also, the signature cup overlaps two or three other actor names. That's why there's debate about who it might be

Sorry if you wanted to refrain from spoilers, but I needed to at least tell someone about it. Thank you for your attention!

#major grom #major thunder #major grom the game #major grom plague doctor #igor grom #tikhon zhiznevsky #yulia pchelkina #lyubov aksenova #lyubov aksyonova #dima dubin #alexander siteikin #fedor prokopenko #sergei razumovsky #sergei goroshko #olga sutulova #matvei lukov #Agust van der Holt #Holt International #bubble comics #bubble studio

[highlifestyleindia]

The Russian high-fashion industry has an uncertain future behind its glossy front.

As a result of Western designer brands' exodus from Russia in response to Moscow's decision to send soldiers into Ukraine, domestic rivals now command more attention.

But professionals from the business warned that grasping that opportunity would not be simple at the yearly Moscow Fashion Week, which features the creations of Russian designers.

"We need to develop the production of fabrics because our fabrics and accessories are all imported," said Yulia Lavrichenko, a fashion stylist who took part in last week’s event. "Unfortunately, our designers are suffering from this for the time being."

Even Russian couturiers primarily rely on Italy for the high-end materials used to dress their wealthy clients.

Furthermore, although China, Bangladesh, Belarus, and Turkey continue to supply Russia with materials and clothing for mass use, Italy is supporting European Union restrictions that make trading in luxury goods exceedingly challenging.

Olga Sinitsyna, whose brand SCORA creates hats and accessories, said her company was just recovering from the pandemic's shock when Russia's military operation started, which caused the rouble to crash and import prices to soar.

Since then, the rouble has recovered, "but logistics are 10 times more expensive," she added, adding that she was forced to raise her rates.

"You have to understand that everything you see here is not made from Russian raw materials," she said. "This, of course, affects the cost ... But here the choice is either you do it - or you cry and do nothing. I choose to do it."

The increasing limitations will force designers to find innovative solutions, and innovators to focus some of their energy on promoting a domestic fashion manufacturing base, according to designer Albina Akkulova, known for creating dresses that are inspired by fairy tales and are embroidered with beads and gold thread.

"For Russia as a whole, it's new possibilities," she said, backstage after her brand's runway show. "We'll create something of our own, develop our own fashion industry."

#Russia #fashion industry news #russian fashion #fashion brands #news #pandemic #Conflict in Ukraine #runway show #european union #trending #instanews #like #share #follow #high fashion #luxury fashion #luxury lifestyle

[patricedumonde]

Who are your top 5 favorite Vaganova graduates of the last, say, 10 years?

Funny my brain went all the way back to 2003 then realized 10 years ago was 2013. LOL. So, post Olga Smirnova...

Okay, top of my head 2013 is Renata's class so Renata will make it, of course. This is a difficult question first because some dancers who stood out in the academy don't necessarily stand out now, and vice versa. We also had some gap with the pandemic so a lot of 2019-present dancers' career progressions were affected. Let's see, if I were to rank them though.

Renata Shakirova

Alexandra Khiteyeva

Maria Bulanova

Maria Illiushkina

Anastasia Lukina

Ahhhhh that was difficult, I definitely had my favorite students while they were in the academy though. Svetlana Savelieva had a lot of visibility when she was a student and I loved seeing all her exams. She hasn't had a lot of soloist roles since graduation so I wasn't sure if I should list her or not. If we're just talking about their tenure in Vaganova though, Sveta would be up there and Maria Illiushkina wouldn't.

You know who I miss seeing on stage? Maria Petukhova. I'm still crushed by the fact that her videos in the academy will probably be the only videos we'll see of her on a main stage, ever. *cue tears*

Alyona Kovalyova was also one of my favorites when she was a student. The reasons she's not in my top 5 are one, I follow Mariinsky a lot more than Bolshoi and two, I can't say that she stands out in Bolshoi right now.

Sixth on my list is Anastasia Smirnova. I believe it's her class that didn't get a graduation performance, so I've mostly seen her work once she joined Mikhailovsky (plus that short stint at Mariinsky lol) and my god, she's a terrific dancer.

I'm also realizing that 2013 onwards feels VERY "right now." All of these dancers aren't even prima yet. I wonder if it's the effect of the pandemic or what, but I can't believe those graduates already span a full decade.

When I first read your question, my mind immediately y went Olga Smirnova and Yulia Stepanova so yeah, definitely a fun and challenging question :)

#vaganova #russian ballet #patrice answers

[cleoenfaserum]

UN PARAÍSO RUSO.

Paraíso es un concepto bíblico muy popular en títulos cinematográficos porque establecen dos cosas, nuestra desobediencia al poder (Dios) y el machismo (la tentación encarnado en la mujer) y como consecuencia de ello, todos los males acontecido a la humanidad. Les recuerdo que la biblia fue escrito por hombres. Dado mi curiosidad, me he hecho la siguiente pregunta, ¿Cuántas películas lleven la palabra paraíso en su titulo?. De acuerdo a Movie Titles with the Word: Paradise (movieflavor.com) existen 454 películas que incorporan en su titulo la palabra PARAÍSO.

Paraíso (en ruso: Рай; Ray) es una película de drama bélico rusa de 2016 producida y dirigida por Andrei Konchalovsky. La película fue seleccionada como la entrada rusa a la Mejor Película en Lengua Extranjera en la 89.ª edición de los Premios Óscar, pero no fue nominada.​ Paraíso (película de 2016) - Wikipedia

La película sigue a tres personas cuyos caminos se cruzan en una época terrible de la guerra. Olga, una aristocrática rusa emigrante y miembro de la resistencia francesa; Jules, un colaborador francés; y Helmut, un oficial alemán de alto rango de las SS. Paraíso (2016) - IMDb

IMdB: 7'0 DRAMA / BÉLICO DURACIÓN: 2h 16m

Paradise (Paraíso) 2016, Andrei Konchalovsky

911-1 https://ok.ru/video/2624571902554

El escritor Vallisoletano muchas veces premiado Eduardo Roldán hace, en el periódico El Norte de Castilla, en su columna, La sombra del ciprés, la siguiente reflexión sobre la película que me recomendó en una de nuestras conversaciones, haciendo alusión a su articulo indicado mas abajo. Tengo el privilegio de asistirle en el mejoramiento de su ingles. Muchas veces me da la impresión que es al revés.

"Cada objeto amado es el centro de un paraíso". Novalis

Reflexión sobre el infierno

Escuche y / o lea:

911-2

La pregunta no debería ser si se puede pensar después de Auschwitz, sino en qué pensar después de Auschwitz. Quien tuvo la desgracia de pasar por allí es casi seguro que, de un modo u otro, no pudiera pensar en otra cosa. Quienes solo hemos conocido la barbarie a través de testimonios ajenos sí disponemos del beneficio del olvido o la elección; lo cual no quiere decir que solo quien haya conocido Auschwitz en propia carne tiene derecho a hablar de ello. De Hannah Arendt a Martin Amis, desde el ensayo o la ficción, la nómina de escritores que han alumbrado textos de gran valía sobre el poliedro del Holocausto no es desdeñable. El problema surge —y aquí toca acudir a don Immanuel Kant— cuando Auschwitz se convierte en medio y no en fin, cuando en lugar de explorar Auschwitz, de tratar de comprender Auschwitz, Auschwitz se utiliza como mera vía para (tratar de) alcanzar un efecto en el lector/espectador: el resultado es pornografía emocional. Así, hoy Auschwitz (el Holocausto) se ha convertido en un género literario (artístico), y en uno saturado, lo que inevitablemente diluye el Horror, lo hace más digerible en el peor sentido, y no produce reflexión sino lágrimas sin sal, que se secan por sí solas tan pronto se cierra el libro o se encienden las luces de la sala.

No es el caso de Paraíso. Para empezar, Konchalovsky se abstiene de mostrar montañas de esqueletos, crueldades gratuitas de los malísimos nazis, piras de zapatos o libros. El barracón del campo de exterminio donde está confinada Olga (Yulia Vysotskaya), uno de los tres protagonistas, no se muestra más que en planos medios o generales, sin subrayados de la precariedad de las condiciones; la celda donde está prisionera al arrancar, no desde otro punto que desde fuera y a ras de suelo, una puerta metálica más en una línea de puertas metálicas. Lo que cuenta es la interacción entre los personajes, las palabras y los gestos, las motivaciones que de estos se desprenden. Son personajes no delineados con escuadra y cartabón; el film está rodado en blanco y negro, pero poco hay de blanquinegro en el retrato moral. En cierto momento —en torno a los dos tercios de metraje—, Olga se lanza a los pies del alto mando de las SS Helmut (Christian Clauss), y le dice que por fin comprende, que el proyecto nazi tiene todo el sentido y que son superhombres y acabarán triunfando… Él la levanta sin contemplaciones y le escupe que deje de decir bobadas. No obstante, hemos visto actos de altruismo en ella —y más tarde otro aun mayor— y de verdadera fe en el nacionalsocialismo en él —llega a definirse, justamente, como superhombre—. O el tercer vértice del triángulo, Philippe Duquesne en el rol de Jules, colaboracionista francés, un funcionario banal que desayuna con su esposa, hijo y perro con la misma naturalidad con que firma sentencias de muerte u ofrece un visado a cambio de sexo.

Este dibujo del carácter de los personajes no tendría la fuerza que tiene de haberse empleado un enfoque estético distinto. Dos son los elementos que de inmediato destacan: el mencionado blanco y negro de la fotografía y el formato cuadrado de la imagen. La primera, por Aleksandr Simonov, merecería por sí sola un estudio en profundidad; filmada en 16 y 35 mm, baste decir que el aspecto de la imagen no desmerece al de Ida o La cinta blanca. No se trata, empero, de edulcorar la atrocidad a través de la belleza, sino de abstenerse del regodeo sádico que el color puede implicar; paralelamente, el formato cuadrado no es una decisión caprichosa: así los personajes parecen enclaustrados, limitados en su libertad —a lo que contribuye también la casi total ausencia de movimientos de cámara—, cuyo ejercicio solo les es posible en los estrechos márgenes que las circunstancias les imponen.

La otra gran idiosincrasia del film reside en su estructura narrativa. Esta se articula en dos partes cuyo nexo es Olga, y dentro de cada parte se alternan fragmentos en los que se despliegan la(s) historia(s) desde el punto de vista más usual, con la cámara como máquina que registra invisible los acontecimientos, con otros donde los personajes, contra un monótono fondo gris y sentados, se dirigen directamente a un entrevistador cuyas preguntas o comentarios no escuchamos. Puede pensarse que se trata de algún miembro del Ejército Aliado tras la derrota alemana, si bien hay indicios que contradicen esta sospecha, y solo con la lectura de los créditos finales se revelará la identidad del oyente, un giro in extremis que, si no arbitrario, acaso peque de ingenioso (valga la paradoja), y quizá el único, leve reproche que se le puede poner a la cinta junto con el de —también leve— los puntuales arañazos que aparecen en la imagen, que rompen la unidad formal sin aportar un mayor carácter documental, el propósito que cabe inferir de tal decisión.

En conjunto se trata de una obra que nos recuerda, si no otra cosa, que en arte siempre se puede dar otra vuelta a lo transitado, y así descubrir nuevas aristas, nuevos perfiles. Aun solo por ello ya merecería el visionado.

(La sombra del ciprés, 13/1/2024) por Eduardo Roldán

@enfaserem

Ficha del film

Ray (Paraíso)

Dir.: Andrei Konchalovsky

Ints.: Yulia Vysotskaya, Christian Clauss, Philippe Duquesne

Rusia, 2016, drama, blanco y negro, 130 mins.

TEMAS

andrei konchalovsky, cine, drama, paraíso

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