Two years ago at the 41st MIFF the program of series included the first episodes of Identification by Vladlena Sandu, Tolia the Robot by Alexei Nuzhny and Trigger by Dmitry Tyurin. The program was warmly received by the festival audience and has since proved it right to exist. We were forced to abandon it because of the Pandemic but now it is back. Ironically the Pandemic has not undermined the meaningfulness of the program, rather the other way round, its urgency has increased as during the lockdown the demand for series skyrocketed. Moreover, though it may sound like a sacrilege, the only business to benefit from the situation was that of various series. The series which were treated very skeptically a decade ago, have gained the status of filmic novels and are especially valuable today. We hope that this year the viewers will appreciate The Germans (Fatherland) from Alexandr Terekhov’s eponymous novel (directed by Stas Ivanov), Headland by Igor Voloshin and other series, the list of which is to be confirmed. The Dutch Nordic thriller Snöänglar by Anna Zackrisson will arrive from Europe. Gustavo Pizzi’s The Last Days Of Gilda will represent Brazil, the trendsetter in the series territory. It celebrates the woman who bravely defends her principles of life. These works prove that the image of series as commonplace soap operas is a thing of the past. They demonstrate original approaches to genres ranging from drama to comedy, from melodrama to thriller, new stylistic and thematic angles in their treatment of the latest tendencies in film language.
Anna Arutyunova
The Festival Daily