Sergei and Simon have to deliver a suitcase full of heroin to Mikhalych or else they will be killed. There is one minor detail: the only problem-solving technique they are familiar with is a shot in the head.
A picture with the slogan "For the survivors of the 90s" cannot but be cruel, especially when director Balabanov is trying to put Tarantino on the Russian province of the 90s. It turns out not too much, there is not enough ease of killing, the experience of my brother is too much in the way. And yet Balabanov is not Tarantino or Guy Ricci. Everything is more complicated, tougher and without lightness. Just because it all happened or could have happened. We can say that Blind Man's Buff is "Brother-1" without Peter and without Sergei Bodrov. But Nizhny Novgorod is also colorful in places and the passages around the city are really made with love. Danila Bagrov could be treated well for the time being. It is impossible to treat Semyon and Saiman well. They, like all the characters in the film, except maybe the heroine Litvinova, are deeply negative characters. Therefore, everything that happens is like in the animal world, when a snake eats a frog in order to be eaten by itself. And in this sense Balabanov is extremely misanthropic.
But Mikhalkov is good precisely for his naturalness, although the end of his character is doubtful. But in 2005, I wanted everything to be exactly like that.
A picture with the slogan "For the survivors of the 90s" cannot but be cruel, especially when director Balabanov is trying to put Tarantino on the Russian province of the 90s. It turns out not too much, there is not enough ease of killing, the experience of my brother is too much in the way. And yet Balabanov is not Tarantino or Guy Ricci. Everything is more complicated, tougher and without lightness. Just because it all happened or could have happened.
We can say that Blind Man's Buff is "Brother-1" without Peter and without Sergei Bodrov. But Nizhny Novgorod is also colorful in places and the passages around the city are really made with love. Danila Bagrov could be treated well for the time being. It is impossible to treat Semyon and Saiman well. They, like all the characters in the film, except maybe the heroine Litvinova, are deeply negative characters. Therefore, everything that happens is like in the animal world, when a snake eats a frog in order to be eaten by itself. And in this sense Balabanov is extremely misanthropic.
But Mikhalkov is good precisely for his naturalness, although the end of his character is doubtful. But in 2005, I wanted everything to be exactly like that.