Serebrennikov was unable to attend the Cannes premiere due to his disputed house arrest.
Paris-based sales company Charades has unveiled a slew of sales for Russian theatre and film director Kirill Serebrennikov’s drama Leto, set against the backdrop of the early 1980s Leningrad rock scene, following its premiere in competition in Cannes.
The film has sold well worldwide including to Germany (Weltkino), Spain (Avalon), Italy (I Wonder Pictures), Japan (Kino Films), Korea ( Atnine), Canada (MK2/Mile End), Benelux (Imagine), Poland (Gutek), Brazil (Imovision), Colombia (Cine Colombia), Turkey (Fabula), Sweden (Triart), Finland (Cinemanse), Hungary (Mozinet), Czech Republic and Slovakia (Aerofilms...
Paris-based sales company Charades has unveiled a slew of sales for Russian theatre and film director Kirill Serebrennikov’s drama Leto, set against the backdrop of the early 1980s Leningrad rock scene, following its premiere in competition in Cannes.
The film has sold well worldwide including to Germany (Weltkino), Spain (Avalon), Italy (I Wonder Pictures), Japan (Kino Films), Korea ( Atnine), Canada (MK2/Mile End), Benelux (Imagine), Poland (Gutek), Brazil (Imovision), Colombia (Cine Colombia), Turkey (Fabula), Sweden (Triart), Finland (Cinemanse), Hungary (Mozinet), Czech Republic and Slovakia (Aerofilms...
- 5/24/2018
- by Melanie Goodfellow
- ScreenDaily
On a long enough timeline, every rock scene of the 20th century will get the requiem it deserves. Manchester got “24 Hour Party People,” the American Midwest got “Almost Famous,” and now the Leningrad underground gets Kirill Serebrennikov’s “Leto,” which is as much an impressionist portrait of the Soviet Union on the brink of Perestroika as it is an elegiac tribute to the singing revolutionaries who helped pave the way. The film is all too happy to fudge some of the details and get a bit cute with the classics (often taking a sledgehammer directly to the fourth wall), but its freewheeling spirit results in an ecstatic look back at a brief window of time between oppressions. It’s a shambling, transportive, and semi-tragic story about a fleeting past where anything seemed possible.
Serebrennikov — whose 2016 breakthrough “The Student” was also obliquely critical of Russia’s current regime — doesn’t...
Serebrennikov — whose 2016 breakthrough “The Student” was also obliquely critical of Russia’s current regime — doesn’t...
- 5/10/2018
- by David Ehrlich
- Indiewire
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