"Correction class": reviews. The film "Class correction": reviews

The tough, realistic drama from the life of teenagers with disabilities, “Correction Class”, reviews of which are categorically ambiguous, clearly demonstrates not only the horrors of modern society, but also many terrible social ulcers in the world of growing teenagers.

The brightest "discovery" of the "Kinotavr"

Leaving the bored realism in the recent past, Kinotavr boldly proceeded to experiments on the uneven system of the audience, to unsightly naturalism. The most “loud” were the premieres of M. Segal “Cinema about Alekseev” and I. Tverdovsky “Correction Class”, reviews of both films are similar - both works have a similar design, tricks and habits. For all their documentary and witty sociality, they envy the realities into a grotesque, tragicomic comic book with perfect envy, making perfect use of dramaturgy to achieve a peak emotional effect.

From working notes of a psychologist to a youth horror

Correction Class is a film based on the story of Ekaterina Murashova, a family psychologist who created the work based on her rich real experience. If you position the picture as a social horror, it becomes clear why the picture is “crammed” with shock episodes. After all, the genre itself has the exploitation of spectator emotions and frank manipulation of the beholder. This statement is confirmed by the cinematic technique used by the author - the “swing principle” - every episode of humiliation, violence, brutality and oppression is instantly followed by “comic relief” (discharge by laughter).

The atmosphere of general shame

The film “Correction Class”, reviews of which are diametrically opposed, intelligibly and accurately conveys the atmosphere of all-consuming shame that prevails in a repressive civilization, when even the very fact of the existence of an individual becomes obscene. And to enhance the effect, the creators deliberately saturate timekeeping with “killer” shots: the children, in pursuit of adrenaline, lie down under the train, the crazy crazy nerd is dancing with the wheelchair of the subject of his gasps, caressing her. The unfortunate wheelchair user, to seduce a peer, puts on stockings on her paralyzed legs, the dwarf mischievously performs the dance “Little Ducklings”. Classmates unite with porridge the image of the recently deceased child. And that’s not all.

Enjoying power over the viewer

“Correction Class” is the debut film of the son of the famous documentary director 24-year-old Ivan Tverdovsky. This is the first full-length work of a promising young man caused a real resonance among moviegoers, starting as a standard social sentimental "chernukha" and as a result reached the level of Russian film classics like "Scarecrow". It is recommended to watch the “Correction Class” in cinemas, it is from the big screen that you can fully enjoy the vitality of the film project. When viewing, it seems that the director is clearly enjoying the opportunity to keep the viewer not only in constant provocative tension, but on a short leash. The young creator does everything in the frame that he pleases, and such a frank, slightly cynical trick (which is extremely rare for post-Soviet cinema) in this case works. Considering that before this picture, the director shot his own short films like “Dog High”, the film “Correction Class”, critics' reviews confirm this, it turned out to be close to the works of Lars von Trier (“Dogville”, “Breaking the Waves”, “Dancing in the Dark” ”,“ Idiots ”), and this is the highest compliment. And the fact that Ivan did not start filming his work in the fashionable genre of moquimentaries (although he was going to) is pleased that the materialism is more than enough.

Storyline as a provocation

The film “Correction Class”, the release date of which is indicated on September 25, 2014, has an initially straightforward plot. Lena (Maria Poezzhaeva) is transferred to a specialized specialized class from home schooling, which instantly becomes the mind and heart of a separate company of outsiders, a center of attraction. Two young men - Anton (Philip Avdeev) and Misha (Nikita Kukushkin) simultaneously fall in love with the new one. And Lena, who is like a ray of light in complete darkness, mastering herself, continues to face the hostility of children and adults. The director outlines the love triangle and images of the adult world in sharp, clear lines, in which ignorance is not inferior to aggression. The school principal, performed by Natalia Domeretskaya, sometimes behaves at least incorrectly in relation to students, parents and everyone else. Schoolchildren are also far from a gift, especially those studying in “normal” classes, they are so far from humanism that they not only make stupid remarks, but also take pictures of the unfortunate wheelchair on the phone. It is on such vital soil that the “love story” flourishes, as if it had come from a European arthouse cinema. By the way, information for those who want to enjoy watching the film “Correction Class” alone, the release date on DVD is October 28, 2014.

Actors and roles

It is worth noting that the characters of I. Tverdovsky are real burnt romantics with all their marginal design. The cast of the film (the real pearl of the film) is represented by two generations: the young shoots - Nikita Kukushkin, Maria Poezjaeva and Philipp Avdeev - and mature professionals - Natalya Pavlenkova, Olga Lapshina and Natalya Domeretskaya. Many fans of these actors plagued in search of an answer to the question: “Where can I see the Correction Class?” But after the release on DVD, it became irrelevant. By the way, the “young shoot” is just one guys from the Seventh Studio (director K. Serebrennikov). Unrivaled in the film are: in courage and tenderness - Poezdzhaeva, in care and gentleness - Avdeev, in a contradictory combination of vulnerability and aggression - Kukushkin. These young talents fit perfectly into the director’s plan, where yesterday’s graduates of the theater university Yu. Serina and A. Markaryan, who felt the charms of the correction class M. Uryadov and the actresses I. Vilkova and E. Nesterova, also exist on equal terms.

Hard moralism

“Correction class”, reviews say unanimously - this is crying, to perfection - sobbing. The creators so grasp the contradictory moments of teenage variability, the influence of circumstances, external factors, the team on the injured (especially in this case) youth psyche, which simply admire their skill. How is it to be young, is it easy - this is a matter of paramount importance. Most of the people around, sadly, are deprived of compassion and humanism - this is just a chic background for the development of a story of tender love of two sincere hearts, and the cinematic technique “moving camera” is the only right way to force the viewer not only to believe what is happening on the screen, but to let it through feel yourself skin. That is why it is worth watching the “Correction Class” in cinemas where there is special acoustics and a special perception.

Rarity in domestic cinema

This film project can be safely called a serious movie for adolescents and children of senior school age, which we note is a rarity for domestic cinema. There is plenty of evidence for this: Renat Davletyarov’s excellent work, Steel Butterfly, went virtually unnoticed. Dmitry Astrakhan’s film “Little Children” caused a barely noticeable resonance; naturally, against this background, “Correction Class” (reviews are measured in hundreds) can be considered a significant event. And in this, in addition to the director, there is a merit and cameraman Fedor Struchev, who steadfastly shot sometimes just the disgusting, repulsive scenario “present”. The camera as if specially gives the viewer to see absolutely all the abomination that the characters of the picture do. And these unsightly scenes break the unsteady line between the audience and the screen.

The verdict is not subject to appeal

The Russian cinema elite and leading critics diverged in the ratings of the film, and their ratings and interpretations are diametrically opposed (which is both alarming and intriguing). Some are firmly convinced that this is the “flagship of a new wave” of Russian cinema, a masterpiece of the 21st century, real first-priority realism, a cry of teenage despair. The latter consider the picture a continuous grotesque, a postmodern trick, their own universe and an attempt to bring the promising provocateur Tverdovsky to the level of von Trier and Balabanov. In any case, the viewer should pay attention to the fact that the finale of the film “Correction Class” will be very vague when the sequel comes out and if it is not known, but there are prerequisites for this.