Director’s Reflection on What Defines Cinema
Nikita Mikhalkov, a renowned filmmaker, recently shared a provocative stance about Eldar Ryazanov’s body of work. During a YouTube interview with Nadezhda Yay, he stated a clear threshold between what he considers cinema and what he views as not cinema. He explained that Ryazanov’s work, while possessing strong dramatic elements and broad appeal, does not meet his personal definition of films that constitute cinema as a living, breathing art form.
According to Mikhalkov, Ryazanov’s films excel in drama and are engaging and entertaining for audiences. Yet, he argues that cinema transcends mere storytelling or emotional resonance. For him, cinema must be a dynamic experience that includes movement, rhythm, and a musicality that makes the screen feel alive. In his view, the essence of cinema lies not only in the plot and performances but in the vitality that comes from how a film breathes on the screen.
He credited Ryazanov with creating work that is dramatic and enjoyable, but he emphasized that such films do not fully embody his concept of cinema. He described genuine cinema as a living organism, one that pulsates with breath and music and invites viewers to feel the atmosphere of the moment. This distinction reflects Mikhalkov’s belief that the best cinematic experiences emerge from a seamless blend of dramaturgy, performance, and sensory immersion.
In his remarks, Mikhalkov also mentioned a film he believes does meet the criteria of cinema. He pointed to the comedy The Irony of Fate, or Enjoy Your Bath! as an example where every element aligns—dramatic structure, strong acting, and the overall cinematic sensibility that resonates with audiences across generations.
He later offered another example from contemporary cinema that, in his opinion, can be classified as true cinema. The work cited was Anna Melikyan’s Anna’s Feelings, a story about a factory worker in Perm who begins to hear voices from extraterrestrial civilizations. The film, praised for its imaginative premise and cinematic execution, was cited by Mikhalkov as a piece that embodies the living essence of cinema through its storytelling approach and stylistic choices.
Additional context from recent media reports indicates that the same period featured performers such as Alsou and Valeria performing a French number for a New Year’s film, adding a flavorful note to discussions about how language, music, and screen presence contribute to a film’s emotional impact.