The topic centers on Medea as a legend that shifts from the original tale. In this version, Medea resists a grim fate. The film’s script was crafted by Vasily Sigarev. The question arises: how did the director approach Sigarev’s text and its vision of the story?
That question touches a vital point. The movie is a true horror piece, aimed at provoking a strong emotional response in viewers. The director notes that witnessing fear on screen is a powerful reward. Sigarev’s private script stands out as one of his finest works, moving away from extreme shock tactics seen in certain contemporaries. The tone aligns more with a Stephen King vibe, in the director’s view, with Sigarev’s Russian sensibility imprinting the narrative. The screenplay for Medea feels expansive, aimed at a broad audience, and the initial read was genuinely chilling, even when the text came from a colleague the director knows well.
The interpretation of the myth remains an adaptation rather than a literal retelling. The foundation comes from Sigarev’s narrative engine, reimagined within an intellectual horror framework that speaks to a contemporary audience.
A theory suggests fear as a genre aids recovery from trauma by providing cathartic release through suspense and tension. Since Medea leans into horror, one might wonder if the fear intended for audiences carries a healing effect or simply serves as atmospheric immersion, akin to viewing a David Lynch painting. The director leans toward the latter: the atmosphere drives communication with the audience, with unknowns and unpredictability playing crucial roles. The sense that something inexplicable could intrude into a home and disrupt normal safety was the objective, and the team feels it achieved that sense of unease.
The film’s ending underwent changes from an originally more tragic version to a final cut that protects viewers. Script revisions are a common part of production, sometimes happening moments before filming. When the director saw the initial ending, it carried darker, more daunting elements. The decision to modify it was made to balance impact with viewer safety.
Children play a pivotal part in the story. Finding an approach to younger performers was a key task. The director emphasizes giving young actors full presence, affection, and attention, especially since their understanding of cinema evolves as they perform. The two twin boys, Nikita and Kirill, left a memorable impression, with their distinctive, gothic looks reminiscent of classic cinema initials.
Under a YouTube post, the director is labeled the most unpredictable director of his generation. This characterization stems from early projects that mixed genres and sought new forms. A recent filmmaker’s script, Everything Everywhere All at Once, has caught attention for its psychedelic approach, revealing a trend that aligns with the director’s tastes. The film industry has reflected growing interest in bold, original storytelling, a trend that extends beyond borders.
As for the director’s first feature, Nirvana, produced by Sergei Selyanov and introduced by Alexei Balabanov, the question turns to lessons learned from that collaboration and the profile of an ideal producer. Selyanov stands out as a rare figure: honest, capable, and highly responsive. In the modern world where rapid communication matters, his quick replies and steadfast reliability shaped the project. The director credits Selyanov with helping shape Nirvana to match his vision, creating a unique synergy. The director also highlights Alexey Fedorchenko as a mentor figure who supported his short films, alongside Selyanov, who remains a continued influence. The combination of talent and integrity in producers is essential to achieving artistic goals.
The discussion broadens to a short film project titled Atlantic, part of the Experiment5ive anthology. This piece follows a man driven by a desire to save others, focusing on a radio operator who hears a distress signal from the Titanic at six-year intervals. The project brought together several independent directors, including notable names, each permitted to explore any subject as long as a secret story outline remained. The collaborator Olga Simonova, connected to Igor Voloshin, proposed the Titanic theme. Her interest and research informed the concept, and the director collaborated to bring the idea to life. The appeal of stories with unexpected twists that pull viewers out of their usual perception resonates, an influence similar to the surprise found in Alan Parker’s Angel Heart, where truth shifts in unexpected ways.
When actors discuss directors, they often praise the ability to unify worlds and translate the written text into living performance. Regarding performers, including international stars, the director values actors who bring depth beyond the initial script. While a role is planned, the unique temperament of an actor can shape how the character emerges. This dynamic may either align with the director’s framework or push the performer toward new interpretations that reveal broader themes within the project. Rehearsals become a crucible where energy and collaboration create a distinct on-screen presence.
With the premiere of Lord of the Wind approaching, the true account of Fyodor Konyukhov’s balloon journeys invites reflection on whether the director prefers biographies or myths like Medea. The response is balanced: a broad interest in diverse stories, genres, and personalities. Each project offers a chance to explore the depths of a person’s soul, a pursuit described as a bottomless curiosity that fuels creative exploration.