Moya lyubov

it is a great travel. across a feeling. across the images of a lost Russia. it is an admirable work. for the details, for the dialogue and for the magnificent art to reflect states out of words. it is a masterpiece and this is not a real surprise from Aleksandr Petrov. the special thing is the emotions after the end of film. as a ball of tenderness and seductive secret and childish - clear feeling. from a long time ago, for me, the films of Petrov are a sort of gifts of the Christmas Eve. but my love is more. maybe because I am East European. or for Slavic origins. it is a form of rehabilitation of a Golden Age using the perfect tools. and the result is more, real more than you expect.

Admittedly I was only able to see it on YouTube, so not the best format.

However, I was still very impressed at it's beauty. The icons painted on the wall in the Russian church shown during a service were one of my favorite parts.

It's about a young boy in czarist Russia and his pure idealization and fantasizing about love. He is drawn to a sophisticated older woman but also feels something for his family's maid.

As with most foreign films, the subtitles can not do it justice. You miss a lot of the actual dialogue. The jokes, the rhyming language, the use of informal/formal forms of address that we don't have in English.

Without knowing the culture there is a lot more than falls through. It also helps to have read Russian novels & short stories - you'd know that there's always tragedy and loss involved somehow.

So if you don't speak Russian or know the culture, just understand that there's a lot of context and subtext that you're missing and allow for that - but I think you'll still enjoy it for the pure visual beauty of the piece alone.

Where the story is only may be interesting for a teenager boy who is in love with women, the scenes take the lead and oh my God, they shine... I wouldn't watch even a minute of it if was a normal movie, but this one is like watching a impressionist painting in action.

You know that you've become an animation buff when the mere mention of Aleksandr Petrov makes your heartbeat quicken in anticipation. Along with fellow genius Yuriy Norshteyn, he has become one of my favourite Russian animators, and such impressive short films as 'Korova (1989)' and 'The Old Man and the Sea (1999)' rank among my favourites. 'My Love (2006),' Petrov's latest film, was his fourth to be nominated for Best Animated Short at the Oscars, and, though it lost to Suzie Templeton's 'Peter & the Wolf (2006),' it certainly is one of the year's finest releases in any medium. Generally well-received by critics, 'My Love' has nonetheless stirred a few incidents of controversy, including comments from Chris Robinson – head of the Ottawa International Animation Festival – who apparently took offence to Petrov's pursuit of realism. Likewise, other leading animators, including Norshteyn himself, remarked that perhaps the film was too focused on technology rather than storytelling.

The plot is based on "A Love Story," a 1927 novel by Ivan Shmelyov, and concerns a 16-year-old boy, Antosha, who is searching for his first true love. As he falls in and out of his romantic fantasies, Antosha must decide between two young woman who have captured his fancy – a pretty, innocent but uneducated parlourmaid named Pasha, and an experienced upper-class lady named Serafima. He is equally smitten with both lovers, but his inability to choose between them will prove tragic. Pasha is genuinely affectionate towards Antosha, but class restrictions prevent them from coming together without a certain hesitation; on the other hand, Antosha worships Serafima as a "goddess," considering her representative of his lover ideal. When experience reveals a fatal blemish in his idealistic illusions, the young boy rejects the older woman, but not before his indecision has cost him the girl that he truly loved.

'My Love' often treads a fine line of comprehensibility – I'm not even certain that my description so far is completely accurate – but it's really the visuals that you should be watching out for. Petrov's style of paint-on-glass animation is instantly recognisable, and has all the beauty of a moving Impressionistic painting, the oils and colours shifting smoothly like the quiet waves of an ocean. Though, in order to achieve a sense of "romantic realism," Petrov has produced about 20% of the film using a kind of rotoscoping, he just as frequently descends into fantastic flights of the imagination. Antosha's inner romantic turmoil is represented through beautiful and sometimes terrifying daydreams – rowboats on a pond, ships amid a lightning storm, bodies burning in the pits of Hell – and Petrov's constantly-shifting style of animation is perfect for evoking the timelessness of our dreams and memories.

The love and lust of an adolescent boy. The innocence, confusion and fantasies in a world so complex that he choose his imagination to live while the two woman he fell in love with is dealing with their own confusions, mistakes and tragedy while loving him back. I am falling in love with Aleksandr Petrov's style of animation and filmmaking, one of the most beautiful films I have seen in recent times.