Rusalka

This beautiful picture represents the loveliest trend of the modern Russian cinema (that largely consists of cheap action movies and lachrymose dramas) - a definite piece of art and a work of an Author, a story that truthfully and painfully reflects city life from the confused point of view of an outsider, dreamer, youngster. "Rusalka" is often compared to "Progulka" (2003) and "Piter FM" (2006), as in this respect these films are kindred to "Rusalka", never mentioning the fact that they all star Yevgeni Tsyganov - the new Russian Gael García Bernal type. However, watching "Rusalka" aches more than two before-mentioned pictures, for it doesn't lie for the sake of good mood. "Rusalka" is sometimes also called "Amélie Poulain in Moscow" because of the expressive and charming character of the heroine who believes that life is a beautiful and never-ending mystery; however, "Rusalka" goes farther than "Amélie", openly showing that City is not only a place of romance and unexpected adventures, but in fact a get-together of very very lonely people who find each other to remain alone. "Such things do happen in megapoles. Seriously, no big deal. Such things do happen." This might hurt.

This was a good interpretation. It's the type of movie that I hope opens the imagination to it's viewers and allows you to believe in the unbelievable -if only for a moment. Even though I only viewed this film because it relates to my career field as a mermaid, I liked the feel of the project and can tell this one might have taken a while to plan and come up with. It is more of an adult type of audience more than what you might imagine and if you are hoping for an actual mermaid like in Disney you will be sadly disappointed. Not every film needs to be a replica of the next and this goes into its own direction and interpretation of how to use the word mermaid to tie in it's storyline.

Perhaps 'twee' is to Russian films what 'quirky' is to American. Either way it's a sickly confection that demands nothing from its audience other than it checks its brain at the door. One of the most narcissistically irritating heroines since the repulsive Amelie is able to do stuff for some reason. That the role is played by such an unappealing actress doesn't much help but it could have been Hepburn and it wouldn't have survived the director's insistent 'look at me' style and the archness that sucks out whatever life there might have been in the story leaving behind nothing but pretty-pretty photography.

This story was much better done in the 50s in Giraudoux's play Undine which, in fact, introduced Audrey Hepburn in the West End.

In the center of the plot there's a girl who can use magic realism to transform her life and the life of people living around her. But this is just as far as I can get with the comparison to The Fabulous World of Amélie Poulain. Because then comes the best.

In this movie you will face not only the benefits of this power but above all the desperation in it. The alienation in it. And the violence in it.

Turns out to be something much closer to real life, and real dreams and frustrations. It's not sweet, it's just big. Deserves to be watched for sure.

I only saw fifteen films at the Sundance Film Festival this year, but this one was my favorite film. The music was fantastic and maintained a level of intrigue and surrealism that produced a sense of mythic reality and impending urgency. Anastasiya Dontsova was phenomenal as Young Alisa and Mariya Shalayeva, who played Alisa from ages 17-18 years old, was spellbinding. The many closeups of her anxious face were a delight to the beholder. Although the pacing was a little slow at times, the story moved forward with a sense of inevitability that I imagine reflects the current circumstance in Russia today. It's always wonderful to see great films still coming out of the former Soviet Union.