There is a proverb: "There is nothing to blame on the mirror, if the face is crooked." Therefore, no one likes mirrors, so everyone sees something demonic in them, so well reflected (pun intended!) in world-class works of art. In Russia, mirrors have long been accepted to close and curl, and if not, then at the mirror at the ready, like a guard on duty, always hung an embroidered towel, which always reached the hands on the night of the full moon, the night of truth... Dmitri Frolov doesn't like to tell stories. He likes to show. In addition, he always preferred the image (Frolov is a good artist ) to the vulgar sound, madly loving the "great silent" and once and for all deciding that cinema is a kind of visual art, but nothing more. Only sometimes, going to meet the spoilt noise effects of the modern venerable audience, Dmitri Frolov accompanies the spectacle with simple music, however, without changing the chosen style: in the cinemas of the beginning of the last century, films also went to the accompaniment of starved tapers. But, despite such a secondary attitude to them, many of the old half-forgotten melodies that have become popular again in recent years, it was the director Frolov who first "dug up" (the immortal "Sixteen Tons "already sounded in the first and then only part of" Nights", shocking with its novelty and unknown), but while he was putting on a boater and searching for a lost cane, he was overtaken by grasping DJs in a more modern outfit. Isn't that sad? Yes, it's sad... Dmitry Frolov is the real name of the director. It's not an alias. Therefore, Dmitry can calmly, without strain and pathos, talk on the screen about many pressing problems of life. For a film like "The Bigmoon Nights", this is a significant trump card, since the title role in it is "performed" by the Russian forest at the beginning and "stone jungle" - at the epic end. The ancient Slavic tribes loved the forest, because it gave them shelter, shelter, and food. Only later, closer to the emergence of Kievan Rus, the popular imagination populated the forest with terrible monsters and enveloped the fog of dark legends... The desire to turn the love of the Motherland with the love of birches is ridiculous: the tree is a notorious cosmopolitan. Birch trees also grow in Germany. Just as cosmopolitan is the "stone jungle": New York in this sense is not much different from St. Petersburg (not the birthplace of Tom Sawyer, but the former capital of Russia). The wandering of the main character of "Nights", thus, ends in a dead end: he came to the same place from where he started his journey, but while he wandered in search of something he alone needed and understood, his house turned into a garbage dump, where it is no longer a shame to commit a crime... Disgusting? Yes, it's disgusting... Most of Dmitri Frolov's films are plotless. That is, there are so many overlapping plots in one film that you can't always keep track of them. The movie "The Bigmoon Nights" is much deeper and more ambiguous than it just seemed to you. In essence, this is a mirror (not very crooked), which reflects our recent past, on which we had such hopes, but it turned out not to look like the ending of the novel by Nikolai Gavrilovich Chernyshevsky " What to Do?". Now we have no special hopes, we have come to the beginning, having described a circle. We'll sit for a while, pretend to think, and then we'll start walking again, so that we can go around and look in the mirror again. Will we be disgusted, sad, and disgusted again? Another Frolov will tell us about this in other "The Bigmoon Nights", nights of truth...
