Three friends meet in a central cheerful pastime. After strolling along the boulevards, they are in nature. The dark side of the forest reveals the subconscious of each. And none of them are unaware of the existence of the world of the forces that awaken in man hidden until the time of the dark side of their personalities. The metaphor of the film is laid bare hidden from direct view the laws of nature to be reckoned with, are unaware of their presence, man The film conveys the unique color of the first years of perestroika, when dreams are not in conflict with reality, and belief in the bright future of the country was not something unrealizable, Although the whole mood of the film prophesies about something inevitable and irrevocable.
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"Way" is something strange, odnoyuzhetznoe: the characters are wandering the streets of St. Petersburg, which are easily recognized, then the action is transferred to the forest, where in place of the usual figures of heroes come figures in white men. Here the second, symbolist level of the work begins to be read, subtly correlating with the first part and without it, which can not be fully understood. In the "Way" white figures appear as a symbol of the pilgrims of life, eternal pilgrims, who, having no clear path, wander in the dark. Finally, the white figures cross the river - the river acts as a symbol of the borderland, a crossroads, again - a looking glass that is terrifying to get into, but even worse - to be between, "get stuck in the river". The path is the motive of the road, the motive of the subject in the crowd, and again the black and white image, impassive, coded for subtle and thoughtful reflection. "Xenia Ilyina
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XIII International Festival of Arts "Sergey Oskolkov and his friends", St. Petersburg, Peterhof, Oranienbaum, June 2009
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| Attachment | Size |
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 Dmitry Frolov and the editing film reading in the context of the cinema of decadence.rtf | 16.21 KB |
