REPRESENTATION OF THE 60-S: DIRECTOR ANATOLII SYRYKH
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On Friday, January15, the second meeting from the Seven Brief Meetings: the Cinematic Unconscious of the 60-s series will be held, with screenings of documentary films by Anatolii Syrykh about prominent figures of the 60-s, followed by a meeting with the director himself.
Anatolii Syrykh is one of the most consistent filmmakers of Ukrakinokhronika studio, whose main creative direction was making cinematic portraits of iconic cultural figures of his generation.
Among the heroes of his films are avant-garde composer Valentyn Sylvestrov; poet Gennadii Aigi, who, right until his death, was considered a real contender for the Nobel Prize; dissident film director Serhii Paradzhanov; Ukrainian “poetic cinema” actor Ivan Mykolaichuk; sculptor Mykhailo Hrytsiuk and artists of the sixties Valerii Lamakh and Hryhorii Havrylenko.
You can see the works of the latter two at the exhibition Ukrainian Art of the Sixties. Potentiality of a Museum at the National Art Museum of Ukraine. Screenings of the Seven Brief Meetings series are held as part of the exhibition’s educational program.
Anatolii Syrykh: “What’s important for me is not what they will say at the Ministry, but what Valentyn Sylvestrov will say. I also find him interesting as a composer. I recently estimated that I have about 40 CDs with his music… Paradzhanov says in the film about Havrylenko’s drawing, “’Roses’ is my catnip.” Similarly, when I am in a bad mood, I always put on Sylvestrov’s music. I do the same when I feel good, too.” (Kino-Teatr, 2006).
The program of Representation of the 60-s: Director Anatolii Syrykh:
Valerii Lamakh. Circle of Life (Anatolii Syrykh, 2013, 46 min.).
Hryhorii Havrylenko, Valentyn Sylvestrov, Serhii Paradzhanov, Gennadii Aigi, Valerii Lamakh – with films about these and other artists Anatolii Syrykh made sort of a screenshot of the 1960-s. At the same time, he created his own genre of “synthetic” documentary, built on interaction between music, literature and visual material. The director’s films can be read on many levels, for they abound in allusions to many other texts, including the works of the director himself, of his contemporaries, and film classics. The director edits and rethinks news footage and documentary material within a broader artistic concept, complementing it with musical themes that refer us to the context of the day. In the Soviet times, the director was accused of “formalism” and “imitation of Paradzhanov”, which he supposedly brought to the cinema, but, at the same time, his works received rave reviews among filmmakers and intellectuals. Yurii Illienko, having finished watching the film dedicated to artist Hryhorii Havrylenko, said to the film’s cinematographer Volodymyr Pika, “Dude, this is genius!”