Crew

Director & Scriptwriter		Roman Khrushch
Cinematographer		Pyotr Dukhovskoy
Production Designer		Sergei Avstrievskikh
Costumes by		Dmitri Andreyev, Vladimir Nikiforov
Make up artist		Tatiana Kolomitseva
Composer		Roman Dormidoshin
Editor		Yuliya Batalova
Sound		Vladimir Persov
Re-recording by		Vladimir Priamov
Casting by		Tatiana Komarova
Script editor		Irina Shilova
Executive producer		Andrei Shabanov
Producers		Mikhail Litvak, Leonid Litvak, Vladimir Zheleznikov
PR-manager		Elena Podolskaya

Festivals

WINNER

* BEST FEATURE FILM - London Film Awards, December 15, 2012
* BEST DIRECTOR - New Hope Film Festival, USA, July 12-21, 2013
* BEST FEATURE FILM - Girona Film Festival, SPAIN, July 15-17, 2014
* BEST PHOTOGRAPHY - Girona Film Festival, SPAIN, July 15-17, 2014
* BEST FEATURE FILM - PICNICK Film Festival, SPAIN, June 24-28, 2014
* BEST NARRATIVE FILM - George Lindsey UNA Film Festival, USA, 2014
* BEST FOREIGN FILM - Flagler Film Festival, USA, January, 09-11, 2015
* BEST ACTOR - New-York Eurasian Film Festival, USA, October, 2014
* BEST ACTOR - MICA Film Festival, BRAZIL, December, 02-28, 2014
* BEST INTERNATIONAL FEATURE - Valle d'Itria Film Festival, ITALY, September 2014
* BEST INTERNATIONAL FEATURE, AWARD OF EXCELLENCE - IFF for Religion, Spirituality & Visionary, INDONESIA, 2013
* BEST PHOTOGRAPHY – Bar International Film Festival, MONTENEGRO, Oct, 2013
* GOLD WINNER FEATURE DRAMA - TrindieFest, USA, September, 18-21, 2014
* PLATINUM REMI AWARD - 46th WorldFest-Houston, USA, April 12-21, 2013
* AWARD WINNER - The Indie Gathering Film Festival, USA, August 15-17, 2014
* PLATINUM AWARD WINNER - International Independent Film Awards, USA, June, 2014

OFFICIAL SELECTION

* Oklahoma Urban Cinema Festival, USA, April 10-16, 2015
* Silk Road Film Festival, IRELAND, March 18-22, 2015
* FANTASPORTO, PORTUGAL, February, 2015
* Berlin Underground Film Festival, GERMANY, February 8-16, 2015
* Overlook Film Festival, ITALY, December, 12-21, 2014
* Oregon Underground Film Festival, USA, November, 01-04, 2014
* East Lansing Film Festival, USA, November, 01-07, 2014
* Baghdad International Film Fest, IRAQ, October 15-19, 2014
* FFOCOL (Film Festival of Columbus), USA, October, 9-16, 2014
* Louisville''s International Festival of Film, USA, October 9 -12, 2014
* El Dorado Film Festival, USA, September, 18-20, 2014
* CINEWEST, AUSTRALIA, September, 19-21, 2014
* TrindieFest, USA, September, 18-21, 2014
* Gwinnett Center International Film Festival, USA, August 01-03, 2014
* Access Code Long Film Festival, INDIA, September 20, 2014
* FICEE (festival internacional de cine educativo y espiritual), SPAIN, July 22-26, 2014
* Barcelona International Film Festival, USA, June 17, 2014
* Colortape International Film Festival, AUSTRALIA, May 30, 2014
* Sedona International Film Festival, USA, February 22 - March 03, 2014
* Beaufort International Film Festival, USA, February 12-16, 2014
* American Online Film Award, USA, December, 2013
* The Loft Film Festival, USA, November 8-15, 2013
* Laughlin International Film Festival, USA, October 11-14, 2013
* PollyGrind Underground Film Festival, USA, October 10-13, 2013
* FERFILMFEST, Republic of Kosovo, October 02-06, 2013
* Naperville Independent Film Festival, USA, September 14-21, 2013
* Salento International Film Festival, ITALY, September 7-14, 2013
* Long Island Film Festival, USA, August 30 – September 9, 2013
* The Boonies International, USA, August 14-17, 2013
* Maine International Film Festival, USA, July 12-21, 2013
* SouthSide Film Festival, USA, June 11-15, 2013
* Pineapple Underground Film Festival, HONG KONG, June 8-23, 2013
* The Delta International Film Festival, USA, April 24-26, 2013
* IFS - Los Angeles Independent Filmmakers Showcase, USA, March, 2013
* Fargo Film Festival, Fargo, USA, March 5-9, 2013
* Winter Film Awards, New York, USA, March 1-2, 2013
* Cine//B Film Festival, CHILE, November 23-30, 2012
* Sun&Sand Film Festival, USA, November 7-11, 2012
* Oaxaca FilmFest, Oaxaca, MEXICO, November 08-17, 2012
* River''s Edge International Film Festival, USA, November 1-4, 2012
* Spirit Quest Film Festival, Edinboro, USA, April 13-15, 2012
* European Spiritual Film Festival, FRANCE, March 15-31, 2012
* Cape Winelands Film Festival, SOUTH AFRICA, March 14-24, 2012
* 13th Mumbai Film Festival, INDIA, October 13-20, 2011
* Cine o Festival de Cine de Bogota, COLOMBIA, October 10-20, 2011
* St. Petersburg International Film Festival “Kinoforum”, RUSSIA, July 10-15, 2011

Director''s statesment

The aims of our hero are to understand meaning of the life, to find in it his own place.  Our problem was to press time and epoch to open sense repeating dramatic problems in the history. We have tried to suggest to glance to the
spectator in ourselves and to reflect on ourselves.

Synopsis

SHORT

Based on the Russian classic Mikhail Lermontov novel The Hero of Our Time.

All events shown as they are reflected in the mind of the dying hero, as a series of irrevocable mistakes and interpreted anew: it is either reconsideration or repentance. Recollections make main hero torment himself over his own past pretenses that seem ridicules now agonize and despair over his perfect indifference to everything except himself, see the horrible aspect of killing his friend, a greenhorn and a show-off. The final action of an intelligent and outstanding man is judging oneself without mercy.

FULL

Classical literature is sacred! - insist some. Classical literature is the living substance of the arts and it revives each time the contemporary audience discerns in it its own image, getting aware of itself – argue others.

Film Pechorin, which was made after Lermontov’s short novel A Hero of Our Time that had already been cinematized several times before, violates the rule that states: classical literature is sacred. From a single reply of the hero to Maxim Maximych enquiry – I am off to Persia and hope to drop dead somewhere on the road – there springs up a whole new plot-line. The words come true, and we have Pechorin dying on the road, alone and face to face with his remembrances in the eternal and mysterious expanses of the desert. Here everything that had happened to him manifests itself as permeated with the mood of premature weariness and boredom he was blighted with, in the discourses on his unrealized great destiny he never guessed and the meaning of his life he never discovered, with his habitual indifference to his surroundings, with seeking eagerly for entertainments and news to fill up the days and the minutes of his life, with his relationships with women that alone gave him chances to awaken his heart and soul.

It is precisely on this very edge of earthly existence that he experiences at last this sort of a repentance, that defines the composition and style of this film version, thus allowing certain freedom in treatment of the source: the episodes of the novel are sometimes considerably reduced, like it is done with the Bela plot-line, compressed into a single scene, or serve as the leading motif of the hero’s conversations about meaning of life with doctor Werner, his alter-ego, in his hand-to-hand combat with the star female character of Taman part of the novel, in the events and dramatic development of his relationships with Mary, in excruciating encounters with Maksim Maksimych, in his spiritual but never realized union with Vera.

To judge oneself with the severest of judgments, to suffer pain and despair, to laugh broken-heartedly at one’s own past pretensions, sometimes almost childish, sometimes quite consciously cracked wicked jokes and fooling around, to be stricken by horror with the killing at a duel of young and showing off Grushnitsky, now seen as irrevocable mistakes committed by an intelligent and an outstanding man – such is the final summary of Pechorin’s life.

It was neither coherent and literal transferring Lermontov’s text to screen, nor creating a digest for schoolchildren to save them the trouble of reading the novel, that the author of the film set as his goal. He sees his task in compressing together different epochs, demonstrating to the contemporary audience the essence of dramatic problems that repeat themselves over and over again throughout the history, in inviting people to look into their own souls and think about their own lives.
That is why the final glance from the past – the extreme close-up of Pechorin’s eyes looking at us, seems to demand from every and each of us to answer for one’s one and only life, that one either has had or is having.

Review

Pechorin Kinoforum Review

«It was difficult for us to choose a Russian film», - admit the selectors. The modern Russian cinema has very little of what could be called "new territory". But the film «Pechorin» by Roman Khrushch opens a new perspective on Russian literary classics, on the favorite novel "A Hero of Our Time". This film tells us that the problem of "a redundant person" is again relevant for the Russian society and culture. The film tries to get to the very point of the novel, the film is ascetic in the means of expression, but the film is charismatic and noble. The "New Territories" program of the 2nd Saint Petersburg International Film Festival "Kinoforum", 24 June 2011 http://en.spbkinoforum.ru/entry/87

The curious

• The film is entirely filmed in the studio; no one scene was filmed on location
• The film is not used a single frame, made by computer graphics

Full cast&crew

CAST

Pechorin - Stanislav Ryadinsky
Werner - Dmitry Podnozov
Grushnitsky - Ilya Shcherbinin
Vera - Irina Savitskova
Maksim Maksimych - Aleksandr Korshunov
Undine    - Klaudia Korshunova
Mary - Barbara Sudets
Captain of Dragoons - Mikhail Evlanov
Bela - Roxana Kadyrova                
Old man - Ramis Ibragimov
Boy - Amirza Mukhamadi
Yanko    - Stanislav Nikolaev

episodes
Sergei Solonitsyn, Ivan Leshchuk, Aleksandr Mileshin,
Andrei Gelfand, Andrei Kharzeev, Nikita Vasilevsky,
Dmitry Belyakovich, Tatyana Ibragimova, Vlad Abashin,
Madlen Dzhabrailova

produced by
Vladimir Zheleznikov
Stanislav Ershov
Mikhail Litvak
Leonid Litvak

written and directed by
Roman Khrushch

director of photography
Piotr Dukhovskoy

art director
Sergei Austrievskich

costume  designers
Dmitry Andreev
Vladimir Nikiforov

make up designer
Tatiana Kolomitseva

sound director
Vladimir Persov

original music by
Roman Dormidoshin

first assistant director
Elvira Krupina

casting director
Tatiana Komarova

editor
Julia Batalova

script curator
Irina Shilova

cameraman
Sergei Naugolnych

director’s assistants
Stepan Zhivov
Anna Korshunova
Julia Chaiko
Danila Dubshan

props assistants
Irina Pochaeva
Valentina Bataeva

make-up artist’s assistant
Diana Egorova

art director’s assistant
Alexei Chernov

first camera assistant & focus puller
Viktor Saratov

make-up lady
Natalia Mikheeva

wardrobe
Natalia Katulkina

gaffer
Maxim Beck

electricians
Evgeny Pogrebnoy
Sergei Popov
Andrei Shishkin

dolly & crane
Sergei Bunin

equipment for underwater filming
Grigory Yablochnikov

video playback operator
Ilya Podgursky

editing on stage by
Vadim Krasnitsky

set dressers
Renat Gonibov
Aleksandr Molchanov
Nikolai Shkunov

construction manager
Igor Kalachev

sound recordist
Sergei Yudin

pyrotechnic effects by
Dmitry Veselov
Andrei Andreev

animal trainer
Andrei Gelfand

foley artists
Sergei Figner
Sergei Dementiev

digital sound editing
Sergei Yudin
Anna Zharkich
Maria Romanova

sound director assistant
Tigran Stepanian

sound mixing
Vladimir Priamov

dolby consultant
Aleksandr Rosanov

computer graphics
Sergei Zaporozhtsev

title design by
Ivan Avaliani
Dmitri Bolizhevski

positive film cutting
Liubov Khvostova

negative film cutting
Olga Kasymova
Valentina Amarfi

senior colorist
Irina Markina

telecine colorist
Gennady Averianov

still photographer
Denis Abramov

set managing crew
Ivan Statenin
Sergei Tkachev
Dmitri Likhovskoy
Sergei Kosiakin
Aleksei Velin

stage hands
Aleksandr Yurlov
Aleksandr Dmitriev
Dmitri Ilyin

drivers
Alesandr Malkov
Vladimir Ilyinov
Aleksandr Vikhorev

administration team
Marina Vlasova
Elena Lebedeva
Aleksei Donskov
Antonina Galislamova

accountants
Olga Maksimova
Inna Bokhun

production manager
Andrei Shabanov

Undina’s song
music by Aleksei Aigi, lyrics by Mikhail Lermontov
performed by Klaudia Korshunova

song “Tsitsinatela” (“Lightning bug”)
folk music to the lyrics by Acaciy Tsereteli,
performed by Elgudzha Burduli

We express our gratitude to the Sberbank of Russia
for assistance in the making of this film

film stock processing by the
laboratories of the Gorky Film Studio

sound by the United Multimedia
Projects company

Trailer

Posters

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