Women in Russian Cinema

March 18 - April 2, 2017

Pera Film is celebrating International Women's Day 2017 throughout the month of March. The program Women in Russian Cinema celebrates women on screen and behind-the-scenes with seven films selected from 20th century and recent productions of Russian cinema. Presented in collaboration with Seagull Films, the program cherishes women directors as well as strong female characters on screen. The films directed by women include Wings, The Ascent, The Tuner, Travelling with Pets and Everybody Dies But Me. Although not directed by women, the films The Cranes Are Flying and Moscow Does Not Believe in Tears entail powerful depictions of female characters through turbulent times.

The career of Larisa Shepitko, an icon of sixties and seventies Soviet cinema, was tragically cut short when she was killed in a car crash at age forty, just as she was emerging on the international scene. The body of work she left behind, though small, is masterful, and her genius for visually evoking characters’ interior worlds is never more striking than in her two greatest works: Wings, an intimate yet exhilarating portrait of a female fighter pilot turned provincial headmistress, and The Ascent, a gripping, tragic wartime parable of betrayal and martyrdom. A true artist who had deftly used the Soviet film industry to make statements both personal and universal, Shepitko remains one of the greatest unsung filmmakers of all time. The Cranes are Flying focuses on Veronica played by the beautiful Tatiana Samoilova, a strong level-headed individual who suddenly gets struck with a traumatic and devastating experience when losing her entire family in an air raid bombing. Moscow Does Not Believe in Tears is Vladimir Menshov's enchanting drama of three women struggling to establish themselves in Russia's huge and often impersonal capital city. Former actress Vera Storozheva (a frequent collaborator with famed filmmaker Kira Muratova) shows considerable skill as director, echoing Natalia’s awakening in a soundtrack that leaves the creaks and disordered noises of a mechanical environment for a more harmonious and natural one, and in cinematographer Oleg Lukichev’s remarkable images, whose drab winter grays give way to a vibrant springtime palette. But it’s Kutepova as Natalia who truly puts the spark in this invigorating example of feminist cinema. Everybody Dies But Me is the first debut from young director Valeriya Gay Germanika.


in collaboration



with the support of

March 18

14:00 Travelling with Pets

16:00 The Tuner

March 19

14:00 The Tuner

March 22

19:00 Everybody Dies But Me

March 24

19:00 Wings

21:00 The Ascent

March 25

14:00 Moscow Does Not Believe in Tears

18:00 Wings

March 31

19:00 The Ascent

21:00 The Cranes Are Flying

April 1

14:00 Travelling with Pets

16:00 Moscow Does Not Believe in Tears

April 2

14:00 The Cranes Are Flying

16:00 Everybody Dies But Me

The Cranes Are Flying

The Cranes Are Flying

Wings

Wings

The Ascent

The Ascent

Moscow Does Not Believe in Tears

Moscow Does Not Believe in Tears

The Tuner

The Tuner

Travelling with Pets

Travelling with Pets

Everybody Dies But Me

Everybody Dies But Me

Program Trailer

Women in Russian Cinema

The program Women in Russian Cinema celebrates women on screen and behind-the-scenes with seven films selected from 20th century and recent productions of Russian cinema.

History of a Khanjar

History of a Khanjar

Henryk Weyssenhoff, author of landscapes, prints, and illustrations, devoted much of his creative energies to realistic vistas of Belorussia, Lithuania, and Samogitia. A descendant of an ancient noble family which moved east to the newly Polonised Inflanty in the 17th century, the young Henryk was raised to cherish Polish national traditions.

Fluid Identities  Creating an Identity / Hybrid Identities

Fluid Identities Creating an Identity / Hybrid Identities

A firm believer in the idea that a collection needs to be upheld at least by four generations and comparing this continuity to a relay race, Nahit Kabakcı began creating the Huma Kabakcı Collection from the 1980s onwards. Today, the collection can be considered one of the most important and outstanding examples among the rare, consciously created, and long-lasting ones of its kind in Turkey.

Portrait of a Bullfighter (1797)

Portrait of a Bullfighter (1797)

The man is depicted in three-quarters view, turning straight to the viewers with a penetrating glance. The background is grey, while the clothes, the hair, and cap are black.