- Laissa Barros
Who has never lived a story that would make a movie? The tragicomic days lived by actress Martha Nowill in the height of the Moscow winter of 2009 not only gave, but also became Russian Red, a feature film that hits theaters today.
A lot of vodka, laughter, perrengues and crying happened during Martha's trip to Russia to study the famous Stanislavski technique of interpretation. She wrote in a diary, which ended up becoming the genesis of the film's script, the situations, dramas and surrealities she experienced in one of the most peculiar cities in the world.
In the film, in the middle of the snow, she arrives at the Russian Academy of Theater Art together with a friend, also an actress, Manu (Maria Manoella, with whom Martha went, in fact, to take the course in Russia) without knowing how to speak a comma of the language. place. The two in search of reinventing themselves in the profession will take the method classes with a rigid teacher (Vladimir Poglazov), who, with the help of an interpreter, corrects and criticizes almost every step of the two actresses and the other classmates. In addition to the duo, the film has the participation of Michel Melamed, Soraia Chaves and Esteban Feune de Colombi.
Constantly tested by the teacher, disappointed and very cold, the two reflect on the difficulties of the profession, the paths they chose and the friendship of each other, which throughout the film is tested and extrapolated many times.
Directed by Charly Braun, who also wrote the script, Red Russo ends up being a mix of fiction and documentary, where the director abuses the beautiful photography of a Moscow full of lights, snow and historic architecture, while following the actresses with a documentary camera very close, especially at the time of their classes, inside their rooms and even in the middle of their fights.
The cold must, of course, have prevented the actresses from living outside the closed spaces, there is a lack of more scenes and images of the city other than the school, dormitory, restaurants and subways. But, at the same time, it increases the feeling of enclosure in the face of temperature. A condition that intensifies the feelings of fear, search and escape that sometimes surround the two actresses. We find ourselves in a fun kaleidoscope of possibilities trying to figure out what they would have actually lived in 2009 and what would be fiction for the 2017 movie.
On this “roller coaster”, the days pass quickly and a mixture of happiness and unhappiness visit Martha and Manu: whether in a rare compliment from the teacher, in a conversation, in meetings with retired actors who take refuge in the dormitories of the Russian Academy of Theater Art, in the hilarious situations they live for not understanding the language or in the singularities of a people with a culture very different from ours, even in the form of theatrical performance.
With this unlikely intersection of frivolity and depth, Russo Russo talks about the days that move, about our eyes in the face of novelties and differences, of theater and the eternal search for feelings, affirmations and connections with what we do in our lives.