The statement of the President of Ukraine Volodymyr Zelensky, to put USSR on a par with Nazi Germany, would have a negative impact on Russian-Ukrainian relations. This was announced by the President of Russia Vladimir Putin on air of the program “Moscow. The Kremlin. Putin” on TV channel “Russia 1”.
“Negatively. I think that for him — Vladimira Aleksandrovicha — nothing good is not, bearing in mind that Ukraine itself suffered greatly during the Second world war”, — said the Russian President.
In early January, Vladimir Zelensky during a visit to Poland, said that Ukraine supports Warsaw’s position is that the responsibility for the outbreak of world war II on the Soviet Union.
As noted by the Ukrainian leader, Poland became the first country that “felt a conspiracy of totalitarian regimes.” Zelensky said that this is what led to the outbreak of the Second world war and “allowed the Nazis to launch deadly flywheel of the Holocaust.” The President also urged the democratic state to unite and “not to remain silent, as it was in 1939”.
Naryshkin accused Zelensky immersion in Ukrainian nationalism
Press Secretary of the President of Russia Dmitry Peskov, commenting on the statement Zelensky, said that the words of the Ukrainian President should be offensive to the Russians, the millions of inhabitants of the CIS countries and Ukraine.
Putin in a telephone conversation with Zelensky pointed to the inadmissibility of distorting historical truth about the events of the Second world war.
Strip tease is it an exceptionally funny or excruciatingly depressing show? Should we laugh at the people she presents to us, sometimes even in an ultra-violent intimacy, or be indignant at the shameless gaze, bordering on condescension, that she poses on these great shipwrecked people of existence? At one point, we all asked ourselves the question without ever being able to look away from this vertiginous and fascinating Belgian program launched in 1985 on RTBF and landed in France in 1992 on FR3. A series of short, short documentaries focusing on out-of-the-world and out-of-time characters, old bachelors building flying saucers, Breton rockers chasing the elf and the troll in the forests or anti-abortion activists on a crusade against Satan. What other program reminded us with such clarity that normalcy was not of this world? The imminent arrival on the RTBF replay of 70 new episodes completing the 180 already online for free will once again confirm this.
2 – With a helmet
Twelve to thirteen hours a day of bombs unknown to ordinary people unearthed in the underworld electronica, industrial, new wave or rap 90’s, for a week: this is the huge gift from the veteran electronic duo Autechre to us, ordinary confinement crackers. Not the first of its kind – Sean Booth and Rob Brown have even made a tradition of connecting without warning to deliver cutting-edge musical selections or original compositions of their own, like the NTS Sessions of 2018, in reality an album of eight hours delivered in preview and free of charge. What changes here, of course, is the context: we are all connected non-stop and distressed by a little beauty and sacredness in our isolation, so that the music broadcast becomes a little, much more, as an offering of spirit and electricity to revive. A mirror stretched out to our humanity, so surprised to find itself so fragile and sensitive to a few dozen hours of exceptional music. What if that was enough to save us? We are waiting for the second salvo, perhaps for the week that begins.
3 – With the missing people
It seems a bit of a shame to watch the very beautiful second feature by the Spanish Luis López Carrasco, El año del descubrimiento, on a computer screen, for example thanks to the online publication, until April 3, of the international selection 2020 of the excellent documentary festival Cinéma du réel visible on the Tenk platform. It would be even more distressing to miss it completely. Grand Prix of the last Cinéma du réel (whose prize list was announced on Thursday), revelation of the last Rotterdam festival, this true-fake documentary entirely shot in a bar in Cartagena, which documents the last bursts of the working class after the deindustrialization of southern Spain, will no doubt be even more poignant to watch during confinement. Because his ambitious split-screen device, deployed over almost three and a half hours in the heart of innumerable conversations side by side, has the avowed aim of “Reunite the dispersed” – revive a collective whose film mourns the disappearance, and whose very idea is currently most cruelly lacking.
4 – With lost time
François Bon is at home and his YouTube channel Third Book, launched two years ago, running at full speed with an exciting daily soap on Proust, which he peels and reads with passion: “The silence that is being restored, the noise of the city, finished, the interior of the house, something that stands still”, this is the time when ever to disappear in “Magic rooms” of the writer, a great phobic before the eternal and pioneer of sensory self-sequestration.
His cello wedged against his chest, songs known almost to him alone, delay and saturation pedals at the end of the foot: Arthur Russell, towards the end of his too short life (he died of AIDS in 1992), n ‘ needed nothing else, not even the recognition of the public in whose eyes he was a total stranger, to sketch his paradise. An Eden of contained emotion and grace. The little hour of unpublished music that we discover with this unpublished live recorded on March 2, 1985 contains only the familiar, variously advanced versions of This Is How We Walk on the Moon or Home Away From Home, all become classics in our hearts thirty-five years later ..
“Ithere is always something to see, provided you know how to look “, throws Paul Wagner (Maurice Ronet), during a bourgeois reception, to a friend who was annoyed by his rascal escapade escapades. Occurring in the first third of Scandal (1967), a false crime fiction and a true philosophical treatise on madness, almost anecdotal aside seems to give the viewer the keys to the film. It’s as much a sentence of a film buff as of an entomologist, a great architect of the world, having the gift of double vision or the sense of observation, to detect what is hidden behind appearances. But above all, she says that the world is not one, there is always another story, a logic that escapes logic, and that everything is a matter of look, interpretation, and therefore delirium. This is the occult subject that this thirteenth feature hides under its twisted whimsical air, whose codes Chabrol does not really respect – crimes but no investigation, no end of story, since nothing is unequivocal . It’s almost like it’s all in the head and sick brain of a character with shaky reason. The intrigue plays on this ambiguity: following a head trauma during an attack, where a prostitute was strangled before his eyes before he lost consciousness, Paul Wagner (Ronet, masterful as a childish and disturbed hero) is sometimes subject to absences. When other women around him are murdered, everything suggests that he may be the murderer, unless he is the victim of a plot, which we imagine to have been hatched by his cousin Christine (Yvonne Furneaux), wealthy champagne merchant, married to Christopher (Anthony Perkins), a former gigolo, who wishes to sell the domain of which Paul is still the owner of the name and exerts pressure and blackmail on him. But the presence of a blonde vamp (Stéphane Audran, beauty of elusive sphynx), haunting the place, leaves other mysteries hovering …
We are far from the original idea of producer Raymond Eger – a murder in a nudist camp. To the “sans-pagne”, Chabrol and his accomplice from the start, Paul Gégauff, never stingy with Lacanian puns, will have preferred “champagne”. A rotten wine, like the big bourgeoisie that the filmmaker brushes with vitriol in their decadent evenings. Gégauff’s cynical pen infuses the film with an atmosphere of destructive madness that echoes the formal biases of the staging. From the credits in the colorful colors, Chabrol accredits the idea of a mental film by multiplying the plans stretched to abstraction, the fluid circular movements, the slowness, the pattern of the spiral – wink at Vertigo by Hitchcock, who also evokes the role of the double brunette / blonde woman and the presence of Anthony Perkins.
Chabrol will often say that he was influenced by the thought of the philosopher Alfred Korzybski, general semantics and non-Aristotelian logic, namely the idea that a subject is always trapped in his representations. Starting from an undecidable point – is it Paul who is mad or the world around him, or both? -, the film constantly seems to adjust to the flickering perception of the hero, often under the influence of alcohol, and this distortion of reality is visually translated by formal audacity, games of mirrors and transparencies, dense decor of heterogeneous statues and objects, and up to the creeping gestures of Ronet. An astonishing final plan, taking height, will replace the scenario writer in the position of the demiurge entomologist, observing his characters, tangled bodies, to (d) fight like three worms in a box.