“When everyone is at home” visiting Viktor Saltykov / Film and TV News / Russia.tv

This Sunday, June 28, Timur Kizyakov and the program “When everyone is at home” went to visit the musician Viktor Saltykov. At a large and comfortable table gathered the closest artist – wife Irina and son Svyatoslav. The singer openly spoke about his family, meeting his wife, raising children and his musical career.

Anna, the daughter of a musician, recently married and left home. “She often calls me from there, complains about some of her problems. And I tell her:” You wanted an adult life? Get it, ”Victor admitted. Spouses said that Anna used to be actively involved in photography, but at some point she was fond of editing and now makes short videos. Although her life could have turned out differently.“ It all started with music. She graduated from a special musical institution with us, even participated in one project. But after that she said that she didn’t want to do this, it wasn’t her, “Saltykov recalls.

The musician was 51 years old when he was born son Svyatoslav. “For me, these years have been more energetic, stimulating. I even sometimes ask Ira:“ Maybe more? ”After all, God loves a trinity. But the brain tells us that it’s scary to leave a child without a father,” the singer admitted. Svyatoslav is a sports boy, all in Saltykova. “The first thing my father did at the time was to put me on a bicycle. At six years old I was already skating, I was riding my bicycle with might and main, and went to the pool,” recalls Victor.

Saltykov himself brought up mom and aunt. Father died when the boy was 13 years old: “My dad was left only in my memories. He was kind, he helped everyone. We lived in a communal apartment on Kirovsky Prospekt, they called him” Volodya – golden hands. Because he could fix everything ” .

The singer admitted that he always women had a big impact: “A man is a small child. In adulthood, he wants to get the same thing that his mother taught him. Together with Ira, we were together only because she was able to do this. She could always come up in difficult times, say:“ Vitenka, you how? “. And I felt something maternal or aunty from her – something that always warmed me in life.”

Spouses have been together for 26 years. It’s hard to believe, but at the beginning of dating Victor didn’t even have the courage to take Irina’s phone number. It then began calls, walks, dates. But the girl’s parents were against that the daughter met with the musician: “They said:” This is an artist. They have a terrible world, life. “But I was in love as they say in beautiful novels. And I told her that I had never met a better woman in my lifetime,” Saltykov said.

Does the artist believe in fate? What do the Saltykovs grow in their garden? How did the spouses meet? Who in the family of Irina supported her choice? And why did Viktor Saltykov change teams so often? The answers are in the “When Everyone is Home” program.


An involuntary actor. To the birthday of Alexander Pankratov-Cherny

As a child, he wanted to become a clown. Later I decided: as a director. But I read that for this you first need to learn to be an actor. And he went to his goal consistently and persistently. However, they didn’t give him a movie – it was painfully “non-Soviet”. The acting helped out – on the verge of clowning. June 28 is the birthday of a wonderful and popularly beloved artist Alexandra Pankratova-Cherny. How much he looks like his heroes, they will tell a video interview of the TV channel “Russia”. Watch it now!

In the documentary “Altai Nugget. Pankratov-Black” fragments of the artist’s own memories are interspersed with stories of his friends and colleagues about him: Nikita Mikhalkov, Karen Shakhnazarov, Olga Kormukhina, Elena Tsyplakova, Savely Yamshchikova, Vladimir Grammatikov, Larisa Guzeeva, Andrei Konchalovsky, Mikhail Porechenkov and Vladimir Ilyin. “Naughty, sonorous. A geyser man. A real man. Temperamental,” they say about him. And then: “Touching. Sad.” And also: “It didn’t even occur to him that one could choose between” profitable “and” in good conscience. “

Not everyone remembers that his acting debut took place in “Siberiade”. And the famous he woke up five years after the film “We are from jazz”. His hero – easy, funny, charming – captivated the audience. Such inspiring characters were in demand in the late 80s – early 90s. When domestic cinema was in crisis, Pankratov-Cherny was filmed more often than our other actors, and was at the top of popularity. He played dozens of reckless roles, his guys on the board. It seems to the audience that he plays himself – a carefree, cheerful person. But few people know what kind of tests from childhood fell on this joker and joker, who suffered two heart attacks by the age of 35 …

How did he fall into the caste without hearing, voice and dancing skills and starred in musical comedy? Why did fellow countrymen in a remote Altai village obmaterit artist when he brought to show them “We are from jazz”? What caused his party father to die? How did Pankratov-Cherny fight movie officials and who made him take his second name? What brilliant continuation did his “poetry” receive, as his grandfather called his childhood passion, who had broken his grandson for every new rhyme? About this and much more – in the film “Altai Nugget. Pankratov-Black”.

In 1927, the actor’s grandfather was exiled to St. Petersburg from Altai. The five of them lived in a small hut: little Sasha, his sister, mother, grandmother and grandfather. My father died when the boy was three years old. Bread was not on the table every day. Already at six years old, Sasha began to work for workdays – he drove the hocks – and for the first time he saw a light bulb at ten (they lived with kerosene). He got into the circus when his mother went into the city in fierce hunger to sell a cow. Returning, he tried to juggle with torches, but burned the barn, and with it his dream to work in the circus, said the actor Boris Korchevnikov.

Mom wanted Sasha to follow in the footsteps of relatives and become a military man. “It’s very beneficial to be an officer: government food, clothes. Besides, you’re ugly, and the officers always look after pretty girls. You look, you will have a beautiful wife,” the actor recalls his mother’s words. And she proudly declares: “And my wife is already beautiful.” His Julia he worships: for her kindness and unlimited patience. They lived together for 40 years, of which the first 16 wandered around Moscow without their own housing. He left her many times — he felt that his disorder spoiled her life — but he always returned. Only in 2012, Julia Monakhova and Alexander Pankratov-Cherny finally legalized their relationship.

How was a student of the Gorky Theater School once nearly killed for mother’s parcel with potatoes, lard and three rubles, and with whose money the student of VGIKA beautifully looked after Julia? How (long before working together in the film “Winter evening in Gagra”) he made friends with Evgeny Evstignevhow I met Vladimir Vysotsky, in whose honor he later named his son, and what did “Height” prophesy to a novice colleague? How did Alexander almost die during the filming of Sibiriada? Why didn’t I sign with Yulia for so long and why did I sign it? The answers are in dedicated to the artist issue of the program “The fate of man”.


In Japan, a documentary about the ” Hikikomori “, the young recluse volunteers “

Hikikomora : the recluse volunteers ?

Tuesday, 16 June at 20: 50 on France 5

They are more numerous, but we do not see. Some disappear in solitude without anyone noticing. What are the ” Hikikomori “. This term, of japanese origin, and refers to a social withdrawal more or less voluntary, and raises many questions that this documentary brings to light.

First, for young people who suffer from it, paralyzed by the fear of the adult world, locked in the darkness of their room and unable to articulate their distress. And then to their parents, who feel responsible. Finally, for psychiatry that seeks to understand the phenomenon.

→ TO READ. The rebellion teenage girl is banned in Japan

In France, they would be tens of thousands, often teenagers or young adults. Marie-Jeanne Guedj, a psychiatrist at the hôpital Sainte-Anne, accompanies us throughout the film. At his side, one enters into the intimacy of “Hikikomori” as Aël, which tells a social pressure unbearable : “Once locked, it was the release, I was okay. But little by little I slid to a suffering. I no longer had anyone to talk to except my computer. “ After spending 14 years in his garden shed fitted, it is however released.

Gradual return to normal life

The film applies to show that the detention is not inevitable. He takes us to Japan, where the phenomenon appeared in the 1990s in the midst of economic crisis. We discover that the time, care and rehabilitation are essential for a gradual return to the outer life. Cut it with a family environment become deadly may be beneficial.

But the film does not hide aspects darkest of the phenomenon. In Japan, thousands of Hikikomori die in the secret of their apartment, in the middle of the waste. A reality-filmed without taboos by Michaëlle Gagnet. His documentary will be followed by a debate : the period of confinement and the context of the economic crisis does not favor-they not such phenomena as low self-esteem ?


An evening to relive June 1940 on France 3

France 3 is devoting an entire evening to the events of June 1940, which have tragically marked the history of france. There are eighty-four years, millions of people, car, bicycle or on foot, fleeing the advance of the nazis from the north of France.

→ TO READ. “The march of history “, June 1940 as told by Jean Lebrun

A documentary unpublished Emmanuelle Nobécourt traces this mass exodus and messy, driven by the fear of tomorrow. “It is a France that loses its bowels “described then of Antoine de Saint-Exupéry flying over this human tide, in which were wandering children lost or abandoned on the side of the road.

“These are exceptional times that cause people to decide “

If the documentary uses re-enactments, more or less, happy to feed the narrative, the fiction Three days in June filmed with more freedom the end of the battle of France, when the German army approaches the Loire, and the French military decided to resist to protect a bridge.

“Even if they are complicated to film, the conflicts are interesting from a dramatic viewpoint : these are exceptional times that push people to determine, shape-ever of the personalities and commitment of the fates “, admitted in 2005, its director Philippe Venault, interrogated, par The Cross.

An ” episode little-known and little-glorious “

The screenplay, an adaptation of the book A bridge on the Loire Frédéric H. Fajardie, also discusses the massacre of the Senegalese by the nazis and their status as “cannon fodder” of the French army. “These are themes not treated in television dramas, where June 1940 is often limited to the debacle of the troops “noted the director.

A historian by training, he had a passion for this “episode little-known and little-glorious “ between the call to the deposit of the arms of Pétain and De Gaulle inviting them to the resistance. These three days, between 16 and 18 June, during which villagers and notable collaborators of the first hour, were ready to shoot them in the back of the French soldiers rather than resist the advance of nazi.


the war, we never come back quite…

25 shades of docs

Of Men and War

Tuesday, June 9, at 00: 40 on France 2 (and france.tv)

It is a shock. For more than two hours, Of Men and War (Of men and war) invite them to bring to the meeting of young american soldiers returning from the war with this injury is invisible, but very real, identified under the name of the state of post-traumatic stress disorder. State that prevents them from resuming a normal life and keeps them in an unfathomable inner suffering.

With great precision, striking, harrowing without being sensational or voyeuristic, this documentary has requested his director and producer five years of research and preparation. And so many years during which the filming was extended, offering to follow a dozen of these men in their crack and existential. Often unable to rework, or reconnect with a family life, they are not trying to not rebuild. The time – the filming, the film itself – is one of the essential strengths of this film that attempts to show these young soldiers in two situations : their sessions of group therapy, in a centre founded in California by Fred Gusman ; their all – too – rare reunion with parents, wives and children.

Oppose “the front” and ” rear “

The film, ” said Laurent Bécue-Renard, “looking for a word that is not expressed “. One who is aroused abyssal vertigo : “I realized that I had no idea what lived in my wife, married to a man twice his size, trained to kill and who passes his rage on it “says a patient. “I wanted to, continues the director, that opposes “the front”, always present in the psyche of these men, and “the rear”, that is to say, their surroundings, their community life, and we, the viewers. “

His topic was naturally brought to the United States, “great western power sending today the addition of men to the war, but also a country which has, after the Vietnam war, carried out important work on the theorization of the state of post-traumatic stress disorder “. For all that, this film, on both sides of the Atlantic, bears a startling universality. What is the French family has never been affected, to varying degrees, by the injury mental of one of its ancestors or its members, returned from the war and locked up in the silence of his hell ?


The fight of a writer to save the village of Lacoste

The case is now well known. About twenty years ago, couturier Pierre Cardin, “the stone collector”, fell in love with Lacoste, a charming little village in the Luberon. There he bought the castle of the Marquis de Sade, which threatened ruin, and renovated it at great cost.

→ DOSSIER. Culture at the show: our selection by confinement time

He organizes a lyric art festival there, aims to do “ a Saint-Tropez of culture “, Bought one by one the houses of the town – he now owns 40 – and hectares of surrounding land to create a golf course. Since then, little or nothing. Lacoste is nothing more than a sleepy village whose homes and businesses remain resolutely closed.

The newspaper filmed of an unequal and lonely fight

Cyril Montana, writer and communications professional, has an emotional bond with this village where his hippie parents lived a few years and where his grandmother eventually settled. There are still childhood friends and knows the artists who have taken up residence there. When his son Grégoire challenged him, the Parisian bohemian, to join forces to fight the couturier’s grip, he took his word for it and chose with his accomplice Thomas Bornot, to film the adventure.

The resulting documentary, funded in a participatory manner and broadcast in e-cinema on the 25th Hour platform, is the journal of this fight. An unequal, but above all lonely fight since it will not cease to meet with contempt from one, Pierre Cardin, and the indifference of the others, the inhabitants of the village.

The interest of the documentary is that it hides nothing, neither of the narcissism of its author, whose approach may seem annoying at the outset, nor of its failures and disappointments. It is filmed with lucidity and humor and, above all, offers us a fascinating reflection on the meaning and the possibility of engagement at a time when globalization has offered power to the “very wealthy”.

Beyond the case of Lacoste which he recalls, exhuming archive images, that he was a village welcoming artists from around the world long before the arrival of Pierre Cardin, he wonders: can a man buy a village? “, Consults experts on the relationship between private property and the public interest, examines the different types of mobilization in the world like the pacifist marches for the land in India. When the law is on the money side, it seems to tell us in conclusion, only utopia remains.


“Tell them we are alive”, the grief of a child with open words

Tell them we are alive

Tuesday May 5 at 12:10 a.m. on France 2 (initially scheduled at 11:40 p.m.)

A few months ago, a bill triggered a crisis in the National Assembly. The content was however a priori consensual. It was about creating bereavement leave. In addition to the passing of political weapons, the country discovered with surprise that nothing was planned for those affected by this tragedy.

This legal vacuum mainly echoes the form of denial that surrounds these deaths, as the beautiful documentary by Caroline Conte and Thomas Robin shows so forcefully. It gives a measure of the taboo that still hangs today on this death which is not in the order of things. The bias of the two documentary filmmakers is to make this drama heard. They only give the floor to parents, without any comments. They pick their words, whether they are full of restraint or anger. They follow these parents through the seasons on the paths of their mourning, both literally and figuratively. They accompany them on the retreats they choose, where they come to cry far from sight and judgment: a forest, a mountain path, the edge of the ocean. The landscapes are raw and omnipresent in magnificent images.

Fragile reconstruction

These seriously wounded people of life recount unvarnished their impossibility from now on to sing or laugh “as before”, and the fragile paths of their reconstruction. At no time is it known under what circumstances these children died, or at what age. We only know their first names because it is an emotional portrait of mourning that is drawn up. But also anger. That of not being able to find an ear to whom to tell this story that nobody wants to hear. Until I have “The feeling of no longer being part of the society of men”, sums up one of these mothers. This documentary pays them a sober tribute.


“Burning Your Wings”, the flight of a city bird

In the HLM city where they grew up, in Motherwell near Glasgow (Scotland), they are nicknamed “Scheme birds”. The expression, which gives its original title to this documentary (much more poetic and eloquent than the French formulation “To burn your wings”), could be translated as “city birds” or “neighborhood lads”. With no diplomas, no jobs, no future in a deindustrialized region since the Thatcher years, these idle teenagers spend their days hanging out on the streets, smoking joints, drinking and filming their fights with mobile phones.

In the gang, Gemma, born in 1997, the year of the demolition of the local steelworks, moreover resembles a young bird fallen from the nest. Platinum hair, sky blue eyes, this angel face in a hoodie tries to hide her vulnerability behind a language of carter and permanent rage. “Here, we get locked up or become pregnant”, she launched, before announcing that she would not leave the neighborhood for anything in the world.

Abandoned at eighteen months by her drug addict mother, she was raised by her grandfather Joseph, owner of a boxing club and pigeon breeder. From the contest of the most beautiful bird to training in the ring, he struggles as best he can to keep Gemma on the right track …

From the Ken Loach documentary version

Rewarded in 2019 at the Tribecca and Denver film festivals, Ellen Fiske and Ellinor Hallin filmed the events of Gemma’s chaotic life for several years: her pregnancy at 18, her precarious move into a tower with a small delinquent, the drama which strikes one of his friends, seriously injured following a brawl… On images of great formal beauty, commented on by the young girl, the film captures the slow metamorphosis of Gemma to which her son Liam will give the force to get out. On his shoulder, a tattoo sounds like the hope of a better life: “Let the free birds fly” (Let the free birds fly away). A dark and luminous journey, as harsh as a Ken Loach film.