#Filipp Yankovsky

[menanddogs]

Filipp Olegovich Yankovsky (Russian: Фили́пп Оле́гович Янко́вский) is a Russian actor and film director. He was born on October 10, 1968, to actor Oleg Yankovsky.

[ruedit]

like father like son lol

[amoralprague]

я и мои гиперфиксации на ролевом пространстве спасибо, что мы все это играем

[caelibemart]

[sovamurka]

Alexander Runevsky (Karamora) & Kaz Brekker (Shadow and Bone) 💀🖤

[anditendshowyoudexpect]

stumbled upon a video of Filipp Yankovsky SORTING CANDY like a kid with fucking spoils of Halloween and his wife laughing, calling him МАСЬ, and tousling his hair. called husband over, made him watch it yelling WELL WELL ISN'T THIS US LIKE LOOK AT THIS THIS IS UNCANNY YOU ARE JUST AS CUTE WHEN YOU DO EXACTLY THIS

husband says Filipp Olegovich is the man and is doing exactly what has to be done with assorted candy

[themovieworldaccordingtotps]

TPS’S 25 ADDITIONAL FAVORITE MOVIES OF ALL TIME (2021 Edition)

1.) Mirror Director: Andrei Tarkovsky Cast: Filipp Yankovsky, Ignat Daniltsev, Innokenty Smoktunovsky, Margarita Terekhova, Maria Vishnyakova, Oleg Yankovsky, Alla Demidova, Anatoly Solonitsyn, Tamara Ogorodnikova, Larisa Tarkovskaya Best Moment: The burning farm

[classicmoviesseriesandmore]

[king-galaxius]

New 2020 Russian Film Release: Caramora

New 2020 Russian Film Release: Caramora

Movie: Caramora Release: November 19th, 2020 Genre: Unknown Director: Danila Kozlovsky

Cast: Danila Kozlovsky, Andrey Smolyakov, Filipp Yankovsky, Olga Zueva, Dmitriy Moguchev, Rinat Safin, Konstantin Fedorov-Freivald, Rodion Rudakov

Source: https://en.m.wikipedia.org/wiki/List_of_Russian_films_of_2020

[meri-l]

Tikhon Zhiznevsky is madly in love with Vanya Yankovsky

P.S. Tikhon Zhiznevsky is a Russian actor who played in the films "Major Grom The Plague Doctor ""Fire" and the TV series " Topi"

Ivan Yankovsky is a Russian actor, best known for his role in Rag Union. His father is actor/director Filipp Yankovsky.

Original: https://vm.tiktok.com/ZSJq7Kcuv/

[doomonfilm]

Thoughts : Mirror (1975)

In my circle of cinematic fiends searching for what’s on the verge of becoming Kino on a widespread level, I’ve started to see a recent resurgence and groundswell of interest of Russian film icon Andrei Tarkovsky.  There has always been a deep underground love and respect for Stalker, Andrei Rublev and Solaris (not to mention his other handful of outstanding works), but recently, Mirror has started to take hold of the public consciousness.  With it’s hauntingly beautiful observations and reflections on childhood, it’s easy to see why the film would be respected purely on its artistic merit, but with Criterion Collection recently joining the parade of praise, I decided it was time to give Mirror a proper viewing.

The powerfully unironic weight of Mirror as the title for this deeply personal and reflective film is not lost on me.  Tarkovsky’s approach to reimagining the inherently understood unconditional love presented by his mother from her perspective is told in a breathtakingly and achingly beautiful fashion, like the best elements of a diary and a journal mixed together in a visual fashion.  The mixture of Russian history, familial reflection and poetic nostalgia intertwined into the presentation of Mirror is a powerful set of united threads that helps fortify the visual switches present, giving us a keen awareness of the distinct times we are visiting within the run of the film.  Time is not only messed with on a large, cyclical scale, but it is also examined in terms of in the moment experiences, like the disjointed nature of the grenade scare or the way that Liza chasing Maria down the hall transitions between standard time and extremely expressive slow motion.  Having a narrator is normally a somewhat distracting and seeming condescending element, but having a poetic and spiritual narrator that doesn’t explain to you exactly what you’re seeing works as a parallel to the visual stimulus provided in the case of Mirror.

Like many directors of the time, Tarkovsky stood as a sign of the land he emerged from, with his art being staunchly Russian in terms of the economic disparity, the looming shadow of war and the neo-realist futuristic elements present within the militaristic and Communist sentiment.  Unlike his other films, however, Mirror brings a sense of multiculturalism to the table, even if only remotely, and certainly not at the expense of placing his Russian heritage in a nearly jingoistic light.  The way that childhood innocence, matriarchal responsibility in light of militaristic obligation’s impact on the family and nationalist duty are all conveyed in a haunting fashion without the need to implement direct statements or rants infused with personal judgement and/or fervor.  Instead, we are presented with elements that, from an outsider's perspective, allow us to understand what life behind the emergence and formation of the Iron Curtain would look and feel like.

The use of three distinct visual styles to distinguish the present, the past and the surreal without a need for title cards or basic indicators is a Tarkovsky staple, but the nuance in which it is implemented here is as bold as it is impressive, especially with such drastically different shifts in tone and acting approach occurring amidst these unmarked switches.  The modern feel of Tarkovsy’s cinematography is not only a testament to the lasting impression his work has left, but taken in direct context, an equally strong testament to how forward-thinking his storytelling and visual capabilities were, putting him in league with the likes of Ingmar Bergman or Federico Fellini.  I’m hard pressed to think of another director who was not only keenly aware of how environments were used, but a director who captured nature as if he cast it to do his bidding, as if he had the ability to personify the old adage “cinema is the wind in the trees” at his beck and call.  The way that Mirror uses sound design in the same manner that other directors use score is a subtle flex in Tarkovsky’s ability to create immersive experiences outside of conventional methods.  The few instances of score that are present are seemingly always interrupted by some brief and shocking jolt back into reality, be it violence of the reinforcement of violence as a threat.  The intermixture of what seems like stock footage that separates the film into thirds gives us a sort of cinematic intermission that allows us to breathe without disconnecting from the film experience.

Margarita Terekhova is the lynchpin that holds Mirror together, and she is clearly up to the challenge, turning in a vastly dynamic performance that swings between calm controlled moments and open displays of raw emotion.  Terekhova has a wonderfully magnetic ability when it becomes to displaying a character on the verge of a breakdown, putting up just enough of a tough and protective veneer to remain grounded while reinforcing the veneer with raw, uncontrolled and intuitive reactionary emotion threatening to break through and bring everything crumbling to the ground, with her ability and awareness to pull it all together coming off as admirable in terms of its sharpness.  She is supported by a number of different narrative approaches, such as the direct flirtation and acute unawareness of Anatoly Solonitsyn, or the collective pressing she stands up to from Alla Demidova, Nikolai Grinko and company at the printing house.  Ignat Daniltsev plays a surprisingly strong audience surrogate for such a young actor, serving not only as a human reason for the subjective gaze on Terekhova within her home, but a foil to allow her to vent deeply personal feelings, with his mostly silent reactions standing as a captivating performance in their own right.  Olga Kizilova, Tamara Ogorodnikova, Yuriy Nazarov, Filipp Yankovsky, Oleg Yankovsky and Maria Vishnyakova turn in strong supporting performances while Arseny Tarkovsky and Innokenty Smoktunovsky both turn in strong vocal performances.

Mirror has a fascinating ability to be both direct and obtuse in seemingly equal measure, portraying both a deep and healthy understanding of what a mother and estranged wife would experience without assumption or presumptuousness, only a desire and need to understand in the hopes of reinforcing an already deep and inherent sense of love and admiration that comes with being a child with a creative spirit.  Without even trying to or feeling like a prisoner to a limited scope, Mirror captures all of the dramatic force of a stage play and supports it with the visual power of cinematic mastery and intention.  The film is not the most technically proficient in Tarkovsky’s career, but if you’re watching it and finding yourself hung up on boom mic shadows and crew reflections, then you’ve already missed the entire point.  If looked at like a moving Mother’s Day gift in the form of a living and breathing painting, it is impossible not to appreciate Mirror in all of its glory. 

[my-russia]

The State Counsellor (2005) dir. by by Filipp Yankovsky

[littledecembrist]

I'm fed up with this profile

I don't sleep, I'm obsessed

I get worn out by my words 'cause they sounded so good in my head

oleg yankovsky × filipp yankovsky × ivan yankovsky

[sovamurka]

Felix Yusupov from Karamora 👁️👄👁️

I love hate this cocaine vampire bitch so much <3

[spiritcc]

Got both, although I’ve just realised that I never knew anything Deep about either huh.

1. The Boy

i dont even care that i just keep repeating this story over and over again of how he almost got murdered by Klyuev on the set of the musketeers lmao. Klyuev’s character barely had any fighting scenes, if at all, so he didn’t receive any sword training, cue a fite scene and somehow he managed to jam his sword in Boyarsky’s fucking mouth, a few centimeters away from his brain and death. Boyarsky didn’t even suffer that much, surprisingly 

Boyarsky actually comes from a whole acting dynasty, his daughter is a (bad) actress and she was in the first nrh ep, his late brother was an actor, his uncle, and I think his dad as well and even his grandad was something else too. Obviously besides the daughter, none of the men in the family lived past like 50 and Boyarsky once said it was a mistake that he’s still alive.

A sub-fact no one wants to know: the dude just,,, does not enjoy living. It’s been twice already that I read him casually mentioning how life can go fuck itself but sometimes there is shite to somewhat enjoy (the shite in question was his daughter’s second pregnancy recently), but otherwise, he really does get these Death Episodes often.

The meme facts a true Boy fan must know is his hat, his shades and his zenit scarf. I think the most popular google search besides his name is his name + no hat bc he just never fucking takes it off (cuz he bald af). Shades cuz aesthetic, zenit scarf cause he’s a big fan of that football club, and of football in general, I’d say that your chances of seeing Boyarsky at a zenit football match are something like 85%. The Boy is perfectly aware of the memes too and he loves making fun of himself. 

quite faithful to his wife, i think he was the only guy on the set of the musketeers who didnt ruin his marriage with their mass sluttery. They once divorced for some tax evasion reasons or something like that and only bothered to remarry like almost a decade later. I think for tax reasons too. They don’t give a fuck.

2. Tabak

big fan of drag, it seems: i can recall at least two films where he jumped on an opportunity to dress as a woman and enjoyed every second of it. For his Marry Poppins role, he shaved his legs and did his nails and everything despite literally nobody asking him, and none of that being even visible in the film. I think he just knew there was no masculinity to his image so boy did he use that to his advantage. 

weirdly enough I think I can say that for a fact that he didn’t like Smoktunovsky lmao. these assholes were theater colleagues and all, but there is no trace of them interacting and no trace of them saying anything at all about each other, never mind good or bad. Tabak only mentioned smoktun once (1) in his book in a line of something like “yeah ppl like smoktun and co and their stories of how apparently nobody noticed them for a long time and it was hard to get recognition are just no true” passive-aggressive shite, while smoktun’s story was RIGHT THERE of how he used to sleep on staircases and got rejected from like five theaters and was literally a banned outlaw i was like asdfhj you can say it, mate, the guy’s been dead for a while now. The biggest piece of evidence was a passing mention from Tovstonogov, the director of BDT, who was discussing newspapers and what material gets through and said “yah tabak recently sent em an article criticizing smoktun’s new role and it got rejected” i almost wheezed how true my suspicions are. no most ambiguous crossover for us, then. 

a big friend of Gaft who NEVER fails to tell you the story of how tabak in his uni days used to smoothly approach folks finishing their food at the uni canteen and ask them if he can lick the plates after them. which he did. and he licked em nice and clean. Gaft being Gaft he obvs immortalised the Feat in his epigrams and I swear his interview from like 2015 went like “yeah hello im fine too how are yoANYWAY TABAK LICKS PLATES” he will just not let this die.

Gaft being Gaft’s, here’s one of his epigrams on tabak, poorly translated by me, but a one you (lily) will defs get:

The stance is straight. The speech is strong,

Of Lyolik, of Tabakov,

Shines, shines his star,

On the jacket of Mikhalkov. 

After Efremov’s death, he became the head of Chekhov’s MHAT (the theatre) and remained its leader until his own death, so 2002-2018 this guy was crackin down. He was an amazing manager who renovated the theater, sometimes even using his own money: repairs, new tech, art and play-wise, everything. He also managed a theater of his own, Tabakerka (about to be renamed a boring Tabakov’s theater instead of keeping the Tobacco Pouch smh), also successfully. He also taught actors for a long ass time and he had a crazy knack for selecting future talents: Yevgeny Mironov, Vladimir Mashkov, Natalia Andreychenko, Filipp Yankovsky are just the people I can name on top of my head, with the first two being his favest and most prominent students, and for a reason (i luv them). Half the modern Russian scene was taught by him, the guy was just amazing at the administrative and leading sides. 

Last tier 10 fact bc only like three people know it, in my final year tabak was apparently looking into enrolling his daughter in my school. I don’t think she went in the end, but during his visit, the guy gave my school a giant box with all the films starring himself on DVD. im still like “....ok” about this lmao but i sure hope these fucks are watching his films at school now, the so-called tabak care package. did he just have spare boxes of films with himself in case he needs to smother somebody how ᵈᵒ

Once again, THIS WAS BROUGHT TO YOU BY ASK ME A QUESTION BS

[famousborn]

Filipp Yankovsky Bio, Height, Wiki, Age, Wife, Birthday, Parents & Net Worth

Filipp Yankovsky Bio, Height, Wiki, Age, Wife, Birthday, Parents & Net Worth

Full Name Filipp Yankovsky Nick Name Filipp Age (As of 2019) 51 years old Date of Birth (DOB), Birthday 10 October 1968 Birth Place/Hometown Saratov, Soviet Union Nationality Russian Gender Male Occupation Actor Ethnicity White Caucasian Religion Not Known Star Sign (Zodiac Sign) Libra Net Worth & SalaryNet Worth $10 Million Salary $100K per month/episode/movie Income…