#Kristina Asmus

[classyinfur]

[ldagence-celbs]

Kristina Asmus - Russian Actress -

[movienized-com]

Sansara

Sansara (Serie 2023) #AnnaStarshenbaum #KristinaAsmus #PavelDerevyanko #KonstantinKryukov #OlgaSutulova #PavelChinaryov Mehr auf:

Serie / Сансара Jahr: 2023- Genre: Drama / SciFi Hauptrollen: Anna Starshenbaum, Kristina Asmus, Pavel Derevyanko, Konstantin Kryukov, Olga Sutulova, Pavel Chinaryov, Olga Lapshina, Ilya Borisov, Aleksandr Mizev, Svetlana Nemolyaeva, Evgeniy Antropov, Vladimir Maslakov, Artyom Leshchik, Dmitriy Podnozov … Serienbeschreibung: Nach seinem fünfunddreißigsten Geburtstag beginnt die Zeit für Andrej…

[ellieellieoxenfree]

52 weeks, 52 movies: march

LAUGHS NERVOUSLY

yeah this is super-late i know i know. i'll try to be more timely with april. :E

no rewatches this month; faves, as always, in bold.

new countries added to the cinematic world map: morocco, chad, and the philippines. i still have a pretty heavy reliance on american/uk films, but did fit 18 countries in. so i guess i kept a decent amount of variety in the diet.

the whaler boy (russia) — leshka (vladimir onokhov), a teenage boy in the remote village of chukchi, becomes enamored with a camgirl (kristina asmus) from detroit and plans to journey to america to meet her.

longtime mutuals know how much the movie nói albinói means to me — it’s my icon and has been for years, and was a livejournal fixture long before i joined tumblr. this movie recaptured the magic of watching that for the first time. they’re spiritual cousins of movies, both set in bleak, isolated landscapes stripped of all color; their teenage protagonists both ache with impossible want for the world beyond their small towns. their lives are monotonous and grim, livened only by the promise of women just out of reach. the black, deadpan comedy runs strong. leshka’s grandfather (nikolay tatato) speaks frankly of his plans for his own demise with the same energy one would use to discuss the weather, and i thought back to the bark of laughter i let out at nói’s dispassionate blood-splash scene.

it’s both violent — during a whale hunt, the men stand in a tide foaming with blood and viscera as they pull a carcass to shore — and hauntingly beautiful, such as in a scene where leshka and his friend (vladimir lyubimtsev) take a motorcycle ride through the endless, empty landscape. we see moments of gentle humanity juxtaposed with brutality. a power failure leads to some families bonding in soft candlelight, but sends leshka into a frenzy when he loses access to the girl who lives inside his computer screen. the dialogue goes from wryly funny (‘i’m busy today. i’ll definitely die tomorrow,’ muses leshka’s grandfather) to agonizingly painful, as during the retelling of a story about a chukchi resident who crossed the bering strait over to alaska and met a bad end as a result.

leshka is a tour de force performance from vladimir onokhov, relying less on dialogue and more on onokhov’s subtly expressive face. he conveys the universal yearning of frustrated adolescence without a word, while saving much of his speech for hushed one-way conversations with his dream girl in detroit. he has a quietly powerful magnetism that draws your attention whenever he appears.

it’s a strange, hazy film, rich with metaphor and dreamscape. lovely, profound, and absolutely one of the finest films i’ve seen all year.

millie lies low (new zealand) — thanks to an anxiety attack, architecture student millie (ana scotney) misses her flight from wellington to new york for her internship, but decides to pretend to her family and friends that she’s there and thriving.

there’s something particularly special about a movie that you forget as you’re watching. i struggled to stay focused on this, and had to rewind several times because i kept losing interest.

the problem is that the movie never quite commits to itself. it shies from letting its emotional beats land; nothing seems to carry much consequence. when millie learns she doesn’t have the cash to replace her ticket, it dips into farcical schemes — trying to take out a personal loan and stealing her own car as collateral; skulking in sweatshirt and sunglasses around family and friends’ usual haunts; camping in a tent she uses as the backdrop for crudely photoshopped images for social media. (how any adult with a functioning set of eyes would fall for millie’s low-effort ipad creations is beyond me, but i digress.) it makes half-hearted attempts at addressing things like massive time differences, but skirts the question of ‘wouldn’t the firm hosting the internship just get in touch with millie’s family when she failed to show up?’

there are tantalizing ideas that could be coaxed out of the material in the hands of a more focused director. it’s clear that millie is hamstrung by others’ expectations and her lack of faith in her own potential, but when her ruse is exposed, the landing is so soft that it renders all of millie’s hysterical schemes rather ridiculous. there was so little shock or betrayal or anger that the side characters ended up feeling like unfinished caricatures. even the great jillian nguyen, as millie’s best friend, is wasted — the movie nudges itself into something resembling energy when it exposes nguyen’s carolyn in flagrante delicto with millie’s boyfriend, but then fizzles out again. i found it impossible to care about anyone because the movie found it possible to try to make me care. i’d say it ends with a whimper, but i think a whimper would have taken more effort than this was willing to put in.

benny’s bathtub (denmark) — a bored little boy named benny (bo jakobsen) follows his pet tadpole down the drain of his bathtub and into a magical world of adventure.

danish kids in the ‘70s lucked out with this bite-sized animated gem, a lush, multi-media riot of bright color, jazzy music, and quirky characters. a pair of skeletons argue and end as piles of mismatched bones, while a mischievous color-changing octopus interferes with a nattily-dressed shrimp’s romantic designs on a trio of mermaids. a furious crab and his smaller underlings try to deal out despotic, but ultimately impotent, justice. it understands the blithe logic of childhood and merrily dips from vibrant set piece to vibrant set piece at a lively pace without ever overthinking or overexplaining. thick acrylic strokes pop against delicate watercolor backgrounds, and some of its more psychedelic moments, such as the rapid-fire color change benny’s octopus friend undergoes during his solo number, bring to mind the dizzying spectacle of the ‘lucy in the sky with diamonds’ scene in yellow submarine.

much of the pleasure of this movie is experiencing it for yourself, because it can’t quite adequately be explained. it’s such a wondrous feast for the eyes that descriptions can’t quite do it justice. it’s lovingly rendered in every frame. powerhouse danish jazz acts provided the score and a wealth of musical numbers — the squabbling skeletons argue about the virtues of their respective mothers, terrifying pirate queens. (‘she screamed with joy when she saw blood,’ one fondly notes.) a particularly inventive scene in the middle makes use of photorealistic silhouettes that splash in and out of frame like squirted ink.

it’s a beloved classic even now in denmark, and for good reason. it’s one of the most stunningly unique films i’ve ever had the pleasure of seeing. i treasured every moment.

the tune (usa) — threatened with the loss of both his job and his girlfriend if he doesn’t deliver a pop hit by day’s end, a struggling songwriter (daniel neiden) finds himself journeying to the off-kilter world of flooby nooby, whose odd residents might help him find the perfect line.

i made this a double feature for a movie night pick, alongside benny’s bathtub. they make a good pair, as they each carry their own wacky, anarchic energies. rather than the jewel tones of benny’s, the tune opts for delicate colored pencil, which gives a fuzzy, twitchy energy to the proceedings — a perfect match for del’s frazzled mental state. the animation is utterly elastic — people, possessions, and places all distort with reckless abandon, twisting and contorting and folding in on themselves. alongside the dominant colored-pencil artwork, director bill plympton dabbles in a variety of styles, including thick-lined matte animation, pastels, and scratchy rotoscoped realism, so that each new scene carries with it endless, playful possibility. a man’s head transforms into a hand sprouting from his shoulders and fish swim out of his palm; a hot dog and bun have a romantic rendezvous in a field of flowers; a dog crooning elvis tunes wobbles under the weight of his massive pompadour. in an extended gag, two businessmen constantly up the ante of comical punishments for each other, such as one of them pouring plant feed on the other’s head, causing his head to turn to grass.

the storyline is admittedly secondary to plympton’s whimsical sensibilities. del does try to keep pushing forward in his mission to get to his boss’ (marty nelson) office, but his journey mostly exists to facilitate as many madcap escapades can fit into 69 minutes. composer maureen mcelheron (also the voice of del’s girlfriend, didi) packs the proceedings with a musical cornucopia of styles — the aforementioned elvis, tango, wistful country, rumbling blues, show tunes, and surf rock among them, on top of del’s jingly pop tune attempts. i still find myself humming ‘my love for you / is equal to…’ from time to time.

it’s something of a polarizing film, relying as heavily as it does on its music and its cheerful refusal to stick to its own stated narrative. much like its noodling animation, it meanders in and out of ideas, and either you submit to its chaos and let it lead you along, or you find the entire affair a bit insufferable and self-satisfied. i fell firmly into the former camp. i’m not familiar with plympton’s name offhand, but the whole affair felt so cozy and familiar to me — it came out in 1992 and somehow reminded me of every piece of oddball animation i saw as a child — that not being charmed by it was never an option.

march viewing: other titles

sequin in a blue room (australia)

this is me…now (usa)

lingui (france/chad)

a day at the races (usa)

fireworks (2018) (japan)

friends and strangers (australia)

butterflies are free (usa)

not of this earth (1988) (usa)

never steal anything small (usa)

return to oz (usa)

juha (finland)

the runner stumbles (usa)

taxi! (usa)

my year without sex (australia)

her highness and the bellboy (usa)

ellen is leaving (new zealand)

paris is burning (usa)

shin kamen rider (japan)

bed friend (thailand)

change of life (portugal)

beach rats (usa)

young rock s1 (usa)

police story (hong kong)

young rock s2 (usa)

you never know women (usa)

no direction home (2023) (japan)

leonor will never die (philippines)

young rock s3 (usa)

the county (iceland)

beautiful thing (uk)

the short history of the long road (usa)

quiet on set: the dark history of kids’ tv (usa)

did you wonder who fired the gun? (usa)

the big country (usa)

drunken birds (canada)

blue velvet (usa)

i hired a contract killer (finland)

ham on rye (usa)

my name is lisa (usa)

salvation army (morocco)

batman and robin (usa)

children of the mist (vietnam)

[7ooo-ru]

Пропала: Кристина Асмус перестала выходить на связь

Каждый день Кристина Асмус получала сообщения от подписчиков в популярной социальной сети с вопросом о том, почему она пропала из соцсетей и перестала выходить с ними на связь, ведь раньше она активно вела аккаунт – делилась кадрами в ежедневном режиме, отвечала на вопросы поклонников и так далее.

Сообщений накопилось столько, что Кристина Асмус не выдержала и решила ответить сразу всем. Она опубликовала в соцсети несколько кадров и оставила сообщение, в котором объяснила свое отсутствие банальной занятостью. Кроме того, актриса призналась, что не считает чрезвычайно необходимым вести аккаунт каждый день. По словам артистки, чем лучше в жизни, тем меньше времени тратится на соцсети.

Таким образом Кристина Асмус дала понять, что в настоящий момент ей сейчас очень хорошо, поэтому она забывает заглядывать в мобильные приложения для общения с публикой. Она допустила, что после новой публикации снова может пропасть из соцсетей. Артистка даже заранее поздравила поклонников с Новым годом.

"На всякий случай, если следующий пост будет через полгода", – посмеялась актриса.

Подписчики по-разному отреагировали на сообщение Кристины Асмус. "Расходимся, она счастлива, и о нас вообще не думает", "Рада за вас от души", "Надолго не пропадайте", "Все верно говоришь. Счастье любит тишину", – написали поклонники.

Подробнее https://7ooo.ru/group/2024/07/19/684-propala-kristina-asmus-perestala-vyhodit-na-svyaz-grss-325457099.html

[moviemosaics]

The Whaler Boy

directed by Philipp Yuryev, 2020

[thechaseofperfection]

Kristina Asmus

[whileiamdying]

The Whaler Boy Review: A Lyrical Rumination on the Border Between Fantasy and Reality

In The Whaler Boy, coming of age is inseparable from disillusionment.

By William Repass on January 11, 2022

At the start of the third act of Philipp Yuryev’s The Whaler Boy, Leshka (Vladimir Onokhov) has fled his remote village in Chukotka, Russia’s easternmost province, in a stolen whaling boat. Believing that he’s killed his best friend, Kolyan (Vladimir Lyubimtsev), in a fistfight, the teenager hopes to cross the Bering Strait to Alaska and make his way to Detroit, where the camgirl he’s fallen in love with, HollySweet_999 (Kristina Asmus), supposedly lives. Run aground on a tiny island, he encounters a group of poachers, one of whom leads him to a high vantage point and points to the left. “There is Alaska,” he says. Then he points to the right: “That is Chukotka. Russia: the future. America: the past.”

In a film that up to this point has framed the United States not only as Leshka’s future, but the source of futurity itself, this moment comes as a shock. Of course, the International Dateline separates calendar dates so that, technically, it can be Monday in America and Tuesday in Russia. Even so, on another level the inversion hints at a hard swerve in tone and even genre that ends with disillusionment for the film’s teenage protagonist. At the same time, it resonates with other scenes throughout The Whaler Boy that similarly demolish expectation.

In the film’s opening credit sequence, for instance, a montage of Americana—neon-lit gas stations, car washes, and burger joints—set to Johnny Cash’s “Story of a Broken Heart” ends in a grungy alleyway as HollySweet_999 trudges to work. She enters a building with a “Live Nudes” sign and prepares backstage for her cam session, applying a persona with her make-up.

In The Whaler Boy, coming of age is inseparable from disillusionment. Its first two acts serve up a realistic depiction of indigenous Chukchi life, in a village where whaling is the prime occupation. This traditional way of life, already altered by modern whaling boats, rifles, and the like, is further disrupted by the advent of the internet, giving boys like Leshka and Kolyan access to cam sites and fueling a fantasy of foreign women as uninhibited yet unattainable blondes surrounded by luxury. Leshka’s fixation with HollySweet_999 balloons into dreams of learning English and escaping Chukotka. For him, she represents not merely sex, but an ideal life of love and opportunity waiting just across the border—Leshka’s own Moby Dick. In the background, his grandfather (Nikolay Tatato) repeatedly predicts his own death.

Even as Leshka and Kolyan’s world contracts to the size of laptop screen, The Whaler Boytakes an intimate and anthropological look at the characters’ surroundings. Alongside footage of an actual whale hunt, bloody spume and all, an upside-down image of the village street turns out to be from Leshka and Kolya’s perspective as they hang from a makeshift jungle gym. An abundance of long shots accentuates the tundra glowing with Arctic light, while extreme close-ups on HollySweet_999’s online face break it down into component pixels.

As Leshka sets out on his journey, the film begins to traffic in fairy-tale imagery. Flickering in firelight, the poachers’ faces turn into masks of bone. A border patrolman (Arieh Worthalter) unexpectedly sends Leshka on his way with a jar of marshmallows, jet-puffed and without substance. A graveyard of whale skeletons materializes far inland. It’s as if Leshka has accidentally crossed a border into the underworld rather than Alaska. Except that all this surreality builds toward another, climactic reversal, ending in Leshka’s final disenchantment. Had it lacked this about-face, The Whaler Boy would be another tedious examination of boyhood sexuality buoyed only by the film’s cinematically unfamiliar setting. Instead, it becomes a vivid rumination on the fuzzy border between fantasy and reality.

Cast: Vladimir Onokhov, Kristina Asmus, Vladimir Lyubimtsev, Nikolay Tatato, Arieh Worthalter Director: Philipp Yuryev Screenwriter: Philipp Yuryev Distributor: Film Movement Running Time: 93 min Rating: NR Year: 2020

[cilicodr-art]

Movie-log 

104. Kitoboy / The whaler boy

Philipp Yuryev -- 2020 | Russia, Poland, Belgium | 6

[yourbeautifulface]

[beautifulactres]

Kristina Asmus (n.1988)

[a-verified-rat]

Who I think they look like:

Curly: Manu Rios

Tim: Pedro Aurelian

Angela: Victoria Bronova

Sandy: Freya Mavor

Evie: Alia Shawkat

Sylvia: Indian Evans

Kathy: Kristina Asmus

[7ooo-ru]

Актриса Кристина Асмус выложила видео с короткой стрижкой

Актриса Кристина Асмус снялась с кардинально новым имиджем. Знаменитость опубликовала видео в Instagram. 36-летняя Кристина Асмус была запечатлена в джинсах и сером лонгсливе, поверх которого надела черную толстовку.

Подробнее https://7ooo.ru/group/2024/05/19/220-aktrisa-kristina-asmus-vylozhila-video-skorotkoy-strizhkoy-grss-308922791.html

[lifeawoke]

𝑪𝑯𝑨𝑹𝑨𝑪𝑻𝑬𝑹 𝑺𝑯𝑬𝑬𝑻.

repost,  don’t reblog !

basics !

FULL NAME.   наталья ильинична ростова.  or  natalya  ilyinichna  rostova. PRONUNCIATION.   nat-tahl-ya  eel-yin-eech-na  ras-tova     (     some  people  disagree,  but  i  believe  tolstoy  pronounced  the  first  ‘o’  as  unstressed,  so  it’s  a  ras     ) NICKNAME.   natasha,  nathalie,  the  cossak,  little  countess GENDER.   cis-female. HEIGHT.   5′0″  AGE.   17    -     45.  with  exceptions. ZODIAC.   capricorn. SPOKEN LANGUAGES.  russian     (     native     ),     french     (     C1     ),     english     (     B1     )

physical characteristics !

HAIR COLOR.   jet  black. EYE COLOR.   dark  brown. SKIN TONE.    fc  dependant.  always  either  pale  white  or  dark  brown. BODY TYPE.  short,  slim,  bony. ACCENT.   moscow,  russian. VOICE.    airy,  loud,  sometimes  reedy  speaking  voice.  clear,  resounding,  sweet-sounding  singing  voice.  kristina  asmus  is  used  as  a  voice  inspiration. DOMINANT HAND.  left.     POSTURE.   straight  but  not  rigid.  flat  back,  slouched  shoulders.  often  extended  back  and  neck.

SCARS.   several  from  childhood.  various  small  scars  on  her  fingers.  a  small  burn  mark  near  her  elbow

TATTOOS.   n/a     (     main     ),     her  family’s  initials  on  her  wrist,  ballerina  on  her  left  side,  flower  on  her  ankle     (     modern     ) BIRTHMARKS.   freckles  on  her  back,  a mole on her collarbone. MOST NOTICEABLE FEATURE(S).   contrasting  skin  and  hair,  strangely  thin  frame.

childhood !

PLACE OF BIRTH.   moscow,  russia.  HOMETOWN.    moscow,  russia.   BIRTH WEIGHT.   5 lbs. (preemie) BIRTH HEIGHT.    short. MANNER OF BIRTH.   natural. FIRST WORDS.   дай.     (     give     )     early talker. SIBLINGS.   vera  ilynichna  rostova,  nikolai  ilyich  rostov,  pyotr  ilyich  rostov,  sofya  alexandrovna  zaeva     (     adopted     ) PARENTS.   natalya  iosifovna  rostova     (     nee.  zaeva     ),     ilya  andreyevich  rostov. PARENTAL INVOLVEMENT.    the  rostovs  did  a  very  good  job  of  being  really  present  in  their  children’s  lives,  especially  natasha’s.  natasha  and  her  mother  in  particular  are  very  close  and  always  have  been,  which  might  have  been  hinted  at  with  their  matching  names.  neither  were  particularly  strict  so  natasha  sees  them  less  as  authority  figures  and  more  as  friends.  in  general,  the  rostov  parents  spend  a  lot  of  time  with  their  children. 

adult life !

OCCUPATION.   socialite.  CURRENT RESIDENCE.   moscow,  russia.     &     st.  petersburg,  russia.     &     otradnoye,  russia. CLOSE FRIENDS.  sofya  zaeva-rostova. RELATIONSHIP STATUS.   engaged. FINANCIAL STATUS.  lower  end  of  the  upper  class. DRIVER’S LICENSE.   yes.  ( modern ) CRIMINAL RECORD.   no. VICES.   over-indulgence,  lack  of  determination.

sex and romance !

SEXUAL ORIENTATION.   bisexual. ROMANTIC ORIENTATION.   biromantic. [ note : i am a baby and i find writing sexual stuff weird ] PREFERRED EMOTIONAL ROLE.    submissive  |  dominant  |  switch   PREFERRED SEXUAL ROLE.    submissive  |  dominant  |  switch  |  sex repulsed LIBIDO.   n/a. TURN ON’S.    n/a . TURN OFF’S.    n/a . LOVE LANGUAGE.   soft  touches,  longing  stares,  holding  hands. RELATIONSHIP TENDENCIES.    many,  short,  rushed  but  passionate

 miscellaneous !

CHARACTER’S THEME SONG.   LND    -    lily  allen HOBBIES TO PASS TIME.   singing.  dancing.  people  watching. MENTAL ILLNESSES.  ADHD.  anxiety.  situational  depression. PHYSICAL ILLNESSES.   none . LEFT OR RIGHT BRAINED.   left brained . FEARS.   being  left  behind.  not  being  happy.  SELF CONFIDENCE LEVEL.   typically  high,  except  in  moments  of  high  anxiety  or  depression. VULNERABILITIES.    too  trusting.  not  very  self-aware.  looking  far  too  deep  into  things. 

TAGGED BY:      @caetoh  i  think.  if  not  then...  one  of nina’s  blogs. TAGGING:    anyone  feeling snazzy    !

[whileiamdying]

THE WHALER BOY

By Bobby LePire | January 13, 2022

Written and directed by Philipp Yuryev, The Whaler Boy follows teenager Leshka (Vladimir Onokhov), who lives in a small whaling community nestled along the Bering Strait. The isolated village is spellbound when they finally get access to the internet. Leshka and his best friend, Kolyan (Vladimir Lyubimtsev), use it to look at cam girls online.

Leshka becomes obsessed with one of them, Hollysweet999 (Kristina Asmus). As the days go by and he, his family, and the village start to hunt whales, Leshka’s infatuation with the cam girl grows into a rage-filled delusion. The 15-year-old convinces himself that Kolyan is now a rival for Hollysweet999’s attention and affections. As the mania in him grows even more, Leshka vows to make it to the United States and meet her in real life. Does he achieve his dream, or can Leshka snap out of it?

The Whaler Boy is Yuryev’s feature-length debut, after only one previous short film. If one didn’t know, they’d never guess it as the drama is an assured and confident effort on all fronts. For starters, the story keeps things relatively simple. While this does mean supporting players, including Kolyan, don’t possess much depth, it also streamlines the proceedings as the plot never gets bogged in anything extraneous.

“Leshka becomes obsessed with…Hollysweet999.”

Secondly, the cast is terrific. Onokhov, in his debut role, carries the entire thing with the right amount of naivety, anger, and determination. There’s a moment where he’s psyching himself up during a craze-filled rage in which the actor walks the thin line between revolting and hypnotic. It is a fascinating and layered performance that should lead to several more worthy projects.

Lyubimtsev is also quite good. He and Onokhov feel like real friends, and his rambunctious antics allow for some levity to break through now and then. As Leshka’s grandfather, Nikolay Tatato is quite memorable, despite the small size of the role. The same goes for Arieh Worthalter as the border patrol agent. Asmus is appropriately sexy and beautiful, and as such, it is easy to see why someone like the main character would become obsessed with her.

But, the greatest asset to The Whaler Boy is the cinematography by Mikhail Khursevich and Yakov Mironichev. The film is a true work of art, as the visuals are grand and fuel the emotional core of the protagonist’s journey. Every frame is gorgeous, from the amazing at sea shots of whale hunting to the landscape swallowing Leshka as he treks toward his destiny. The look enhances everything, and the filmmaker wisely puts it front and foremost for the duration of the 93-minute runtime. When coupled with Krzysztof A. Janczak’s stirring score, the film proves to be a true auditory and ocular sensation.

The Whaler Boy is an engaging, somewhat fraught look at coming-of-age, sexual awakening, and a broken mind. Onokhov brings the role to mesmerizing life and is supported by a good secondary cast, though they’re playing thinly written parts. But, the epic look and majesty of the visuals carry this drama over any rough waters it occasionally hits.

For more information on The Whaler Boy, check out its official site.

THE WHALER BOY (2022) Directed and Written: Philipp Yuryev Starring: Vladimir Onokhov, Vladimir Lyubimtsev, Kristina Asmus, Nikolay Tatato, Arieh Worthalter, etc. MOVIE SCORE: 9/10