#aleksei guskov

[moviesandfood]

Le Concert

[ulkaralakbarova]

After reuniting with his first mentor Bruno and receiving his latest mission, an exiled Ciro is left to fearlessly confront whatever comes his way, navigating a new chapter of gang warfare while grappling with devastating memories of loss and trauma. Weaving between his past as an orphan in Naples’ cruel underworld and present as a hardened, cunning assassin with nothing left to lose, Ciro is plunged into the cold, dark depths of a world where immortality is just another form of damnation. Credits: TheMovieDb. Film Cast: Ciro Di Marzio: Marco D’Amore Ciro bambino: Giuseppe Aiello Bruno: Salvatore D’Onofrio Bruno giovane: Giovanni Vastarella Vera: Marianna Robustelli Stella: Martina Attanasio Virgilio: Gennaro Di Colandrea Yuri Dobeshenko: Aleksey Guskov Don Aniello Pastore: Nello Mascia Coppola: Nunzio Coppola ‘O Mierlo: Salvio Simeoli Gennaro Savastano: Salvatore Esposito Eligio: Rocco Giordano Film Crew: Writer: Maddalena Ravagli Director: Marco D’Amore Writer: Leonardo Fasoli Writer: Francesco Ghiaccio Music: Mokadelic Editor: Patrizio Marone Camera Operator: Guido Michelotti Producer: Giovanni Stabilini Producer: Riccardo Tozzi Producer: Marco Chimenz Assistant Makeup Artist: Zane Zilinska Key Hair Stylist: Aniello Piscopo Key Grip: Aurelio Langella Colorist: Andrea Baracca Boom Operator: Alessandro Molaioli First Assistant Director: Lorenzo Grasso Camera Operator: Fabrizio La Palombara Key Grip: Luigi Rocchetti Production Design: Carmine Guarino Second Assistant Camera: Daniele Marcoccia Assistant Makeup Artist: Alīna Blinkova Sound Mixer: Gianluca Costamagna Casting: Davide Zurolo Makeup Designer: Giulio Pezza Electrician: Carmine Porricelli Electrician: Ciro Tommasino Costume Design: Veronica Fragola Electrician: Daniele Caiuli Assistant Makeup Artist: Kristine Kajaka Sound Editor: Gianfranco Marongiu Assistant Editor: Andrea Prosperi Gaffer: Daniele Verdenelli Visual Effects: Alessandro Clener Assistant Camera: Fabio Ciotto First Assistant Camera: Giulio Innocenti Music Coordinator: Joshua Berman Assistant Hairstylist: Ieva Sebre Makeup & Hair Assistant: Santa Sandule Sound Designer: Luca Anzellotti Camera Operator: Mārtiņš Jurēvics Electrician: Francesco Sacco Drone Operator: Gvido Puke Script Supervisor: Giulia Contino Assistant Production Manager: Olita Varpa Assistant Hairstylist: Nicola Griguoli Assistant Editor: Eleonora Quaglia Movie Reviews:

[saturatedworld]

The Green and the Grey

Loud and low knocks, sing a song of what shall come to pass. The door opens, and the green-eyed youth enters. Only then he noticed the man opening the door for him, many-layered veils covering his upper half. “Oh, you are… Mr Chizuru’s husband.”

“Greetings.”

“Wait, it’s only you here?” asks Robin as he takes off his cap. “I thought Wren would be here before me.”

“Chizuru-han still has work to do,” replies the veiled man as he gets back to his chair and folding papers. “I haven’t seen Wren.”

“Oh, I see. Probably forgot about the meeting today, then,” replies Robin with a pout, now standing by the counter at the back of the small room. His hands reach for a cup and sugar jar. “Corn probably will be late too; the dockers have been rowdy lately, brawling over shipment crates again.”

“So I heard.”

“Did you hear about the incident at Flowerdene Street too? Awful, what happened to the factory workers. Not that Mr Fires would do anything to prevent it from happening again, though.”

“Unfortunate, indeed.”

For once, Robin regrets coming to the base-camp early. Never before he guessed he would be alone with this person – terse, unopinionated, difficult to approach. It’s difficult to imagine he is a spy like his husband. Aren’t spies supposed to be more socially flexible? Robin’s hand stops stirring his tea as something comes to his mind.

He turns toward the veiled man, who is in the middle of folding paper cranes. “Er, this is a little rude, but what is your name again? I thought it was something else, but this morning I saw someone called you ‘Yuri’...”

Did that question make the man’s veils thicker? A moment passes before he finally lifts his veils, locks eyes with Robin, and says, “I can’t decide if you are wise or foolish.”

“Sorry?”

“That question could’ve gotten you permanently killed for knowing too much in a different situation.” He continues, “You are not the kind of person who would forget.”

“Well, what if I… did forget….” Robin’s voice trails off as his face and ears turn red. The man is right; he asked out of mere curiosity and let it show in his words.

“I hope you have learned your lesson,” says the man, returning to his paper cranes.

“D-Don’t tell Mr Chizuru about this. Please,” asks Robin, his voice still low in embarrassment.

Silence envelops the room. Robin sips his tea, any thoughts about engaging in a conversation with the person before him evaporating along with the steam. Awkward, terribly so. When will the others show up?

“Why do you want to learn about espionage?”

“Huh? Me?” Of course it was directed toward Robin, but he didn’t expect to receive that question. He can’t see the man’s face, but he can feel the expecting gaze coming from behind the veils. “Well, I… I just want to be useful.” His eyes shy away from contact. “Not sure if you already knew, but I have a weak constitution. I grow tired easier than most people. I’m not athletic like Wren, and I’m not good at making and fixing things like Corn. So Mr Chizuru asked me if I want to learn how to collect, process, and put information to use, and here I am now.”

“Has he ever said why you?”

Robin winces at the question. “I asked once. He just said he ought to make himself useful too. Looked sad about it, but he always has that air about him.” The youth stops, frowns, lets a buried thought out, “I think it was just convenience. I get the feeling from how he acts that he doesn’t intend to be always here, but doesn’t want to leave the cell shepherdless either. And I was the only one without a defined role.” His expression softens. “A convenience, but I still feel glad that he cares.”

No more questions, but no more folding paper cranes either. They just sit in silence together, until Robin taps on the table. “Well, is that all you want to know? Mr Chizuru is really the only thing you’re interested in, huh? Isn’t he the entire reason you’re here?”

“I’m just thinking….” A pause, then a sigh. “Maybe Chizuru-han made the right decision in choosing you. You see, he calls me a bad spy sometimes. He can see through how everything about me was faked.”

“Ohh, is he that good?” He dodged the question, but Robin has no particular need to hear the answer from him – not with how he wanders into talking about his Chizuru-han.

He shakes his head. “He’s simply more in touch with his humanity than I am. I’m here because I still need to learn. But someone like you might be able to understand what makes his approach, and perhaps one of his regrets will be no longer. As for the question of my name….” He lifts his veils again – some even fall off like old feathers. “I am ‘Yuri’. I also have been ‘Aaron’, ‘Nikola’, and ‘George’, among other names. But more importantly, I am ‘Aleksei’. Does that suffice?”

“And ‘Aleksei’ is what he calls you by. I see.” Robin hums. Wait, what did the veiled man say just now again? Something about humanity? “Hold on, hold on. Are you telling me that when you’re not faking an identity you’re just awful at being a person?”

A hesitating, quiet nod.

“My Lord, I thought you were just being rude.”

For a moment, his veils appear to look denser than before. “Perhaps I should have brought a crafted identity when I first entered this room. It would’ve made getting along with everyone easier,” admits the man. He takes a paper crane, turning it around in his hands. A couple more of the veils fall off to the floor. “But I want to make something of the name he calls me by. Not something scripted by convenience, but something that will always belong to me.” Another pause, then a frown. “I really am a bad spy.”

“Surprisingly adorable, aren’t you?”

“Mmhm, I will take that as a compliment. Thank you.”

***

“By the way, I noticed you pronounce his name well.”

“He wants me to read and write his codes. In Japanese. Please tell him to reconsider.”

[king-galaxius]

New Russian Movie Release: The Silver Skates

New Russian Movie Release: The Silver Skates

Movie: The Silver Skates Release: December 3rd, 2020 Genre: Love Story Director: Michael Lockshin

Cast: Fedor Fedotov, Sonia Priss, Aleksei Guskov, Yuri Kolokolnikov, Severija Janusauskaite, Kirill Zaytsev, Yuri Borisov, Aleksandra Revenko, Timofey Tribuntsev, Sergey Koltakov

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

[scenesandscreens]

Polina (2016) Polina, danser sa vie (original title) Directed by Valérie Müller & Angelin Preljocaj, Cinematography by Georges Lechaptois "I'm sick of mindlessly executing other peoples choreography. I need to learn to look at the world."

[haute-lifestyle-com]

Russian Dating Disaster Web Series Stars Son of Sergi Puskepalis and Aleksei Guslov 

[moviesandfood]

Le Concert

[famousborn]

Aleksei Guskov Bio, Height, Wiki, Age, Wife, Birthday, Parents & Net Worth

Aleksei Guskov Bio, Height, Wiki, Age, Wife, Birthday, Parents & Net Worth

Aleksei Guskov also known as Aleksei Gennadyevich Guskov is a famous Russian actor and producer. Born on May 20, 1958, the talented actor mainly works in the Russian showbiz industry and awarded People’s Artist of Russia in 2007. He made his acting debut starring in the movie ‘Personal File judge Ivanova’ in 1985. 

Full Name Aleksei Guskov Nick Name Aleksei Age (As of 2019) 61 years old Date of…

[saturatedworld]

The Drumbeat of War

A final rumble of thunder and Chizuru is soaked with rain. The sky clears. The storm departs, its invitation delivered. He shrugs. “Well then.”

“War!” shouts a lamia slithering out from the now roofless cottage. “It’s finally arrived at my lil’ old home. Maybe the bigger ‘Kings will recognise me as a real full-fledged royal serpent if I can defend it.” The golden-haired youth clings on the drenched man. “You will help me, won’t you? This land you stand on doesn’t come cheap.”

“No, Tiny, I already paid the price, don’t try that now. Remember, Robin doesn’t like greedy landlords,” says Chizuru – the Fingerking gasps. “Beside, the stormcloud said we will be on the side of London – I think it’s best if we act as a neutral party. And personally, I…” He trails off. No further words come from him, but he frowns. War…

“Chizuru-han?” Aleksei, dragging his hundreds of veils along the wet ground, asks, “This doesn’t seem to be within our purview. Do you think we can refuse it?”

“Aleksei, I…” He sighs. “No, I don’t think it’s a good idea to carelessly refuse Parabolan powers, and we might get caught up in it anyway.”

A man arrives at the scene. He looks like Chizuru. He walks like Chizuru. He smells like Chizuru. The only difference is how he still has both of his eyes. Aleksei flinches at the new arrival. When Chizuru himself notices and stares at his double, the second Chizuru offers a deep bow toward the group. “Hello, my apologies for the lack of calling card! I came rushing when I saw the terrible weather all the way from the Chessboard.”

Tiny hisses. “Which Chessboard?”

“None of your business, little one.” He answers with the smile of a fox. He notices the veiled man whispering to his husband. “Now, if I may introduce myself, I am you.”

“You are my reflection,” replies Chizuru.

“That is one way to put it.”

“You are myself who becomes alive on a chessboard – in a game of struggles for intelligence and power.”

“Another way to put it – did you just hear that from your husband?”

A pause, then a single phrase: “I hate you.”

The reflection shrugs. “I hate you too.”

“Why are you here?”

“Because I feel compelled to fill what my other self lacks.”

“What I lack? Me? I’d prefer you gone from my sight.”

“Rich, coming from you. Well, you see, I agree! I didn’t hide from you for this long for no reason. But I’ll always be in you. I didn’t come from nothing.”

“It would be better if you weren’t in me. You’ve caused me many regrets I still hold today.”

“And leave your people with no capable leader? Don’t be ridiculous.”

As the bickering continues, Aleksei bits his lip. Is this what it’s like in his husband’s head, with his melancholic airs filtered out? He only thought that telling Chizuru about his reflection would help smooth over the conversation. He steps forward. “Okay, Chizuru-han… both, you should take a step back and—”

“Quiet, Aleksei!” “Silence, Alyosha!”

“Wait, why do you get to call him that? That’s not fair.”

“Ha? Not my fault that you are so awkward you can’t even ask your own husband about his name.”

“I’m respecting his boundary! He doesn’t even know much about himself yet.”

“Me? I’ve been calling my Alyosha that since long.”

“Your Alyosha?!”

“The one that went missing since your Alyosha lingered on this side for too long! He’s terribly shy, don’t you know?”

“Your— Well, of course I know! He can’t do much without his cover identities, but we are working on changing that.”

“...So this is what Chizuru-han thinks of me,” says Aleksei to himself.

“Sounds like he thinks you’re a helpless wallflower of some kind,” replies Tiny.

“Anyway, we are getting sidetracked too far,” says the reflection at last. “Back on topic, you have heard from the stormcloud, right? The wars of Parabola are heading toward this direction. Now be honest, do you actually wish to be involved?”

“I think of all people, you’d know the answer to that without me saying it.”

“And that’s why I’m here. You, my peace-loving self, tired of bloodshed, may stick to diplomatic and strategic works. I shall take over the reign – defend the fort and lead the campaigns. Meanwhile you can stay in this nice little cottage—” He pauses as he remembers what the storm did to the area, and makes gestures with his hand. “It will be nice again very soon, and you can keep it as a safe resting space in your fight for our cause, as it has always been.”

“...Right.” Chizuru nods; his head feels heavy. “I know you – I’ve been you. I don’t like you.”

“I don’t like you too.”

“But you’re myself who is best at this work. You won’t… you won’t sacrifice people needlessly, right?”

“‘Need’ is something that will be defined as we go, but yes.”

“I will trust that our values are not too different, so without… well, what makes me me, you should be able to reach decisions faster, and I hope that will also lead to less casualties on both sides—”

“Both sides?” The reflection scoffs, “Come on, now. This is war.”

“Yeah, d__n those savage cats!”

“Tiny, again, we will be a neutral party.”

“Yes, but I’m a Fingerking.”

“Okay, but what is this for you?” Chizuru asks his reflection again, ignoring the serpent. “What do you want, suddenly showing up now?”

The reflection shrugs again. “Well, as I said earlier, I just feel compelled to help you toward your ideal, even if my very nature is the opposite of it. I can do what you normally lack the will for. Like it or not, I’ve helped in keeping you around for this long.”

“You don’t want anything else? This sounds too good to be true.”

“What? I’m not some kind of malicious spirit that causes damage without rhyme or reason. You know it’s not in our nature to.”

“It’s exactly because it’s not in our nature that I’m concerned.”

“You got me there. Well, you said I’m you who become alive on the chessboard, right? That’s correct, and with that I’m also the part of you who was born a ruler – the king of one chessboard, if you will. And I think, in order to become an effective ruler, one needs a semblance of power. Are you following me so far?”

“Regretfully.”

“I wish to fulfill my calling as a king.”

“Do you know how much I wish to shed that shell?”

“I do. But I’m your reflection. I will be the opposite of your desire in some manner, and we complete each other that way.”

“Aleksei?” Chizuru turns toward his husband and advisor. “What do you think?”

“...I’ve heard a saying in my stay in this land: one ought to be responsible for their reflection, what your reflection does will be accounted as yours.” A sudden breeze; Aleksei’s veils flutter. He continues, “I’ve never met mine, though.”

“Wise,” says Tiny.

“Alyosha is right. You won’t be able to escape the war completely; I’m still an extension of you, after all,” says the reflection. “Actually I was expecting you to check on me at some point. That’s what I would do.”

“...Right. Right. I understand now.” Chizuru sighs. “I don’t like the idea of relying on… on you, but I will take the offer. I have enough on my plate in the Is already, and I never wanted to be part of the conflicts in this land to begin with, so…”

Chizuru trails off, but his reflection doesn’t need him to complete his words to know. “Understood. Our feelings about our methods may differ, but I won’t betray you.”

With that concluded, his fox-like smile returns to his face. “Well, thank you for your time! I’m glad it turned out to be a productive conversation.”

“If I may ask…” Aleksei raises his voice again, “Are you still looking for your Alyosha?”

That one question was enough to melt the air around the reflection into a familiar melancholy. “Perhaps I am.” He turns and walks away.

The second storm is finally gone, and Tiny has left too, both their amusement and cosy cottage no more. With just him and Aleksei left, Chizuru is finally able to relax. He leans on his husband’s shoulder, whispering, “Tired.”

“Yes. But our cottage is gone.”

“I want to go home. To London. Eat Vera’s cooking.”

“Okay. I hope our mirror is safe.”

“I want to see Camellia.”

“Okay.”

“We will get dragged into this war anyway, right? Just like today.”

“Unfortunately, we probably will.”

“Stay with me.”

“Of course.”

[king-galaxius]

New 2019 Russian Film Release for December

New 2019 Russian Film Release for December

Movie: Union of Salvation Release: December 26th, 2019 Genre: Historical, War, & Adventure Director: Andrei Kravchuk

Cast: Leonid Bichevin, Maksim Matveyev, Pavel Priluchny, Ivan Yankovsky, Anton Shagin, Ivan Kolesnikov, Igor Petrenko, Aleksei Guskov, Sergey Koltakov, Aleksandr and Ustyugov.

“Based on the historical narrative of the Decembrist Revolt and the Union of Salvation and Viking(film), a…

[festivalrussehonfleur]

L’acteur russe Aleksei Guskov a tourné dans « L’IMMORTALE », réalisé par Marco d’Amore. « L’IMMORTALE » sorti en Italie le 5 décembre est le spin-off de la célèbre série italienne GOMORRA, diffusé sur Canal +. Le film centré sur le personnage de Ciro di Marzio a conquis le coeur des spectateurs italiens avec Euro 2.816.294 dans le box-office pour son premier week-end. #limmortale #limmortalefilm #marcodamore #gomorra #gomorrah #gomorralaserie #canalplus #alekseiguskov #guskov #naples #mafia #italia #boxofficeitalia #cinemaitalien #acteurrusse #bestofrussia #festivalhonfleur #normandie #алексейгуськов #гуськов #италия #мафия #гоморра #культовая #сериалы #spinoff #avoirabsolument #likeforlike #likeforlikeback #likeforfollow (à Naples, Italy) https://www.instagram.com/p/B6Ahe8fC2JV/?igshid=t3v3sl57b5cj

[retegenova]

L'Immortale

L’Immortale

Cinema: L’Immortale

Il film spin-off di Gomorra – La serie

Regia di Marco D’Amore.

Con Marco D’Amore, Giuseppe Aiello, Salvatore D’Onofrio, Giovanni Vastarella, Marianna Robustelli, Martina Attanasio, Gennaro Di Colandrea, Nello Mascia, Aleksey Guskov, Salvio Simeoli. Genere Drammatico

– Italia,

2019. Durata 116 minuti circa.

Ciro di Marzio, detto l’Immortale, è stato…

[movs4up-blog]

The Immortal

Ciro’s body is sinking in the dark waters of the Gulf of Naples. And as it sinks deeper and deeper, memories emerge. The sounds muffled by the water merge with the screams of fleeing people. It is 1980, the earth shakes, the palace collapses, but under the rubble you can hear the cry of a newborn baby still alive. Ten years later, we find that new-born baby as it survives as it can on the streets…

[filmforthought]

Polina

Starring Anastasia Shevtsova, Juliette Binoche, and Aleksey Guskov

Rating: ★★★½

Polina (Shevtsova) is a young ballet prodigy from Moscow. However, when she enters young adulthood, Polina puts ballet behind and follows a boy to France. While in France, Polina gains perspective on dance, choreography, and life.

Although it has some plotholes, Polina is an intense experience of a young woman attempting to find her place in the world with exceptional performances and beautiful choreography.

Initially, we are thrown into the lion’s den as an eight-year-old Polina takes on the strict ballet class of Bojinski (Guskov), a well respected instructor. Throughout her childhood, Bojinski bluntly speaks to Polina, but guides her on the right path. This is not Whiplash, where Bojinski may throw a ballet shoe at the eight-year-old.

As Polina gets older, she experiences difficult times in her personal life. Considering the dedication Bojinski has for perfection, the instructor sees past Polina’s issues. This, along with meeting a boy, drives Polina to take on a dancing experience in France, which has a completely different approach toward training.

In France, Polina has a strenuous time adjusting to the laid back modern dance studio. Once always striving for perfection in style, Polina’s new instructor (Binoche) suggests for the ballerina to put passion in her dance and to take occasional days off. Polina’s disconnect at the French studio causes her to go in a downward spiral, distancing herself from the progress she made in Moscow.

Despite being off the path to become a successful dancer, Polina must find herself by enduring blow after blow. Drinking and small paychecks force Polina into rock bottom, where she struggles to survive on her own. Considering the handful of rough moments, along with the pressure of becoming the perfect ballerina, this is an intense experience.

Anastasia Shevtsova as Polina brings a sense of emptiness to the dancer through her blank stares and shy dialogue deliveries. However, Shevtsova  also provides a dedicated edge by genuinely expressing her willingness to train hard. There are plenty of moments where she will argue with her boyfriend over the execution of a dance or work alone in the studio to prepare for a ballet. Above all, Shevtsova is elegant in her ballet technique and gives it her all in the toughest of performances. Shevtsova works well with Aleksey Guskov, who plays the stern ballet instructor that pushes Polina to success. Guskov’s presence in the studio is intimidating as he stands arms crossed in a black turtle neck with a snarled face. But when Guskov speaks, it’s as if he is a sage of wisdom who knows exactly how to address any issue. On the other hand, Polina’s French instructor, played by Juliette Binoche, is much more relaxed. Surprisingly, Binoche provides a beautiful independent ballet routine, which shows how versatile she can be.

Needless to say, Binoche’s ballet sequence is accompanied by many other gorgeous instances of choreography. At eight-years-old, we see Polina make mistakes and ask for help. But when she reaches young adulthood, Polina shows much more confidence in ballet. Even during practice, Polina brings passion into each move. Additionally, there are moments not involving Polina which are beautifully choreographed as well. For example, as Polina begins to see the world through ballet lenses, regular folks reenact their daily routines through dance. This involves a homeless person slowly crawling on the floor and a reunited couple sharing a kiss. From  big ballet productions to brief instances, it is fascinating alone for the choreography.

At slightly under two hours, it is a consistently intense ride as we are there with Polina being dealt blow after blow. However, there are scenes that abruptly cut or are missing from the finished product. One moment Polina is in France, the next she somehow travels to Belgium. Well how did she get there and why? Additionally, there must have been a ton of scenes with Polina’s father cut out. Polina’s father has depth, but only has four or five scenes. The father’s scenes are exciting, but oddly quick. Somewhere there is a two-and-a-half hour director’s cut telling the complete story of Polina’s travels and the issues she faced at home. Even with some funky cuts, every moment is meaningful and does not stray away too far from the plot.

This is not a typical ballet feature where everything falls into place for the dancer. Instead, Polina must go through challenging moments to reach her full potential. Considering Polina’s obstacles, it gives an honest look into the real world some ballerinas face when on their own. The world can be harsh and Polina successfully expresses this through her beautiful ballet dances. Additionally, the choreography is exceptional and a reason alone for one to experience this Russian-French feature. Those behind the dance moves also provide strong performances, especially Anastasia Shevtsova. Its only flaw is the strange cuts and some missing pieces. Despite this, it still sets the barre high for other ballerina films.

[movielovtrailers-blog]

Polina Official Trailer (2017)

Polina Official Trailer (2017) starring Anastasia Shevtsova, Veronika Zhovnytska, Juliette Binoche.

Trailer for Polina, starring Anastasia Shevtsova, Veronika Zhovnytska, Juliette Binoche. Rigorously trained from an early age by a perfectionist instructor, Polina (played by Anastasia Shevtsova, a professional dancer who has performed with Saint Petersburg’s Mariinsky Theatre) is a promising classical ballet dancer. She is just about to join the prestigious Bolshoi Ballet when she discovers…

[sanchezsacco]

Polina: la vida en la danza. Cuando los cuerpos hablan

Coberturas / Crítica 

Publicado el 16 Marzo, 2017 www.fellinia.com.ar/?p=40961#more-40961

por Lorena Sánchez, especial para FelliniA Tierra de Cine desde Pinamar.

“Polina, danser sa vie” es un encuentro entre la danza y el cine que a través del trayecto de vida y formación profesional de una bailarina, recorre los distintos tipos de baile y muestra cómo se va forjando la creación artística en la expresión corporal. 

La película, dirigida por duetto artístico -y pareja en la vida real- entre el renombrado coreógrafo Angelin Preljocaj y la realizadora y guionista Valérie Müller, fue presentada esta semana en Pantalla Pinamar y se estrenará comercialmente el 30 de marzo en nuestro país. 

Es la historia de una bailarina rusa (Anastasia Shevtsova) que se prepara desde su infancia y adolescencia para ingresar al prestigioso Bolshoi. Allí se enamora de un compañero francés (Niels Schneider) y a poco de ingresar al cuerpo de baile decide seguirlo hacia el sur de Francia y estudiar danza contemporánea. En la nueva escuela, que comanda la maestra francesa interpretada por Juliette Binoche, la rigurosa formación clásica de Polina se ve limitada ante una visión de la danza que ahonda en la búsqueda expresiva de las emociones y una técnica que privilegia la expresión de los sentimientos por sobre la perfección de los movimientos. Sintiendo que no encaja, la protagonista parte nuevamente en búsqueda de su destino y se enfrenta con los avatares de la supervivencia. En esta nueva etapa descubrirá la improvisación y conocerá a un bailarín (Jérémie Belingard) que utiliza la expresión corporal para trabajar con chicos de bajos recursos económicos.

El camino de su propia experiencia y las idas y venidas de la vida misma le permitirán a Polina encontrar un lenguaje propio que sintetizará las distintas técnicas y expresará su visión poética, sus propias alegrías y tropiezos y sus sueños de niña.

El personaje de Polina está basado en un exitoso cómic de Bastien Vivés, editado en diez idiomas. Los directores buscaron que actores y bailarines se encuentren en la interpretación, que desde la danza “el sentido circule a través de los cuerpos, que hablen, que se reconozca lo que el cuerpo emana como cuando reconocemos a alguien que camina en la oscuridad sin precisar su rostro” y que la historia Polina “construya su emancipación a partir de sus decisiones, sus capacidades y también sus heridas, pero en un camino personal por fuera del mandato de sus padres y el encasillamiento del sistema”.

Algunas de los diálogos del film definen la visión de las distintas escuelas de danza: “El público tiene que ver la belleza de los movimientos, no la dificultad y el esfuerzo”, exige el profesor ruso interpretado por Aleksei Guskov. “Lo que hacen es muy bonito pero quiero algo real. Es importante escuchar y observar lo que pasa alrededor”, pide la maestra francesa que encarna Juliette Binoche. El coreógrafo Angelin, cuya escuela aparece como uno de los escenarios del film, señaló en la conferencia de prensa, que “hoy en día, el director de una compañía no es lo que suele verse en la las películas, sino que trabaja en colaboración con sus bailarines y con mucha humanidad”.

Trailer: https://www.youtube.com/watch?v=BjqnVrEByIE