[:de]‘Chagall-Malevich’: Schönheit ist Wahrheit[:en]‘Chagall-Malevich’: Beauty Is Truth[:ru]‘Chagall-Malevich’: Beauty Is Truth[:fr]‘Chagall-Malevich’: Beauty Is Truth[:]

[:de]Der ausverkaufte Film “Chagall-Malevich” ist wahrscheinlich nicht die beste Erzählung dieses Jahr, aber es ist nur sehr schwer vorstellbar, dass es einen anderen Überraschungsfilm wie diesen gibt.

Russische Filme, besonders die, die die ersten Tage der Revolution behandeln, sollten dunkel, trist und teilweise deprimierend sein. Doch Alexander Mittas Werk ist voller Farben, kreativ und mitreißend. Wenn Sie am Ende des Films von “Chagall-Malevich” nicht lächeln, sollten Sie zum Kardiologen um sich einer gründlichen Untersuchung unterziehen, weil mit Ihrem Herzen etwas nicht in Ordnung zu sein scheint.

Mittas Magie ist es, uns die Welt durch die Augen von Marc Chagall und Kazimir Malevich sehen zu lassen, welche durch verschiedene Ansichten der Kunst zu bitteren Rivalen werden, doch die Kunst selbst wird nicht beeinflusst. Wir sehen wie die Kunst um ihnen herum zum Leben erweckt wird und das die Welt gerade noch groß genug für die beiden Genies ist.

Der Konflikt und die Traurigkeit des Films erscheint uns durch die Unfähigkeit beider oder die Uneinsichtigkeit der Kommunisten die Welt durch die Augen der Künstler zu betrachten. Sie sind sehr eingeschränkt und zerstörerisch, obwohl ein kleiner Auftritt von Leon Trotzky einen flüchtigen Blick auf den nicht Stalinistischen Weg für die Sowjets bietet.

Der Film selber porträtiert einen Triumph von Schönheit, Anmut und Kunst über die totalistische Gleichheit. Dieser Film bietet viele ernste Denkanstöße. Wenn Sie im Theater sitzen, lassen Sie sich einfach von dem Zauber und der Magie einfangen und auf eine Reise entführen.

— Michael Jacobs, The Atlanta Jewish Times[:en]The sold-out “Chagall-Malevich” probably isn’t the best narrative movie in this year’s film festival, but it’s hard to imagine a more delightfully surprising entry.

Russian movies, especially those set in the early days of the revolution, are supposed to be dark, dreary and depressing. But Alexander Mitta’s creation is colorful, creative and uplifting. If you aren’t smiling at the end of “Chagall-Malevich,” you should see a cardiologist because your heart is surely two sizes too small.

Mitta’s magic is that he lets us see the world through the eyes of Marc Chagall and Kazimir Malevich, whose incompatible views of artistic innovation turn their students into bitter rivals but rarely disturb the artists themselves. We see their art come to life around them, and we can appreciate a world that’s big enough for both of them.

The conflict and sadness in the film come from the inability or unwillingness of the Communist authorities to join us in seeing the world as the artists do. They are petty, small-minded and destructive, although a brief appearance by Leon Trotzky provides a glimpse at a non-Stalinist alternative path for the Soviet Union.

The movie itself is a lesson in the inevitable triumph of beauty and artistic truth over totalitarian sameness, but save any such deep thoughts for later. When you’re in the theater, just let the wonder and joy take you away.

— Michael Jacobs, The Atlanta Jewish Times[:ru]The sold-out “Chagall-Malevich” probably isn’t the best narrative movie in this year’s film festival, but it’s hard to imagine a more delightfully surprising entry.

Russian movies, especially those set in the early days of the revolution, are supposed to be dark, dreary and depressing. But Alexander Mitta’s creation is colorful, creative and uplifting. If you aren’t smiling at the end of “Chagall-Malevich,” you should see a cardiologist because your heart is surely two sizes too small.

Mitta’s magic is that he lets us see the world through the eyes of Marc Chagall and Kazimir Malevich, whose incompatible views of artistic innovation turn their students into bitter rivals but rarely disturb the artists themselves. We see their art come to life around them, and we can appreciate a world that’s big enough for both of them.

The conflict and sadness in the film come from the inability or unwillingness of the Communist authorities to join us in seeing the world as the artists do. They are petty, small-minded and destructive, although a brief appearance by Leon Trotzky provides a glimpse at a non-Stalinist alternative path for the Soviet Union.

The movie itself is a lesson in the inevitable triumph of beauty and artistic truth over totalitarian sameness, but save any such deep thoughts for later. When you’re in the theater, just let the wonder and joy take you away.

— Michael Jacobs, The Atlanta Jewish Times[:fr]The sold-out “Chagall-Malevich” probably isn’t the best narrative movie in this year’s film festival, but it’s hard to imagine a more delightfully surprising entry.

Russian movies, especially those set in the early days of the revolution, are supposed to be dark, dreary and depressing. But Alexander Mitta’s creation is colorful, creative and uplifting. If you aren’t smiling at the end of “Chagall-Malevich,” you should see a cardiologist because your heart is surely two sizes too small.

Mitta’s magic is that he lets us see the world through the eyes of Marc Chagall and Kazimir Malevich, whose incompatible views of artistic innovation turn their students into bitter rivals but rarely disturb the artists themselves. We see their art come to life around them, and we can appreciate a world that’s big enough for both of them.

The conflict and sadness in the film come from the inability or unwillingness of the Communist authorities to join us in seeing the world as the artists do. They are petty, small-minded and destructive, although a brief appearance by Leon Trotzky provides a glimpse at a non-Stalinist alternative path for the Soviet Union.

The movie itself is a lesson in the inevitable triumph of beauty and artistic truth over totalitarian sameness, but save any such deep thoughts for later. When you’re in the theater, just let the wonder and joy take you away.

— Michael Jacobs, The Atlanta Jewish Times[:]