Translated into English as "Collapse" or "Disintegration", RASPAD is much more than a chronicle of the Chernobyl accident. In it, producer-director-coscreenwriter Mikhail Belikov aims to document a country's entire moral, social, political, and economic disintegration. There are scores of concise and telling details here, from the small (Alexander has forgotten to bring a requested packet of soil from Greece, the homeland of his father, and so he fools the old man with some backyard dirt), to the medium (Ludmilla lies to Alexander about her affair; Valerii and Lyuba have bribed an official to send a relative to an old-age home so that they can take over their small, shared apartment), to the large (government officials tell Alexander there is no danger, then head their limos to the airport for the next flight out). Belikov reserves his greatest scorn for his own profession: the media--in the aftermath of the explosion, the TV channels (seen throughout the film) continue to carry only a marathon bicycle race.
Mostly documentary-like in style, RASPAD is savage and unsubtle in its catalogue of ills, yet it's beautifully controlled, avoiding both cliche and sentimentality, by Belikov, a former director of photography helming his third feature following 1981's THE SHORT NIGHT and 1985's HOW YOUNG WE WERE. The character Alexander is an obvious stand-in for Belikov, who was living in Kiev during the incident and has based his film on stories he heard from friends, relatives and colleagues.
In addition to Kiev, Belikov was allowed to shoot on actual locations, including the contaminated town of Pripyat (row after row of abandoned, deathly still apartment buildings and streets) and, most horrifyingly, the reactor areas of Chenobyl itself (for which scenes Belikov and his crew, three years after the fact, risked contamination themselves). Yet there are also touches of poetry here and some near surreal scenes (the sudden appearances of the white-suited figures at public outdoor events, which the government had allowed to go on after the explosion).
Beginning production with a $600,000 budget on the third anniversary of Chernobyl, and with the Soviet film industry in a collapse of its own, Belikov was technically aided (film stock, etc.) by American producer Peter Almond and the Pacific Film Fund, which brought the movie and Belikov to San Francisco for post-production.
The film premiered at the 1990 Cannes Festival.
Play Time..95 min
Total File Size...1.03 GB
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