Documentary cinema of our time almost got rid of gross "interference", distorting the material. His narrative language has changed in connection with the global changes in the worldview of man that occurred in the XXI century. According to the unanimous opinion of the leading filmmakers of our time, at present the documentary must ideally feel the distance and consider each frame as a separate aesthetic value. Such specialists, who do not cease to amaze the audience with their work, include director Sergei Loznitsa.
Brief Biographical Facts
The future visionary was born in the provincial Belarusian town of Baranovichi in early September 1964. After graduation, the young man continued his education as a mathematical engineer at the Kiev Polytechnic Institute. Possessing good intelligence, Sergey Loznitsa combined the position of an employee of the Institute of Cybernetics and a translator from Japanese. In the early 90's, he decided to radically change his professional preferences, entering the directing department of VGIK. The mentor who taught the student the wisdom of creating feature films was Nana Dzhordzhadze. After graduating from a higher educational institution, Sergey Loznitsa, whose biography will be closely connected with his filmography in the future, begins his career as a documentary director at the St. Petersburg Documentary Film Studio. In 2001, he emigrated to Germany. At the moment, the movie maker has three full-length films and six short films. Most of the works of Sergey Loznitsa were awarded the prizes of the Kinotavr festival, Nika awards and the Cannes film festival.
Handwriting
Sergei Loznitsa, according to film critics, is currently one of the modern documentary filmmakers, creating projects with a focus on genius. And it’s rather not about the outstanding talent of the master, but about the style. The formal extremism present in the master’s works can only be justified by the status of a “masterpiece”. The radical aesthetics of his paintings implies a cardinal status. For other filmmakers, authoring techniques may not work, or cause secondary meanings. But at Loznitsa, all released projects cannot be positioned otherwise than as a masterpiece, for example, the film “Portrait”.
The most significant documentary tapes
Filmography of Sergey Loznitsa in 2002-2003 replenished with two works, which are considered one of the best projects of the director. These are the tapes “Landscape” and “Portrait”. The author managed to derive an impeccable formula for success - short but effective. He used established, traditional genres as initial data, applying the texture of “convex” time to them. The director sublimates the movie time as such, producing an unprecedented extract. Few of the directors manage to make the viewer so keenly feel the time of the picture. For this effect, Sergey Loznitsa deliberately delays the camera focus for a long time on still human figures or uninhabited landscapes.
Thanks to visualization, the greatest visionaries of our time ultimately solved the dramatic tasks defined by the progressive development of the plot and the movement of time. And even if their shots were existential, all the same in each of them the pulse of the history of mankind was heard. In Loznitsa, however, it is as if physically tangible overlay on top of the static frame of the time layer. It seems that the image does not exist separately on a moving film, but is combined with it. The camera in the hands of the master turns into a retort.
