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Photo of Sergey Makovetskiy
Photo of Sergey Makovetskiy

Sergey Makovetskiy

“(About Eugene Onegin) I did not expect that the Chinese audience could accept and understand our work so well.”

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    OF FREAKS AND MEN

    Aleksey Balabanov Russia, 1998

    Of Freaks and Men gleefully drags any high-minded notion of Russian cinema back to the gutter from whence it came. An early-cinema pastiche luridly steeped in pornography and madness, this fabulously dark, Dostoyevskian comedy cemented Aleksey Balabanov’s subversive reputation for cultural mischief.

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    BROTHER 2

    Aleksey Balabanov Russia, 2000

    Capturing the head-on collision of Russian and American values at the start of a new century, this superlative sequel wryly tackles questions of personal agency and bravado. Interrogating stereotype with Aleksey Balabanov’s savage wit, Brother 2 subversively needles the notion of national identity.

    DEAD MAN'S BLUFF

    Aleksey Balabanov Russia, 2005

    Playing like a comically heightened subversion of his two Brother films, this hypermodern neo-noir finds Aleksey Balabanov taking the Russian gangster film to new heights of self-awareness. Riotously funny, and morally ambivalent, Dead Man’s Bluff filters the zeitgeist through the prism of genre.

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