Anastasia Miroshnichenko biography

Anastasia Miroshnichenko and her “debut” today will talk about the documentary film Anastasia Miroshnichenko “Debut” indeed, the term often becomes a certain social stigma for a person until the end of his days. It is this unsightly, at first glance, to the side of life Anastasia Miroshnichenko devotes his documentary “Debut” to the director’s lens enters the prisoners of the female Belarusian colony for those who committed the crime for the first time, which correlates with the name of the picture.

Women presented in this screen work, for one reason or another, were “debuted” in the criminal world. And namely, I’m not afraid of this word, life, not survival, but life in prison filigree is reflected in the work of Miroshnichenko. The structure of the screen narrative can be called linear. The central event is the production of the play on the stage of the Gomel Drama Theater, for which prisoners are prepared throughout the film.

And the theater, as a place of the transformation of the soul, becomes natural, not violating the actual reliability of reality, but an extremely expressive artistic space, which, in turn, exposes the spiritual deformation of isolated people. Anastasia Miroshnichenko gradually immerses us in a straightforwardly arranged life of the heroines. The development of action is preceded by static general plans that view the rather dull landscape of the colony: a black snake of barbed wire, sterile whitish walls of the prison and the reflection of desperately identical blue jackets of women in trembling autumn puddle.

Fragments of the world order of the colony, not only draw the outlines of reality, which are grabbed by the tenacious look of the director, but also create an ambivalent poetic image, in which Nonnoboda is not so much combined with absolute vitality, as it creates it, catalyzes. Acquaintance with the heroines occurs at a certain distance: general plans cover women as a heterogeneous fussing community, and then replaced by soap records of surveillance cameras.

A sharp change in the shooting points, due to the specifics of the place of stay of the heroines, not only reminds of the conventions of the prison, but also moves away from the viewer. As the heroines deformed by the pain of the spiritual score, the director reduces the distance, switching to medium and close -ups and getting closer to the inner world of a woman who is in the focus of the lens.

Confessional reflection, exposing heart strings and scabs, becomes a counterpoint of the film. Monologists of prisoners, pierced by fears and hopes, are a fragmentedly organized emotional kaleidoscope, laughing with the detached sketches of the everyday routine of heroines. For example, a frame, where a woman’s face rolls unnaturally large tears when the family thought about separating from a family is replaced by a contrasting brisk scene of collective cleaning of potatoes.

It is worth noting the tracing principle of “non -interference” of the director. The absence of a sunset voice, credits or other verbal comments creates a feeling of detachment, disappointment of the author’s view of fixed events. However, the thematic sample of the material, focusing on the psycho-emotional completeness of each heroine, the editing rhythmic organization, systematically leading the viewer to the exaltation ending and an inconspicuous, actually transforming into the air space of the film musical accompaniment expresses the directorial position of love and tolerance, masterfully dissolved in the screen concentrate of life with the help of artistic and technical Kino-instrumentation.

The chronological principle of placement of accents to which Miroshnichenko resorts to.

Only in the final of the picture do we learn the reasons for the presence of women in prison. On the harmony of the harmony of general plans of the colony on a sunny day, credits with photographs, descriptions of crimes and appointed terms appear. An unnecessary statement of data is built into a humanistic canvas of a documentary, bypassing journalistic severity and leaving the viewer the opportunity to independently choose the degree of contact with the screen.

However, this phrase becomes not a manifesto, but a call to the struggle. Without affirming the topic of femininity on the role of the main idea, Anastasia Miroshnichenko still gives it dominant significance. On the screen, insignificant in terms of semantic content flickered, but extremely important for the emotional dialogue with the spectator of the stage: a young woman in uniform, bent on a squat, focuses on her nails on the arm.

The other argues with the director about the choice of the dress: "I cannot feel good in such things." And her friend laughs at the conclusion, throws her foot on his foot and flirts, imagining himself a well-known actress who will now pick up the driver and take away somewhere very far, away from the ragged walls and square official skirts. At this time, mothers in the same blue jackets go to the prison courtyard, equally growing breasts to their children for a short time allocated to them together.And although the whole environment systematically destroys them as mothers, as wives, as daughters, unknown even for themselves, they become a true phenomenon of femininity, as the ability to scratch the grain of happiness in the most unimaginable burdens, to gnaw beauty in various conditions in spite of shapeless clothes and army boots, which is to all over the world.

And speaking of the search for the truth of the screen document, then it is - a genuine life, the concentration of human expression, and not the detailed accuracy of the image of rusty foods and branches of cracks on lime walls similar to blood flow. Continue Reading.