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1-7 of 7
- "I Am Alive Today" confronts the viewpoints of drug industry leaders, scientists, and AIDS activists on the history of AZT.
- The film itself is a virtual museum, with ten rooms and ten different viewpoints on Thracian culture. Alongside the information it presents about the culture of the Thracians, the film seeks to take their spiritual measure and explore their achievements and their role in the ancient world. Using modern technology, the film breathes life into ancient artifacts found in Thracian burial mounds and temples, in the rooms of the virtual museum. The frescoes come alive as if in a magical vision, retelling the history of this long-ago disappeared people.
- The trial of Todor Zhivkov provided an occasion to go back in time and rethink an entire era. The issues that concerned me in this film were fear and manipulation, what the mechanisms were that turned this man into a nondescript and mute automaton, and how deeply those mechanisms penetrated into his subconscious. The film crosses the paths of informants and victims, uncovering a perfectly honed system of rumors, denunciations, fear and surveillance by the security services. On the other side is Todor Zhivkov himself. His role is re-examined, with a look behind his mask as a "man of the people," which over the years gradually revealed a very good manipulator, who controlled the whole system personally and who, thanks to his skillfully perfected ability as a "puppet-master," managed to stay in power for 35 whole years.
- This is a film about freedom. It opens to the songs of Vysotsky, about the journey across Siberia he planned with his friend Vadim Tumanov, to the most horrible death camps of the Gulag, fenced in by walls of steel. This film is a reflection on what it actually was that we were looking for, what we expected, what freedom meant to us when we listened to Vysotsky, and what it turned out to be in reality. On this journey we follow the path of three exceptional individuals. Vadim Tumanov was sentenced to 125 years imprisonment in the death camps, but he managed to get out and found the first independent gold mining company, long before Perestroika. Our second traveling companion is Sergei Shashurin, a man who has endured prison and psychiatric institutionalization, a former Mafia member and one of the wealthiest men in Russia, who set up a trust that employs 200,000 people. The third is Mars, a descendant of Ghengis Khan, a hereditary thief, and former Mafia boss of the thieves of Tatarstan. Through the fates and thoughts of these three very contradictory and different personalities, we embark on an epic journey envisioned by Vysotsky, in search of the measure and meaning of freedom.
- After the death of the friend of the director Roman Ayvazov, a virtuoso violinist of gypsy origin, she began to look for audio and video recordings of his performances. The only thing she could find was one poor-quality amateur audio recording. At that moment she realized, with sorrow and shame, that many of the exceptional musicians she loved to listen to in her youth, like Mutsi Ayvazov, Chinchiri, and others, are no longer with us, and there's also no longer any trace of their music. The long years she spent abroad changed her attitude towards their music, which we had always considered very nice, but second-rank. The film Le Virtuose resulted from her desire to take some extraordinary musicians out of the context in which we are used to seeing them, and put them on a European stage, where they could be taken at their true value and appreciated for their virtuosity. The film tells of their journey from small Thracian villages and gypsy slums to some of the most prestigious stages in Brussels, where they performed for very pampered and sophisticated audiences. When she started work on the project, nobody was sure that she would be able to carry it out to fruition - especially the film's protagonists, who thought she was trying to put one over on them and that the plans she was working on had nothing to do with them. It turned out to be a real battle just to get the film made. She first got the idea for it back in early 2002, and she only just now managed to finish it. A great deal of the credit for the fact that it did get made goes to the Yehudi Menuhin Foundation, and its chief music expert, Thierry Van Roy. He was man enough to share the risk of this adventure of turning Cinderella into a princess - because that is exactly what happened. She discovered some of the musicians in the gypsy neighborhood near the graveyard of her home town, Nova Zagora, which they had never left before.