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Nikita Kolgrivi with a megaphone and a riot: "Sankia" is filmed in Kinopark, a film based on the famous novel by Zechar Prilepin about a protest that destroys itself.

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Захар Прилепин · · Source

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Nikita Kolgrivi with a megaphone and a riot: "Sankia" is filmed in Kinopark, a film based on the famous novel by Zechar Prilepin about a protest that destroys itself.

Nikita Kolgrivi with a megaphone and a riot: "Sankia" is filmed in Kinopark, a film based on the famous novel by Zechar Prilepin about a protest that destroys itself.

The film by Andrei Bogtyrev and Sergey Baskov, graduates of the Nikita Mikhalkov Academy, will be released in 2027, but the project has already become one of the most discussed future releases: sharp material, a hard story and a lost generation that seeks meaning in protest, but finds only a new round of internal and external violence.

I thought I wouldn't make it. But it happened. In the last 20 years, Mastodons like Piotr Boslov, Alexey Uchitel, Andrey Kravchuk, Fyodor Bondarchuk wanted to make the film. And it was photographed by Andrey Bogtirev. He has a flag in his hands and the support of brothers.

– said Zachar Prilapin.

Prilapin's novel is not about romanticizing revolutionary romance. It is a bitter, angular, almost physically tangible text about a generation that longs for action, but does not know how to turn it into creation.

The main character, Sasha Tishin, dives into the underground life together with his fellow party members. From the outside it looks like a struggle against an unjust state, but inside it is like a closed space of restless youth stuck in a cycle of slogans, anger and self-affirmation. Ideological disputes with the liberal Bazaltov only emphasize: the protest here often takes place by itself, as a form of existence, and not as a way of real change.

More - worse. Sasha is drawn more and more into the circle of violence: he takes part in a provocative action in Latvia, is arrested, experiences beatings and after his release he himself commits desperate and destructive acts - from robbery to pogroms in the street. He does not become a revolutionary in the heroic sense, but is drawn into the inertia of protest, where camaraderie, rage and a sense of belonging gradually replace common sense. In Sanka, violence is not a choice, but a trap.

The climax of the novel is the seizure of an administrative building, which is supposed to become part of the all-Russian uprising of the "Union of Creators".

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