Filmography of a permanent creative allyThe famous Russian director Andrei Zvyagintsev is impressive. It is not surprising that the Russian cinematographer Krychman Mikhail Vladimirovich is one of the few domestic filmmakers in demand not only in national cinema, but also abroad. One of the first significant works of the master of shooting was the Black Room project of Zvyagintsev, after the rental came back, Return, Sky. Aircraft. Girl ”V. Storozheva and“ Poor Relatives ”by P. Lungin. In addition to joint projects with domestic directors, Mikhail’s track record contains Liv Ulman’s “Frocken Julia” tapes and Jim Sheridan’s “Table of Fate”. Mikhail Krichman admires the works of Kurosawa and Kim Ki Duk, trying to inherit their distinctive approach to the conceptualization and the achievement of harmony in the motion picture.
Becoming a Master
Operator Mikhail Krichman decided on hisprofessional predilections not immediately. A native of the capital, after graduating from high school, he entered the Academy of Press, while the Polygraphic Institute, choosing the specialty "engineer-technologist". Probably, the choice of the educational institution was influenced by the fact that the parents of the future artisan were printers. Successfully completing two full-time courses, Krichman moves to correspondence. He decides to improve his financial condition and go into business. In this chaotic period there is a fateful meeting of Michael with the man who graduated from the Faculty of Operators. Mikhail offers his help to him and soon, unexpectedly for everyone, Krichman receives an invitation to take part in the filming of a commercial. This time in the process of filming, he only shifted the focus. As a result, he finds himself in a editing studio located in the Orlyonok hotel. Having started working as an editor, Mikhail Krichman spent days and nights at the studio, began to learn a new profession from the masters of his craft. Soon he had already mounted programs for domestic television, shot documentary films and music videos with E. Serdyukovsky and A. Novoselov. He independently eliminated gaps in knowledge, drawing technical information from thematic publications and training videos.
Style is born in tandem.
Significant milestone in the creative development of the operatorconsidered his acquaintance with Andrei Zvyagintsev. The director invites Krichman Mikhail to work on the creation of his short story for the Black Room project on Ren-TV. The entire program included eight independent stories, three of which were filmed by Zvyagintsev. Initially, Krichman had to remove only one, but after he took part in the creation of all three. After viewing the material, producer D. Lesnevsky proposes removing the full-length tape to Zvyagintsev with a working version of the name “You”, which was later transformed into “Father”, and the picture was released as “Return”.
Looking for an unexpected perspective
After a fruitful collaboration with ZvyagintsevMikhail is involved in the filming of the film "Poor Relatives". The 2005 film is a co-production project of Russia and France directed by Pavel Lungin. The film, although it received the main prize of the Kinotavr 2005 film festival, was subjected to sharp criticism. Reviewers characterized the film as an attempt to create a national grotesque with a claim to a roll with Gogol's “Dead Souls”. Most of all, the author’s perusal of the story was attacked; Lungin was accused of turning the sad tragicomedy into a ridiculous divertissement of pop show.
При всей критике фильма операторская работа Krichman was honored. “Poor Relatives” (2005 film) were saved by the manner in which Michael was shot, in which, according to art critics, the camera was dynamic even in those moments when it remained static. Everyone appreciated the relentless search by the operator for unexpected angles. Also, the audience noted the absence of a depressing abundance of video information, which sometimes suffers from domestic cinema.
Big style cinema
Literally a year later, Krichman Mikhail shoots a newZvyagintsev project called "Exile". Thanks to the efforts of the creative tandem, the cinema community perceived the film as a great cinema, and not in terms of grandiose special effects and a significant amount of the budget, but in the sense of cinematic style. The success of the film largely depended on the work of the operator, and Krichman surpassed himself. His camera works tirelessly in a neurotic vein, producing a magical, sense-forming image. Due to this, the melancholic, multi-layered in structure tape, built on affects, is perfectly verbalized.
Author's handwriting
Distinctive feature, manifestationthe identity of the operator is considered his dislike for all sorts of technical tricks, especially cranes. According to Krichman, they “pinch” him. The operator is confident that every movement of the camera should be strictly justified dramatically. He is categorically against flying the camera for the sake of beauty. According to the statement of the operator, he would prefer to stand on the ground and remove the static or make a movement using a trolley. Therefore, Michael’s favorite techniques, despite the inexorable NTP, remain the hand-held camera, long, lengthy shots and the “look of God”.
