During the terrorist attack, the negotiator (Kirill Pirogov) saved his son, but lost his daughter, and now he is running for a big election. Photo: KION
Another series not made for us.
Well adapted. Masterfully written. Played perfectly.
But all about some kind of phantom Russia, which has not been in the wild for a long time, but is still in demand by a foreign consumer, brought up on films about the Russian mafia played by Yugoslav gypsies. The viewer to whom Sreda addresses through the Netflix platform.
Terrorist attacks in this Russia are organized by the Chekists themselves in order to enjoy omnipotence. The clearing is shared with them by all-powerful godparents, who are busy redistributing the funeral business and look like squirrels: no one has seen them for a long time, but they are. And the forces of good are embodied by Wilma Kutavichyute, about whom every second netizen goes crazy (perhaps because of her resemblance to Ksenia Sobchak), but who continues to participate in every second project of the Sreda studio: it is possible that for the Same reason.
In the center of the plot – an ace negotiator (Kirill Pirogov) fired from the FSB, who lost his daughter in one of the terrorist attacks with hostages, but saved his son and is now executed by a hellish choice. The hostage attacks continue to haunt him with the intensity of the early 2000s, raising legitimate questions from the audience here, but enthusiastically embraced by expats who remember Russia as it was at the time of his jump. Behind the systemic attacks someone’s imperious hand is felt, constantly involving the retired teacher in the orbit of negotiations. The idea for the series belongs to the screenwriter-journalist-poetess-curator Yulia Idlis, an omnipresent lady involved in circles, firmly convinced that the authorities are to blame in Beslan and Nord-Ost, because always and in everything. blame, and open the case of honest people in the eyes of fools. The ex-wife of the negotiator, mother of the dead girl and the boy who was taken hostage again (Lyanka Gryu) opens her eyes in the last episode: “I don’t believe in chance. Everything that happens to us is the result of our conscious choice. Each of us”. That is, we are evil and our conscious choice of negligent authorities, and not demons who take children hostage.
However, producers Tsekalo and Mishin are masters of their craft and involve the elite in developing stupid ideas: one of the two best series writers today, Oleg Malovichko, stage veteran Nurbek Egen, and Kirill Pirogov. , unmatched in charisma, and even paired with Vladimir Mishukov (acting negotiator and new husband of the hero’s wife). The result is reminiscent of a late Soviet film, on which deliberate hellish nonsense was taken as a basis (the brigade refuses the award, the Russian radio operator successfully flees from the Gestapo with two babies, the flight authorities send half of the staff to battle to train half-educated newcomers), but development was given to the best production staff who saturate the basic nonsense with so many spectacular twists, good judgment and psychological niceties that make you believe in it. The same with The Negotiator. Some godfathers of ritual services, their children who accidentally broke the base of the skull, bloggers who burn themselves – all this without Pirogov and a series of replicas perfected for him would be impossible to watch without tears.
Movies about negotiators (The Mediator, for example) are often made misanthropes for misanthropes, because these silent and reserved specialists have to deal with the three most annoying categories of citizens: psychopathic villains, ambitious security officials and hysterical hostages, whom a Nervous viewer sometimes wants to kill everyone together against all odds. Then his nerves are also directed in the right direction – it turns out that you yourself and the monsters that you allowed to control are to blame.
Of course, who else.
Not scriptwriters with journalists and not defective producers.
It’s embarrassing to even imagine.
“NEGOTIATION”
2022.
Dir. Nurbek Egen.
KION
