The world is a theater, and we are all actors in it. What to say about the theater itself! There is not only all the actors, but in general everything is acting, playing. And even a gun, hung on the wall, is known to be obliged to shoot. In this magical space of artfully and artificially created worlds and passions, nothing is just like that. Everything is conditioned and carries a secret meaning. And the scenery including The scenery, when viewed in the philosophical dimension, represents the "semantic apogee" of decoration as such. For each emotion, for each conversation, for each scene - a separate entourage that exists simultaneously and specifically for them. This is the functional aesthetics of cinema: to present secret meanings against the background of explicit and vice versa. So, director Alexander Mitta shoots the film “The Red-hot Saturday”. The plot of the picture is simple: it is based on the classic “love triangle” pattern. The protagonist is the now-popular oligarch character who owns an “oligarchically minimalist” interior, where a dramatic action unfolds. The fact that the oligarch is not a good man suggests to us the “defaced” interior of his house. The house seems to be in the Japanese style, but the traditional severity and symmetry of it is imperceptibly broken here and there, decorated with alien elements, which makes the feeling of luxury enhanced, but the overall concept is lost. It gives the viewer a sense of disharmony, which is required by the script. What harmony is there when tango is threesome! And all three are very different: the deputy, the gangster and the wife of the deputy. Decorators have tried to maximize the central part of the interior, framing it with dark tones and thereby achieving the effect of volume and enhancing the main thing - drama. A special role here is played by the purple color, perhaps the most magical color in the world. Since it is divided into two components - blue and red, depending on the psychological mood, each person sees in him more than one or the other. And if red is the color of victory and luck, then blue is the color of calm, bordering on depression. Here the artistic interpretation of coloristics coincided with the vision of Krzysztof Kislevsky (the film “Three Colors”), but only our director did not “distribute” these two colors and interpret them separately. Numerous arches, a bridge over the pool, screens and futons are organically incorporated by the artist Alexander Vyrvych into the existing “purple” volume. The film ends with a spectacular explosion that destroys the Moscow interpretation of the Japanese interior completely.
Passing the gallery 
