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"Dawn": When nonsense does not even justify the logic of sleep

Russian horror, which is too trying to be spectacular and forgets even about the simplest dramatic and genre norms.


Svetka (not Sokolova) has a birthday, she is twenty years old today. All the nearest and dearest gathered at the celebration - among them was the elder brother Anton. The next morning, Anton for unknown reasons, rushes out of the window and, of course, dies. Shocked by Light, trying to understand the causes of suicide and quickly stumbles upon the trail: it turns out their mother with little Anton was in a certain sect that worshiped the Demon of Sleep. The girl begins to see strange hallucinations and goes to the Research Institute of Somnology, where her brother studied the problem of controlled dreams. There she wants to find out what prompted Anton to commit suicide, and at the same time understand how real his fears are about the Demon.

Shot from the film "Breaking Dawn"

Shot from the film "Breaking Dawn"

With the genre cinema in Russia, to put it mildly, is not glued. Author's - as much as you like, really something, and domestic directors love to suffer. Refined historical dramas - please, at least, forgive me, eat your ass (although she does not even want to). But to make a simple genre history, so that it scares or, as an option, amused - alas and oh, everything is by. At the same time, we are trying to do the same horror with enviable persistence - the studio “10 / 09” is particularly active in becoming “Russian horror” - the same one that did “The bride"And"Queen of spades". The films are not so good, but rather ambitious: with each of them it seemed that just about a little more, and the cinematographers would still find the horror nerve and come to a universal formula for success. True, judging by the "Dawn", they will go for a very long time.

Shot from the film "Breaking Dawn"

Shot from the film "Breaking Dawn"

Dawn is, of course, not the worst horror in the world, and probably not even the worst that 10 / 09 did, but it’s very simple, looking at it, to track down most of the problems of the Russian horror. The main one, oddly enough, is paved with quite good intentions and sounds out of context rather paradoxically: our horror-makers are too scary to try. Yes, formally, the horror behind this is needed - so that it would be scary, so that you could cry out, squeeze yourself into a chair or, there, a neighbor to the cinema by the hand grab. But in good horrors, all the horror itself is closely connected with the texture, history; clinical psychopathy - with some kind of psychology. “Dawn” does not understand this at all: if he has “boo,” then only for the sake of “boo,” all monsters are just monsters, and the plot twists and turns obey only one law. The more situational scenes, where you can insert the screamers, the better.

Because of this, the whole movie looks like a set of short films, etudes - those where the characters wait about five minutes for the screamer and finally wait for them to come out in Vimeo every week. Even more, it looks like an old attraction from fair amusement parks, where people get into squeaky trolleys and go to a dark, pretomny tunnel: a couple of other crocodiles jump out on them, and, in general, that's all. No fabulity is just a banal bombardment of the creepy images snared by some James Wang.

Shot from the film "Breaking Dawn"

Shot from the film "Breaking Dawn"

“Dawn” behaves like the same hero from the “horror” category “B”, that at the twentieth minute distracted by a strange sound in a black alley and disappears from the movie forever. Here, a peeling Soviet building with the surprisingly stupid name of the Research Institute of Somnology is responsible for this sound. Approximately in the middle of the film, the main character goes there and falls into a general dream, almost like in the game The Evil Within (even the image of the doctor and the device itself are a little bit similar). She needs it for quite utilitarian reasons - to understand what happened to her brother. And it is no longer so important that the idea of ​​plunging into YOUR dream (and three more random people) to find out what happened to BROTHER is an idea that gives a bit of schizophasia. More importantly, this dream is hardly related to the rest of the story: this is one huge “filler” occupying a good half of the film. Find out the heroine finds out everything, but she will do it in five seconds using a file on the computer - the rest of the time the heroes (75% of percent of whom we recall the first time) run back and forth and get scared of bad CGI.

In its complete misunderstanding of the genre structures, Breaking Dawn is a bit like a student film - crooked, unassembled, but very trying to be spectacular. Even more analogy reinforces the way the director Pavel Sidorov enthusiastically played with the form: to shoot single-duplex scenes (not bad, by the way, set) and insert the “Hitchcock's zoom” for no particular reason, it is clearly more interesting to him than telling a story. And in principle, there are almost no complaints about the external part of “Dawn” - it is, of course, terribly cheap, but awkward attempts to play in expressiveness and artistry are captivating. Is that with the mixing of sound terrible trouble: in one scene, so in general when talking the heroine clearly heard the background noise, abruptly breaking off every time she stops talking.

PS And in the film it is good - too good - the music is selected. So much so that there is more esoteric horror in the post-tale "Fairy Tale" from Ic3Peak than in the entire hour and a half movie.

Since 31 January at the cinema.

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