In memory the Russian emigrants,

the Resistance fighters against Nazi occupation of France,

who sacrificed their lives to save the Jewish children.

IN THEATRES 17 NOVEMBER 2017

"PARADISE" / "PARADIS"

Silver Lion Award for Best Director at the 73th Venice Film Festival. To commemorate the 80th anniversary of the world famous director Andrei Konchalovsky.

Director: Andrei Konchalovsky
Screenplay: Andrei Konchalovsky, Elena Kiseleva
Cinematographer : Alexander Simonov
Producers : Andrei Konchalovsky, Florian Deyle

​Cast: Julia Vysotskaya (The Lion in Winter, House of Fools, Gloss), Christian Clauss (Reckless), Philippe Duquesne (Babysitting), Jakob Diehl (My Good Hans), Peter Kurth, Victor Sukhorukov (Expiation, Silent Souls, The Island), Isabelle Habiague, Pyotr Mikhalkov, Valérie Zaccomer, Pierre Nisse, Natalya Kurdyubova, Larisa Kuznetsova.

PARADISE tells the compelling story of three individuals, Olga, Jules and Helmut, whose paths cross amidst the devastation of war.Olga, a Russian aristocratic immigrant and member of the French Resistance, is arrested by Nazi police for hiding Jewish children during a surprise raid. As her punishment, she is sent to jail where meets Jules, a French-Nazi collaborator who is assigned to investigate her case. Jules grows fond of Olga and offers to go light on her punishment in exchange for sexual favours. Although Olga agrees, and will do whatever it takes to avoid harsh persecution, her hope for freedom quickly fades when events take an unexpected turn.Shipped to a concentration camp, Olga is forced into a life of hell. To her surprise, she crosses paths with high-ranking German SS officer Helmut, who once fell madly in love with her and still harbours feelings. They re-kindle their old flame and embark on a twisted and destructive relationship. Helmut resolves to rescue Olga and offers her an escape that she no longer thought possible. Yet as time passes, and the fate of Nazi defeat looms, Olga’s notion of Paradise is irrevocably changed.Using the power of confessional monologues and excerpts of “found footage”, the film’s theme can be summarized using the famous words of German philosopher Karl Jaspers: “That which has happened is a warning. It must be continually remembered. It was possible for this to happen, and it remains possible for it to happen again at any minute. Only in knowledge can it be prevented.”

History is full of great tragedies, most of which remain in our minds as ancient misdeeds that couldn’t possibly be replicated in the present day. One of the most terrifying moments of our generation’s history was the rise of the Nazi party and the extermination of millions of Jews and others who did not fit into the Nazi ideal of a "perfect" German "paradise". These atrocities exposed the depths of mankind’s capabilities for evil and although these events happened in the past, the same kind of radical and hateful thinking is apparent today and threatening the lives and safety of many around the world.

"Paradise" reflects on a twentieth century filled with great illusions buried in ruins, the dangers of hateful rhetoric and the need for mankind to use the power of love to triumph over evil.

"That which has happened is a warning. It must be continually remembered. It was possible for this to happen, and it remains possible for it to happen again at any minute. Only in knowledge can it be prevented. The danger here is in the unwillingness to know, the urge to forget, and the disbelief that all of this actually happened…" The words of German philosopher Karl Jaspers are tied strongly to the central theme of "Paradise", which urges us not to forget the truths of history, no matter how horrifying or inconvenient, so that we do not repeat them".

Andrei Konchalovsky

Awards:

- 73rd Venice International Film Festival, Silver Lion award for Best Director, Italy, 2016
- 73rd Venice International Film Festival, Premio Padre Nazareno Taddei SJ, Italy, 2016
- 73rd Venice International Film Festival, Leoncino d'Oro Agiscuola Award, ITALY, 2016
- 73rd Venice International Film Festival, Soundtrack Stars Award, Italy, 2016
- 73rd Venice International Film Festival, Award Bisato d'Oro to the actress Julia Vysotskaya, Italy, 2016
- 52nd Chicago International Film Festival (CIFF), Founder's Award, USA, 2016
- 32nd Haifa International Film Festival (HIFF), Cinematic Excellence Award, Israel, 2016
- 50th Hof International Film Festival, Award for Best Costume Design, Germany, 2016
- 50th Hof International Film Festival, Award for Best Setting, Germany, 2016
- 54th Gijon International Film Festival, Award for Best Actress (Julia Vysotskaya), Spain, 2016
- 54th Gijon International Film Festival, Award for Best Cinematography, Spain, 2016
- 54th Gijon International Film Festival, Yoth Jury Award for Best Feature Film, Spain, 2016
- "Golden Eagle" Award of National Academy of picture arts and science for Best Film, Russia, 2016
- Mar del Plata International Film Festival, Silver Astor Award for Best Screenplay, Argentina, 2016

The script of the film was completed in a relatively short time, just a couple of months, even though it required a thorough work of history consultants, specializing in the period of Second World War, French Occupation and the French Resistance movement, Nazi ideology and German military order, as well as the organization and everyday life of concentration camps. Apart from the consultants, the production team of the project worked a lot with the chronicles of the epoch, archive materials as well as the unique photo materials kept in private archives.

‘Paradise is a chamber drama which follows three main characters whose lives are interwoven against the backdrop of the Second World War. Each character demonstrates one’s ability to manifest great strength, yet also succumb to unbearable weakness and fanatical convictions. Olga, a Russian aristocrat and member of the French Resistance, Jules, a fun-loving Frenchmen who becomes a ruthless Nazi sympathiser and Helmut, a well-educated heir to a noble German family who rises through the ranks of the SS developing a set of questionable morals along the way. Motivated by the devastation of war, each character makes a significant life-altering decision based on their own belief of what is right.

So what would drive a life-loving French family man to collaborate with the Nazis? What are the convictions of a finely educated heir to a noble German family who finds refuge in a system of inhumane ideals? What motivates a Russian aristocrat leading a carefree life in a time of peace to sacrifice her freedom for someone else’s life? Can a person preserve their humanity, having experienced hell on earth? In the course of the film the characters perform a series of deeds which ultimately shape their destinies’.

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Christian Clauss

Julia Vysotskaya

Philippe Duquesne

Press:

 Audacious attempt to combine Holocaust backdrop with metaphysical-tinged romance.

It’s a shame that there’s no Venice technical prize, as the great Russian DoP Alexander Simonov would surely have one hand on such a trophy. Simonov shot several features for Russia’s much-missed maverick genius Alexei Balabanov, including the phenomenal Cargo 200 (2007) and Me Too (2012), and collaborated brilliantly with Konchalovsky on the semi-documentary The Postman’s White Nights.

Here he works chiaroscuro wonders with what the end credits identify as a combination of 35mm and 16mm stock (projected digitally at Venice), his 4:3 black-and-white images and complex lighting set-ups often harking back to golden-age monochrome cinematography. The look is a neat fit for the 1942-4 period during which most of the narrative unfolds, the boxy ratio serving to emphasize the harsh constrictions of wartime and later, the infernal claustrophobia of the hideously crowded death camps.

Neil Young, The Hollywood Reporter

 

After “Son of Saul’s” immersive first-person camera gave viewers a visceral new point of view on the horrors of Nazi concentration camps, the bar for innovation in depicting what is already a comprehensively filmed passage of history was further raised. With its self-consciously classical aesthetic — down to the imposition of artificial wear and tear on the image, creating the impression of a long-buried print — “Paradise” looks emphatically back rather than forward, but its perspective is an unusual one, alternating even-handedly between the raddled, subjective accounts of Nazi oppressor and victim, until they meet ambiguously somewhere in the middle. Among other, less earthly implications, the “paradise” of the title refers to the Aryan idyll that the former repeatedly cites as a motivating dream. Yet the longer he talks — in the bare studio environment, without clear location or era, that Konchalovsky has devised for the film’s “interview” sequences — the less clear it becomes whether or not he believes his own rhetoric.

Guy Lodge, Variety

Paradise is a film not without ideas, most intriguing being the decision to depict events partly from the point of view of a charming fanatic of the Nazi cause, who nevertheless comes to see that the Hitlerian utopia is a corrupt sham. However, the central theme of paradise is harped on so repetitively in the often prolix dialogue that it finally comes to mean very little. Despite more than conscientious production design, the horror of the camps never feels remotely convincing – Vysotskaya is not the only character to remain looking hale and fresh – and the atmospheric beauty of Alexander Simonov’s photography only adds to the impression that we’re seeing an artefact so elegantly glazed that it finally seems downright improper.

Jonathan Romney, Screendaily

 

The beautiful black and white cinematography of Alexander Simonov and the meticulous and careful framing of the shots makes Paradise visually sumptuous – perhaps too much so.

This arch arty feel is not helped by some of the later more melodramatic turns. The Holocaust as a historical subject is resistant to narrative, with its finding of meaning, its yearning for resolution. Even the name Holocaust can be seen as gracing the mass murder with something like a reason, an explanation and by implication a justification. The religious revelation that concludes Paradise ultimately bankrupts the depiction of the horrors. *Spoiler*: There’s the possibility that the arrival of God is meant to add another layer of irony – after all the pre-Heaven interrogations are not at the Pearly Gates, but in interrogation rooms with the dead wearing something not dissimilar to death camp uniforms – but this seems an unwarranted stretch.

John Bleasdale, CINE-VUE

 

 

 

The film is made in the documentary style: at least a half of what the spectator sees on the screen are literally speaking heads. However, though the characters are real, they are played by actors. As for the action, it takes place during the Second World War in Nazi-occupied France. Both those facts paradoxically draw The Paradise closer to the last-year Venetian hit, Alexander Sokurov’s Francofonia. The author closest to Konchalovsky’s heart is Chekhov, the director having staged all his plays in theatre, and The Paradise is also a kind of theatre play… Austere black-and-white image with a little emotional tint of nostalgic music by Brahms completes the topic of paradise on earth, showing it is a utopia not only unrealizable but mortally dangerous. A controversial if not provocative solution offered by Konchalovsky to the paramount topic of contemporary cinema brings Konchalovsky right away in the ranks of possible competitors for prizes. All the more so because he had not made such a far-reaching film (more in the sense of author’s message than in the sense of the intimate space of the film) for many years.

 

Anton Dolin, Vesti FM

The very plot of The Paradise forced the author to use a stylized approach of historical costume film, and many episodes insinuate this. But the aesthetics dominating in the film is paradoxically fixed in between the documentary precision of the facts and the conventional character of the theatre drama. Indeed, the genre of the film is something in the middle between a criminal interrogation and a confession…
The film, formalist, precisely measured, cold, black and white in many senses of the expression concentrates the attention of the spectator not on the Holocaust victims (there is no emotional speculation here) but on the personal choice of the man who finds himself a contemporary and a witness to the tragedy. Is the neutral approach possible? Are there justifications for a rational complicity in the crime? The main value of The Paradise is not its artistic merit (though it is impossible not to mention the cameraman Aleksandr Simonov who had shot best Balabanov’s films and the previous Konchalovsky’s film) but this question, very topical nowadays and evidently important for the author himself. It was this aspect that impressed the European public that welcomed the film enthusiastically.

Anton Dolin, Afisha-daily

 ‘The Paradise’ of good intentions
Konchalovsky manages to inscribe his risky experiment in the context of contemporary cinema, though to reach it, he has to roughen the artistic facts. The director and the cameraman Aleksandre Simonov use black and white image but unlike Ozon in his Frantz they use it not as a stylization method calculated to bring closer the realities of old times, but, on the contrary, a method of estrangement, turning the ambience of the film in a grotesque suspense. It is a pendant, even by name, to another historical grotesque film, Brimstone by Martin Koolhoven, where the heroine is born, lives a life full of trials and tribulations and perishes in the hell on earth.
The Paradise has something in common with all the main motives of the Venetian contest, not just topically but also formally. It is a mixture of intellectual metaphors and low genre bordering on cruel melodrama, of psychological thriller and kitsch which is evidently the only way to address such material. In last seven decades it had been the target of art and culture more than once. Theodor Adorno had once declared that poetry is impossible after Auschwitz. Mikhail Romm with his co-authors Maya Turovskaya and Yuri Khanyutin put forward the theory of “ordinary fascism”. Luchino Visconti did not agree and conferred an infernal mythological tone upon the topic. Hannah Arendt started to use the term “banality of evil”. To combine these points of view, you need the contemporary literature with its rich experience of postmodernism (The Kindly Ones by Jonathan Littell) or a genre film able to melt all the theories of what is impossible to explain, in the crucible of a campfire story that melts both the documentary hyperrealism and the subjectivity of a confession.

Andrei Plakhov, Kommersant

Release the "Paradise" movie for us it's a great pride and special responsibility. You can help our project. We will be grateful for any help, whether it's the share of information or the feasible financial donation. We want our children  remember those terrible days. We believe, that this small step will help, that the tragedy the Holocaust and the World War II is never forgotten.