The Man Who Surprised Everyone Movie Review

by - 8:40:00 AM


Executives Natasha Merkulova and Aleksey Chupov hop from a Russian society story into sex bowing innovation when a virile backwoods monitor changes his sexual character to swindle Death.
A man kicking the bucket of tumor in a poor Siberian town dangers everything for a last-jettison fix that will astonish most groups of onlookers, without a doubt. Like the society story it as far as anyone knows refreshes, The Man Who Surprised Everyone (Tchelovek Kotorij Udivil Vseh) is equivalent amounts of wonderful, sickening and intriguing, achieving profound into the characters' minds to uncover their instilled sexual biases. It grabbed a best performing artist grant for co-star Natalya Kudryashova on its Venice Horizons bow and an uncommon specify at El Gouna. Its influencing judgment of Russian dispositions to homosexuality ought to have workmanship house groups of onlookers tuning in. This is one keen film about sex whose subject is equipped for achieving great past the Rainbow Community.



Co-executives Natasha Merkulova and Aleksey Chupov, who additionally scripted, open with a cunning first act that breaks watchers into trusting they are viewing a serene town dramatization around a fair woodland monitor in the taiga, Egor (Yevgeny Tsyganov), whose life is going to be stopped with disease. As he quietly chases for poachers in his waterway pontoon, cruising through a Siberian Eden, his demeanor is unrevealing. Just his snappy attract a firearm duel clues at frayed nerves and his inward strain.

A nation specialist allows him two months to live, that is if he's fortunate, and encourages him to book a hospice to diminish his group of the weight of nursing him. His bright youthful spouse Natalia (Kudryashova), pregnant with their second youngster, can't acknowledge this decision and asks the villagers for cash to take him to a city specialist, yet he just affirms the determination. So she takes him to see the film's first extraordinary character, an old Inuit drug lady who spruces up like a crow and plays out a wacky shamanic ceremony. It doesn't work.

Her treatment might be incapable, however Egor gleans a thought from the old lady. She reveals to him the account of Zhamba the drake who, when educated it was his opportunity to kick the bucket, came in the residue and covered himself as a female duck in a rush, so Death couldn't discover him. That night Egor bumbles home alcoholic and begins pursuing the geese around his lawn. Yet, he's obviously not going to trick Death with that bundle.

New thought. He goes to a shopping center and visits a lady's store. That night, isolated in the device shed, he wears underwear hose, a red dress, foot rear areas and lipstick. It's a fantastic stun to see this injured warrior for equity all of a sudden looking like Priscilla of the Desert; it's significantly to a greater degree a scene-plug when he rises up out of his hideaway and, with no sort of exhibition, presents himself to the world as female.

The genuine story starts here, with the startling responses of Egor's family and neighbors. Filling the role of a lady expects him to stay quiet, to disregard his family obligations, to remove all ties with his previous character. Being not able explain to individuals why he is all of a sudden cross-dressing, he incidentally releases the most noticeably bad of the rustic Russian soul.

The movie producers don't mince the inadvertent blow-back his decision suggests. Chupov and Merkulova's 2013 element, Intimate Parts, wandered into a comparative area to investigate, with thorned satire, the disposition of advanced Russians to their own sexuality. Here the giggles cease to exist rapidly. Egor's child is the first to endure: tormented and thrashed at school, he declines to leave his room. At the point when the villagers swing up to ogle at Daddy, his worshiping spouse turns chilly and shows him out of the house.

Be that as it may, being alienated from his home and family isn't sufficient. Egor wants to show his new self; he strolls to town and is assaulted at a move. Each new demonstration of brutality gives the townsfolk a permit to go more remote. Joining forces against the now unprotected lady, they utilize him as a punching sack and he endures the torments of Job, coming full circle in a sickening scene in his darling woods.

While Kudryashova conveys an extensive variety of feelings to tissue out the character of the spouse, Tsyganov is discreetly wonderful in the primary job. Both go a long ways past children's story generalizations, even while their acting pursues timeworn ways that appear to be relentless. The tech work is sheer straightforwardness, following the soul of Egor's mission in the most naturalistic path conceivable, without attempting to prettify the mud-washed town and climate beaten shacks. Vadim Krasnitsky's altering keeps the narrating smooth and liquid.

Generation organizations: Pan Atlantic Studio, Homeless Bob Production, Arizona Productions, Non-Stop Production

Cast: Yevgeny Tsyganov, Natalya Kudryashova, Yuriy Kuznetsov, Vasiliy Popov, Pavel Maykov

Chiefs, screenwriters: Natasha Merkulova, Aleksey Chupov

Makers: Ekaterina Filippova, Katrin Kissa, Guillaume De Seille, Alexander Rodnyansky

Chief of photography: Mart Taniel

Generation fashioner: Sergey Avstrievskikh

Outfit fashioner: Anna Bartuli

Editorial manager: Vadim Krasnitsky

Music: Andrey Kurchenko

World deals: Pluto Films

Setting: El Gouna Film Festival (rivalry)

105 mins.

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