“I’m Not Interested in Successful People” — An Interview with ‘Jumpman’ Director Ivan I. Tverdovsky

This interview was done by our guest writer, Redmond Bacon.

Jumpman, the latest film by Ivan I. Tverdovsky, concerns an orphaned boy who suffers from congenital analgesia – meaning that he feels no pain. One day his estranged mother picks him up from the orphanage and together they run a blackmailing scheme whereby he jumps in front of cars and blackmails their owners for money. Set in and around Moscow, it’s a seething indictment of corruption in contemporary Russian society. The third film from the young director shows him in total command of his style, which deploys long takes to fully immerse us into the lives of its characters. Soundtracked by artists such as ЛУНА, and set in popular Moscow locales such as Squat 3/4 club, it maintains a contemporary feel, giving it a strong chance of connecting with young viewers in Russia today.

The movie celebrated its premiere in the competition slot of the Karlovy Vary International Film Festival. I sat down with the director to talk about his inspiration for the film, his attraction to characters who are outsiders, and the significance of national symbols.

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Karlovy Vary 2018: ‘Jumpman’ is a Very Different Kind of Superhero Movie

The corrupt heart of contemporary Russia is mercilessly exposed in Jumpman, a savage look at a society that has lost its way. Telling the story of a boy who uses his rare ability to feel no pain to jump in front of cars in order to blackmail their owners, Ivan I. Tverdovsky has created a savage exposé of a world in which nothing matters other than the pursuit of capital.

It starts with Denis (Denis Vlasenko) being dumped at an orphanage. As he grows older, he gets diagnosed with congenital analgesia, which means that he doesn’t feel pain in the same way other people do. This ability to withstand intense physical pressure makes him a favourite with the fellow boys, who tie him up with a hose and pull it on from either side to see how long he can last. Then one day, his mother (Anna Slyu) returns to the orphanage and takes him back to Moscow. Once there, they devise their dastardly money-making scheme.

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Cannes 2018: Soviet Rock Biopic ‘Leto’ Finds Parallels with Russia Today

This review/interview is by our guest writer, Redmond Bacon.

Leto (Summertime) is a combination of the traditional rock biopic and arthouse film; an auteuristic tale of love, optimism, melancholy, and loss told against the backdrop of a rapidly developing musical scene. It’s as if Almost Famous met Walking The Streets of Moscow. Set in the early ’80s, the star of the show is Viktor Tsoi (played by Teo Yoo), who would later become Russia’s most iconic rock star. Dying at the young age of 30 in a car crash in 1990, he carries in Russia the same kind of counter-cultural weight as Kurt Cobain does in America.

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Roman Bilyk plays his mentor Mike Naumenko, the lead singer of the less famous Zoopark, while Irina Starshenbaum plays Mike’s wife Natasha. Based upon the memoirs of the real Natasha Naumenko, Leto is a story characterised by its naivety, optimism, and the very real belief that, for one brief moment, music could change the world. This message of rebellion comes at a time in Russia in which many artists feel their artistic freedoms imposed upon. This is especially true in the case of the director of Leto himself.

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