Necrorealism是产生于80年代处苏联艺术名城圣彼德堡的一种新电影创作风格,此类电影擅长在片中以塔可夫斯基的诗电影方式描写死亡,疾病等黑暗主题,Yevgeny Yufit是其中的领军人物,它属于超现实主义电影的一个特殊分支吧.

With regard to this odd and experimental black-and-white Russian film, loosely based on the Alexei Tolstoy short story The Vampire's Family, the director says: "This is a chronicle of the death of Father Frost" (the Russian equivalent of Santa Claus) "or rather an announcement of it. Necrocreativity inspires a special state of feelings, mind and spirit... What is it? The conclusion is not obvious, but here it is -- one wants to think it over -- necrorealism is humanism." In the story, the sharply contrasting lives of two brothers are compared. One of them, a biologist, is a reasonable, scientific and rational man, fascinated by the workings of natural processes. Perhaps he is even a bit too thoughtful. The other is completely given over to his instincts and lives in the country with his wife and child, living directly from his feelings. Moments of violence, horror, and aberrant sexuality (S&M and bondage) are interspersed with images of great spaciousness and beauty and the evocation of dark moods. Some critics compared its visual style to that of the late Andrei Tarkovsky, while it explores a thought territory that is uniquely its own.
~ Clarke Fountain, All Movie Guide

Wooow man this movie had some awesome death scenes in it. They were by far the best I've ever seen, even better than anything like when Jason chops the boy and girl in half through the tent (while they are having sex) with a spear. Even cooler cuz they are suicides! So inspiring I kind of want to do mine that way, yeah. Also, there are some cute pictures of beavers! REALLY cute. THough they could be puppet-beavers.

Russian iconoclast Oleg Kovalov’s absurdist indictment of totalitarianism mixes live action, cartoons and archival footage from pre-Perestroika Russia and the Third Reich to tell the story of eccentric St. Petersburg poet Daniil Kharms. Kharms was a misunderstood Futurist who wanted to fashion his life into a work of art but instead was tossed into the gulag for distracting his comrades from their industrial duties and the Proletarian ideal. Direcor Kovalov (best known in the West for his documentary Sergei Eisenstein: Autobiography) uses a playful touch and striking, sometimes bizarre set pieces to tell his tale. In the process he leaves the viewer with many exquisite images (like an enigmatic, stockinged woman dressed in a man’s hat, suit coat and glasses astride a stylized camera dolly) to add to his or her mental scrapbook.
Kovalov's first feature is a paranoid grotesque picture of the totalitarian Soviet past, based on the life and work of Daniil Kharms. Motifs from the life and work of Absurdist writer Daniil Kharms inspired Kovalov to create a paranoid and grotesque picture of the totalitarian past. In a Leningrad communal house in 1939 hangs the scent of a suppressed sexuality that obsesses all the characters: from the weak and shy Poet to the Judge who tries on the mask of Helmut Berger from Visconti's The Damned. The hallucinogenic images that result can only have one result: massive aggression, an armada of bombers, armed crowds that fling themselves into the struggle with the fury of spermatozoids. The film is full of newsreel footage from the time of Stalinism and the Third Reich that are cut very ingeniously through the feature fragments. With a typical mixture of aversion and affection, irony and amazement, Kovalov manages to evoke the insanity of this period.