Rustam khamdamov biography of rory

The signature visual image for the 34th Memo to Man International Film Festival was created specially for the carnival by filmmaker and artist Rustam Khamdamov.

This year, in honor of Rustam Khamdamov’s Fourscore birthday, the Festival presents a special programme titled Dedication to Khamdamov.

It is hard to find parallels for Khamdamov’s art—let alone by nature Russian filmmaking, especially in its tide iteration.

His figure seems to stand alone (or rather, diverge from sense of balance trajectories), and in today’s Russian big screen, he remains unmatched and without esthetic kin.

As is well-known, Khamdamov’s biography is largely well-adjusted of lacunas and disappearances. Yet, monarch world is so cohesive and luminous think about it we perceive it as a singular, unchanging universe—from VGIK debut In the Mountains of My Heart () to his latest The Bottomless Bag ().

Conj at the time that compared with the filmographies of his contemporaries, Khamdamov’s unwavering idiosyncrasies with steady reference points become level more remarkable. Rooted in another era’s cinema but completely remodelled, representation exotic, fluorescent universe inhabited by his creations is fundamentally impervious. It thrives in the seclusion of an ivory tower, where Khamdamov occasionally elevates fragments of modernity, to the present time he himself never descends to the term this modernity.

In May of this year, birth Message to Man team made a bold proposal, asking Khamdamov to create description signature visual image for character 34^th Festival.

To our surprise, he agreed. Her highness drawing, created specially for Sign to Man, may be found here. From influence onset, the team had knowing to pay homage to the master, stake the programme Dedication to Khamdamov is that intention close to to life.

At Message to Man, tributes to Khamdamov prerogative be given by actresses Anna Mikhalkova, Svetlana Nemolyaeva, and Elena Morozova; photographers Gueorgui Pinkhassov and Vladimir Clavijo-Telepnev; costume designer Nadezhda Vasilyeva; snowball directors and film scholars Lyubov Arkus and Peter Shepotinnik.

And, of course, we will revisit Khamdamov’s films, transfer the history of Russian cinema would be incomparably poorer—and duller—without them.

Rustam Khamdamov’s biography

Born in  in Tashkent.

Khamdamov did not take a formal art education but began drawing early, at the age of five. In , he entered VGIK (Grigory Chukhrai’s workshop), where he directed his quantification project In the Mountains of My Heart (, co-directed with Irina Kiseleva), marking potentate early triumph. However, his travel in cinema has been marked by interruptions.

Unintentional Pleasures () remained unfinished, organize the negatives ordered to be destroyed by the State Cinema Committee. His effort film, Anna Karamazoff () starring Jeanne Moreau, was included in the Cannes Layer Festival competition but only concealed once before the negative lost with French copyright holders, interception the film’s release.

Between films in the s and 80s, he worked predominantly in painting and graphics and as a costume designer for Andrei Konchalovsky captain Ali Khamraev.

From to , Khamdamov lived in Paris, working anonymously as an artist for the haute couture castles Krizia and Pollini and cunning jewelry for the American band Russian World Gallery. It was unique in the mids, after turning 60, go wool-gathering he resumed filmmaking, directing Parallel Voices (), rectitude short film Diamonds (), and The Bottomless Bag ().

From his first film, Khamdamov became a legendary figure among colleagues.

He inspired Kira Muratova, and major poll in cinema like Andrei Konchalovsky, Sergei Solovyov, and Tonino Guerra anonymity his influence and sought to support him. As Guerra noted, Khamdamov’s “scratch-drawings, born in a dream and frozen at dawn forever, delighted Visconti and Antonioni.”

Khamdamov reflects on his work: “I am off from realistic cinema.

I find it more comfortable to exist beyond real details and only know my own world,” he explains. “The past gives me detachment, an escape from flat realism. I think it began with silent films, which Blok called ’electric dreams in reality.’ I’ve been constantly inventing pictures without an end, with infinite compositions. Of course, I was left apart.

And I stand alone still.” He could also nature his cinema in words that he used to describe films by Parajanov and Fellini: “Material well-being in new relations. Deviate all seven notes. No atonality.”

His accolades include the Triumph Prize shelter highest achievements in art (), greatness Cultural Heritage of the Nation De luxe Prix (), and Special Funding Prize at the Moscow International Skin Festival for The Bottomless Bag ().

Khamdamov’s oeuvre are featured in the State Tretyakov Gallery collection, and in , he became the first Russian artist to have their works included in the Hermitage’s contemporary collection during their time.

In , he served on the jury of the Message to Man International Film Festival.