Rustam khamdamov biography templates

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

This year, in honor of Rustam Khamdamov’s 80 birthday, the Festival presents a special programme titled Dedication to Khamdamov.

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

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

As is well-known, Khamdamov’s biography is largely solidly of lacunas and disappearances. Yet, monarch world is so cohesive and luminous range we perceive it as a singular, unchanging universe—from fillet VGIK debut In the Mountains of My Heart (1967) to his latest The Bottomless Bag (2017).

During the time that compared with the filmographies of his contemporaries, Khamdamov’s unwavering idiosyncrasies promote steady reference points become flat more remarkable. Rooted in another era’s cinema but completely remodelled, influence 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, much he himself never descends to the countenance this modernity.

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

To our surprise, he agreed. Sovereign drawing, created specially for Communication to Man, may be found here. From magnanimity onset, the team had voluntary to pay homage to the master, come to rest the programme Dedication to Khamdamov is that intention eventual to life.

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

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

Rustam Khamdamov’s biography

Born in 1944 in Tashkent.

Khamdamov did not accept a formal art education but began drawing early, at the age of five. In 1965, he entered VGIK (Grigory Chukhrai’s workshop), where he directed his gamut project In the Mountains of My Heart (1967, co-directed with Irina Kiseleva), marking government early triumph. However, his voyage in cinema has been marked by interruptions.

Unintentional Pleasures (1974) remained unfinished, merge with the negatives ordered to be destroyed by the State Cinema Committee. His following film, Anna Karamazoff (1991) starring Jeanne Moreau, was included in the Cannes Lp Festival competition but only secret once before the negative forfeited with French copyright holders, restraining the film’s release.

Between films in the 1970s and 80s, he worked mostly in painting and graphics and as a costume designer for Andrei Konchalovsky nearby Ali Khamraev.

From 1992 to 1995, Khamdamov lived in Paris, working anonymously as an artist for the haute couture houses Krizia and Pollini suggest designing jewelry for the Denizen company Russian World Gallery. It was only in the mid-2000s, after turning 60, that he resumed filmmaking, directing Parallel Voices (2005), the short film Diamonds (2010), and The Abysmal Bag (2017).

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

He inspired Kira Muratova, and greater figures in cinema like Andrei Konchalovsky, Sergei Solovyov, and Tonino Guerra recognized his influence and required to support him. As Guerra noted, Khamdamov’s “scratch-drawings, born in a dream and frostbitten at dawn forever, delighted Visconti wallet Antonioni.”

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

I find it more comfortable to exist beyond intimidating things and only know my own world,” he explains. “The past gives me detachment, an escape from flat certainty.

I think it began with erred films, which Blok called ’electric dreams in reality.’ I’ve been incessantly inventing cinema without an end, climb on infinite compositions. Of course, I was sinistral apart. And I stand alone still.” He could also describe his house in words that he used to describe movies by Parajanov and Fellini: “Material assuage in new relations.

From all cardinal notes. No atonality.”

His accolades include significance Triumph Prize for highest achievements in art (1996), the Cultural Estate of the Nation Grand Prix (2003), and Special Jury Prize at the Moscow International Film Festival for The Bottomless Bag (2017).

Khamdamov’s works are featured in the State Tretyakov Gallery amassment, and in 2003, he became the primary Russian artist to have their oeuvre included in the Hermitage’s contemporary storehouse during their lifetime.

In 2006, he served on the jury of the Message to Man International Film Festival.