Timur Bekmambetov finishes work on the film “P#D” after Shakespeare’s “Romeo and Juliet”, which was filmed in Los Angeles. Soon he is ready to share with colleagues their technologies, gained momentum in the context of the pandemic. And this will help him and his fellow actress Anna chipovskaya. Everything is shrouded in mystery: what will she do and how? We know one thing – Anne will become the flagship of a campaign to win hearts of audience abroad.

Russian filmmakers in collaboration with the Ministry of culture is trying now to properly prepare for entry to life after quarantine. The situation is not all rosy. Many projects have been suspended, and some probably will not be. But the producers and Directors are optimistic and working in the circumstances that threw the pandemic.

During an online-conference, dedicated to the promotion of Russian cinema abroad, film Director and producer Timur Bekmambetov, appeared along with Andrei Konchalovsky one of the most effective and optimistic figures of the period of quarantine, told colleagues about his new works.

– in recent years, We focused on the big direction, which is called screenlife. It’s the language of cinema, where the action and dramatic story develop entirely on the screen of devices and phones. In recent months all of it is actualized, and many filmmakers were interested in this direction. We shoot several similar projects in Russia and America. One of them – “Romeo and Juliet”. It is based on the texts of Shakespeare and played on phones, and the action takes place in South America.

Past month and a half we held the competition “History of quarantine”. So I decided to capture something that happened to us during isolation. We received more than 300 applications from different countries – America, Britain, France, Poland, Kazakhstan, and Russia. Two works have already been removed – “Udalenke” Aksinya Gog, made in Russia, and another picture from America. Soon we will show the works of the finalists and explain how to develop the project. Doing different kinds of innovations in the field of cinema, we are completing work on the film “the FAA. Escape from hell” (about the Soviet the fighter pilot Mikhail Devyataeva, the role of which will play Paul Priluchny). He starred in a vertical format and is focused on mobile phones. This applies not only to composition, but the structure and narrative of this new approach to storytelling. The vertical format implies a portrait, not landscape. That is, the story focuses more on the characters. The film was shot remotely. A whole block of scenes we had to do in a situation when I couldn’t attend the shooting area��E. We want to share with colleagues how he lives the world of cinema, to try to understand what screenlife. Temporary fad cinema? Maybe for him the future?