帝国]#)[电影解说]

　　S(!ho/%/rt f:ilm
@Empire ,%?is based on ?!a ra[$dio dra^`%ma .S -;]orr\y, *r_ong Number by th?[e Ame+\rican writer Lucille F#letc,
h+er. A
ctually *, Sokurov.? ;_draws !on a /s@ingle t ;hem)e formin=^g the bac*) kgr_,ound for the  s\-tory o@f the thriller? — the woman's ill=)$ness… .$\The her
+oine is bed–_r?[idden a* .nd @her `onl
?:y mea@ ns of): communication with the out`sid^* e wor\l;.[d :? is her =$@-telephone — unt](@il/ a killer interrupt/s the conversation…　　+;Sokuro#v r@e:moves all the dialog *ues, lea ving us alon[[e wit
h the heroine — “a?`` living sk elet.)on” a
mong the refined, -wit_%h a touch of Mode/rn–st yl=e, furnish,[ings (—
- @who is li=(+;sten=!@(ing to a radio bro
adcast);:ing of Travi(ata, $w[ ith its pleas for mercy and love. ;;An el;_egant /+. +^coff+in–home is(^@/ the spatial centre  )-and +-symbol#$ization _$o[f
the entire f]
il!m. And i?_ns]ide the(! coffin we c+??e(#rtainly se!+ e;. the actress — the famous Russian bal= lerina (;A@/lla#+ Osipenk/%;o who+)/ plays not o.+@nly the he$:ro;ine but also her own s*)(elf.　　This metaphoric cin:ema–im@$a,=;\ge b^\ears an allus* ion to the g*(r!eat@_ “ha`\ndicappe_^d*” Sar%ah B.]e=_)rnhard(t who :was :r+#ep*%`o:rted to sleep in a coffin, a`.s ;-well =) as to= t- h.e entire complex of:` )aes=thetised-: Decadence,/ conve:rt !ing an a;.pology of De@[ath 
into a\: lifes!tyl]e
!. Here is the key to .the code+ o[ f the title. Empire is, a ;%style that at@tempted )(t^)o r%e_an:$_[imate the dea
$d ancient harmon)#/+]y. The he,roi+n=
`=e of S@ok,urov's ]\!fi \l!m co__mmun!*icate !,(s w-ith her 
phone as^ the on^  ly partner[!, an/!!:d sort of interferes w ith @ the b.?e y:ond, attracting th%-
@is air — intang[ib +]l/e). yet saturated with ?#*danger. It is from$* t(he rad\\io ]-\air t./[hat she ; $a*$^$ccumula@^tes:- both plea?:sure and tranq*-:+ui`llity — ?the aria of dyi)@ng yet beloved Violetta, while the kil
ler&#[39s silhouet*t#[e materi[#alizes from the phone ), air=. A cha;[mbe -r pot, overturned and spilt by_$+ the killer in h=aste, r[/emain.] s the= only evid_$*ence of human acti/vit%ie!
s @in this bou[/doir of De:at((h. Sokuro#=v's .metaphor, cla:d in. n aturali!;stic details, pro-duces th
e eff#-ect of ironic/  disclosure-@ : “a+^.? we$+t sp /]ot?” ;:?_is `-lef;.t#% a#@fter a symb^\!ol.　(% \　The% f,ilm was shot.\] as- a study wo
?+rk,$# of a VGIK student S.Sidorov. At that tim- e Sok- *$u.!*rov d:i-d not have a #%ch/
an-(c/e to# `launch a project of his o?wn,] therefo)re h +e used thi\:s possib;ility to work. Vi?-
`sual conception !of th_?i: s film antic)`ipat+!e+^(s a co \nsiderable nu`?
mber of Sok\,_urov&
.
#39s future experi)ments:[ light that models t]%h,e )/?sp`ace, levelling of c olours!, *_
c^,]orrelation of c%ontr``#a=s.ting textures.