Ilya Khrzhanovsky Biography
Ilya Khrzhanovsky (born August 11, 1975, in Moscow, Soviet Union) is a Russian screenwriter, director, and producer. Educated at the Bonn Academy of Fine Arts (1992–1993) and the All-Russian State Institute of Cinematography (1998).
Khrzhanovsky may not be the most successful director for traditional filmmaking, but he is known for one of the most significant experiments in film history - DAU. Leaving final results to critics, I believe DAU will make a path to a new way of filmmaking and art creation.
DAU is a multidisciplinary project at the intersection of cinema, art, and anthropology, which premiered in Paris in early 2019. DAU took 15 years to complete (making it one of the most extended cinema projects globally), resulting in 700 hours of footage, 14 films, and 3 TV series; This makes Khrzhanovsky one of the most productive directors (1 movie every year).
This article reviews several significant director's choices about the DAU project, such as set design, actors and method, cinematography, production design, and presentation.
Set Design
The story in DAU films takes place in the "Institute" - a typical higher-education and research facility during the Soviet Union era. The DAU Institute set was built on the former Dynamo Aquatic Stadium site in Kharkiv, Ukraine, occupying 12,000 m2. It became the most significant film set in Europe and an alternate reality for three years between 2008 and 2011.
Following immersive nature, the film set was capable of working 24/7 regardless of the filming schedule. The head camera operator of DAU, Jürgen Jürges, developed a unique lighting system that allowed the crew to shoot without any lighting equipment.
As a result, one of the DAU films, "Natasha," received Silver Bear for Outstanding Artistic Contribution: Jurgen Jurges, cinematographer, at the 70th annual Berlin International Film Festival.
According to Ilya Khrzhanovsky, they even recreated the recognizable smell "every Soviet public bathroom had."
Acting and Method
The idea of the DAU project was to place real people in the circumstances orchestrated by the director and record their natural behavior. 392000 people participated in the casting. The Institute was filled with nurses, kitchen workers, scientists, artists, philosophers, religious figures, cleaners, barbers, and security.
Most of the actors played themselves, with personal biography adapted to the reality of the Soviet era. Therefore scientists are played by actual scientists, and artists are real artists, just as true priests play religious figures.
Such an approach made the "Institute" famous among all kinds of celebrities who would visit the set for a day or two, living among actors. They were required to dress up in Soviet-era outfits (including underwear), use the linguistic style of Soviet people, and discuss only topics relevant to the era.
Ilya Khrzhanovsky created an environment and some basic situations but would not use a script to guide actors. Instead, most of what's happening on the screen are choices made by actors. Most of it is accurate (which causes lots of criticism and concerns about violence) - including sex.
As a result, "Natasha" (one of the DAU films) features an interrogation scene where an officer humiliates the cafeteria worker by placing a bottle into her vagina. Khrzhanovsky claimed the scene was consensual, and the actress has previous experience with BDSM.
Production Design
All films shot using a 35mm color film. Stills shot on black & white film. The filming process took about three years, all of which actors regularly lived on set. At the end of filming, the set design was terminated, becoming a part of the narrative.
According to Ilya Khrzhanovsky, actors were always aware of when being filmed. The director would show footage to actors and ask for permission to use it; therefore, all sex or violent scenes approved by participants.
When it comes to cinematography, it seems like a documentary film with cinematic elements of traditional moviemaking. Ling shots without switching optics are typical for "Natasha" and other DAU films.
Screening
The presentation of the DAU films is just as unusual as their production. DAU provides an immersive experience to the public. A typical visitor has to buy a "Visa" - a ticket to visit the DAU experience (six hours, one day, or unlimited visits). Inside, visitors see all kinds of art installations, art and music performances, and films themselves.
Ilya Khrzhanovsky made all 700 hours of footage available to visitors to watch. Each visitor had a personalized experience based on a quick survey and was encouraged to visit an "active listener" box. Inside of the box was a religious figure or a psychologist, interviewing visitors. After an interview is over (a little less than 60 minutes), visitors can view and share it with others.
Art Installations at DAU Screnings
That phenomenon is meant to extend to the experience of “DAU” now: The two Paris theaters are supposed to be immersive worlds in which screening rooms — Mr. Khrzhanovsky edited more than 700 hours of footage into 13 films — are only one element of an environment meant to evoke the Institute at every turn, with period-appropriate cuisine served and dressed-up wax figures placed, uncannily, among the crowds of visitors. - Ney York Times
Conclusion
Ilya Khrzhanovsky made one of the most unusual projects driven by filmmaking. It is nearly impossible to replicate such a project. Still, it provides various ideas on moving cinematography and filmmaking in general in a new direction. Some critics say the result is very dull compared to the investment, and maybe they are correct; however, the experience of making a film in such an environment is priceless.