When you realize that the most radical if not avant-garde director of post- Soviet Russia is not some young talent, who studied films in the USA or France, but Alexander Mindadze, a 66-year-old-writer, who became famous in the USSR times, - that`s what we call the unbelievable irony of fate. His third film, MY GOOD HANS, is incredibly complex, original, independent in all senses and at the same time transparent and clear

Anton Dolin, Afisha-Vozdukh

The third director`s work by the outstanding writer Mindadze staggers the imagination with its incredible "technical" sophistication - though such a guru is not really interested to tell "the conditioned" story

Stas Tyrkin, Komsomolskaya Pravda

Mindadze`s silent mise en scenes say more than dialogues. Very few Russian filmmakers use the limitless (proven by Mindadze`s three films) possibilities of cinema. Rhythmically the film accelerates hysterically in the beginning, then it slows down to almost complete immobility - some episodes are even looking tight, but in the end, it becomes clear that the duration of scenes could not be different. Mindadze, in this sense, is walking on a thin border and never makes a mistake with any angle, with any cut

Natalya Grigoryeva, Nezavisimaya gazeta

It`s unbelievable how Mindadze-scriptwriter having become a director, accentuate physicality in his movies. Especially in close-ups where the frame gets closer, the body can`t fit into it completely and gives the impression of crush, fuss, hustle. My good Hans is made of such close-ups. And the sharp cutting creates a specific kind of movement - as if it were not for the individual bodies, but large masses, not the plot, but the history itself. These individuals, these bodies in overalls (of course, resembling prisoners` uniform) are already infected with the war virus. The war has not yet begun, but changed their psychophysics, and it is irreversible.

Oleg Zintsov, Vedomosti

German actors, we know for a long time, in My good Hans tease the public with their uncertain accuracy and variability, and engross everybody`s attention. They are well known among the admirers of the German Drama Theatre and independent German Cinema. Their names should be learnt by heart: Jakob Diehl, Birgit Minichmayr, Mark Waschke, Marc Hosemann

Zara Abdulaeva, Iskusstvo kino

This film is the large-scale completion of a "disasters trilogy" began with the “Soar” and followed with the "Innocent Saturday". My good Hans, undoubtful, is the apotheosis of the author's style – Mindadze has not shot anything better so far

Alexander Nechaev, Rossiyskaya gazeta

We have every reason to call My good Hans an anti-war film. It doesn`t show you the murder itself, but the preparation for it. It tells you What happens to people. To show such a vision of war, of the enemy today means great courage. And, of course, artistry. However, for the artist these two features are inseparable.

Andrei Arkhangelskiy, Ogonek

Mindadze`s vision allows one to get rid of a thick layer of myths and prejudices that accompany the theme of the Second World War. Much attention is paid to a gradual expansion of the individual. ... Perversion of Nazism had already been the subject of many books and films. ... And yet no Nazi or communist system, nor any dictatorship as such - are not in Mindadze`s key. The feeling of coming disaster is the main thing.

Nikita Kartsev, Moskovskiy komsomolets

My good Hans offers a reflection on the war, which is far cry from the officially approved position. Inside which, as everyone knows, only purely patriotic approach to the topic is possible. And Mindadze`s film is structured in a complicated way, that gives alarming projections of the present day ...

Oleg Zintsov, Vedomosti

The movie comes to an end through a long series of long scenes. Perhaps even Tarkovsky would envy clearly thought-out mise en scenes that gives the viewer a full image of what is happening. It puts a long-awaited final "point", but keeps the audience in the "flow” afterwards. My good Hans is a complete piece of art. All doubts, an essential attribute of criticism, fade over with the last minutes of the film.

Anastasia Zabolotskaya, 365

It is the most important Russian film of the day, just an amazing case of the human voice among the slogans and bureaucratese. Mindadze is an artist who in times of aggression finds the strength to lead a very simple and humane speech. What could be more valuable, especially in this situation?

Ivan Chuvilyaev,

Some of the officials at the stage of film pre-production detected some distortion of historical facts, so the film has not received state support, a “black mark” shadow hung over it. It won`t be easy for it to reach the audience, since the topic as such can`t be expressed in simple language, but it surely will remain in history as a precious document of the time.

Valeriy Kichin, Rossiyskaya gazeta

My good Hans by Alexander Mindadze is the one to wade through censorship project, which has retained its original idea. Breathless expectation of irreversible changes that creeps on all sides makes this film so up-to-the-minute. And there is nothing one can do about it. As if today, the world, red-hot in its premonition of the coming war, is cracking just like the glass does. And the first explosion in a furnace brings the first, almost sacred victims.

Larissa Malyukova, Novaya gazeta

My good Hans became one of the most talked about events of the festival due to the fact that it had caused the totally opposite assessments, and hence the interest of the public who takes the verdict of critics as a reason for discussion. Moreover, the situation with My good Hans at Moscow IFF resembles a reception given to Alexey Herman`s film "Khrustalev, the car!" in Cannes, 1998: both audience and journalists were leaving their seats during the official screening. Only a few months later French critics have declared the film a masterpiece.

Marina Toropygina,

The new work by Alexander Mindadze was definitely "out of competition" ... Firstly, Mindadze is considered classic author, even though he is still a “young”: only three films by now. Secondly, the language he uses to speak with the audience is different from the language of all the other contestants, not so much in a fact of «being different», but being the language of the upper level. To give him the main award would be unfair, since it would bring to ought the rest of the competition films, and filmmakers are not responsible for being put on a par with a masterpiece (it may be too early to use this word, we`d wait ten years - but there is a reason to believe that this film will remain in the annals in the «masterpiece» status)

Maksim Markov, Readus

If My good Hans was not participating in the competition program of MIFF, the awards given by the jury would appear inexplicable and diplomatically correct. But ignoring the drama by Mindadze turns these quite fair solutions into a demonstrative act. Assuming that festival is a territory of art and freedom, where there is no space politics, there is only one conclusion: the level of the film by Mindadze simply fails to meet the level of MIFF. Or vice versa

Nikita Kartsev, Moskovskiy komsomolets

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