Sergei Podgorkov, A Cafe on Vasillievsky Island (St. Petersburg). Source: Facebook
[…]
Living their best life
And here, the reader will stop for a second and most likely ask the question — but what about Russians, don’t they want the war to stop?
And the answer is most likely no.
Recently, I fell into a rabbit hole, watching videos posted by ordinary Russians on Instagram. It all started when on Twitter (X), people began discussing a post by a Russian blogger who wrote that Moscow is beautiful, sprinkling it with hate speech.
The blogger, who clearly was working with the local government to promote Moscow, basically said that the Russian capital is the best city in the world because it’s clean, everyone is happy, and there are no homeless people and “LGBTQ+ propaganda.”
Displaying a rainbow flag is a criminal offense in Russia.
I went to his page and looked at the videos he was posting. And then some more videos from people living in Moscow.
For a person living in Kyiv, bombarded on a nearly daily basis, this was a very interesting dive. Watching those videos, you would never think that their country is at war.
Moscow has experienced a few waves of transformation since 2022.
Before the start of the all-out war, Moscow was thought to be the most liberal Russian city. The Russian capital harbored people with higher education and better income. Opposition activists were living their lives in Moscow cafes. Late opposition leader Alexei Navalny even once ran in the city’s mayoral election and gained a substantial number of votes.
As soon as the all-out war started, there were even some protests in Moscow, and some members of the local art and culture scene, those who traveled abroad and saw the world, were not supportive of their country’s slide into totalitarianism.
Still, Moscow was far away from the war. Cafes were still packed and people’s day to day, if they weren’t in active opposition, only changed insignificantly.
In late 2022, this changed. When Russia faced one military defeat after another, the local government was instructed to make the war felt in Moscow.
Moscow Mayor Sergey Sobyanin, who at first deliberately distanced himself from the war effort, was now traveling to the Russian-occupied regions of Ukraine, and banners depicting Russian soldiers appeared on the city’s streets.
The 2022 Russian forced mobilization campaign saw police grab people from Moscow’s streets and send them to fight in Ukraine.
Hundreds of thousands of Russians, most of them from major cities such as Moscow, left the country. Some of them for good.
Soon after that, Moscow changed once again. Since late 2023, Russia has been on the offensive. Those who were against the war or actively opposed it are no longer in the country. The Kremlin also has enough troops and hardware to continue the fight indefinitely. It doesn’t need to rely on forced mobilization — instead, it uses high wages to lure volunteers.
It doesn’t need to shove the war in the face of Moscow residents, especially those who do not care. The government is now deliberately shielding the residents of its most important metropolis from the hardships that a war can bring.
Bars, cafes, concerts, new metro stations, international football stars visiting the city, and playing friendlies with the local players who are banned from international competitions. People are living their best lives, while their compatriots, friends or even relatives are murdering civilians in Ukraine.
Watching the videos from 2025 Moscow is a surreal experience. I can’t stop thinking that it must be similar to what life was like in Berlin in 1941 for those who didn’t care about the atrocities their country was committing.
Source: Oleksiy Sorokin, WTF is wrong with Russia? newsletter (Kyiv Independent), 17 July 2025. This post is dedicated to Nan Kim, who has supported this website with a monthly donation for the last two years. I would like to apologize to her for posting so infrequently in the past few months. The work-at-home jobs which over the last eighteen years also afforded me the time and space to produce this website have dried up or disappeared altogether (along with all other donations to this website), so I have had to take work that keeps me away from home most of the day nearly every day. This extreme slowdown in producing this blog is not necessarily a bad thing for me personally. Among other things, it keeps me from asking the question Oleksiy Sorokin asks at the top of this entry: don’t Russians want the war to stop? \\\ TRR
On Friday, May ninth, Treptow Park was perhaps the most heavily guarded place in Berlin. Hundreds of police officers kept the peace at Germany’s most famous memorial to Soviet soldiers on the day Russia marked the eightieth anniversary of the end of the Second World War in Europe, known as the Great Patriotic War in the Soviet tradition. Because Russia has employed symbols of that earlier war in its current war against Ukraine, visitors were banned from displaying or wearing Soviet and Russian flags, military uniforms, and St George’s ribbons at the Berlin memorial this year. An exception was made for veterans and diplomats.
Soviet May ninth traditions and German pacifists
At about half past ten in the morning, a wreath was laid at the monument to the Soviet soldier by Russia’s ambassador to Germany, Sergei Nechayev. The day before, when Germany remembered the Wehrmacht’s surrender and the end of the war, Nechayev and the Belarusian ambassador were not invited to the memorial event at the Bundestag. In his speech, German President Frank-Walter Steinmeier thanked the Allies for liberating his country and recalled the Red Army’s sacrifices, but harshly criticized Russian attempts to justify the war in Ukraine in terms of the fight against the Nazis in the Second World War.
The flood of people in Treptow Park seemed endless: hundreds were there at any one time, and thousands came and went over the course of the day. Many brought scarlet carnations, while some bore wreaths. Russian and German were heard. Most of the visitors were elderly—immigrants from the former USSR living in Germany and Germans. There were also many leftist and ultra-leftist German political activists brandishing placards opposing NATO and calling for “peace with Russia.”
German ultra-leftists rally for “peace with Russia” and Germany’s exit from NATO, 9 May 2025. Photo: Roman Goncharenko/Deutsche Welle
Against this backdrop, the scene resembled a mixture of a traditional Russian May ninth celebration and a political protest by German pacifists, many of whom had clearly lived most of their lives in the GDR.
“I was a policeman in the GDR,” said a man in his sixties who held a placard that read “Thank you” in Russian. The policemen asked him to doff his Soviet cap, which sported a red star and a St. George’s ribbon.
“All people want peace, so the politicians should don their own military uniforms and crawl into the trenches,’ the man said.
Soviet wartime songs sounded from loudspeakers and were played live. One man, aged forty-five, climbed atop a mound to get a better view, but a policeman asked him to get off the lawn, explaining, “This is a grave.” The man cursed in Russian but climbed off the mound.
Another man played played “Arise, Great Country” on his clarinet. When he began quietly playing the melody of the Soviet and Russian national anthem, the police literally took him aside, after which he returned to the group of people who had gathered. They were outraged at the restrictions that had been adopted. From time to time, someone chanted “Russia, Russia!” and many other people would join in.
An ex-East German police office (holding a sign that says “Thanks!” in Russian): “All people want peace.” Photo: Roman Goncharenko/Deutsche Welle
Bikers in Treptow Park
Your correspondent saw men and a woman in leather jackets who looked like bikers from the Russian motorcycle gang Night Wolves. They were in small groups and were escorted by a large number of police officers. They posed for pictures in front of the wreaths and left. They could have been someone from a local “support group.” The Berlin press had written that only a small group of bikers made the trip to Berlin to visit the Soviet memorials this year. No incidents had been reported as this article went to press.
Treptow Park, 9 May 2025. The crimson and gold banners at the back of the crowd are inscribed with the names of the various “fronts” in the Red Army’s campaign against the Wehrmacht. Photo: Roman Goncharenko/Deutsche Welle
For the first half of the day, at least, things seemed relatively calm. Your correspondent had the impression that most people had come to Treptow Park not for political reasons, but to commemorate the war. And yet the atmosphere was tense. To the right and left of the monument to the Soviet warrior stood a dozen and a half activists holding placards and the flags of Ukraine and NATO.
Activists with placards and Ukrainian flags at the monument to Soviet soldiers in Treptow Park, 9 May 2025. Photo: Roman Goncharenko/Deutsche Welle
They said they wanted to draw attention to the Ukrainian Red Army soldiers who had perished in the Second World War, as well as to Russia’s war against Ukraine.
“I am here to prevent this event from being turned into a Russian propaganda stunt,” said a woman, aged thirty-five. According to her, insults had been hurled at her and the pro-Ukrainian activists.
“Some people regard our presence here as a provocation,” said the woman. “We are not here to change anyone’s mind, but to make Ukraine visible.”
One of their posters read: “Russia has usurped the memory of May eighth and ninth. But it was not Russia who liberated us from the yoke of National Socialism eighty years ago in Berlin. It was the Red Army, in whose ranks many Ukrainians served.”
The poster tells the story of Ukrainian soldier Fyodor Karpenko, who left his name on the walls of the destroyed Reichstag building in May 1945.
Since the Maidan uprising and Russia’s illegal annexation of Crimea in 2014, Kremlin propaganda has consistently portrayed Ukrainian leaders as Nazis or fascists. Russia also accused the Ukrainian authorities of “genocide” of the population of Donbass. On 24 February 2022, while announcing the full-scale invasion, the “denazification” of Ukraine was presented as the primary goal of the war, which is itself portrayed merely as a continuation of the Great Patriotic War: a conflict embedded in a cyclical conception of time in which Russia, eternally under threat from a Western enemy, fights for its very survival — on Ukrainian soil.
On the ground, there is no evidence to support Moscow’s accusations: nobody has ever documented a “genocide” against ethnic Russians or Russian speakers, whether in Ukraine or elsewhere. As for the Ukrainian far-right, its political influence remains minimal: in the 2019 parliamentary elections, the main ultra-nationalist parties, running together on a joint list, received just over 2% of the vote, well below the threshold required to enter Parliament. In short, the image of a “Nazi regime” in Kyiv is based on a glaring mismatch between rhetoric and reality.
So why do the Russian authorities repeatedly invoke references to the Second World War — or, in Russian parlance, the “Great Patriotic War” — when speaking about Ukraine? Understanding this memory dynamic is essential to grasp the power of a rhetoric that, despite lacking any factual basis, continues to shape the official Russian worldview.
The Soviet and Russian insistence on using the term “Great Patriotic War” to refer exclusively to the period from 1941 to 1945 erases the twenty-one months that preceded Nazi Germany’s invasion of the USSR. Between the Molotov–Ribbentrop Pact of August 23, 1939, and Operation Barbarossa on June 22, 1941, Moscow and Berlin were de facto allies: they engaged in extensive economic cooperation, diplomatic coordination, jointly invaded and partitioned Poland in September 1939, and the Soviet Union proceeded to annex the Baltic countries and wage war against Finland. By reducing the war to the period 1941–1945, the USSR and Russia could deny any responsibility in the outbreak of the Second World War and present itself solely as the victim of Nazi aggression and the primary liberator of Europe.
The Great Patriotic War — and especially the victory in 1945 — became the founding event of Soviet history and the cornerstone of collective memory. Yet this memory, often portrayed as monolithic and universally shared, is anything but uniform. A Ukrainian from the west, who endured two successive occupations between 1939 and 1944, remembers a war very different from that of an eastern Ukrainian, whose experience was shaped primarily by Nazi destruction. The memory of a Russian bears little resemblance to that of a Crimean Tatar, who was deported along with his entire community and denied the right of return for decades. As for Soviet Jews, whose families and communities were annihilated in the Holocaust, they were long forced to remain silent — official narratives left no room for the specificity of their suffering.
The collective experience of the war and the official discourse surrounding it deeply reshaped the Soviet population’s understanding of “fascism” and “antifascism.” Rather than referring to a specific political doctrine of the inter-war period, the term “fascism” had become a catch-all label for the ultimate enemy. Trotsky or the British Conservatives could just as easily be branded as “fascists,” as well as domestic and international opponents after 1945 — including even the Chinese Communists. The word “Nazi” itself was rarely used. In everyday life, calling someone a “fascist” served more as the gravest possible insult rather than as a statement of ideological substance.
Under Vladimir Putin, the cult of the Great Patriotic War has been revived. Following the pro-democracy protests of 2011 and Putin’s bid for a third presidential term in 2012, the regime instituted a deliberate policy of historical narrative construction, aimed at grounding its legitimacy in a vision of the nation as under siege. The glorification of the 1945 victory also allowed the regime to purge collective memory of its specifically socialist elements: by retaining only the narrative of national triumph, the Soviet period could be seamlessly integrated into a continuous national history without any revolutionary rupture. At the same time, the rehabilitation of Joseph Stalin as a legitimate victor served to validate autocracy. The mass repressions and genocidal policies that claimed millions of lives were reframed as a tragic but necessary step: they had made the USSR a global superpower, capable of defending civilization against the “brown plague.”
The Kremlin has multiplied its legal instruments to enforce this narrative. Since 2020, the Russian Constitution mandates “respect for the memory of the defenders of the Fatherland” and prohibits “diminishing the importance of the heroism” of the Soviet people. In April 2021, Putin signed a law increasing penalties for “insults” or “false claims” about the Second World War and its veterans. In December 2019, Putin himself gathered some leaders of post-Soviet states around a pile of archival documents that he said proved historical truths long ignored in the West — selectively quoting them to justify, in retrospect, the USSR’s annexation of Poland and the Baltic states. In this way, Putin has weaponized history, which has become inseparable from national interest. To challenge his interpretation is tantamount to treason.
Every year on May 9, Russians march in the Immortal Regiment carrying portraits of relatives who fought between 1941 and 1945. Increasingly, the faces of those who fought — or died — in the war against Ukraine are added to these ranks, as though both wars were part of a single, endless struggle. Past and present warfare are merged, and the victory of 1945 becomes the lens through which all events — past, present, and future — are interpreted in a continuous historical timeline. This symbolic fusion also explains the surreal images of Russian occupation forces who, in recent weeks, have placed propaganda banners in destroyed Ukrainian cities. An uninhabitable Bakhmut was transformed into a stage for celebrating the 80th anniversary of Russia’s victory in the “Great Patriotic War.”
The cult of victory is not only a central element of the Putinist imaginary — it functions as an operating system for both domestic governance and external aggression, with all of Russia’s actions on the international stage framed as part of an eternal war against fascism. A telling example of this is the installation of a giant screen on the Estonian border, broadcasting Victory Day celebrations in a loop — an attempt to remind Estonians, as well as Latvians and Lithuanians, that the Soviet victory represents an unassailable moral superiority. In the Russian collective imagination, the word “fascism” has lost all connection with a specific political ideology and now refers only to an abstract, absolute threat: the desire to destroy Russia. It has become synonymous with “enemy” or “Russophobe,” always denoting the Other, never a historically defined movement. This separation between word and meaning allows the regime to simultaneously glorify the antifascist victory and openly promote xenophobic, homophobic, or ultraconservative rhetoric, without any perceived contradiction.
The word “denazification,” used by Vladimir Putin on February 24, 2022, to justify the invasion, initially puzzled many Russians, most of whom were unfamiliar with the term in this context. Shortly afterwards, the state news agency RIA Novosti published an article by Timofey Sergeytsev — “What Russia Should Do with Ukraine”— aimed at clarifying its meaning: “denazification” was described as a “total cleansing,” targeting not only alleged Nazi leaders but also “the popular masses who are passive Nazis,” deemed guilty of having supported the “Nazi government.” According to Sergeytsev, modern Ukraine is able to hide its Nazism behind aspirations for “independence” and “European development.” To destroy this Nazism, he argues, is to “de-Europeanise” Ukraine. In this logic, denazification becomes synonymous with eliminating all Western influence from Ukraine and dismantling the country’s existence as a nation-state and a distinct society. Incubated on official state platforms, this narrative reveals the true scope of “denazification”: a large-scale project aimed at erasing any trace of Ukrainian singularity, a blueprint for the genocide.
The article recently published on the official website of the Russian Foreign Intelligence Service (SVR), entitled “Eurofascism, Today as 80 Years Ago, Is a Common Enemy of Moscow and Washington,” strikingly illustrates the expansion of the “denazification” discourse far beyond Ukraine. The accompanying image depicts a grotesque hybrid monster: its body is shaped like a black swastika with the EU’s circle of stars in the centre, while its head is a caricature of Ursula von der Leyen. The creature, with its blood-stained claws outstretched, is caught between two bayonets — one American, the other Russian/Soviet. This grotesque image is not merely a provocation: it reflects a narrative deeply entrenched in Russian state propaganda, where “Eurofascism” becomes an operational concept encompassing all European societies.
“Eurofascism, Today as 80 Years Ago, Is a Common Enemy of Moscow and Washington.” Screenshot courtesy of Meduza
The 2022 tipping point revealed these discourses for what they truly are: the ideological foundation of a large-scale invasion, long prepared within the informational sphere. Today, part of European society — particularly elements of the pacifist left — is falling into the same trap: underestimating or ignoring the ongoing propaganda dynamic. But the machine is already in motion. The language of fascism is being broadened daily to include new designated enemies, and the ideological war is shifting: it is no longer stopping at Ukraine — it is now targeting all of Europe. In the face of this brutal reconfiguration of the official Russian narrative, complacency or passivity have themselves become forms of strategic blindness.
Russia’s consolidated military registration registry website, Reestrpovestok.rf, is fully operational. On Friday, 9 May 2025, the human rights project Get Lost, which helps Russians avoid conscription into the army, reported that the notifications that it was operating in test mode had disappeared from the website, and the online resource appeared to have been fully launched.
Upon arrival on the website, users can log in to their personal accounts, check summonses, and obtain copies of records. Earlier, the website indicated that it was functioning in beta mode only in three regions—Sakhalin, Ryazan, and the Republic of Mari El. This notification has now disappeared.
“So far no one who has received a summons through this site or faced automatic restrictions has contacted us,” the human rights activists added. The registry’s launch has not been officially announced.
Recipients of summonses to face restrictions if they fail to report to military recruitment center
The law establishing a consolidated registry of persons subject to conscription and introducing electronic summonses was signed by Russian President Vladimir Putin in April 2023. The text of the document, in particular, states that conscripts who do not report to a military enlistment office within twenty days of receiving a summons may be prohibited from registering as an individual entrepreneur, registering vehicles and real estate, driving a vehicle, and getting a bank loan. In addition, they will not be able to leave Russia until they report to a military enlistment office.
A screenshot of the military enlistment summons website, outlining the penalties imposed on Russians who fail to respond.
The full-fledged launch of the electronic summonses registry was planned for last autumn, but was subsequently postponed.
The registry contains data on all Russian nationals who are already registered and are subject to military registration, as well as those who are not yet registered but are obliged to do so. Lawyers stress that the law and the decree apply to the delivery of any summonses, both for compulsory service and to clarify military registration status, and as part of the wartime mobilization, which Putin has not yet signed a decree to end.
This data will be collected from military enlistment offices. The decree digitizing their databases was signed by Putin back in November 2022. As Defense Ministry officials told the Federation Council, various databases are used for this purpose, including those of the Interior Ministry, the Federal Tax Service, civil registries, and pension funds.
If you have been to Chronicles Bar[in downtown St. Petersburg], you have definitely seen the photos discussed in this film. In today’s session of “Screening the Real,” we are watching Leningrad 4, a documentary about Sergei Podgorkov and other champions of Leningrad’s unofficial photography scene during perestroika. Yuri Mikhailin spoke to the filmmaker, Dmitry Fetisov, about dramatic structure, time as a form and rhythm, and Soviet-era beer stalls.
“Leningrad 4,” Dmitry Fetisov, 2023 (in Russian with no subtitles)
My path to documentary filmmaking was a tortuous one. At school, I was interested in writing texts, and at the age of seventeen I decided to apply to the St. Petersburg State University of Film and Television (KiT) to study drama, but at the interview I was advised to go into documentary directing. At the time, Victor Kossakovsky was accepting students, but I didn’t go to study with him, I went to Tver (I’m from the Tver Region) and studied three years at the College of Culture, specializing in directing and theatrical acting. Then I went to study in Konstantin Lopushansky’s feature filmmaking program at KiT. I studied for a year, but them I decided to try my hand at documentary filmmaking again, although I didn’t really understand what it was.
I transferred to Vladislav Borisovich Vinogradov’s course, and I more or less made a go of it there. I guess I had found my master. It was the first time I saw examples of poetic documentary films with characters and dramatic structures that intrigued me. I also really liked Vladislav Borisovich’s work (I Return Your Portrait, A New Year at the End of the Century). I think that I have inherited to some extent his format, in which the films are based on interviews with the characters, and the themes have something to do with Leningrad culture.
Still from “Leningrad 4,” Dmitry Fetisov, 2023
My interest in photography stemmed from moving to St. Petersburg. I liked the texture of its central districts, the most banal things—palaces and , the difference between the Petrograd Side and Vasilievsky Island. And I was very interested in the movies made at Lenfilm Studios—Ilya Averbakh, the so-called Leningrad school, the perestroika-era pictures. This texture intrigued me. I came across the photographs of Boris Smelov, Leonid Bogdanov, and Boris Kudryakov. I became a big fan of theirs, and started looking for lesser-known photographers.
You could say that Leningrad 4 was born in 2011, when I went to a photo exhibition at the legendary Borey Gallery on Liteiny for the first time and saw Sergei Podgorkov’s work. I thought that I should make a movie about this man. I was very impressed by Ludmila Tabolina’s show at the Akhmatova Museum, as well as the exhibition on the Zerkalo photo club, from which many photographers had emerged.
Still from “Leningrad 4,” Dmitry Fetisov, 2023
In 2021, I decided to make a short film about Sergei Podgorkov. At the time, I had no idea that it would turn out to be a forty-minute movie. I wrote to Sergei on VKontakte, and he invited me to his place in Borovichi. If I were making the film now, I would probably add a video chronicle of the trip. Podgorkov showed us around the town, including the old railway station, and after filming we drank some good Novgorod moonshine with him to celebrate our acquaintance.
Many of the shots were made with Soviet gear—a Helios 40 telephoto lens. I bought it in a thrift store, and I successfully fitted this 1965-made lens to a Sony mirrorless camera. The Helios 40 handsomely blurs the edges and thus emphasizes the subject in the frame. It is my favorite lens.
After filming Podgorkov, I realized that the topic could be pursued further. I had always been interested in the Leningrad Rock Club, and so I decided to film Andrei “Willie” Usov, who was the staff photographer for the band Aquarium and did all the covers of their records, and was friends with Mike Naumenko.
Andrei “Willie” Usov, holding his iconic image of Boris Grebenshchikov and Mike Naumenko. Still from “Leningrad 4,” Dmitry Fetisov, 2023
The third character was the pictorialist Ludmila Tabolina. I appreciate this movement in photography. The next character was Alexander Kitaev. I liked the Kitaev’s powerful countenance, that of a bohemian. Petersburg photographer, and I decided that I would film him even before I got acquainted with his images myself.
Another character is Valery Valran. He is not a photographer, but a well-known artist in Petersburg, a popularizer of photography, a curator of photo exhibitions, and the first to turn [photos by Leningrad’s underground photographers] into a photo album: the book Leningrad Photo Underground appears at the beginning of the film. I decided to include it in the film to tell about this photography movement a little from the outside.
And finally, there was Sergei Korolyov. I filmed him, but during editing I realized that, unfortunately, a short subject about him did not fit into the film. I edited it separately and posted it on my “Blog Stall” which I dreamed up when blogging was the cool thing and where I publish stories related to cinema. This episode is called “The Photographer Korolyov”.
“The Photographer Koroylov,” Blog Stall, episode 26
How did I realize that these characters were enough? When I filmed them, I had an idea for the next film I might make: about photographers who are no longer alive, like Bogdanov and Kudryakov. And I decided that the filming was over.
The film took a long time to edit, almost a year. I realized that each photographer has a certain leitmotif. Sergei Podgorkov has a story connected with beer stalls (although he does not emphasize it himself), Andrei Usov has rock, Ludmila Tabolina has the white nights, and Kitaev has [Petersburg’s] Kolomna neighborhood.
Still from “Leningrad 4,” Dmitry Fetisov, 2023
To separate the interviews and photos, I decided to use a film footage frame. Some of my colleagues think that this is visual bad form, but for me it seems logical: conversations with photographers are the present day, while their photos are the past, and the footage works as a transition between them.
Sometimes I wanted to connect the times. The chapter “Conversations at Beer Stalls” features music by contemporary jazz-noir artist Bebopovsky and the Orkestry Podyezdov. I had enjoyed him for a long time. I met the artist, and the opportunity to use his music in the film presented itself.
While I was editing, I did a photo shoot on black and white film for an acquaintance. I was supposed to make shots like in the scene in Godard’s movie Le petit soldat in which the main character takes a picture of a young woman. For this photo shoot, my friend bought a Leningrad 4 light meter on Avito. I realized that I would call the film that, because the main character is late Soviet Leningrad, and there are four photographers in it. Then I decided that I would divide the movie into four parts. Besides, perhaps these photographers possibly also used the Leningrad 4, as it was one of the most popular exposure meters of its time.
It was later that Sonia Minovskaya, my co-director and assistant on the movie, noticed that in some mythologies the nuumber four is the number of decay, death, and demised. And indeed, in each chapter something fades away or dies. In the first one, the Leningrad white nights are buried, while in the second, Mike Naumenko and a whole erа exits the stage. Then we see the end of the Summer Garden in its historical guise, and in the final chapter, where the rallies in the squares are shown, we see a country disintegrating. I didn’t think about this symbolism when I was making the film. I did it intuitively.
Photographer Alexander Kitaev. Still from “Leningrad 4,” Dmitry Fetisov, 2023
I understand that the editing is finished when a special, unique time emerges in a film. Time is a rhythmic form to me. A movie is ready to go when it suits me rhythmically. My films are calm, lyrical, and meditative. I probably like the documentaries of Wim Wenders for a reason.
Leningrad 4 was screened at the Arctic Open Festival in Arkhangelsk, where it got a super-warm reception; at the Salt of the Earth Festival in Samara; and in the online program at Artdocfest.
At one of the premiere screenings at the Rosphoto Museum, Sergei Podgorkov, with his usual irony, criticized the film for being too sentimental about an era that, in his opinion, is not worth the nostalgia. I did not put nostalgia in the movie, especially nostalgia for the Soviet Union, which I do not have. Andrei Usov noted that the films uses images from a time when the city was more interesting texturally for photographers. Nowadays, Petersburg is quite touristy, shiny and bright. He also admitted that the film left him with a heavy feeling. He and Naumenko had a great, strong friendship, and he still takes his departure quite personally.
Still from “Leningrad 4,” Dmitry Fetisov, 2023. Photo by Sergei Podgorkov
Another character in the movie, Svetlana, attended the screening at the bar WÖD. In the final scene, we see a photo of her standing on the roof of a building opposite the Mariinsky Palace during the attempted coup in August 1991 and looking into the lens—as if that era were upon us today. This is a famous photo by Sergei Podgorkov. Recently, Sergei found Svetlana through the internet and invited her to the screening. And now, thirty-three years later, she saw herself on the screen and recounted how the picture was taken. Podgorkov had run out of film, but Svetlana was also an amateur photographer, so she lent him her own camera, and he photographed her.
Recently, I went to Chronicles Bar on Nekrasov Street and saw Podgorkov’s photos there. It was amazing. It is a young people’s bar, and yet the walls are adorned with photos of Soviet-era beer stalls, so it is as if two eras were connected through Podgorkov’s photographs.
Several sources in the alcohol business have told RBC that Rosalkogolregulirovanie plans to ban the sale of alcohol at outlets registered to individual entrepreneurs. According to one of our interlocutors, the law “On State Regulation of the Production and Sales of Ethyl Alcohol, Alcohol, and Alcohol Products, and On the Limitation of Consumption (Drinking) of Alcohol Products” will be amended to reflect the move.
Rosalkogolregulirovanie did not respond to RBC’s request for comments.
Kommersant’s sources reported on the draft bill on Tuesday, November 22. According to the draft document, which the newspaper had seen, restrictions would be introduced nationwide on July 1, 2017, with the exception of Crimea and Sevastopol. The ban would be postponed in these regions until January 1, 2018.
Currently, individual entrepreneurs can engage in retail sales of beer, beer drinks, and various sorts of cider and mead. In addition, a separate category of entrepreneurs, those who have the status of agricultural producers, can sell wine. So far, however, such entrepreneurs do not officially exist in Russia. At the moment, only three applications for the relevant commerical license have been filed, and none of them has been approved yet.
As Kirill Bolmatov, corporate affairs director for Heineken, told RBC, Rosalkoregulirovanie’s main beef with individual entrepreneurs is that they are “insufficiently disciplined when filling out the mandatory paper financial reporting statements.”
“Yet EGAIS [Unified State Automated Information System] completely tracks the movement of all alcoholic beverages in real time, and there is no point in filling out the statements,” said Bolmatov.
He called the pressure on businessmen “harmful,” since “beer is a large share of the turnover for small shops.” Adoption of the amendments would entail closing a large number of small shops.
“It’s a blow to small business,” he told RBC.
Individual entrepreneurs account for at least 37% of all retail outlets selling SAN InBev’s products, Oraz Durdyyev, the beer company’s legal and corporate relations director, told RBC.
“Prohibiting individual entrepreneurs from selling beer would deal a serious blow to legal small businesses, because beer is one of the high-margin products they have in stock, which helps keep prices down on goods purchased by the underprivileged,” argued Durdyyev. “Given the current economic realities, a ban like this is out of place and harmful, and could lead to increased social tensions.”
Entrepreneurs and beer companies have already faced significant restrictions on sales venues. As a spokeperson for Baltica brewing company reminded us, restrictions on beer sales at kiosks were introduced on January 1, 2013. According to the company, kiosks accounted for 20% of all beer sold. Since then, the number of retail outlets selling beer has decreased by 50,000. Over 30,000 of these outlets were kiosks and pavilions. During the period, the number of kiosks has fallen by 75%, from 30,000 to 8,600, and the number of pavilions by 24%, from 45,00 to 35,000. Baltica beer is sold at approximately 100,000 outlets registered to individual entrepreneurs, the company told us.
Translated by the Russian Reader
________
The Soft Boys, “Leppo And The Jooves”
Crabwise
Over the Andalusian extensions of the life and loves of Noddy
Through the windows of disgust
The teeth of Leppo and his managers awry
No time to cry
Sunrise A lamp of no position in the loss of all existence To the vultures without bibles and The preachers without leaves that pass it by No time to sigh
All them pretty women Planted in a row You see them in the newspapers But you can’t have ’em – no! No no no no no no no no! Oh ho ho!
They get Lep-Lep-Leppo and the J-J-J-J-J-Jooves They jump on anything that m-m-m-m-m-moves On taxis, coffin-lids, Americans, piano-heads and roofs Leppo…
Likewise A farmer and his diary might conspire to freeze a widow So I went to rob the lizard Of his skin, his coat, his money and his earth All that he’s worth
Someday You realize that everything you do or see or think of If it interferes with nothing Might as well dissolve in arrows or in tears Nobody hears
All them famous people Washed off in the rain Leave not even a puddle, baby All you leave is your name Huh-ha-ha-ha-ha-ha!Your name!
I got a name, baby It’s Lep-Lep-Leppo and the J-J-J-J-J-Jooves Oh ho ho! They jump on anything that m-m-m-m-m-moves Ah ha ha! Ah ha ha. On taxis, coffin-lids, Americans, piano-heads and roofs Leppo…
Listen And you can hear the dripping of the clocks, the reaping of the sun The vengeance of the hammer and The squeamish tight explosion of the liar Burn in the fire
Gazing With unforeseeing eyes into the smoke, the lungs of war And all the endless formulations of unusable beginnings that Have grown from hungry rivers into trees Nobody sees
All them hungry people They don’t look so good But I don’t let it bother you I don’t see why it should No no no no no no! Oh oh ho! Oh ho ho!
Lep-Lep-Leppo and the J-J-J-J-J-Jooves They jump on anything that m-m-m-m-m-moves On taxis, coffin-lids, Americans, piano-heads and roofs Leppo…