Three years after his musical drama “Leto” bowed on the Croisette, Kirill Serebrennikov returns to Cannes’ main competition with “Petrov’s Flu,” a deadpan, hallucinatory romp through a post-Soviet …
about living with fear and making the most out of solitude.I was hired to write the script. And I started to read the [novel on which the film is based] and understand how to take this very complicated Russian contemporary literature and turn it into a movie. In the process, I fell in love with this story, because I found a lot of it very personal. And when I finished the script, I didn’t want to give it to somebody else.
You’re making a movie about Russia in the time of a mysterious flu. And then, by this eerie coincidence, the world is struck by a mysterious flu. Did that have any influence on the film? It’s always very complicated to think ahead. You can’t think ahead, you can only feel ahead. I always say that the movie shoots itself; it’s not me who shoots the movie. The film grabs from reality, from the universe, what it wants.You were on trial in a Moscow court as you were shooting this film. What was that like?
It was kind of parallel lives. Morning till afternoon, I [was in court]. In the night I came to the pavilion and to the locations and filmed this story. It was a time without sleeping at all, but the film process helped me not to think about all this absurd, Kafkan process.I hope when the whole world will be able to travel, I’ll join the whole world. [Under house arrest] I had my own story about isolation. Now it’s a global trend. I’m like a pioneer of isolation.
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