PRIZES AND AWARDS
CANNES Film Festival UNESCO Prize 1993
SPRINGING LENIN 1993
FIPRESCI Prize, Mannheim-Heidelberg
Film Festival 1997
For the sharp moral and social perspective and the strong, expressive
visual language which characterise the film’s view of contemporary
LOVE IS AS STRONG AS DEATH 1997
Channel Four’s sole nomination for the Prix Italia
A RUSSIA OF ONE’S OWN,1987
SPECIAL JURY PRIZE Kinotavr, Russian International Film Festival 1997
LOVE IS AS STRONG AS DEATH, 1997
SPECIAL JURY PRIZE Moscow Russian Film Festival
the innovative film language".
LUBOV AND OTHER NIGHTMARES, 2001
BEST LEAD (female) AWARD Kinotavr, Russian International
Film Festival 2001
LUBOV AND OTHER NIGHTMARES 2000
Nomination for Golden Aries –
all Russian film critics prize
LUBOV AND OTHER NIGHTMARES, 2001
||Disbelief , Feature documentary, 35mm,
105 min, Dolby SRD, Dreamscanner Prod. Russia-USA
||Koenigsberg, Docudrama, HDCam, 120 min, Color and
B/W, Dreamscanner Prod. Russia-Germany
||Lubov and Other Nightmares , Feature, 35 mm, 97 min,
Color and B/W, Dolby SR, Dreamscanner Prod., Russia-Germany
||Children’s Stories, Chechnya, documentary ,
Beta SP, 23 min, Vanessa Redgrave and Dreamscanner, UK-Russia
|| Love is as strong as Death , Feature, 35 mm, 104
min, Dreamscanner, Russia-UK
|| Springing Lenin , 35 mm, 23 min, Colour, British
Film Institute - BBC
|| The Prodigal Son ,TV,16 mm, 95min, Colour, BBC-La
|| Pasternak ,TV , 35mm, 90 min, Colour, ITV-WDR, UK-Germany-Russia
|| Raising the Curtain, TV, documentary, 25 min, Channel
||The Millennium of Incredible faith, TV, documentary,
16 mm, 60 min,
Amaranthos, Greek TV
|| A Russia of One's Own , TV, 16 mm, 85 min, Colour,
FILM FESTIVALS (among others)
Sundance Film festival 2002, 2004
Sao Paolo 1997, 2001
Karlovy Vary 2001
Moscow IFF 2001
Cape Town 1998
Ankara International Film Fest 2001
Raindance, London 2002
Independent Film Festival of Barcelona, 2001
Outfest Film Festival, Los Angeles 2002
An outstanding and moving film.
Classical Music on The Prodigal Son
... a documentary full of more suspense and drama than
most Hollywood movies.
Paul Hansen, The Daily Camera on Disbelief
Admirable. The use of archive film cleverly cut to music
is beautiful throughout.
Time Out on The Prodigal Son
Filmed with nerve and edited with wit, it‘s a moving
piece, climaxing with the marvellous extended sequence of deep and swirling
The independent on A Russia of one’s own
One of the most talented directors today, Nekrasov achieves
with his virtuoso editing the effect of shock. The archive footage, the
provocative captions a la Godar and the sound track all work in powerful
XXL Moscow, on Lubov and other Nightmares
The gripping film!
Pat Aufderheide, Sundance Verite, AlterNet on Disbelief
Vanessa Redgrave flew into Utah for one day to support
the film - whose audiences have been responding explosively.
John Anderson, NEWSDAY on Disbelief
Disbelief is remarkable in its use of American-style investigative
reporting, something that is still a
rarity in a country where the fight for democracy and free speech
is still a daily struggle.
Peter Howell The Toronto Star on Disbelief
One of the most impressive films of the festival - a very
strong, direct movie about love, personal memories and the New Russia
that leaves you dizzy after seeing it.
The Daily Tiger, on Lubov and other Nightmares
Andrei Nekrasov crafts a dense and brilliantly fractured
story narrative and portrait of the city… Lubov and other nightmares
is rock candy that will provide pleasure for a long time.Sharri
Frilott Sundance catalogue on Lubov and other Nightmares
Lubov is a movie unlike anything this particular
reviewer has ever seen before. ... the style is a wild cocktail of cyberpunk,
thriller, impressionism, nihilism and post-everything. All sexy and philosophical,
somehow, it works.
DB, Raindance, London on Lubov and other Nightmares
Nekrasov’s film, brilliantly combining
dramatisation and newsreel, told the stories of Pasternak and his most
famous creation, Dr. Zhivago.
...it had been fashioned like a Beethoven symphony, from the sustained
exploitation of a single impulse.
The sumptuous filmic and dramatic qualities were a marvellous reassurance
that even in the 1990s, television’s future is far from lost”
Richard Last, The Daily Telegraph on Pasternak
...perfectly contained within its twenty three minutes,
the only short I saw which seemed at home in this format...The charge
that this off-the-wall dottiness brings is precisely what the British
film industry needs.
Derek Malcolm, The Guardian on Springing Lenin
Like Nekrasov’s fascinating debut film Love is as
Strong as Death (1996) this new film about Love could be thought tacky,
with its mixture of guns and sex, its series of women in orgasm.
But give this film a chance and it transcends both the meta-framework
and the emphasis on sex and violence to give pictures, scenes, characters
and an intriguing sound-track which combine to achieve extraordinary poignancy.
Fiona Björling, Artmargin on Lubov and other Nightmares
To find the mirror image of one's own weakness - one's
own potential for madness - in the suffering of another human being -
requires moral courage.
The same is true of a refusal to be bitter about one's exile. To pursue
the truth of one's own history, and that of one's nation, as Nekrasov
and Solzhenitsyn have so fearlessly done, requires a courage so breathtaking
as to seem superhuman. Courage is the one thing money can't buy, no matter
how big your movie budget. Courage can't be taught (except indirectly
perhaps,by the examples of the superhumanly courageous) but clearly it
can be learned.
One can only hope more of our filmmakers will find it in them to learn
courage - whatever it might require. The world certainly requires it of
us, now more than ever.
Again, to quote Solzhenitsyn, "Talent
is an extraordinary burden.
You need skill to bear it."
F.X. Feeney, Sundance Arts Writing fellow on Disbelief
Oppressed and Insulted"
The movie is a kind of cinematic stream-of-consciousness, interlacing
black-and-white footage that often recalls the silent films of Soviet
master Sergei Eisenstein, grainy color sequences and newsreel footage
into the main narrative, which is shot in sometimes breathtaking color.
Even with its formal innovations, Nekrasov's film is rooted in the tradition
of Russian writers and artists as social
conscience exemplified by the work of Gogol, Turgenev and Dostoevsky
By Dean Schabner, ABC news on Lubov and other Nightmares
Andrei Nekrasov studied acting and directing
at the State Institute for Theatre and Film in his native St. Petersburg,
comparative literature and philosophy at the University of Paris (Master’s
Degree), and film in Bristol University Film School (RFT). In 1985 he
assisted Andrei Tarkovski during the filming and editing of "The
Nekrasov then made several internationally co-produced documentaries and
TV arts programmes (notably "A
Russia of one's own",
"Children`s Stories: Chechnya"
); his first drama short
(1993) won the UNESCO prize at Cannes Film Festival that year, and in
1997 his first feature "Love
is as strong as Death"
won the FIPRESCI prize in Mannheim. The director’s second feature
and other Nightmares"
(2001) won recognition at a great many of festivals all over the world
(including Sundance and Berlin) and confirmed his status of a rebel among
Andrei Nekrasov is also a playright and a theatre
director. His German productions (of his own plays) include: "Der
(The Gambler) in Euro Theater Central in Bonn and "Koenigsberg"
in the Volksbüehne Theatre in Berlin.
press conference, Berlinale 2001