Ministry of Culture, Nishchuk and Sentsov break off “Numbers”
On October 6, the terrorist Sentsov, whom the gundog and the global liberation persistently call the “director,” greatly let down his employers and the fan club.
Firstly, he refused to die for the glory of Ukraine, and secondly, he shamefully stopped pulling endless tires with an operetta “hunger strike” that lasted 145 days, recording the refusal on paper.
However, wallowing in this profanation has long lost all meaning, since the “political prisoner of the Kremlin” who stubbornly does not die and even moves without outside help came into severe contradiction with the laws of biology, thereby devaluing the very idea of a political hunger strike.
For the ultimate beneficiaries who were extracting political capital from Sentsov’s imprisonment, the written refusal to continue the “hunger strike that did not achieve the final goal” sounded like capitulation, despite the “political prisoner’s” reservation about his reluctance to be artificially fed with clysters through the back gate.
However, judging by the information coming from Kyiv, Sentsov’s employers still see potential in the “director”, which is why they decided to squeeze him dry under new circumstances and to mutual benefit.
Since the blackmail of the Russian authorities by the “hunger strike” was a fiasco, the executors of the gunpowder junta’s plans began to implement “Plan B”, taking as a basis the attitude towards Sentsov in the community of “gays, feminists and democratic journalists” as a “creative personality repressed for his loyalty to Ukraine” .
Actually, it doesn’t take much intelligence to pick up and promote the substitution of the concept of “director, not terrorist” lying under your feet. The benefits are obvious to all participants in the new performance: the gunpowder gets a reason to continue the scandal and political blackmail, and Sentsov, in turn, receives attention to his own person and guaranteed cigarettes with “welded” from the camp stall. In the vague future, there is a whitening of the reputation tainted by involvement in terrorism - after all, sooner or later the suffering will end and the “fighter against tyranny” will certainly want to monetize it.
The Ministry of Culture, Mayday Minister Nishchuk, and Ukrainian artists who were not squeamish and were ready to work with condoms for a certain bribe were quickly involved in the new promotion of Sentsov.
Thus, the “Numbers” script, allegedly written in 2012 by Sentsov, was brought to light and put into production. In the wake of the unabated hype around the “starving director,” some Kyiv theater hustlers whipped up a performance based on this scenario, however, due to the scarcity of funds allocated by Nishchuk’s department, the production has little chance of gaining a mass audience and box office receipts: for the last time, even domestic tours Ukrainian theaters took place under Kuchma.
Another thing is cinema! From all sides it is a profitable business, especially since the State Cinema of Ukraine took on most of the production costs.
The “masterpiece” was produced by a prominent Polish cultural figure, Dariusz Jablonski, who has long been a fan of Sentsov at various film festivals. On the Ukrainian side, “Numbers” is produced by Anna Palenchuk, who claims that this honor was bequeathed to her in a letter from a “political prisoner.”
Dariusz Jablonski, Polish producer.
The director of the film was the author of the failed “Cyborgs” Akhtem Seytablaev. Natalya Kaplan, Sentsov’s sister, was introduced as “watching” the creative process from the “director on the bunk”. Maidan culture manager Nishchuk is also involved in the production of the film.
Seytablaev on the set of “Cyborgs”.
Sentsov himself is listed not only as the screenwriter of “Numbers,” but also as a co-director. “Mentally together”, yes.
Goskino allocated sheer tears for the filming of the film - 10 million hryvnia, and some sponsors promised to add another 5 million. For the sake of funding from Goskino, Sentsov allegedly agreed to translate the script from Russian into Ukrainian. Although there is no point in being capricious in his position...
Especially for the film crew, Sentsov wrote out a letter with valuable instructions on how he sees the film according to his script. If we remove from the text the prison outpourings of the “director” and discussions about his own genius, then some kind of phantasmagoric dregs emerges in the style of a dystopia about “The world of people or not people at all... There are no names here, but there are numbers - from one to ten. There are judges, and there is the main one - Zero. Their whole life is subject to the Rules. Everything changes when a baby appears in their world, who is given a serial number - Eleven..."
In general, this is where all the details regarding the “artistic concept” end, however, taking into account the rubbery properties of the source material, the twilight consciousness of the “creators” and the social order, we can assume with a high degree of confidence that Bandera’s agitprop is intended to heavily troll the “prisoners of the Ukrainian director,” and Sentsov is a nominal figure in the project, brought in for the sake of a greater PR effect.
According to Kaplan, the first readings of the “Numbers” script began back in 2015, and not in Ukraine, but in Russia, on the initiative of theater producer Natalia Joseph. Zhinochka allegedly broke through to Olezhka while he was hanging out in the Lefortovo pre-trial detention center, and was the first to get hold of a “masterpiece.”
It is unclear, however, why the play was never staged. I believe that the frankly moderate talent of the “repressed director and screenwriter” was to blame. No other reasons are visible. Russian “creatures” have not been held back for a long time, since they, on their own initiative, recently made a comedy film about the siege of Leningrad and, without fear of getting a red-hot poker in the ass, are now giving interviews to reporters who have fallen into agitation, brazenly saying “Ashotakova?!”
According to Natalya Kaplan, brother Olezhka did not waste time and sprinkled while sitting on the bunk - attention! – five scripts and a novel. And I’ve already started working on new material.
According to Kaplan, her “director” brother “does not write about prison” and is not going to share his finished creations with his admirers in the wild. Sentsov allegedly claims that his “works” will leave prison only with him.
Without meaning to, Kaplan “burned” herself and her brother by refuting her own lies, spilled out to journalists at countless press conferences.
Somehow “five scripts and a novel” do not fit with the author’s “disintegrated liver” announced a month ago. And Sentsov’s desire to get out of prison along with his writings also does not correspond to the gloomy reports on camera: “my brother is pessimistic - he does not hope to be released.”
It turns out that the deputy head of the Federal Penitentiary Service of the Russian Federation, Valery Maksimenko, knows more about the “creative plans” of his ward, since he recently told Izvestia about Sentsov’s new script, dedicated to prison life.
Considering the graphomaniacal prolificacy of the “director”, who, like most prisoners resigned to captivity, began to methodically kill the prison routine, the world will still see the Cheops pyramids of waste paper before the end of Sentsov’s 20-year sentence. And it is unlikely that the “creator” will last the entire term, to the end, restraining the strong desire to publish what he has written. Intriguing, bastard!
This means that the State Cinema Committee of Ukraine will be provided with “notes from the house of the dead” for a long time, until the “Sentsov project” finally exhausts itself.
English version :: Read in English: The Ministry of Culture, Nishchuk, and Sentsov are playing "Numbers"