There are few films about Alaska compared to its actual popularity. The most fashionable sea cruises, where really rich and influential people gather on board, take place not in southern directions, but along the coasts of Alaska and Chukotka. Without Alaska, America would never have become the hegemon of the 20th century, since only those who have access to the North Pole can be the hegemon of our planet. Therefore, there are few films about Alaska, and this is generally a hushed – up topic, just like in Russia, by the way, where you will not find anything sensible in movies about its northern territories like Yamal or Novaya Zemlya, or, God forbid, about Franz Josef Land. Most Russians do not really know anything about their Arctic region, except for Soviet fables, just as Alaska for the Ameris is a land from which they regularly scare off with various horror stories. The TV series “Night Country” is one of such scarecrows.

The film marks an important period for actress Jodie Foster, whose name can be translated into Russian as Yudita Vsepomoschnitsa – here she finally played in all her 150-centimeter height the one she has long wanted-a sharp-nosed, good-natured gay grandfather in a fur coat, who is looking for his own corpse in the a..s of the world. A horror movie differs from a detective story only in the presence of monsters. In this movie, there are more than enough monsters, and it is entirely the human race, led by the heroine Judita.

There are people who like to be in jail, and there are those who like to put in jail – they enjoy the process itself, and in both species this love is of the same kind – it flows smoothly through their veins, like alcohol, giving ontological muscle joy. The severity of the mores of the north is emphasized in the film by the cruelty of the characters – they are all villains in one way or another – either already served time, or those who will soon be jailed, and this applies to everyone-both good and bad, because in the north everyone is sinned before the law for reasons of excessive naturalness of life, and the creators of the series are trying to then the tongue will be cut off, then they will bury it in the tundra – you don’t need any imagination for dirty tricks.

The only American in the series is the old woman Judith, all the others are American chaldons, pointwise mixed with Negroes. Even a local cop is going to marry Natasha from Vladivostok. All this familiar smell from childhood pseudo-Russian at first distorts slightly, and then more and more. For some reason, the creators of the series thought it was important to show that there is something more above the life that seems to be arranged according to the mind, which in Soviet TV shows the Chukchi people called the Walrus Mother. This animal lives in the minds of both people and animals – and in general everywhere, and everything happens at her will without the consent of the temporary administration. All relationships between people are also close to naturalistic – they are richly sprinkled with sexual extremism, one way or another exposed here. Even the sex scene of an Afro-Spanish mentos woman with a local Jewish moonshiner takes place through violence against a poor Jew.

How the series will develop further is already clear, but I want to say a little about the beauty of filming, or rather about the beauty of the nature of Alaska, even if it is inhabited by trideshny animals. The creators chose a very correct tone of the series ‘ entourage – dark night in the white land: please note that even if the night has swallowed up all the characters, the beauty of nature is still visible: neither the characters nor the plot are lost in the dark. In the last production of “Iolanthe” on the New Stage of the Bolshoi, the scenery divides the stage exactly into two parts – the dark one, where the blind Iolanthe languishes, and the light one, where all the other sighted characters of the opera are located.

The symbol is magnificent, and we must admit that despite the apparent primitiveness, it is this decorative solution that makes this production incredibly strong, opening up new deep sides of Tchaikovsky’s immortal work. In the series, all the characters are on the dark side of the stage, and even at the end of the sixth episode of the series, the night will end, and the killers of a group of scientists from the station will be found, but will any of the characters of the series” see through”? Alas…

And this is the main answer to the question about what “will happen next”.

Alexander Usoltsev