Pavel Mirzoev about CALL ME BLACKBIRD: “I have not the slightest interest in villains”

I’ve never seen a country giving the same value to poetry as in Russia. It is the only country where a taxi driver once asked me after five minutes: Who is your favourite Russian poet? Whether it’s slam poetry on the streets, or rap lyrics, or the classic poetry that Kostya’s mum recites in CALL ME BLACKBIRD… It can even help you to win the heart of a girl… if only you have the guts to speak out loud. Which isn’t easy for 15-year-old Kostya. Actually, nothing is easy for him; his parents going through a divorce and his favourite classmate Dina is consorting with the enemy.

Film screening during the 61st ZLÍN FILM FESTIVAL:

THU | 09.09 | 14:00 | GOLDEN APPLE CINEMA, projection hall 4

Details of the projection can be found here.

Pavel Mirzoev: Poetry broadens our perspective on life. Caught up in the everyday struggles and desires as we are, sometimes there comes a moment when, deep in our hearts, we understand that this is not our reason for living; there must be something more to it. What exactly? No one knows, but a true poet can condense this perception and transform it into something meaningful. When we read it (or watch it or listen to it – poetry is embedded in any form of art), we connect with the understanding of life in its totality.

 And why in Russia?

Mirzoev: The modern Russian language was created by a poet, in a way. In the times of Pushkin, 95% of the people were uneducated and illiterate, and the aristocracy predominantly spoke French. He took the language of ordinary people and transformed it into the literary language that we speak today. After that, how can poetry not be important? Although it’s probably not as important as it once used to be, especially not among young people. When writers stop caring about their readers, readers stop caring about the writers! This is what happens when writers focus on universities, snobbish magazines, and literary awards. But a countermovement has emerged: slam poetry, the popularity of Joseph Brodsky among youngsters, the personal lyrics of indie rock songs… I believe poetry as a form of self-expression will never die; there will always be young people with souls crying out for their feelings to be expressed.

Poetry can even help you to win the heart of a girl?

Mirzoev: That depends upon the girl! I don’t think the poems are Dina’s main reason for responding to Kostya’s feelings; they are not that brilliant. But she sees these feelings of pure, unconditional admiration projected at her, and a guy who overcame his fears just to express them, and this is something she’s never experienced before.

Who is Kostya really?

Mirzoev: Actually, Kostya is partly me, partly my daughter. He is an introvert in an extroverted society. I wanted to create a character that is like a ‘closed book’ but wants to open up and is struggling with that. Kostya has a deep desire to express himself, while his entire nature is fighting against it; he isn’t exactly a Jim-Carrey-type-of-guy.

This film tells the story of that period in life when parents realize they’re losing grip on their children.

Mirzoev: We are observing this moment in every parent’s life when yesterday’s hatchlings suddenly have grown into big, almost independent birds. But behind those fears and quarrels, teenagers are still kids that need our support, in ways we might not understand.

Which is beautifully illustrated by Kostya and his mum, eating cake together, sitting on the bed.

Mirzoev: This is indeed one of my favorite scenes and I fought hard for it. We’re looking at a mother who has come to understand that something is missing in the relationship with her son, and she doesn’t know yet what to do about it. Her humble attempt reveals a deep connection between these two people. Their friendship might be damaged, but they are still friends.

At the dawn of a new period in young people’s lives, we can already read the nostalgia in their eyes for the times that are gone.

Mirzoev: At this age, nothing in life seems to be easy anymore. At least, that’s how I remember it. In the casting, I looked specifically for young actors that still carried a glimpse of childhood inside them – not yet spoiled by the tricks you learn on those big movie sets. Both Valya Ljapina and Ivan Loginov were the right age. For Ivan this was his acting debut; Valya was more experienced, but she had never before had the chance to play a role that was so close to her everyday reality. She enjoyed that opportunity to the fullest.

A mild summer sun is shining over several scenes.

Mirzoev: I wanted to create a summer holidays atmosphere; to recall a period when you had plenty of time and freedom and the whole world out there seemed to be waiting for you. But it shouldn’t look too sugary, not Instagram-like. I was trying to go for a cinematic ‘70s feel, with warm colours – rich and vivid – and elaborated shadows. It was our DoP Evgeniy Koroptsov’s idea to use the old Lomo optics to achieve that look.

CALL ME BLACKBIRD tells a story about feeling locked up in life, and the dream to escape from it. What cinematographic elements did you use to emphasize that?

Mirzoev: Kostya is boxed in, mostly dwelling in his room, which is conceived as a strictly personal area. While attending poetry battles, he again ends up in the closed space of a basement. Even when handing out flyers on the streets, he is locked inside a funny costume. In contrast, Dina’s world is open, with roofs and parks etc. Every time Kostya enters her world, it feels like breaking free, for both him and us.

I wish we could chase the horizon, Dina says.

Mirzoev: The whole film is about the overwhelming desire to express something, and the inability to do it, which is reflected in all the main characters, including Dina. She is about to leave, but she can’t bring herself to say it out loud. And she always strives for the best, never settles for less. That is what “chasing her horizon” is all about.

All your characters get a chance to make up for their mistakes.

Mirzoev: The dramatic paradigm of “good people doing bad things” is the basis of all my films. I have not the slightest interest in villains; I want to tell stories about good people and their shortcomings and struggles. The characters in CALL ME BLACKBIRD are simply trying to give their best, and I sympathize with them. 

Thanks to our Belgian co-worker Gert Hermans for the interview.