Experimental educational film reveals the emergence of some ideas of Biophysics in the historical, philosophical and methodological aspects.
First film from the biophysics cycle (1982-1989).

Quote:
In his films, Kobrin elaborates a special, metaphoric style that is “a fully achieved work of imaginative filmmaking, in which special effects, pixilation, and reverse or speed-up motion abound, a philosophical avant-garde film, entirely unexpected in terms of its country of origin”.

“The cinema I’m engaged in can be called ‘phychedelic puppet action’, where the characters-both the live and the lifeless-behave according to the laws of a cosmic theater . . . To my mind, an artist is a person whose mission is to close the space between Earth and the Cosmos. Otherwise he can’t be called an artist. That is why I see my task as a film director to consist of wiping off the mirror in which man and mankind as a whole look, and to show that this world (this performance without God, that is, without the point where all our puppet threads come together) is senseless and deserves no sympathy or pity.” – Vladimir Kobrin

In the West Vladimir Kobrin is considered a father of Russian avant-garde scientific filmmaking. He was frequently invited to European film-schools with lectures (Cologne, Potsdam, Copenhagen, etc.) and in 1997 he received an invitation from Harvard University Film Achieve. Special retrospectives of his films were shown at Pesaro Festival in Italy and in Montreal in 1998.

Kobrin’s work was never officially published and did not come out in the original. The artistic heritage of Kobrin – one of the mysteries of modern cinema.

118MB | 9 min 33 s | 765×574 | mkv

https://nitroflare.com/view/DDAE435E501B917/Vladimir.Kobrin.-.1982.-.The.Subject.and.Tasks.of.Biophysics.DVDrip.x264-Zog.mkv

Language(s):Russian
Subtitles:English

The post Vladimir Kobrin – Predmet i zadachi biofiziki AKA The Subject and Tasks of Biophysics (1982) first appeared on Cinema of the World.

The concepts of synergetics within biological systems and effects of entropy on the organism of the socio, leading to the birth of Homo Insanicus.
The psychedelic surreal experiment, the last film from the biophysics cycle and the first film from the homo paradoxum cycle. The film is narrated by surreal sofisticated scientific-philosophical contemplations intermixed with a speech of Brezhnev and a speech of a schizophrenic patient.

“I have this feeling that in the world there is no politics or sociology as such, there is a field of psychiatry, and in our country – psychopathology.” – V. Kobrin.
Quote:

In his films, Kobrin elaborates a special, metaphoric style that is “a fully achieved work of imaginative filmmaking, in which special effects, pixilation, and reverse or speed-up motion abound, a philosophical avant-garde film, entirely unexpected in terms of its country of origin”.

“The cinema I’m engaged in can be called ‘phychedelic puppet action’, where the characters-both the live and the lifeless-behave according to the laws of a cosmic theater . . . To my mind, an artist is a person whose mission is to close the space between Earth and the Cosmos. Otherwise he can’t be called an artist. That is why I see my task as a film director to consist of wiping off the mirror in which man and mankind as a whole look, and to show that this world (this performance without God, that is, without the point where all our puppet threads come together) is senseless and deserves no sympathy or pity.” – Vladimir Kobrin

In the West Vladimir Kobrin is considered a father of Russian avant-garde scientific filmmaking. He was frequently invited to European film-schools with lectures (Cologne, Potsdam, Copenhagen, etc.) and in 1997 he received an invitation from Harvard University Film Achieve. Special retrospectives of his films were shown at Pesaro Festival in Italy and in Montreal in 1998.

Kobrin’s work was never officially published and did not come out in the original. The artistic heritage of Kobrin – one of the mysteries of modern cinema.

286MB | 19 min 37 s | 765×574 | mkv

https://nitro.download/view/17594CAF1E2934F/Vladimir.Kobrin.-.1989.-.Self-Organization.of.Biological.Systems.DVDrip.x264-Zog.mkv

Language(s):Russian
Subtitles:English

The post Vladimir Kobrin – Samoorganizatsiya Biologicheskih Sistem AKA Self-Organization of Biological Systems (1989) first appeared on Cinema of the World.

Body in the past, the present and the future.

Quote:
In his films, Kobrin elaborates a special, metaphoric style that is “a fully achieved work of imaginative filmmaking, in which special effects, pixilation, and reverse or speed-up motion abound, a philosophical avant-garde film, entirely unexpected in terms of its country of origin”.

“The cinema I’m engaged in can be called ‘phychedelic puppet action’, where the characters-both the live and the lifeless-behave according to the laws of a cosmic theater . . . To my mind, an artist is a person whose mission is to close the space between Earth and the Cosmos. Otherwise he can’t be called an artist. That is why I see my task as a film director to consist of wiping off the mirror in which man and mankind as a whole look, and to show that this world (this performance without God, that is, without the point where all our puppet threads come together) is senseless and deserves no sympathy or pity.” – Vladimir Kobrin

In the West Vladimir Kobrin is considered a father of Russian avant-garde scientific filmmaking. He was frequently invited to European film-schools with lectures (Cologne, Potsdam, Copenhagen, etc.) and in 1997 he received an invitation from Harvard University Film Achieve. Special retrospectives of his films were shown at Pesaro Festival in Italy and in Montreal in 1998.

Kobrin’s work was never officially published and did not come out in the original. The artistic heritage of Kobrin – one of the mysteries of modern cinema.

137MB | 4 min 40 s | 765×574 | mkv

https://nitro.download/view/15A278FD35A83EF/Vladimir.Kobrin.-.1997.-.KrotoSKobrizmus.DVDrip.x264-Zog.mkv

Language:Russian
Subtitles:English

The post Vladimir Kobrin – KrotoSKobrizmus (1997) first appeared on Cinema of the World.

The film is really very different from its predecessors.This is a diary written in a bright, imaginative, unique language, cipher invented by the author. Once, in the depth of ages, Leonardo da Vinci wrote his diary using languages known to mankind and his own encryption. The structure of the diary is clearly seen in the film. However, this is not ordinary, dry or memoir-nostalgic diary.
GraviDance is the philosophical poetry. To understand the principle of its construction can the image, persistently encountered by the viewer during the film. This image is already familiar to us – we return to where we started.
On an open book falls the shadow of the window grille. The book is opened somewhere in the middle, at random, and the wind flips through its pages either to the end, or to the beginning, revealing GraviDance in front of us.

It’s his last film. Kobrin died on 7 December 1999.

Quote:
For me, cinema is an alternative to life. I’m more interested in making movies than living. For me, life.. it is.. tangible only when we make a movies. – Vladimir Kobrin

Quote:

In his films, Kobrin elaborates a special, metaphoric style that is “a fully achieved work of imaginative filmmaking, in which special effects, pixilation, and reverse or speed-up motion abound, a philosophical avant-garde film, entirely unexpected in terms of its country of origin”.

“The cinema I’m engaged in can be called ‘phychedelic puppet action’, where the characters-both the live and the lifeless-behave according to the laws of a cosmic theater . . . To my mind, an artist is a person whose mission is to close the space between Earth and the Cosmos. Otherwise he can’t be called an artist. That is why I see my task as a film director to consist of wiping off the mirror in which man and mankind as a whole look, and to show that this world (this performance without God, that is, without the point where all our puppet threads come together) is senseless and deserves no sympathy or pity.” – Vladimir Kobrin

In the West Vladimir Kobrin is considered a father of Russian avant-garde scientific filmmaking. He was frequently invited to European film-schools with lectures (Cologne, Potsdam, Copenhagen, etc.) and in 1997 he received an invitation from Harvard University Film Achieve. Special retrospectives of his films were shown at Pesaro Festival in Italy and in Montreal in 1998.

Kobrin’s work was never officially published and did not come out in the original. The artistic heritage of Kobrin – one of the mysteries of modern cinema.

753MB | 25 min 11 s | 742×530 | mkv

https://nitro.download/view/38EE8B09A8A97E3/Vladimir.Kobrin.-.2000.-.GraviDance.DVDrip.x264-Zog.mkv

Language:Russian
Subtitles:English

The post Vladimir Kobrin – GraviDance (2000) first appeared on Cinema of the World.

Film is about communication. Kobrin pays homage to Vasili Nalimov, to his work and life. Nalimov was a mathematician and philosopher, but was also an eccentric anarchist with mystic tendencies who spent eighteen years in a concentration camp.
Nalimov’s philosophy relies on probabilistic methods in the natural and social sciences and applies them to the study of language and consciousness.
The film’s name Kobrin took from Arthur Conan Doyle’s “The Adventure of the Dancing Men”.

Quote:
In his films, Kobrin elaborates a special, metaphoric style that is “a fully achieved work of imaginative filmmaking, in which special effects, pixilation, and reverse or speed-up motion abound, a philosophical avant-garde film, entirely unexpected in terms of its country of origin”.

“The cinema I’m engaged in can be called ‘phychedelic puppet action’, where the characters-both the live and the lifeless-behave according to the laws of a cosmic theater . . . To my mind, an artist is a person whose mission is to close the space between Earth and the Cosmos. Otherwise he can’t be called an artist. That is why I see my task as a film director to consist of wiping off the mirror in which man and mankind as a whole look, and to show that this world (this performance without God, that is, without the point where all our puppet threads come together) is senseless and deserves no sympathy or pity.” – Vladimir Kobrin

In the West Vladimir Kobrin is considered a father of Russian avant-garde scientific filmmaking. He was frequently invited to European film-schools with lectures (Cologne, Potsdam, Copenhagen, etc.) and in 1997 he received an invitation from Harvard University Film Achieve. Special retrospectives of his films were shown at Pesaro Festival in Italy and in Montreal in 1998.

Kobrin’s work was never officially published and did not come out in the original. The artistic heritage of Kobrin – one of the mysteries of modern cinema.

585MB | 15 min 6 s | 765×574 | mkv

https://nitro.download/view/E03E8A804176512/Vladimir.Kobrin.-.1997.-.The.Dream.of.the.Little.Dancing.Men.mkv

Language:Russian
Subtitles:English

The post Vladimir Kobrin – Son Plyashuschih Chelovechkov AKA The Dream of the Little Dancing Men (1997) first appeared on Cinema of the World.

The film is about the crisis in the Russian cinema, which occurred 100 years after the birth of cinema.
The title of the film reflected Kobrin’s feelings of this period, the collapse of the old order, pennilessness and uncertainty about the future.
In some respects, the film almost documents the life of the Kobrins House, a whole studio compressed within a small flat, children, computers, people working on computers, kitchen, guests, Kobrin himself – all this is filmed in the time-lapse mode.
The film is narrated by snippets from Vasily Nalimov’s “Spontaneity of consciousness”, intermixed with stories told by a rustic man.

Quote:
In his films, Kobrin elaborates a special, metaphoric style that is “a fully achieved work of imaginative filmmaking, in which special effects, pixilation, and reverse or speed-up motion abound, a philosophical avant-garde film, entirely unexpected in terms of its country of origin”.

“The cinema I’m engaged in can be called ‘phychedelic puppet action’, where the characters-both the live and the lifeless-behave according to the laws of a cosmic theater . . . To my mind, an artist is a person whose mission is to close the space between Earth and the Cosmos. Otherwise he can’t be called an artist. That is why I see my task as a film director to consist of wiping off the mirror in which man and mankind as a whole look, and to show that this world (this performance without God, that is, without the point where all our puppet threads come together) is senseless and deserves no sympathy or pity.” – Vladimir Kobrin

In the West Vladimir Kobrin is considered a father of Russian avant-garde scientific filmmaking. He was frequently invited to European film-schools with lectures (Cologne, Potsdam, Copenhagen, etc.) and in 1997 he received an invitation from Harvard University Film Achieve. Special retrospectives of his films were shown at Pesaro Festival in Italy and in Montreal in 1998.

Kobrin’s work was never officially published and did not come out in the original. The artistic heritage of Kobrin – one of the mysteries of modern cinema.

161MB | 14 min 18 s | 765×574 | mkv

https://nitro.download/view/63A2015F7038CD3/Vladimir.Kobrin.-.1994.-.Gloomy.Time.DVDrip.x264-Zog.mkv

Language:Russian
Subtitles:English

The post Vladimir Kobrin – Seroe Vremya AKA Gloomy Time (1994) first appeared on Cinema of the World.

This film decisively breaks out of a numerous politicized and social films, it does not dictate to the viewer any particular point of view, perception of the film takes place at the level that the viewer chooses for himself.
Polysemy and uncertainty, appreciated by the surrealists, leads the viewer to choose the “level of difficulty”, however, some viewers can simply perceive it as a parody of the totalitarianism of the Soviet Union.
Quote:

In his films, Kobrin elaborates a special, metaphoric style that is “a fully achieved work of imaginative filmmaking, in which special effects, pixilation, and reverse or speed-up motion abound, a philosophical avant-garde film, entirely unexpected in terms of its country of origin”.

“The cinema I’m engaged in can be called ‘phychedelic puppet action’, where the characters-both the live and the lifeless-behave according to the laws of a cosmic theater . . . To my mind, an artist is a person whose mission is to close the space between Earth and the Cosmos. Otherwise he can’t be called an artist. That is why I see my task as a film director to consist of wiping off the mirror in which man and mankind as a whole look, and to show that this world (this performance without God, that is, without the point where all our puppet threads come together) is senseless and deserves no sympathy or pity.” – Vladimir Kobrin

In the West Vladimir Kobrin is considered a father of Russian avant-garde scientific filmmaking. He was frequently invited to European film-schools with lectures (Cologne, Potsdam, Copenhagen, etc.) and in 1997 he received an invitation from Harvard University Film Achieve. Special retrospectives of his films were shown at Pesaro Festival in Italy and in Montreal in 1998.

Kobrin’s work was never officially published and did not come out in the original. The artistic heritage of Kobrin – one of the mysteries of modern cinema.

276MB | 24 min 9 s | 768×576 | mkv

https://nitro.download/view/41D7715825ACC43/Vladimir.Kobrin.-.1991.-.Homo.Paradoxum.III.DVDrip.x264-Zog.mkv

Language:Russian
Subtitles:English

The post Vladimir Kobrin – Homo Paradoksum 3 AKA Homo Paradoxum III (1991) first appeared on Cinema of the World.