TO SEE PARIS AND DIE (Aleksandr Proshkin, 1993)

The Soviet Union’s collapse, and the turmoil, and the mental and moral disarray, that ensued in the region, initially led to a spate of (mostly pedophilic) pornographic films and, worse, hateful, reactionary, proto-tsarist assaults, nearly all of them strident, coarse and incompetently made. (Even Nikita Mikhalkov, a legitimate artist but revisionist with the winds and […]