“Notes of a True Criminal”, interview with directors and producers Alexander Rodnyansky and Andrei Alferov

In an exclusive interview at the 82nd Venice Film Festival, Fred Film Radio speaks with Alexander Rodnyansky and Andrei Alferov, the director and producer of “Notes of a True Criminal,” presented out of competition.

A Personal Journey Through War

Alexander Rodnyansky discusses the deeply personal nature of this project, marking his return to directing after 31 years. He highlights the vulnerability involved in exploring events that shaped his family’s history and his country’s past. “To be correct, in order to be honest, you need to be very, very open and it makes you totally naked,” Rodnyansky shares. He contrasts this with his role as a producer, where he maintains the emotional distance of being “in charge of” someone else’s vision.

Venice Veteran

Andrei Alferov expresses his joy at returning to Venice, a festival he has attended for over 17 years, initially as a film critic. He previously presented a classic Ukrainian film with Alexander in the Venice Classics section. He also mentioned his excitement when they decided to make this documentary together.

Footage and Collaboration

Rodnyansky reflects on his early career, influenced by his “master,” filmmaker Feliks Sobolev. He explains the Soviet film education system, where students spent five years working closely with established directors. He discusses connecting contemporary war scenes with historical footage, including his own work from the late 80s and early 90s, as well as his grandfather’s WWII footage. This multi-generational perspective aims to tell a universal story about nations embroiled in eternal wars and the importance of documentaries in such contexts. Rodnyansky also emphasizes how crucial his collaboration with Alferov was, expressing admiration for his previous work.

The Over-Documented War

Addressing the use of drone footage, Rodnyansky points out that this is “the most documented war in human history,” thanks to the proliferation of smartphones. He remarks on the disturbing reality of easily available footage depicting violence and the unique experience of Ukrainian and Russian armies facing this new form of warfare. He stresses that the film uses such footage sparingly, to avoid overwhelming viewers. “This war has become the war of drones,” he states.

Surviving and Preserving Humanity

Rodnyansky recounts his experiences filming in Chernobyl and Tajikistan, emphasizing the struggle to survive amid disaster and civil war. Ultimately, he describes the film as a story of “how to survive through these wars and how to protect the human nature inside you to stay human.”

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