Помогите плз дам лайк

Давай уж напишу роман! трилогию! десятилогию!

Anton Chekhov
The Lady with the Dog
In my film, as in the story, there will be an unconventional composition. There won't be the same "suspense" with disturbing music as the Marvels like to do. There is no pronounced conflict to trace from beginning to end. That said, even the most skeptical critic will be in constant suspense from the first frame to the end credits, because you can expect anything in the next second. There will be a play on internal contradiction, which will shine through the phrases and movements of the actors, the viewer will feel it on a subconscious level. And just imagine the description: "They are both afraid of destroying the family, they are weighed down by the fear of social condemnation, the stigma of being 'unfaithful. But the characters want to be happy, to escape from this domestic swamp. What happens in the end? Do they find what they are looking for...?" Did I go overboard with the pathos? I think it's just right. Anna Sergeyevna, it seems to me, should be played by a woman of about thirty-five, but looking younger than her age. Groomed, neat - "a lady of decent society. In the story, the heroine is twenty-two years old, but her inner state is much older. Two years of constraining family life in the idle town of S., of which we know from Chekhov's story "Ionich," make a young girl, "recently still an institute girl," a woman tired of life. She does not yet have enough life experience to be wise, but she is already burdened by everyday life, the meaninglessness of existence. It is hard to stay young and fresh when the most famous and decent family in town are the Turkins, whose main achievements are puns and disgustingly written novels. Her love is pure and a little naive, desperate and thus saving, stirring the mind and feelings. In it Anna Sergeyevna finds solace, soars high in her dreams and thoughts, but at the same time feels like a fallen woman. But you need a trailer to get anyone to come to the movie. In my opinion, that's the best thing in cinematography. And you can play with Chekhov's story in a very interesting way. Imagine a white dove in flight. The shot slowly moves to the white hem of Anna Sergeyevna's dress. The characters' gazes meet, and the picture immediately changes to the hunter who shoots the pigeon. The music is disturbing. So is the whole mood of the film. The characters are running along the embankment, she looks back. Laughter. Happy and carefree. Echoes in his head. The room. Cold with gray walls. A bump on the table with his fist. Red, sunken eyes. An agonizing scream breaks through the fading notes. The shackles jingle. That sound fades into the pounding of wheels. The train. Gurov slides down the gray fence. Violin. Anna Sergeyevna shouts, "Go away," and whispers: "I'll come...". And how can you not come to such a movie? The open ending is my favorite trick. In addition to the banal "the viewer will figure out the ending himself," there is an important but rather subtle psychological meaning here. People will leave the theater with the feeling that the story continues in real life. The film will occupy their minds for a while longer, which means it will evoke emotions and make them think. This is what I see as my great mission as a filmmaker. To awaken feelings that are good and thoughts that are intelligent. The name of that feeling is love, that's what it is. The vulgar, hackneyed story of a holiday romance takes on a whole other color. The color of real affection. Not just a candy-colored bouquet of lovers, but a fervent, deep feeling that gives wings to fly away from the suffocating everyday life. This love is even comparable to family love.