CRITIQUE – Taken from the book by Emmanuel Carrère, Kirill Serebrennikov's film struggles to recreate the sulphurous life of the Russian writer.
Between two productions at the theater and the opera, the Russian Kirill Serebrennikov shoots selected films at Cannes (Leto, Petrov's Fever, Tchaikovsky's Wife). This Stakhanovite, today in exile between France and Germany, had just finished filming in Uruguay of The Disappearanceadaptation of the novel by Olivier Guez on the escape of Josef Mengele, torture doctor from Auschwitz, that his Limonov was in the running for the Palme d'Or last May. The Polish Pawel Pawlikowski (Ida, Cold War) was initially supposed to carry it out before withdrawing from the project. Serebrennikov squeezed it into his busy schedule.
Like Mengele, Edward Limonov really existed. Russian writer (1943-2020), native of Kharkov, worker, he worked several odd jobs (diver, butler) in New York and Paris before donning the fatigues of a pro-Serbian militiaman in the Bosnian war, then moving from political prisoner, after founding the National Bolshevik Party…
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France
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