Offensively promiscuous, ugly girls – inferior, wayless, vulgar.
Their youth – ridiculous, their malice – sad, their importance – wretched.
Their environment – parental, social, educational, friendly – is hopelessly hostile and evil.
Their era – decadent, perishing, spiritless.
And our modern film art?
Well, it clearly profiles and achieves masterpieces in immortalizing and propagandizing the lowest and tragic, tasteless, vulgar and repulsive, and the zeal with which it does it deserves admiration.
We only have to be extremely naive to believe that these “heroines” of our democratic existence are victims of something, and the “creators” who created this outrage are driven by an artistic urge to reflect “reality” in order to expose it or change!
The sense that they secretly enjoy this reality is too compelling to convince anyone of virtue or criticism.
There is not really the slightest hint of such a thing.
Too bad for the conscientious supporting cast.
The concept is pathetic and the script more than mediocre.
An ill-mannered, arrogant and insolent girl, with a pretension to a high mind, is presented to us, as a victim of some circumstances, because of which we have to justify his simple manifestations, exonerate his complexes of exceptionalism and sympathize with his belligerent character and rudeness – to self-effacement, mentality.
Mom is gone and who will replace her love?
It is not known, but every failure is to blame. It’s a cartoon. Everyone!
Friend, classmate, parent, teacher, therapist, principal, school, society, Motherland – everyone!
They are guilty. All.
For her part, the Clever one lies, swears, is mean, fights, swears, “plays” for money, pimps her classmate, is ready for any meanness for kinks, BUT she studies English, paints mediocrely and dreams of going to America, which is why we must sympathize with her and be on her side.
Then she gets pregnant, continues to lie, and commits a series of crimes for which, as I told you, everyone is guilty. She is more excited when she learns that she will be paid to turn her friend into a prostitute than when she decides to abort her child. Her mother turns out to be a pathological liar, her American dream fades, and the Bulgarian reality more and more clearly presents the false American liberal-democratic ideal realized in practice and ruthlessly. We witness a generous, detailed elaboration of a narrative in which the deviant behavior of a few psychotic adolescents is presented as the norm in order to tend to pump up issues from the darlings of the liberal NGO sector in order to justify subsidizing the self-serving production of the film and at the same time moral and value social decay is suggested and confirmed. “We’re all fucking trash,” screams in emotional catharsis towards the end Smartie! It screams long and convincingly, in close-up against us.
“We’re trash!” “We’re all the same, we’re all going to die – the sooner the better!” A separate line.
Then the heroine presumably kills her classmate (invisibly) and visibly goes to bed with her mother. (To the classmate.)
A lofty message to Bulgarian children.
We certainly sympathize with her. And the screenwriter clearly agrees. This is followed by a song in English about suicide: “I killed myself today”, then a naked figure of a girl in an embryonic pose and final inscriptions – necessarily in two columns – in Bulgarian – the language of the Bulgarians and in English – the language of the dreaming Bulgarians.
This is the ultimate goal of creation.
To the work, to the creativity – to convince a worthy and ancient people of trashiness.
To scold him and make him believe that he is rubbish.
This impudent, merciless scheme for trading works of art, for corrupting their messages (unfortunately not only characteristic of cinema) and for degrading any sense of dignity and virtue among Bulgarians, replaced not only the values and problems of our modern society, but depersonalized it, as Bulgarian – infected it with phenomena atypical for our nationality. He ascribed to him the strangeness of others and patched it up to us, as our own. It has saddened, insulted and bewildered our minds and hearts. There is no good or even decent hero among us.
What’s more frightening is that, like a self-fulfilling prophecy – once seen realistically and credibly, this sinister, perverse fantasy obsession materializes into actual reality, through the imitative instincts of the fragile audience to whom it is aggressively and directly addressed. The mouth of any critic of my generation can easily be stuck with the stigma of a moralizer, a moralist and a dogmatist – a patriot, a wretched nostalgic for the social past, and the resistance to ugliness and tendentious exaggeration be criticized or laughed at, as backwardness and edification.
However, the truth, no matter how it is masked, remains the same. And we can’t help but see it and talk about it. They forcibly Americanized us. Our greatest value is money. We have infiltrated ourselves with the most fetid waste products of Western societies and now recognize and analyze them as our own. And we pretend to deny them. However, you cannot criticize any negative phenomenon through art, doubly confirming and promoting it to the public, waving it in front of the public, supposedly to deny it. With this, you only resurrect and multiply it. Every first year art student learns this. You don’t fight sin by sinning constantly, staring only at it and doing it again and again. Vice is not toyed with in order to pretend to examine it, but actually to rejoice in it and spread it to harm. You fight it by showing different alternatives. If there are none – you create models, offer values, look for solutions. Through virtue.
Art – even popular art – aims to elevate the soul and senses, perceptions and thought. The rest is pure exhibitionism, masked behind a decent creation and smeared with a glaze of commercial sherbet and liberal doctrines! The convenient trend of pernicious correctness.
“DIADA” – contemporary Bulgarian feature film.
Manifested degradation in its purest form!
Our cinema, as a mirror and home of vice. As hopelessness towards the young. As absence of goodness, emptiness of soul, insult and deprivation of virtue.
