The Moscow School of New Cinema is the school of a fundamentally new format.

It teaches not only the craft, it teaches «sight». To make a chair, you must first have the idea of a chair, to make a spear, you need to first have the idea of a spear,
to make a film, you must first have an idea of film. It is impossible to teach
«how to do» without teaching «how to see».

Goals and objectives

The MSNC aims to release for the film industry directors, screenwriters, cameramen, actors, knowledge and skills
that require modern cinema.

The School teaches to be sensitive to modern material and create from this material «live» cinema. The volume and specificity of educational programs are built in accordance with the needs
and standards of the film industry.

Cinematography is sensitive to changes in the surrounding world, reflecting them and accordingly changing. Teaching in the School is built in such a way that during the period of study
the student must begin to orient not only in the cinema, but also in a wider field of culture and art.

Once in the labyrinth of related disciplines, students can't be only masters the languages, skills, technique of scenario mastery and filmmaking, but also they can forms their own worldview, find 
their point of reference.

The school aims to give students not only basic knowledge of the profession, but also to allow them
to be in the epicenter of today's art. The task of the School is to educate capable directors, screenwriters, actors, cameramen, film critics who in the near future could change the professional landscape of Russian cinema.


We live in «time», and every time
is concerned with building its own pictures of the world.

To build a «picture» you need new tools, optical instruments. The old instruments suddenly become unfit. The artist's point of view is changing, shifting, thus causing a variety of images and styles.

Attention to the «actual»

Don't use the old tools, previous moves, styles.
The old language lost its energy, fluid.
And there is no point in learning dead canons.

There are very precise words of Czeslaw Milosz: «An artist is a seeker of reality».

It often happens that time changes, and the directors, who are in the power of a stiff tongue, involuntarily begin to lie; the cinema hides from them, flows away, it doesn't work anymore.
These directors, who are «masters of their craft», can't find «reality».

It so happens that «reality» seems to go forward, reveals a sharp expansion of the artistic field.
And it turns out that you can't shoot as you shot it earlier, you can't put the light in this way, you can't play that way, you can not narrate that way. The task of the Moscow School of New Cinema is to teach their students not only a craft, but to instill in them also other skills. These skills create a «living»,
not a «dead» one.

Language and Style

2.Each outstanding director makes
a language shift.

Stories don't become obsolete. The methods of their presentation become obsolete. What do Pazolini's words say: «Neorealism without bicycles»?



They say that «bicycles» have become a common place. It is doxa.
Art doesn't get along where the doxa is, art is always paradoxical.

This doesn't mean that you need to make a mechanical replacement «old» characters on the «new», replacing the high-flown speech with argo.

So it often happens in modern cinema, theater, literature, that as if talking about «novelty», but this is an imaginary novelty. «The spirit of time» huddled not in recognizable «today's» types and images, not in their argo. 

It huddles in forms and signs, in the outlines that line up in language,
in style. Only language and style can become a mirror of «real»
and «actual».


You need to learn not only the canons, you need to learn listen
to yourself, listen to your fears and secret desires. Cinema often turns out bad, because it's shot by the pattern. It happens that everything is «right», but it's dead.

In cinema it's important to learn how to catch this «reality», and it's important to find your own tone.

Even in American cinema, the films that shoot Steven Spielberg, Ridley Scott, Tim Burton, Quentin Tarantino, full of their own drives, vices, passions, fears. They are filled with their individuality.

It isn't enough to have a «correct» dramaturgy, it isn't enough to be able to «correctly» build

mise-en-scene, it isn't enough to be able to «properly» work with actors. Heroes and circumstances aren't created only by miscalculation and instigation. They still need to breathe life. Take the breathe from your lungs. And for this you need to have a pneuma.

Film is often obtained fake and nowhere worthless not because directors don't own craft, but because it is done by craft and only by it, but there must be more and by «passion». It is necessary to feel life with pillows of fingers. After all, the space of life is arranged so that the pain points migrate. Today they are here, tomorrow there. And you need to be sensitive to these migrations.


Pythagoras said: «When somewhere in the world someone proved the theorem, the bulls are worried». And there is only one criterion to distinguish between «living» and «non-living».
This is the excitement of bulls!

Teaching isn't a teacher, not just him. The situation teaches. When it is, the student takes it in through the lungs, through the skin. When there is a «situation», the student learns by the walls. In the modern world, everything has become concrete. The «aura» and the «spirit» left from the «walls». And the first thing of any school is to bother the minds, because only a restless mind can comprehend a «living» craft.