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Erna Asatryan

@ertvinoo

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journalist & film blogger
cinema, wine & dracula 🦇
тгк «кино под белое сухое»

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wicker is a delightfully wicked, occasionally indecent, and surprisingly cruel fairy tale about one simple truth: human vices will outlive every era. even if we learn how to weave ourselves the perfect man out of willow branches.

set in a fictional provincial town where everyone knows everyone, judges everyone, and, naturally, envies no one, the film follows a fisherwoman (Olivia Colman) whose unexpected happiness becomes a source of collective outrage. especially when that happiness comes in the form of Alexander Skarsgård — a husband literally made of wicker.

to me, wicker is less a romantic fantasy than an exploration of human envy. not envy of another woman’s husband, but envy of another woman’s happiness. because it’s one thing to despise someone who refuses to follow society’s rules. it’s quite another to discover that she’s happier than you are.

the film turns the traditional fairy-tale moral on its head: the most human creature in the village is the one who isn’t human at all. meanwhile, the actual humans display an impressive collection of vanity, hypocrisy, jealousy, and cruelty.

Peter Dinklage is wonderful as the Basketmaker — a mischievous fairy-tale demiurge capable of creating the perfect husband but powerless to fix human nature.

and my god, the production design! the intricate wicker structures, mechanical details, textures, and costumes are extraordinary. Wētā Workshop has created something genuinely magical, while Skarsgård somehow manages to be irresistibly charming without ordinary human facial expressions.

beneath all this whimsical eccentricity lies an uncomfortable thought: we can reinvent society, perfect our inventions, and create new forms of love, yet our ugliest instincts remain remarkably resistant to progress.

perhaps the most unsettling thing about wicker isn’t that a woman falls in love with a man made of twigs. it’s that everyone else finds her happiness so unbearable.

if the Brothers Grimm had written a romantic comedy for adults with a taste for social satire, this might have been it.

after all, isn’t it remarkable that, to find a real man, our heroine had to visit a basketmaker?

special thanks @provzglyad

#wicker by @ertvinoo

DINASTIAAAAAAAAAAaaaaa by @ertvinoo

such a lovely weekend, with a beautiful film #ElSerQuerido and even lovelier people
beloved by @aonefilms by @ertvinoo

I liked Rodrigo Sorogoyen’s The Beloved more than Joachim Trier’s Sentimental Value. Maybe Scandinavian cinema has never quite been my thing, or maybe Javier Bardem simply has the ability to light up any frame just by being in it.

Narratively, the two films are practically relatives: a celebrated director attempts to reconnect with the daughter he once abandoned by offering her a role in his new film. But while Trier’s film drew me into its family drama, what fascinated me about Sorogoyen’s was the nature of a director’s power.

This is a film about directorial tyranny in which the filmmaking itself occasionally borders on tyranny.

Sorogoyen throws the entire cinematic arsenal at us: everything from 8mm to 65mm film, from MiniDV to digital cinematography, from colour to black and white. Textures shift, aspect ratios change, and so does the camera’s relationship with the characters. This visual spectacle gradually becomes irritating, almost in sync with the escalating conflict between father and daughter. The audience is held hostage by the director’s vision, just as the characters are held hostage by Esteban’s temperament.

And Bardem’s Esteban is a charming tyrant. All it takes is a raised eyebrow or a lingering glance for paternal tenderness to turn into something vaguely threatening. He is used to controlling other people’s emotions, yet has absolutely no idea what to do with his own. A man capable of coaxing any performance out of an actor cannot find the right words for his own daughter.

He can direct any scene except the one in which they reconcile.

And therein lies the film’s central paradox, at least for me: Sorogoyen examines the director’s ego while seemingly taking immense pleasure in exercising his own power over the audience.

Can you make a film about directorial tyranny without turning it into a demonstration of your own?

#elserquerido #javierbardem by @ertvinoo

I watch too many films, so I decided to call it a film club

thanks @okkomovies @pravilamag

ph.: @fedina.foto by @ertvinoo

Hi, I’m Erna. I’m a journalist and film blogger, which basically means I spend a ridiculous amount of time watching films and series.

I thought I’d start sharing some of my favourite series here — especially the ones you might not have come across before.

First up: OUTSOURCE (2025) — one of my personal favourites.

Set in 1990s Russia, it follows a prison officer who turns capital punishment into a business, offering victims’ families the chance to carry out executions themselves.

Eight episodes about revenge, justice, and the terrifying ease with which morality acquires a price tag.

If you’re looking for something different to watch, this is a good place to start.

#series #film #russianseries by @ertvinoo

So much has been said. So much has been felt. And yet, after all the words and all the emotions, one thing matters above all else: we have finally brought a truly remarkable piece of cinema to the screen. The Golem.

We tend to speak of “great cinema” rather freely these days, as though the phrase has somehow lost the weight it once carried. But to me, Golem is cinema in its purest, most magnificent form. The kind that reminds us why we fell in love with this art in the first place. Why, somewhere along the way, we chose to devote our lives to it.

Every word of gratitude belongs to the people who imagined this film into existence and gave it life. As for me, Golem simply found its way into my hands one day. I have tried to hold it with the care it deserves, and now, with equal tenderness, I hope to place it into the hands of those who have yet to discover it.

One of these photos was taken on October 6, shortly before eleven at night. The director and I were making our final rounds, checking the sound and picture before the screening.

There is something almost impossible to put into words about seeing the title Golem appear on that enormous screen. And then, moments later, witnessing the audience embrace the film.

For a brief moment, all the months of work, anticipation and uncertainty seemed to fall away. There was only the screen, the audience, and the quiet, overwhelming realization that the film had finally found its people.

Perhaps that is what all of this was for.

And finally, my deepest thanks to @alexanderkotttt for the beautiful, generous words he shared from the stage. Some gestures stay with you long after the lights come back on. This will be one of them. 🖤

special thanks @sredaproduction @alexanderkotttt @tilkin_il @fordewind

ph.: @zverkov_ko by @ertvinoo

my style lore are #greenday #mychemicalromance #marilynmanson #chere #elviramistressofthedark by @ertvinoo

just casually documenting the absolutely unreasonable amount of love I have for @underdog_moscow

somehow, Underdog follows me everywhere: festival? Underdog. having friends over? also Underdog. randomly craving something ridiculously good? you already know.

God bless you, my beloved tattooed, mustachioed fashion boys from Kitay-Gorod. by @ertvinoo

новый номер @pravilamag про стандарты и индивидуальности. ваш любимый колумнист aka Кэри Бредшоу рассуждает в колонке об отношениях. конечно же, о рыночных by @ertvinoo

очень личная для меня премьера драгоценного фильма @tonymovie
скоро кое-что узнаете 🦞🖤

спасибо блистательным @amediateka @aonefilms by @ertvinoo

прошла курс по превращению в морского волка by @ertvinoo