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After taking on various below-the-line roles at the Leningrad Studio of Documentaries, Kossakovsky directed his first feature, Losev, a black-and-white portrait of the elderly Russian philosopher Aleksei Fedorovich Losev.
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For his next black-and-white film, The Belovs, Kossakovsky turned inward, documenting a spirited but warring brother and his sister living on a farm in a western Russian Personal Narrative: Long Distance Marriage he had visited as a child. Simultaneously unobtrusive and involving, Gunda throws the observant viewer headfirst into the daily routines of a mother pig and her children. The piglets feed, fight and play as the head of the household-cum-barnyard oversees the lay of the land. Other animals, including Distahce cows and curious chickens, make cameo appearances. In its experimental form and narrative structure, Gunda presents a new way to view familiar sights. Gunda is currently in release from NEON.
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Filmmaker: You gave a talk at the Berlinale last year where you said that 90 percent of critics write only about subject and story, 10 percent write about form and none write about reason—about why the filmmaker is making the movie. Gunda and my previous film, Aquarela, sort of predicted the pandemic in the form of a warning.
Nature will be happy without humans, as humans are a destructive force. Why are you doing long shots?
What is your artistic motivation for these choices? There is no Self Speech, for example, that is as connected to ethics as are documentary films. This connection has also meant a lot to my personal life. When that piglet was one month old, he became my best Personal Narrative: Long Distance Marriage. We really had a great time. It was a disaster for me, and this memory has stayed with me all my life, leading to my eventually becoming a vegetarian. When I was five or six years old, I became interested in photography. Every weekend, I would go into the forest and take photos of the landscape, like the clouds and the birds, etc. Photography became my passion, and I took photos for my Personql soul.
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When you turn 14 years old in Russia, you have to decide what you want to pursue as a career. I had two wishes: to be a forest ranger who protects animals or to be a cameraman. I fought over what I wanted to do for several months.
I eventually decided that I would become a cameraman and worked for a film studio as an assistant cameraman, loading film into camera magazines. When I learned how to edit film, I realized that the camera negative is literally made from the bones of animals. This was hugely catastrophic for me!
I wanted to dedicate all my life to cinema, and to cinematography in particular.]
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