Realities and Fictions of Post-Communist Russia in Le Concert (2009), by Radu Mihaileanu

El Futuro del Pasado. 2019;10(0):639-678 DOI 10.14516/fdp.2019.010.001.025


Journal Homepage

Journal Title: El Futuro del Pasado

ISSN: 1989-9289 (Online)

Publisher: FahrenHouse

LCC Subject Category: History (General) and history of Europe: History (General)

Country of publisher: Spain

Language of fulltext: Spanish, English, Italian, French, Portuguese

Full-text formats available: PDF



Igor Barrenetxea Marañón (Universidad Internacional de La Rioja (UNIR))


Double blind peer review

Editorial Board

Instructions for authors

Time From Submission to Publication: 24 weeks


Abstract | Full Text

This article analyses the keys in the movie Le Concert (2009), from the point of view of the relationship between History and cinema, inspired by Marc Ferro, Robert Rosenstone and José María Caparrós Lera, among others. In other words, the treatment of movies as yet another historical document, with its own language and which, also, shapes itself as a historical agent. Le Concert shows us from a humoristic portrait, the realities and fictions of pot-communist Russia, its new idiosyncrasies, its debt to the past and the many social and emotional conflicts left unsolved after its shut down. The film does not intend, by any means, to be an exact X-ray of Russian society, but a rather eloquent metaphor of the tough social portrait (misery, wounds and mafias) and inheritance left behind by the Soviet totalitarianism.