Андрей Юрьевич Хржановский

Peter Bradshaw — The Guardian, 2010-05-07

“Это образное размышление о русском поэте Иосифе Бродском — резонансный, прекрасно сделанный фильм.”

Richard Brody — The New Yorker, 2010-01-21

“The title of Andrey Khrzhanovsky's 'A Room and a Half' is derived from that of an autobiographical essay that Brodsky wrote in 1985—thirteen years after his exile from the Soviet Union.”

Stephen Holden — The New York Times, 2010-01-19

“'A Room and a Half' swirls documentary footage, fictional re-enactments and brilliant, witty animated drawings into a phantasmagoric, playful secondhand memoir. Transcending the limitations of conventional screen biography, it wants nothing less than to uncover Brodsky's poetic essence.”

Kirk Honeycutt — The Hollywood Reporter, 2009-11-06

“Audrey Khrzhanovsky, a veteran animator in both Soviet and post-Soviet era Russia, makes a smooth feature debut with 'A Room and a Half,' a free-form look at the life of exiled Russian poet and Nobel Laureate Joseph Brodsky.”

Jay Weissberg — Variety, 2009-01-29

“Seamlessly wedding fiction, docu footage, animation and stills, the helmer crafts an ode not just to Brodsky, but to the society he represented, his values of culture and honesty, and the bittersweet pain of nostalgia: Inspired by a poet, Khrzhanovsky has created his own poetry.”

Dan Fainaru — Screen Daily, 2009-02-04

“A multiple-award-winner in Russia for his animation work, Khrzhanovskyʼs semi-fictionalised biography of Nobel prize-winning poet Josef Brodsky is a lively, dense and richly imaginative portrait not only of a great writer but also of the post-Second World War cultural world of the Soviet Union.”

Steven Boone — Slant Magazine, 2009-10-01

“Animator Khrzhanovsky's approach to Brodsky's life feels like autobiography, fit to stand in the company of Fellini's, Tarkovsky's, Fosse's, Davies' and Chahine's self-examinations.”

Robbie Freeling — IndieWire, 2010-01-20

“Andrey Khrzhanovsky positively inhales this contradiction with A Room and a Half, his epic rumination on exiled Russian poet Joseph Brodsky. It is a grand act of ventriloquism, with Khrzhanovsky marshaling the artifices of memory and history to conjure a vaguely factual, deeply felt mythology.”

Ella Taylor — Village Voice, 2010-01-19

“In this ecstatically fanciful film, Russian filmmaker Andrey Khrzhanovsky brings the acclaimed Nobel Laureate back home via his sonorous verse and a montage of archival footage, wickedly doctored photos, re-enactments, and puckish animation.”

Vassilis Kroustallis — Zippy Frames, 2020-05-26

“A sprawling but carefully controlled artistic study on the role of the artist, the audience, and the nature of the oppression itself. It circumscribes the times and the rise of the Russian Avant-garde scene, the Soviet Regime up to the Stalinist purges of intellectuals.”

Jamie Lang — Variety, 2020-06-20

“Russian production 'The Nose or the Conspiracy of Mavericks,' from 1995 Annecy winner and Russian animation legend Andrey Khrzhanovsky, won this year's Jury Award.”

Mikhail Gurevich — ASIFA, 2022-10-28

“Khrzhanovsky is indeed a living classic, authoritative mentor for a few generations in the guild, highly respected — also, he is almost an embodiment of the 'cultural figure,' with rich baggage in arts and letters, and music, and with first-hand in-person knowledge of a broader tradition, through family and friendly ties.”

Animation Obsessive — Animation Obsessive, 2023-03-10

“The film spent around 20 years as forbidden art, and its director Andrei Khrzhanovsky faced severe consequences.”

Open Culture — Open Culture, 2024-12-11

“The only animated film in Soviet history to face a ban: Andrei Khrzhanovsky's The Glass Harmonica, a 1968 'satire on bureaucracy.' Its surrealist aesthetic—drawn from the paintings of De Chirico, Magritte, Grosz, Bruegel, and Bosch—testifies to the creative renaissance in Russian animation.”

John Vandevert — OperaWire, 2022-11-10

“Censorship. Repression. Scorn. Brutality. Humor. Absurdity. Hysteria. Russia's relationship with self-expression has been a fraught one throughout its tumultuous history.”

Svetlana Kim — Centre Pompidou / Kinoglaz, 2002

“Вселенная фильмов Хржановского обладает сложными художественными и драматическими структурами. Это вселенная интеллектуального режиссёра, открытого мировой культуре и смело её использующего.”

Carlos Aguilar — Rotten Tomatoes, 2020-07-07

“Veteran Russian director Andrey Khrzhanovskiy harnesses Nikolai Gogol's surrealist short story The Nose and Dmitri Shostakovich's adaption of that same work for the stage into an endlessly inventive and biting political satire.”

Mihaela Mihailova — KinoKultura, 2021

“For viewers familiar with Andrei Khrzhanovskii's oeuvre, this feature film will represent a culmination of themes and issues that have preoccupied the director since the early years of his long career, such as the struggle to create under oppressive conditions and censorship.”

— BURO., 2021-03-10

Вероника Хлебникова — Искусство кино, 2021

— Российская газета, 2020-06-21

— ТАСС, 2021-03-21