Encombré de lettres démesurément grandes un homme s'efforce d'écrire le mot KINO. D'autres mots surgissent alors de sa mémoire. Alternant entre une attitude autiste et un monologue rempli de gestes maniaco-obsessionnels, cet homme raconte toutes sortes d'hallucinations morbides qu'il entretient dans ses rapports au langage, à l'espace et aux objets du quotidien. Face aux traumas de son histoire se met en place des mécanismes de défense qui tentent de faire le lien entre des choses qui semblent avoir perdu tout espace d'entente commun.
Aussi le film tente-t-il de mettre en avant, moins l'impossibilité étouffante à oublier que celle, plus vivante à se souvenir. Le film explorant les variations fabulatrices qui en découlent.
The film Kino Krov (in Russian: Cinema Blood) was inspired by The man with a shattered world by Alexander Luria. A Russian neurologist, Alexander Luria one day convinced one of his patients, who was otherwise incapable of expressing himself, to put down his trauma in writing. The patient did so in a collection of journal excerpts entitled I’ll fight on. Using this text as a starting point, the film creates the experience of having a pathological relationship with the world: everything is perceived to be in ruins and under the threat of a terrifying catastrophe.
Between autism and an interior monologue interspersed with gestures, a man, burdened with magnified letters, attempts to write the word KINO (cinema).
His thoughts stray between sound associations and word games: the letter K reminds him of the word KROV (blood) and the letters K-R-O-V read backwards reminds him of the middle of the word GOLOV-O-K-RJENIE (dizziness). Later his account is accompanied with morbid hallucinations which give us an insight into the concrete difficulties of his relation to everyday objects, to space and to his own body. Oppressed by uncontrollable defense mechanisms, he tries to reformulate that which seems, to him, to have lost all communicable meaning.
