Social cinema as a notion involves no funds, but narrating of hardships, orphanage, mental perplexities and tough life experience. My protagonists are selfless and of rich spiritual history. In Hollywoodian dimension tgey are recognized (Liftoff Festival, Stage32). In European dimension, they are somewhat legendary and inheriting to Antonioni, Visconti, Dzaferelli. My former coursemates lead me to acquaintances with Pazolini and Tonino Guerra, in person. I took after Paradjanov and Ioseliani, as at the age of 3, straight after my 3rd birthday, I found myself in Soviet Georgia, at the Black Sea Shore, near a boundary with Turkey (while four-fifth Greek in blood, Muscovite and Slavonic  in bitrh, I followed the route of  the adolescence of Cavafis, Brodsky's seemingly the best poetician).

Social cinema entered, with myself, the realm of the Middle East. Though I scarcely considered at my early age, what themes are inevitably ahead. Akhmatova and Tsvetaeva, with their sultry Crimea and severe Moscow, tart Sicilia and bushy Schwarzwald, applied their inevitable, nuanced  sketchery to my bio...

Afterwards, I visited both Sicilia and Alpine villages. And Eupatoria, the city of my childhood and of Akhmatova's youth, hospitably welcomed my plots of the silver age, back in 2019...

By Anna Polibina-Polansky. Early Strokes for My Genre Spectrum.