Director BIO: Marat Narimanov (BIG BOOOM)

Director 00 color

Marat Narimanov was born in 1981 in Moscow, Russia. Has been graduated as a cameraman. Then took a directing course. For a dozen years worked in the Moscow drama theaters. Now works as an illustrator/designer (the best-known illustrations for books “Chudaki” and “Tmutarakanskie Baiki” by Valerii Narimanov) and film director – documentary and animation.
• Enlightenment (2013) – screened at more than 30 international film festivals, several TV shows, Awarded by Salair Film festival
• It’s OK (2015) screened at about 35 international film festivals, shown on TV in Spain, Awarded by Black&White Rainbow Film festival
• Big Booom (2017) selected for about 130 Film festivals (so far), awarded Coup de Coeur Canal+ at Clermont-Ferrand 2017 and 12 other awards (so far)


Director Statement


When I first met the old Hindu doctrine about the creation of our universe, I noticed it was pretty much like the Big Bang theory. And the Hindu concept is even much more advanced that the now-days scientific one, because it tells that the existence and non-existence (dissolve) phases of universe follow each other infinite number of times. The universe is born from the seed and returns to that seed after the cycle is finished. The grand cycles are called the Brahma’s breath.
So, my journey into the world of this animation film started with that ancient Vedic theory and with the word “Breath”. I made this film because I wanted to see how it happened and how it might end. And to see the period from beginning to the end as an entire process and from the point of view of some distant witness, that has nothing to do with this world, but just observes it. That’s why I’ve edited the film in “one-shot” without any cuts, and even zoom-in/outs.
As for the story, the main idea was to interpret the well-known scientific theory of evolution in a not-very-scientific way. In a way, that resembles the well-known story, but is a bit different, a bit unscientific and childish. It’s like a story of evolution perceived and retold short in and simple form by the kid. For me that kid’s view is very important, because children don’t care about complicated issues (like why, the politics is like that, or why Mr. President can’t do this), and do not respect them. They care only about the life they see around, and want it to be simple, friendly, nice and shiny. Like an ordinary happy drawing with a house and a green grass and a yellow sun in the corner. I am sure that this view of things is the best one (it’s a pity we, grown-ups, don’t have it), because only this approach may let the human race save the planet and survive. With that childish story and visual esthetics I managed to solve the main problem – make the film fun, and at the mean time – to bear an important message.
And there is the message of the film – the humans are powerful enough to put an end to the planet and even to the universe, but shall we do that? The universe will be reborn and will live forever, but without us. Of course, nobody knows how the universe will end, but I decided to depict this very end – the destruction by the human being, to let the people think about the possible role of humanity in the future of our world, the world we live in right now and we might NOT live in some day if we don’t stop pollution and wars and greed.