Yulia Vysotskaya shared an archival photo from Italy
Given the current troubling times, it is quite difficult to remain optimistic today. Nevertheless, there are people who know how to look into the future with hope. Among them is Yulia Vysotskaya, a famous actress and cook.
Recently, Julia shared an archive photo on her Instagram page. It depicts Yulia Vysotskaya and her husband Andrei Konchalovsky. The photo was taken by world-famous photographer Alexander Gusov, who creates stunning black and white photographs.
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A post shared by Julia Vysotskaya Official (@juliavysotskayaofficial) on Apr 17, 2020 at 1:06pm PDT
In the caption for such a happy shot, Julia paid tribute to Alexander’s talent: “You know what to say, how to make people laugh and how to peek into real life.”
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A post shared by Sasha Gusov (@sashagusov) on Jan 20, 2020 at 10:55am PST
This photo was taken in 2012 in Tuscany, long before the current epidemic began. With this photo, the actress plunges into nostalgia when everything was still good in Italy. But the actress confidently asserts: “Real life will definitely return to us!”
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A post shared by Sasha Gusov (@sashagusov) on Sep 8, 2020 at 7:42am PDT
Despite the age difference of 36 years, this wonderful couple has been living in perfect harmony for about 20 years. Konchalovsky's directorial talent actively influenced Vysotskaya, since she became most famous for her roles in his films. The idea of creating the “Eating at Home” project also belongs to the couple.
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A post shared by Julia Vysotskaya Official (@juliavysotskayaofficial) on Dec 30, 2020 at 12:34pm PST
Vysotskaya shared in a recent interview: “I could never imagine that what is happening today could happen in reality, and not in a movie.” Nevertheless, the actress discovered new positive aspects for herself in self-isolation.
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A post shared by Moskvich Mag (@moskvichmag) on Mar 26, 2020 at 6:01am PDT
Yulia said that she started cooking at home for her family, although she had done it quite rarely before: “I cooked for the Internet, television and friends. There was absolutely no time for this in my daily work life. Now I often cook for my people at home.”
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A post shared by Julia Vysotskaya Official (@juliavysotskayaofficial) on Apr 18, 2020 at 6:06am PDT
It is wonderful when a person is able to extract good things from unusual situations. We hope that Julia will continue to delight us with her wonderful recipes.
Andrei Konchalovsky and Yulia Vysotskaya showed their luxurious home. Wow home!
Andrei Konchalovsky told us about his house on Nikolina Gora and his strongest interior impressions.
A house must take a lifetime to build. It cannot simply be handed over “turnkey” with the interior: living houses are “built up” over decades. This is what happened to me: my house grew out of my mother’s, which she built for herself in the 50s. In 1959, I entered VGIK, I was enrolled in the workshop of Mikhail Romm. By Soviet standards, I then lived in a privileged family. But although we had antique Russian furniture, paintings by Konchalovsky and Surikov, life was not rich, we had to get everything.
As for this old furniture, I couldn’t stand it, I liked modernism. America! Earl Gardner, Louis Armstrong, girls I remember making myself “modern” bookshelves in my small room - like in American homes. And I dreamed of the time when I would save up for a Mercedes...
A lot has changed since then. I went abroad and looked at my friends' houses. Marlon Brando, for example, had a terrible house. In terrible American taste. No. There wasn't a single beautiful thing in it!
But two houses in Italy, in Florence, I remember forever. Imagine paintings by Caravaggio and Titian hanging almost on the street, as if they had been hanging like that all their lives - this is the Gucciardini Palazzo, on Via Gucciardini. There they showed me in the library the chair in which Machiavelli sat. He worked as a secretary in this house! His manuscripts are in the library... A family living in this space for six hundred years, a house in which everything was settled centuries ago - such a culture is amazing.
In the second house - it was put up for sale - it was possible to make a movie about the era of the 1920s. No one lived in it for thirty years, they were just wiping off the dust, but everything was preserved simply phenomenally. Old hats hung on hangers, there were photographs: the owner of the house (some kind of admiral) with the Italian king, with Mussolini. There I first saw how toilets were arranged at the beginning of the century: a mahogany shelf with a seat and a porcelain vessel. You don’t flush the water, you pump it with a pump. Everything is in perfect condition, everything works!
But I was especially struck by the house of Emanuel Ungaro in Provence, which he built on an old farm. There is not a single window there, not a single non-antique bolt: for twenty years all this was quietly removed and installed. He is a man with a colossal sense of style, I learned a lot from him then. And I understood the main principle of the house: under no circumstances try to finish it as quickly as possible!
When I built my villa in Los Angeles, I had an interior designer. Everything was done very beautifully, they bought furniture specially. The large sofa that now stands in the living room, like all the other European furniture, is just from there, from the Los Angeles house. Then I had an apartment in Paris, where I also bought something. Then it was all sold, and I returned to Russia, taking some of the things with me. Mom was no longer there, and I decided to keep her house, but turn it into a mansion - so that there were many different roofs and corners. Destroy the surface, break it into different planes, nest a house on a house, just like the tower and all the suburbs were built. After all, I live in Russia, and it would be naive to build an Italian palazzo here.
This time I did not invite an interior designer, but the architect Lyubov Skorina helped me implement the tower project. She worked with me at Mosfilm, prepared the sets for House of Fools and The Inner Circle. She and I looked at a lot of things, we even studied Bulgarian wooden churches. As a result, from an engineering point of view, the result was a very complex structure: no normal log structure could support a window like the one in my living room - the entire wall. And the carved columns in the living room, which were carved by Belarusian craftsmen, are not only for beauty - they hold up the roof. Very complex architectural and engineering calculations were used here, and, in addition, we were making a completely modern house - the floors, for example, are heated.
I saved all my mother's interiors. Even when we tore out the floors and made new ceilings, we were very careful to number everything so that we could put them back exactly as they once were. But from a two-story house it turned into a four-story one: I added one floor and dug a semi-basement. So my mother’s house seemed to fit into the larger one - the big house “embraced” it. Of course, the staircase has changed: it used to lead to the second floor, to dad’s bedroom, but now it goes to three floors. This new staircase was made in China, it is crazy beautiful, like a Stradivarius violin. Her curve is simply feminine!
Of course, the center of any home is the kitchen. It’s warm there and they provide food, everyone gathers there, despite the presence of a canteen. This is Yulia’s kingdom, and I tried to do everything here the way she wanted - I bought not a stove, but the equivalent of a Rolls-Royce in kitchen art, a masterpiece from France La Cornue.
Style is the absence of style. That’s why I love the cities of Italy – unlike, for example, St. Petersburg, they don’t have a clear style. And at home, I deliberately created an absolute difference in style. In Florence I found stunning terracotta vases coated with wax, which is why they have such a matte shine. These vases were burned right before my eyes! The library and stairs are Russian Empire style. I also brought a lot from China: painted Chinese furniture goes well with Russian things. I don’t like expensive antique furniture - it’s a shame to scratch it. And I also don’t collect anything: what gets nailed, gets nailed. The most valuable thing I have accumulated over forty years are books.
I used to love walking along Nikolina Gora. I went skiing into the forest... Now there are solid fences here. Here in Russia, people don’t count money: the majority - because there is none, and the minority - because there is too much of it! Not everyone can build the house they dream of. Wealthy people often lack imagination and culture, they haven’t seen much yet, and they want to get something special as soon as possible. Nevertheless, this barbaric squatter construction is dearer to me than the perfectly built American town houses.
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Konchalovsky will film “Michelangelo” in Italy with money raised by an “outstretched hand”
Italy is home to Konchalovsky. In a literal sense, one might say, since he has a home in Tuscany. It was in Tuscany in 1475 that the great Italian artist and sculptor Michelangelo Buanarotti was born. “We will start looking for locations at the end of July, we will go to Italy. And in August we will begin filming in Carrara, where Michelangelo developed marble quarries. This will be a Russian-Italian production. Most of the money comes from Russia. We walked around with our hands outstretched to sponsors. I won’t say anything about the film for now, because I’m a superstitious person.”
Carrara marble is considered one of the most valuable. It began to be used during the reign of Julius Caesar. The Pantheon and Trajan's Column in Rome were built from it. Michelangelo carved his David from Carrara marble.
In 2020, Andrei Konchalovsky’s latest film “Paradise” received the Silver Lion at the Venice Film Festival and was nominated by Russia for the Oscar. It even entered the top nine contenders in the Best Foreign Language Film category, but did not make it to the final five. On the eve of the announcement of the nominations, Konchalovsky said: “I don’t know why everyone is so excited about the American Film Academy. Honestly, not the most important prize in the world. But marketing is marketing. Our film was made by slightly crazy people who wholeheartedly followed the idea. You could say it's a product of love. The most important thing is that there is a war of memory, and they are trying to revise the results of the 20th century, to forget the terrible vulgarity - the Holocaust. They deliberately erase from memory events that could happen again at any moment.” So the other day, after the announcement of the Nika film award nominees, he continued the theme: “American blockbusters remind me of strawberries from the supermarket - no smell, no taste.” He himself has been actively advocating lately for low-budget films, such as “White Nights of the Postman Alexei Tryapitsyn.”
When our filmmakers nominated this film for an Oscar, Konchalovsky sent a letter to the chairman of the Russian Oscar committee, Vladimir Menshov, in which he asked to exclude his film from the list of those being discussed. And he was guided by the fact that in recent years he sharply criticized the Hollywoodization of the Russian market and the harmful influence of commercial American cinema on the formation of tastes and preferences of viewers. In such a situation, it is absurd for him to fight for an Oscar. And the wording “Best Foreign Language Film” is nothing more than the segregation of world cinema from the Anglophone world, an outdated idea of the cultural dominance of the West. “In the modern world, the development of world cinematic culture has long been determined not by the mass success of American or pseudo-American cinema, but by artists from Asia, Latin America, the Far East, and Russia, among others,” wrote Konchalovsky.
“White Nights of Postman Alexei Tryapitsyn” with the participation of residents of an Arkhangelsk village received the Silver Lion for best director at the Venice Film Festival in 2014. “Michelangelo”, as a Russian-Italian project, has an increased chance of participating in the Venice Film Festival.
Konchalovsky and Vysotskaya transported their daughter Maria to Italy
The condition of Maria Konchalovskaya, who was in a car accident 2.5 years ago, is gradually improving. This is evidenced by her recent move from France to Italy. Doctors record positive dynamics and continue to tirelessly monitor the processes occurring in the teenager’s body.
TV presenter Yulia Vysotskaya and her husband, director Andrei Konchalovsky, were ready for a long rehabilitation process. The parents prayed for their daughter’s recovery and hoped that she would regain consciousness as soon as possible. The longer Maria remained in a coma, the less chance she had of life. Vysotskaya admitted in one of her personal videos that she did not understand where she was for more than a year. It was not a question of territorial location at all.
Before the accident, Masha Konchalovskaya often took part in her mother’s cooking show Photo: Instagram
After a car accident in mid-October 2013, Vysotskaya lost her footing. Andrei Konchalovsky, the driver and passenger of the second car escaped with minor injuries, as they were wearing seat belts. The daughter of movie stars did not use her seat belt and ended up with one foot in the next world. The victim was taken to the hospital by helicopter. The best doctors in Marseille fought for her life.
The family did everything possible not only for Masha’s recovery, but also to conceal the details of the treatment. Recently, Yegor Konchalovsky, the brother of the victim, pleased his compassionate compatriots with the news of Maria’s gradual return to normal. The relative also noted that it is difficult for him to assess the degree of improvement in her condition, because he does not know anything about how her sister felt immediately after the accident. The parents took on all the worries and troubles and kept what was happening secret even from their closest relatives.
Julia Vysotskaya with her son and daughter Photo: edimdoma.ru
According to the latest unconfirmed information, Masha changed her location and moved from France to Italy, where the star family also has a house. Previously, there were rumors that the girl returned to her homeland and was undergoing rehabilitation in Moscow. The very fact that doctors allowed the move already speaks of positive dynamics. Judging by Vysotskaya’s words, Masha has a long, difficult path to go through: she needs to relearn how to walk, talk and remember life before the accident.
Six months ago, Yulia explained that it was very difficult for her to talk about the condition of her beloved child. She has no desire to waste energy on chatter and satisfy the curiosity of strangers. Lifting the veil of secrecy is also not easy, because it is impossible to explain in a nutshell what the family has experienced over these three years. “What it is like, my entire life is my business,” Konchalovsky’s wife answered the intrusive journalists.
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