Russia's latest work, "The Missing of Josef Mengele," debuted on May 20 in the Cannes premiere of the Cannes Film Festival, and he had justice in his mind.

His latest film is based on Olivier Guez's best-selling French novel, following the infamous Nazi doctor Josef Mengele, who found a shelter in South America at the end of World War II and was never arrested. He died in Brazil in 1979 and was not tried for crimes.

It was a theme brought home for the director who left his native Russia shortly after the country invaded Ukraine. When asked if he thought Russian President Vladimir Putin might be avoiding the war likewise, Serebrennikov insisted: “I can’t be a prophet.”

The director told type. “They are just heroes of the country.”

Charles Gillibert was in CG Cinema ("Annette") and Ilya Stewart in Hype Studios ("Tchaikovsky's Wife"), "The Missing of Josef Mengele" by August Diehl ("Hidden Life") as the infamous Nazi doctor who competed in prison and prison for rivals' August Diehl ("A Hidden Life"), whose residents had competed in prison.

The bold film is told from Mongley's perspective and was a fugitive in his years as he received sympathy and support among the South American political elite, while also reciting a series of reasons for self-service to his outrageous crimes.

The director worked closely with French novelist Guez to discuss “philosophical and practical methods” to fit the winning novel, which was published in more than 30 countries. Serebrennikov wrote the script, acknowledging it was “a daunting task for embodying this type of person we call monsters today.”

However, “Missing” painted an outrageous portrait of Mongley in the last few years, as the director became increasingly paranoid, boundless and delusional – the explanation is that this explanation is partly intended to provide a certain poetic poeticity for war criminals who have never been tried for his crimes.

"All his ghosts and all his nightmares are part of my imagination," Serebrenickov said. "I would love to believe that at some point, late at night, (criminals like Monger) have a sense of guilt, and all these ghosts come to them. As Shakespeare's plays write, "Macbeth" or "Richard III." As it is written in the masterpieces of "Boris Godunov" (Russian playwright Alexander) and (composer modest) Mussorgsky.

"Now, we know it doesn't work (that way). It's the exact opposite," the director said. "All of these people who are responsible for killing millions of dollars, they don't have any introductory gui. They have nothing."

Serebrenickov left Russia in 2020 in a three-year travel ban imposed by the Kremlin on competency charges. The ban clearly prevented the director from showing his first two films at the Cannes Film Festival - 2018 Rock Opus "Leto" and 2020 Fever Dream "Petrov's Flu", which has been his midstream tay pole since its debut in 2016.

Five years later, Serebrenickov said it would be "impossible" to return to his homeland. At the same time, the world is getting darker and the future is full of uncertainty. "Look at the United States. In less than 100 days, everything has changed."

The director believes that this early morning age is a return to the agitator and cruel political order, and the Soviet-born filmmaker, like many others, hopes to disappear with the fall of the Soviet Union and the end of the Cold War. It turns out that the end of history has not brought about the long-term Pax Americana era. This time the threat seemed to come from anywhere at once.

"The world we lived in in the past is collapsing and dying," Serebrenickov said. "It's... attacked by a lot of forces. From people who started the war without caring about killing others. From people who tried to attack democracy. From people who tried to attack every aspect of democracy.

"Even in the worst case, I always try to find good things." "We're back to (realizing) we need to fight for our values. We're kicked out of our comfort zone. Now it's fighting for what we believe."