Running as a visualization of internal conflict in the screenwriting of Alexander Mindadze from 1980 to 2010

The article analyzes the bodily techniques of the characters as one of the structuring elements of Alexander Mindadze's screenwriting. Special attention is given to corporeality as a means of expressing the internal state of the character, transcending the verbal level. One of the key motifs is running: recurring in the scripts of different historical periods, it forms a dynamic score for the scene and functions as an expressive layer of dramaturgy. Running serves not only as a physical action but also as a symptom of the socio-cultural rupture experienced by the character, capturing a state of loss of stability and impossibility of rooting in reality. The research is based on the scripts "Fox Hunting" (1980), "Magnetic Storms" (2003), and "On Saturday" (2011), considering the bodily behavior of characters as an indicator of existential and social catastrophe, as well as a form of their response to historical pressure. The analysis relies on the anthropological works of Marcel Mauss on body techniques and Nikolai Khrenov's concept of cultural rupture. The phenomenon of running is interpreted at anatomical, psychological, and socio-cultural levels, revealing the mechanism of the transition of catastrophe from an external event to the identity structure of the character. It is identified that in Alexander Mindadze's cinematography, bodily movement attains the status of an independent expressive code, determining the way the character perceives reality and structuring the dramatic space. Repetitive motor patterns, primarily running, function as a form of unconscious response to traumatic historical experience, capturing a state of loss of support, disorientation, and impossibility of integration into a changing social environment. Corporeality in this context emerges as a mediator between individual experience and historical time, revealing the hidden mechanisms of existential crisis and internal dissonance. Moreover, movement creates a specific rhythmic organization of the scene, setting the pace of narration and influencing the viewer's perception of the unfolding events. Thus, movement in Mindadze's scripts not only reflects but also models a catastrophic perception of reality, becoming a key tool for representing the rupture between the subject and the world in Soviet and Russian cinema.