{"id":10449,"date":"2026-06-15T08:52:10","date_gmt":"2026-06-15T08:52:10","guid":{"rendered":"https:\/\/vocilibereurss.fupress.net\/assa\/"},"modified":"2026-07-21T16:57:13","modified_gmt":"2026-07-21T16:57:13","slug":"assa","status":"publish","type":"post","link":"https:\/\/vocilibereurss.fupress.net\/en\/assa\/","title":{"rendered":"Assa (1987). Bringing the Underground to the Big Screen"},"content":{"rendered":"

\u201cIf each of us lights a match,
\nit will be enough to illuminate half the sky.\u201d
\nBananan, Assa<\/em><\/p>\n

 <\/p>\n

As one of the defining and most iconic films of Perestroika<\/em> \u2013 Assa<\/em> \u2013 is approaching its fortieth anniversary, marking the ever-growing gap separating that bygone era and the present, it also serves as a reminder of the passing of its acclaimed director, Sergei Solovyov, on 13 December 2021. The first film in the trilogy made by Sergei Solovyov between 1987 and 1991, Assa<\/em> achieved remarkable success, having retained its cinematic significance over time, as is often the case with works of art that manage to capture and reflect the Zeitgeist of an era, eventually attaining a cult status.<\/p>\n

\"\"

Film Poster for Assa<\/em>, Mosfil’m, 1987<\/p><\/div>\n

Depicting some of the most critical turning points of the late Soviet period, Solovyov\u2019s film represents an original expression of the cultural climate of Soviet Perestroika<\/em>, embodying its nonconformist spirit, countercultural tendencies, and the emerging perception of profound changes in Soviet social norms and everyday life (Mangiullo 2021).<\/p>\n

Occupying a singular place even within the trilogy it makes part of, Assa<\/em> is often viewed as a defining cinematic landmark, a work of extraordinary artistic merit that came to embody the aspirations and contradictions of an entire generation of Soviet people. It is not the genre, however, that makes Assa<\/em> a pioneering work that stands out among the films of its time; from a narrative and thematic standpoint, the film is essentially a drama centered on a love triangle with elements of a crime story \u2013 such a premise was neither particularly sophisticated nor uncommon in late-Soviet cinema. One might as well recall Stanislav Govorukhin\u2019s 1987 film adaptation of Agatha Christie\u2019s And Then There Were None<\/em>, starring Tatiana Drubich once again in a leading role. In Assa<\/em>, it is the extraordinary refinement of the visual style that distinguishes it the most: the hazy urban landscapes, the delicate pastel tones, the lingering shots, and the slow visual flow set against a contrasting narrative pace. The film\u2019s dialogues \u2013 another product of the brilliant screenplay co-authored by Sergei Solovyov and the young Sergei Livnev \u2013 combine obscurity with irony, appear at times obscene yet poetic. Finally, it is the musicality and abstraction of the narrative structure that shape both the film\u2019s atmosphere and the distinctive language spoken by its central characters.<\/p>\n

In 1950, as a teenager, Sergei Solovyov moved to Leningrad with his family, where he would later establish some of the most important artistic connections of his career, such as the one with Boris Grebenshchikov, the leader of the famous rock band Akvarium. In fact, it was Grebenshchikov who introduced Solovyov to the young Leningrad artist Sergei Bugaev, known as \u201cAfrika,\u201d who would eventually go on to portray the protagonist of <\/span>Assa<\/em> \u2013 a role originally intended for the musician himself. Regardless of the artistic value of Afrika\u2019s contribution, his presence is essential to the film\u2019s underground identity, accentuating the tension between the \u201cSoviet\u201d and the \u201cpost-Soviet,\u201d between the \u201cold\u201d and the \u201cnew,\u201d even though the contradictory and uncertain concept of the \u201cnew\u201d had yet to take shape in late Soviet reality and eventually redefine it.<\/span><\/p>\n

\"\"

Sergei Bugaev, known as “Afrika,” with the poster Iskusstvo v mASSY<\/em> (Art to the Masses<\/em>).<\/p><\/div>\n

The film features five songs by Akvarium that go beyond the role of mere background accompaniment, for they become active agents in the narrative, shaping its development and giving expression to the characters\u2019 inner worlds. For instance, the famous song Gorod zolotoj<\/em> (\u2018The Golden City\u2019), marked by its distinctive melancholic melody, underscores the scene in which Alika and Bananan ride a funicular, therefore the viewer immediately perceives the deep bond between the two characters as well as their mutual affection, even though no words are exchanged between them. Another song, Mochalkin Blues <\/em>(\u2018Mochalkin\u2019s Blues\u2019), is yet another provocation by Bananan\u2019s band in the film, designed to offend and humiliate Krymov in front of Alika. With the same intention, later in the film, during the boat scene, Bananan\u2019s band performs Starik Kozlodoev<\/em> (\u2018Old Man Kozlodoev\u2019), the lyrics of which openly insult Krymov, ultimately prompting his intervention in the platonic relationship between Alika and Bananan. Akvarium\u2019s collaboration with Sergei Kuryokhin \u2013 an improvising musician, avant-garde composer, performance artist, provocateur, Soviet intellectual, and leader of the band named Pop-Mekhanika \u2013 on the arrangements of several songs featured in the film is especially memorable, particularly his piano accompaniment in Mochalkin Blues.<\/em><\/p>\n

It is the avant-garde language that makes Assa<\/em> seem a post-Soviet \u2013 or rather, a \u201cnon-Soviet\u201d fantasy \u2013 revealing a dimension of artistic life that had previously existed only on the margins, the so-called underground culture, which had never been given the opportunity to find expression on the big screen or reach a wider public in the Soviet Union. The very title of the film itself \u2013 Assa<\/em> \u2013 refers to Moscow and Leningrad youth slang, where the term supposedly denoted a situation of confusion, unrest, and disorder (sumbur, sumatokha, nerazberikha<\/em>) (Smirnova 1988: 12). In fact, the title was suggested by Afrika, who, according to a widely circulated interpretation, also conceived it as an acronym for \u201cAvtor Solovyov Sergei Aleksandrovich\u201d (\u201cAuthor Solovyov Sergei Aleksandrovich\u201d).<\/p>\n

The apartment of the protagonist (nicknamed \u2018Malchik Bananan\u2019), just like his band, functions in the film as a symbolic representation of the Soviet underground scene \u2013 a limited space of freedom, offering an escape from censorship, ideological conformity, and the constraints placed on artistic expression in Soviet society (Mangiullo 2021). It becomes a refuge for those seeking new forms of self-expression and aspiring to greater personal freedom, ultimately leading them to break away from the life patterns inherited from the previous generations. This is not, however, a classic example of a mere youthful rebellion, but a profound and acute recognition of the necessity of transforming and redirecting one\u2019s own present and future. It is noteworthy that the final scene of Assa<\/em>, in which Viktor Tsoi, the leader of the rock band Kino, performs the song Peremen<\/em> (literally, \u2018Changes\u2019), is widely considered the film\u2019s leitmotif, if not the very ideological core of the entire motion picture. The persistent desire of younger generations of Soviet citizens for substantial transformations in the sociopolitical life of their country is understood here not so much as an ideological aspiration, but as a manifestation of the growing realization that the Soviet reality was inevitably approaching its decline. Many critics have questioned this interpretation, arguing that Viktor Tsoi\u2019s presence in the film was simply aimed at attracting younger audiences, as Kino was an exceptionally popular band at the time, particularly among young people. The very concept of \u2018change\u2019, however, proved to be a powerful slogan after all, one that was easily understood, deeply relevant, and instantly recognizable to Soviet youth. In a 2011 interview, Solovyov himself noted that the song-slogan Peremen<\/em> suggested by Kino and chosen for the film\u2019s finale, was not such a clear-cut moment for its director:<\/p>\n

crying out \u201cChanges!\u201d is one thing, but defining the nature of those desired changes is an entirely different question. I was there on the set myself, right among the crowd shouting, \u201cChanges! We want changes!\u201d And at that moment I asked myself: but what changes, exactly? Somehow, I pushed this question aside, it proved to be persistent and significant, ultimately leading me to make Assa-2<\/em> (Olenev, Solovyov 2015).<\/p>\n

Indeed, shortly before the collapse of the Soviet Union in 1991, very few \u2013 especially among the younger generation \u2013 could have anticipated that the Russian reality of the 1990s would turn out to be far less optimistic than they had imagined. The decade that followed the collapse, known in Russia as the \u201cwild\u201d 1990s (likhie devyanostye<\/em>), is widely remembered as a time of profound social and economic upheaval, a sharp deterioration in living standards, along with increasing levels of organized crime and violence in everyday life.<\/p>\n

As for other symbolic elements in the film, particular attention should be paid to several iconic art pieces featured in the protagonist\u2019s apartment, namely Kommunikatsionnaya truba<\/em> (\u2018Communication Pipe,\u2019 1975) and Zheleznyi zanaves<\/em> (\u2018Iron Curtain,\u2019 1975), both of which are displayed in Bananan\u2019s room together with other abstract artworks and objects. The pieces are genuine creations by the members of Gnezdo (lit., \u2018The Nest\u2019), a conceptual art collective formed in 1975 by Mikhail Roshal (1956-2007), Gennady Donskoy (b. 1956), and Viktor Skersis (b. 1956). Kommunikatsionnaya truba <\/em>represents a primitive metal tubiform device, designed to enable two people to exchange their most intimate thoughts and ideas.[1]<\/sup><\/a> Meanwhile, \u2018Iron Curtain\u2019 refers to the widely recognized metaphor used to describe the political divide separating communist Eastern Europe from the West from the end of the Second World War until the conclusion of the Cold War in 1991. Both works therefore reduce the complex political concepts behind these artworks to simple physical objects, emphasizing their almost primitive materiality.<\/p>\n

The \u2018Pipe\u2019 can be interpreted as a symbol of glasnost<\/em> (i.e., freedom of expression, openness), representing the only \u201clegitimate\u201d means of expressing and sharing ideas in a society where the expression of certain ideas was restricted, and public opinion was often silenced or marginalized. \u2018Iron Curtain\u2019, in its turn, embodied the complex theme of the strained relationship between the Soviet Union and the so-called \u2018outside world\u2019; the impossibility of crossing or seeing beyond this metaphorical wall generated in some a claustrophobic sense of confinement, isolation, and alienation. In Assa<\/em>, both artworks operate not as mere background decoration, but as significant recurring elements with specific and deliberate narrative functions. For instance, the \u2018Pipe\u2019 is used twice as a communication device between three different characters in the film: first, Alika uses it to tell Bananan the story of her relationship with Krymov; eventually, she keeps it as a gift from Bananan \u2013 a person she loses forever by the end of the film, having never openly expressed her feelings toward him.<\/p>\n

The function of the \u2018Iron Curtain\u2019 is different: serving as the door of Bananan\u2019s room, it produces a loud metallic clatter whenever someone accidentally hits it \u2013 the artwork can therefore be understood as an object of ridicule and demystification, serving to diminish the symbolic seriousness of the divide between Soviet reality and the West. Another artwork featured as part of Bananan\u2019s room is Pal\u2019ma v snegu<\/em> (\u2018Palm Tree in the Snow\u2019). A paradoxical image in itself, it was created by Nikolai Ovchinnikov in 1985 and was originally titled Vsyo khorosho<\/em> (\u2018Everything Is Fine\u2019). The artwork resonates strongly with the film\u2019s imagery, with its the snow-covered Crimean landscapes and their melancholic, out-of-season stillness gradually intensify throughout the narrative, culminating in a paroxysmal ending. And if Ovchinnikov optimistically suggests that \u2018Everything is fine\u2019, the same does not apply either to Bananan, or Alika, or Krymov, whose destinies ultimately take a dramatic turn.<\/p>\n

From an avant-garde perspective, any object can be transformed through its representation to the point of acquiring an absurd dimension. Throughout the film, Solovyov freely deconstructs and recombines a range of cultural references, offering the viewer a new perspective on the complex mosaic of emotions and symbols that defined his time. In this respect, the film can be understood as an avant-garde work of cinema.<\/p>\n

\"\"

Film still from Assa<\/em>, featuring Kommunikacionnaja truba<\/em> (Communication Pipe<\/em>), an art object by the Gnezdo group.<\/p><\/div>\n

The central Crimean storyline is continually interrupted by episodes derived from a historical novel written by Natan Eidelman, and devoted to the final days of Tsar Paul I\u2019s life and reign. Such a choice may seem unexpected considering the general framework of the film, marked by its pure and at times even extreme modernity. [2]<\/sup><\/a> \u00a0<\/sup>In a 1988 interview for \u201cIskusstvo kino\u201d, Sergei Solovyov defined the film\u2019s chronotope as the performative space of a parallel cinematic reality (Solovyov, Dondurei 1988: 6-20). The forms of naturalistic and philosophical absurdism present in the film belong to a tradition that found one of its highest literary expressions in the oeuvre<\/em> of Daniil Kharms and his successors, whose poetry, prose, and comic sketches combined the absurd with infantilism, surrealism, black humor, alogism, and zaum<\/em> (i.e., \u2018transrational language\u2019).<\/p>\n

According to Mariya Bezenkova, in the film \u201cHistory (as objectified time and space) no longer reveals itself through the [protagonist\u2019s] personality. Instead, it emerges as a separate, faceless, yet remarkably powerful character \u2013 an equivalent of the ancient Greek notion of fate (rok<\/em>).[3]<\/sup><\/a> [\u2026]\u00a0 In the cinema of that period, individuals were already free to exist beyond historical Time, free to inhabit a fantastical space rather than a real one, thereby adopting the corresponding modes of perception. […] Above all, [the character] sought to preserve an inner core and a distinct sense of individuality and […] displayed a certain irreverence in what he did, what he said, and the way he interacted with other characters\u201d (Bezenkova 2011: 85-89).<\/p>\n

And indeed, the reality that the protagonist of Assa<\/em> seems to inhabit is a fantastical one, if not an altogether bizarre or absurdist one \u2013 rather than understanding his own life as reality, he perceives himself as existing within the realm of dreams. In fact, the film features several of these dreams, whose sheer vividness and almost fantastically chaotic imagery are remarkable for their beauty. He refers to Grebenshchikov as \u201ca god,\u201d saying that \u201cthere is a radiance that emanates from him,\u201d he writes the \u201ceternal book,\u201d destined to survive the apocalypse, and creates rather provocative New Wave songs, performed in a distinctive manner seemingly inspired by Sergei Kuryokhin\u2019s Pop-Mekhanika. He wears his glasses with no lenses in them, arguing that \u201cit is not the lenses that matter; what matters is the sense of oneself as a person who can<\/em> see\u201d (\u201cglavnoe \u2013 ne stekla; glavnoe \u2013 oshchushchat\u2019 sebya zryachim chelovekom\u201d).<\/p>\n

 <\/p>\n

\"\"

\u017deleznyj zanaves<\/em> The Iron Curtain<\/em>, by the Gnezdo art group, 1976.<\/p><\/div>\n

For the 2008 sequel to Assa<\/em>, Solovyov invited Sergei Shnurov to be the film\u2019s principal composer, while also featuring him in a cameo role. A prominent Russian musician and the frontman of the band Leningrad, Shnurov is known for his eccentric and provocative public persona, reflected in the songs characterized by satire and the extensive use of obscene language. It may be suggested that Solovyov saw in Shnurov the embodiment of a specific transition toward a \u201cnew\u201d avant-garde (formally speaking), largely associated with the city of St. Petersburg \u2013 an avant-garde marked by provocation, a sort of \u201cpop revolution,\u201d experimentation and, ultimately, a dimension of social protest embodied by the band Leningrad itself.<\/p>\n

Even when considered alongside its sequel, Assa<\/em> remains an experimental film, a real manifestation of the late Soviet underground culture, a freewheeling collage \u2013 eclectic, polymorphous and multifaceted in nature \u2013 shaped by a wide range of creative influences; a work so radically improvised that it ultimately stands as the culmination of an era that was surprisingly open and tolerant on the verge of its demise. A work of art that could never have existed as we know it without the convergence of an extraordinary variety of artistic impulses and the key protagonists of its historical moment, whose true importance can only be partially captured in the present study.<\/p>\n

 <\/p>\n

________________<\/p>\n

Notes<\/strong><\/p>\n

<\/a><\/p>\n

[1]<\/a> The \u2018Communication Pipe\u2019 was originally conceived as \u201can effective way of improving communication between nations.\u201d<\/p>\n

[2]<\/a> The temporal disjunction between these narrative strands seems to point toward a metafilmic dimension.<\/p>\n

[3]<\/a> The Russian term rok<\/em> corresponds to the Latin fatum<\/em>, which, in turn, evokes the Greek concept of Ananke<\/em> \u2013 the personification of necessity, inevitability, and constraint \u2013 as embodied by the Moirai<\/em>, the Fates who determine an inescapable destiny.<\/p>\n

 <\/p>\n

Bibliography <\/strong><\/p>\n

 <\/p>\n

    \n
  1. Abdullaeva, Z., \u201c2-Assa-2\u201d Sergeia Solovyova: Zara Abdullaeva on tom, chto illiuzij bol\u2019she net<\/em>, \u201cIskusstvo kino\u201d, 11.04.2023, URL: https:\/\/kinoart.ru\/reviews\/2-assa-2-sergeya-solovieva-zara-abdullaeva-o-tom-chto-illyuziy-bolshe-net<\/a> (last accessed: 06\/01\/2026).<\/li>\n
  2. Barabanov, B., Kniga peremen: dokumental\u2019nyi roman<\/em> B. Barabanova, in B. Barabanov, A. Chernigovskaya (eds.), St. Petersburg, Amfora, 2008.<\/li>\n
  3. Bezenkova, M., Mifologizacija geroja i sredy v kinematografe perestrojki<\/em>, \u201cVestnik Kazanskogo gosudarstvennogo universiteta kul\u2019tury i iskusstv\u201d, 1 (2019), pp. 85-89.<\/li>\n
  4. Degot,\u00a0E.,\u00a0Desyat\u00a0aktsiy\u00a0gruppy\u00a0\u201cGnezdo\u201d,<\/em>2008,\u00a0URL:\u00a0https:\/\/os.colta.ru\/art\/projects\/109\/det\u00a0ails\/998\/<\/a> (last accessed: 03\/01\/2024).<\/li>\n
  5. Saprykin, Yu., Yurii Saprykin ob \u201cAsse\u201d: fragment iz novoi knigi \u201cSolovyov\u201d<\/em>, \u201cIskusstvo kino\u201d, 15.06.2022, URL: https:\/\/kinoart.ru\/texts\/yuriy-saprykin-ob-asse-fragment-iz-novoy-knigi-soloviev<\/a> (last accessed: 06\/01\/2026).<\/li>\n
  6. Lebedeva, Ju., Assa v massy<\/em>, \u201cARTCHRONIKA\u201d, 7-8 (2008).<\/li>\n
  7. Mangiullo, A., \u201cASSA\u201d: il fenomeno della Perestrojka<\/em>, \u201cAndergraund rivista\u201d, URL:\u00a0https:\/\/www.andergraundrivista.com\/2021\/12\/20\/assa-il-fenomeno-della-perestrojka\/ (last accessed 18\/01\/2026).<\/li>\n
  8. Morsin, A., \u201cMne s andegraundom interesnee, chem s Malerom\u201d: Kak blagodarya Sergeyu Solovyovu poyavilis samye neveroyatnye rock-saundtreki kontsa 1980-kh.<\/em>, \u201cMeduza\u201d, 19.12.2021, 13 p., URL: https:\/\/meduza.io\/feature\/2021\/12\/19\/mne-s-andegraundom-interesnee-chem-s-malerom<\/a> (last accessed: 03\/01\/2026).<\/li>\n
  9. Olenev, R., Sergey Solovyov, <\/em>Andrey Larin (ed.), \u201cStop-kadr\u201d, 22.06.2015, URL: https:\/\/newlit.ru\/~olenev\/5460.html (last accessed 18\/01\/2026) (my translation).<\/li>\n
  10. Prigov D., Chto nado znat o kontseptualizme, <\/em>\u201cArt-Azbuka. Slovar sovremennogo iskusstva\u201d, <\/em> Fray (ed.), 1998, URL: http:\/\/azbuka.gif.ru\/important\/prigovkontseptualizm\/<\/a> (last accessed: 01\/01\/2025).<\/li>\n
  11. Semelyak, M., Saprykin, Yu., \u201cAssa\u201d: Vo vsem zasnezhennoe sirotstvo<\/em>. \u201cSEANS\u201d, 05.04.2019, URL: https:\/\/seance.ru\/articles\/assa-2019\/ (last accessed: 06\/06\/2025).<\/li>\n
  12. Smirnova, A., Assa \u2013 v massy!<\/em>, \u201cSovetskij \u0116kran\u201d, Ju. S. Rybakov (ed.), Moskva, Izdatel\u2019stvo \u201cPravda\u201d, 1988, pp. 12-14<\/li>\n
  13. Solovyov, S., Dondurey, D., \u201cAssu\u201d v massy, massy v kassu… <\/em>Ili Igrovoe Prostranstvo Parallelnoi Realnosti<\/em>, \u201cIskusstvo kino\u201d, K. Shcherbakov (ed.), 10\/88, pp. 6-20.<\/li>\n
  14. Stishova, E., Parol \u201cASSA\u201d: Kak film Sergeya Solovyova stal manifestom pokoleniya Tsoya, <\/em>\u201cIskusstvo kino\u201d, 12\/21, URL: https:\/\/kinoart.ru\/opinions\/parol-assa-pochemu-film-sergeya-solovieva-stal-manifestom-pokoleniya-tsoya<\/a> (last accessed: 04\/01\/2025).<\/li>\n<\/ol>\n

     <\/p>\n

    Online sources <\/strong><\/p>\n

    Muzei Kino: \u201cAssa\u201d (1987), URL: https:\/\/www.museikino.ru\/exposition\/films\/assa\/<\/a> (last accessed: 06\/04\/2026).<\/p>\n

    Dokumentalnyi\u00a0film\u00a0\u201cASSA\u00a0\u2013\u00a02024\u201d,\u00a0URL:\u00a0https:\/\/www.youtube.com\/watch?v=fN09qD61rew<\/a> (last accessed: 06\/04\/2026).<\/p>\n

    Kulturnye kody neofitsialnogo iskusstva 1980-kh v filme \u201cAssa\u201d, URL: https:\/\/www.youtube.com\/watch?v=zmoHwFwbmAU<\/a> (last accessed: 06\/04\/2026).<\/p>\n

     <\/p>\n

    @Sofiia Solokhina <\/em>(Universit\u00e0 di Pisa)<\/p>\n

    [25 gennaio 2026]\n

     <\/p>\n

    Sofiia Solokhina, Assa (1987). L\u2019underground sul grande schermo<\/em>, in Voci libere in URSS. Letteratura, pensiero, arti indipendenti in Unione Sovietica e gli echi in Occidente (1953-1991),<\/em> a cura di Claudia Pieralli e Marco Sabbatini, Firenze, Firenze University Press, 2021-2026. ISSN 2704-5870 (online), eISBN 978-88-5518-463-2, DOI 10.36253\/978-88-5518-463-2\u00a0 \u00a0 \u00a0 https:\/\/vocilibereurss.fupress.net\/assa\/\u00a0 \u00a0 (aggiornamento 31\/01\/2026)<\/p>\n

     <\/p>\n

     <\/p>\n

    <\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

    \u201cIf each of us lights a match, it will be enough to illuminate half the sky.\u201d Bananan, Assa   As one of the defining and most iconic films of Perestroika…<\/p>\n","protected":false},"author":2,"featured_media":10435,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[488,292,489,259,302,261,258],"tags":[752,753,761,756,759,760],"_links":{"self":[{"href":"https:\/\/vocilibereurss.fupress.net\/en\/wp-json\/wp\/v2\/posts\/10449"}],"collection":[{"href":"https:\/\/vocilibereurss.fupress.net\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/vocilibereurss.fupress.net\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/vocilibereurss.fupress.net\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/vocilibereurss.fupress.net\/en\/wp-json\/wp\/v2\/comments?post=10449"}],"version-history":[{"count":7,"href":"https:\/\/vocilibereurss.fupress.net\/en\/wp-json\/wp\/v2\/posts\/10449\/revisions"}],"predecessor-version":[{"id":10456,"href":"https:\/\/vocilibereurss.fupress.net\/en\/wp-json\/wp\/v2\/posts\/10449\/revisions\/10456"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/vocilibereurss.fupress.net\/en\/wp-json\/wp\/v2\/media\/10435"}],"wp:attachment":[{"href":"https:\/\/vocilibereurss.fupress.net\/en\/wp-json\/wp\/v2\/media?parent=10449"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/vocilibereurss.fupress.net\/en\/wp-json\/wp\/v2\/categories?post=10449"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/vocilibereurss.fupress.net\/en\/wp-json\/wp\/v2\/tags?post=10449"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}