Финансирование установки теплопунктов в Нижнем Новгороде уменьшат на 277 миллионов.

Финансирование установки теплопунктов в Нижнем Новгороде уменьшат на 277 миллионов.

      14 октября 2025 года, 18:20 Общество НИА "Нижний Новгород" - Мария Орлова Финансирование установки индивидуальных тепловых пунктов (ИТП) в Нижнем Новгороде будет сокращено на 277 млн рублей в 2025 году. Эта информация была озвучена на заседании постоянной комиссии думы по городскому хозяйству 14 октября, сообщает корреспондент НИА "Нижний Новгород". Депутат Николай Сатаев интересовался, затрагивает ли это микрорайон Мещерское озеро. Исполняющий обязанности директора департамента жилья Сергей Самсонов уточнил, что средства предназначались также для объектов в Канавинском и Московском районах. По его словам, речь идет о региональных средствах. "Они запланированы на более поздний срок, как мне сообщили в министерстве ЖКХ," - добавил Самсонов. Однако конкретные сроки переноса финансирования пока еще не установлены. Напомним, что весной городская администрация сообщала о планах выделить более 300 млн рублей из муниципального и областного бюджетов на установку ИТП в Канавинском, Московском и Приокском районах в 2025 году. В рамках программы предполагалось установить не менее 42 тепловых пунктов. ИТП необходимы для перехода многоквартирных домов с открытой на закрытую систему горячего водоснабжения. Это позволяет использовать для горячей воды питьевую, а не техническую водопроводную воду. Такой подход не только улучшает качество горячей воды, но и снижает затраты на её производство, что позволяет жильцам экономить до 500 рублей в месяц с одной квартиры на коммунальных платежах. У НИА "Нижний Новгород" есть Telegram-канал. Подписывайтесь, чтобы быть в курсе основных событий, эксклюзивных материалов и оперативной информации. Copyright © 1999—2025 НИА "Нижний Новгород". При перепечатке обязательна гиперссылка на НИА "Нижний Новгород". Настоящий ресурс может содержать материалы 18+.

Другие Новости Нижнего (Н-Н-152)

Frankenstein, 2025. Directed by Guillermo del Toro. Starring Oscar Isaac, Jacob Elordi, Mia Goth, Christoph Waltz, Felix Kammerer, Charles Dance, David Bradley, and Lars Mikkelsen. SYNOPSIS: An arrogant yet brilliant scientist animates a creature in a horrific experiment that ultimately leads to the downfall of both the inventor and his tragic creation. Guillermo del Toro’s Frankenstein is a breathtaking work of monstrous beauty. It feels as if it has emerged from the dust-laden pages of an early version of Mary Shelley’s classic novel, recently uncovered. This Academy Award-winning artist, who excels in darker themes, accomplishes with this film the same magic he did with Pinocchio by reimagining this timeless tale. The film is structured into three segments: the Prologue, Frankenstein's narrative, and the Creature's narrative. Del Toro’s script is relatively straightforward. The first half is narrated by Victor, played by Oscar Isaac, as he recounts events leading up to his rescue, half-dead, in the Arctic Tundra by Captain, portrayed by Lars Mikkelsen. We follow his transformation from an intelligent but sheltered mother's boy to an arrogantly determined London surgeon focused on conquering death, which he views as a flaw of God. During one of his dramatic presentations, where he manages to reanimate a corpse to the point it catches an apple—a moment both horrific and tragic—he encounters Christoph Waltz’s enigmatic benefactor, Herr Harlander, who provides him with the means to pursue his darkest ambitions amidst the condemnation from the medical experts. This dark journey introduces Harlander’s niece Elizabeth (Mia Goth), who is engaged to Frankenstein’s brother William (Felix Kammerer), eventually leading to the birth of the iconic creature. At a crucial moment in the film's dark narrative, the focus shifts to the monster’s story, and it is here that del Toro’s fable truly blossoms. Initially glimpsed in the prologue as a powerful being tossing sailors like a comic book villain, del Toro’s creature is actually more reminiscent of the amphibian man from The Shape of Water. While he towers over his creator, up close he is a delicate giant, exquisitely portrayed by Jacob Elordi. Elordi delivers a physical performance that would make del Toro collaborator Doug Jones proud, embodying the dark essence and lost spirit of Frankenstein. Like a puppet without strings yet still bound, he breathes life into the creature like a newborn fawn, showing the mannerisms of someone—rather than something—discovering the essence of being alive. The third act of Frankenstein shows his awakening, familiar to anyone acquainted with Shelley’s original story. Elordi’s portrayal of the creature, along with the cruel treatment he endures, lends emotional weight to the narrative’s climax. This film is essentially a two-hander featuring Elordi and the impressive Isaac, but Mia Goth plays a crucial role as the sole character able to see both the monster and the creator for who they truly are. Her performance embodies the notion that she was destined for this role, as her unique other-worldliness feels perfectly suited to del Toro’s vision. The chemistry between her and Elordi during their Beauty and the Beast-like moments sparkles with innocent connection, while her rejections of Victor’s advances highlight his fragile ego. Like limbs gathered from a frozen battlefield, one can possess all the right elements to create a great film, but without a skilled craftsman to breathe life into it, everything may fall apart into a grotesque, disjointed piece. Fortunately, this is del Toro’s passion project, and Frankenstein is as visually rich and refined as one might anticipate. From the initial scenes featuring a vivid red headdress against the dull stairway background to the beautifully designed funeral caskets of Victor’s parents, every cent spent on your Netflix subscription is vividly realized on screen by a true master. The sets and costumes align perfectly with del Toro’s distinctive style, as does the horror element. There are no cheap shock tactics or repulsive moments; everything is infused with emotional significance. The remains Victor manipulates are presented with haunting sorrow, and when brought to life intermittently, the response is not disgust but rather empathy. Another crucial element that brings this remarkable creation to life is Alexandre Desplat’s score, transitioning from delicate to powerful with a series of unforgettable themes. Central to the narrative are the timeless debates about gods and monsters, nature versus nurture, and whether evil is inherently born or shaped by circumstances. These themes resonate deeply, particularly in a world where empathy is increasingly scarce or even questioned. Guillermo del Toro’s Frankenstein showcases the auteur at his finest, eliciting a remarkable performance from Jacob Elordi and revitalizing a 200-year-old story by weaving it into a poignant gothic tale of love and isolation. Flickering Myth Rating – Film Frankenstein, 2025. Directed by Guillermo del Toro. Starring Oscar Isaac, Jacob Elordi, Mia Goth, Christoph Waltz, Felix Kammerer, Charles Dance, David Bradley, and Lars Mikkelsen. SYNOPSIS: An arrogant yet brilliant scientist animates a creature in a horrific experiment that ultimately leads to the downfall of both the inventor and his tragic creation. Guillermo del Toro’s Frankenstein is a breathtaking work of monstrous beauty. It feels as if it has emerged from the dust-laden pages of an early version of Mary Shelley’s classic novel, recently uncovered. This Academy Award-winning artist, who excels in darker themes, accomplishes with this film the same magic he did with Pinocchio by reimagining this timeless tale. The film is structured into three segments: the Prologue, Frankenstein's narrative, and the Creature's narrative. Del Toro’s script is relatively straightforward. The first half is narrated by Victor, played by Oscar Isaac, as he recounts events leading up to his rescue, half-dead, in the Arctic Tundra by Captain, portrayed by Lars Mikkelsen. We follow his transformation from an intelligent but sheltered mother's boy to an arrogantly determined London surgeon focused on conquering death, which he views as a flaw of God. During one of his dramatic presentations, where he manages to reanimate a corpse to the point it catches an apple—a moment both horrific and tragic—he encounters Christoph Waltz’s enigmatic benefactor, Herr Harlander, who provides him with the means to pursue his darkest ambitions amidst the condemnation from the medical experts. This dark journey introduces Harlander’s niece Elizabeth (Mia Goth), who is engaged to Frankenstein’s brother William (Felix Kammerer), eventually leading to the birth of the iconic creature. At a crucial moment in the film's dark narrative, the focus shifts to the monster’s story, and it is here that del Toro’s fable truly blossoms. Initially glimpsed in the prologue as a powerful being tossing sailors like a comic book villain, del Toro’s creature is actually more reminiscent of the amphibian man from The Shape of Water. While he towers over his creator, up close he is a delicate giant, exquisitely portrayed by Jacob Elordi. Elordi delivers a physical performance that would make del Toro collaborator Doug Jones proud, embodying the dark essence and lost spirit of Frankenstein. Like a puppet without strings yet still bound, he breathes life into the creature like a newborn fawn, showing the mannerisms of someone—rather than something—discovering the essence of being alive. The third act of Frankenstein shows his awakening, familiar to anyone acquainted with Shelley’s original story. Elordi’s portrayal of the creature, along with the cruel treatment he endures, lends emotional weight to the narrative’s climax. This film is essentially a two-hander featuring Elordi and the impressive Isaac, but Mia Goth plays a crucial role as the sole character able to see both the monster and the creator for who they truly are. Her performance embodies the notion that she was destined for this role, as her unique other-worldliness feels perfectly suited to del Toro’s vision. The chemistry between her and Elordi during their Beauty and the Beast-like moments sparkles with innocent connection, while her rejections of Victor’s advances highlight his fragile ego. Like limbs gathered from a frozen battlefield, one can possess all the right elements to create a great film, but without a skilled craftsman to breathe life into it, everything may fall apart into a grotesque, disjointed piece. Fortunately, this is del Toro’s passion project, and Frankenstein is as visually rich and refined as one might anticipate. From the initial scenes featuring a vivid red headdress against the dull stairway background to the beautifully designed funeral caskets of Victor’s parents, every cent spent on your Netflix subscription is vividly realized on screen by a true master. The sets and costumes align perfectly with del Toro’s distinctive style, as does the horror element. There are no cheap shock tactics or repulsive moments; everything is infused with emotional significance. The remains Victor manipulates are presented with haunting sorrow, and when brought to life intermittently, the response is not disgust but rather empathy. Another crucial element that brings this remarkable creation to life is Alexandre Desplat’s score, transitioning from delicate to powerful with a series of unforgettable themes. Central to the narrative are the timeless debates about gods and monsters, nature versus nurture, and whether evil is inherently born or shaped by circumstances. These themes resonate deeply, particularly in a world where empathy is increasingly scarce or even questioned. Guillermo del Toro’s Frankenstein showcases the auteur at his finest, eliciting a remarkable performance from Jacob Elordi and revitalizing a 200-year-old story by weaving it into a poignant gothic tale of love and isolation. Flickering Myth Rating – Film Черкасов рассказал о региональном опыте в развитии индустрии детских товаров на совещании в Минпромторге России. В Нижнем Новгороде в октябре было составлено более 80 протоколов за безбилетный проезд. В Нижнем Новгороде в октябре было составлено более 80 протоколов за безбилетный проезд. Нижегородские средства массовой информации имеют возможность подать заявку на премию «Говорим о Победе». Нижегородские средства массовой информации имеют возможность подать заявку на премию «Говорим о Победе». Нижегородские средства массовой информации имеют возможность подать заявку на Всероссийскую общественную премию «Говорим о Победе». Об этом сообщили организаторы на пресс-конференции, состоявшейся 14 октября 2025 года. Газета Знамя, Нижегородская область, Большое Мурашкино. Дополнительно 111 миллионов рублей будет выделено на проектирование террасного парка в Почаинском овраге. Дополнительно 111 миллионов рублей будет выделено на проектирование террасного парка в Почаинском овраге. Более 7 миллионов россиян получат семейный налоговый вычет. Более 7 миллионов россиян получат семейный налоговый вычет.

Финансирование установки теплопунктов в Нижнем Новгороде уменьшат на 277 миллионов.