Oleg Kovalov

In this movie we follow fate not a person but car: first Soviet Lada. It starts with Brezhnev daughter and then gradually moves on parallel to last years of USSR into wild after-perestroika years with bandits and newly born oligarchs.

A semi-fictional account of the life of Russian poet Joseph Brodsky, who was forced into American exile in 1972.

With a brother dedicated to punk rock stardom at any cost and a drunken father who chases skirt between robotic dancing lessons from the TV, young Senka stands as much chance of nurture as the hero of Truffaut's 400 Blows. The amazing thing about Ogorodnikov's film is that it was made in Russia. Clearly, plenty of Soviet teenies share the nihilistic feelings of their Western counterparts, and the extensive footage of safety-pin chic at concerts perhaps points to a sound export instinct on the director's part. Senka's brother Kostya is under pressure from Howmuch, a very heavy rocker, to steal a synthesiser from the Community Centre, so to protect him Senka steals it himself. The story occupies little more space than the music, but the performances are splendid enough to lodge Senka's predicament in the heart.

The rat lives in a cage that stands in the room of a large communal apartment in which the poet lives. The apartment is in the house; House - in the yard-well; The courtyard is in the city; And in the courtyard - 1939 ...In the film there are many newsreel frames of those times, the sound series contains both popular and propagandist songs, both Soviet and German. The plot is divided into many unrelated episodes, which are colorized in different colors. The author claims that everything shown should be understood outside of symbolism: everything in the film means only itself.

Mixture of documentary and fiction about the dictatorial 1930s, loosely based on the utopian fantasies of Fritz Lang and about the forbidden passionate love affair between a photographer and his model.

A free film adaptation of the director's memoirs. In form, this is the "stream of consciousness" that attracted Sergei Eisenstein after getting acquainted with the experiments of James Joyce. The outer outline of the film is a long foreign trip of the director, which began in 1929, during which he recalls his past life and considers creative ideas. The film is constructed as a free alternation of reality, dreams, and fantasies. The material for it is fragments from the films of Sergei Eisenstein and his fellow contemporaries, documentary footage depicting the director and his time. The wide coverage of the faces and events reflected in the film shows the special role of Sergei Eisenstein in the culture of the twentieth century…

TV director Pavel Prishvin is filming with his friend-filmmaker, whose film talks about Stalinism

A mixture of shots form a Soviet propaganda film and a documentary about the clinic for incurable alcoholics.