Petr Mostovoy

About the murder of Leon Trotsky and his murderer Ramon Mercader.

About a Jewish commune established in the arid steppes of Crimea in the 1920s.

The Hermitage Museum. Visitors gather around a tour guide. “You are standing before Leonardo da Vinci’s painting Madonna Litta. Look at her face: it is beautiful.” A hidden camera studies the faces of the people assembled in the museum with the same “careful, attentive, loving regard for the human being” as da Vinci’s painting itself.

The central figure, Marina, recalls an unfulfilled dream of becoming an actress and speaks of the challenging time of the siege of Leningrad. Her account is heard over footage from a restaurant catering to young visitors where she is waiting tables. Fingers moving over the valves of a trumpet; the heels of shoes tapping out a rhythm on the parquet floor; girls waiting anxiously to be asked for a dance. A hidden camera records a place full of joy and ease, while Marina’s memories run on the soundtrack.

The author wanted to return to his characters, the grown—up children, whose naivety was so charming in the previous film, "Just Three Lessons", and trace the further path of these children in life, their different destinies.

Chronicle of the casting to participate in the Israeli project "Cabaret". Russian repatriates, many of whom came to the capital from other cities, talk about themselves, followed by rehearsals and the only performance of the emerging theater. People dreaming of a theatrical career are gradually transformed and become real actors. These were the best days of their lives ...

The plot is based on a conflict that arose at the architectural design institute.

The film tells about a simple Soviet school and its problems.

The captivating story of a Russian Jewish filmmaker working during the height and collapse of the Soviet Union. In this autobiographical documentary, Peter Mostovoy takes us on his journey from impoverished childhood to award-winning filmmaker. Naively believing that his art could be free from demands of the regime, Mostovoy nevertheless became entangled in the absurdity of Soviet-era politics as an “untrustworthy” Jew. The Red Scarf is a smart blend of animation, archival footage—including clips of Mostovoy’s films—and a healthy dose of humour.