Svetlana Zhgun

Doctor Vera Pavlovna Zanemonets has recently been working at the Genetics Research Institute and is thinking about her dissertation. Her life is quite prosperous: her favorite job, family. One day, on an urgent call, Vera goes to her sister, who lives in the village and needs urgent surgery after an accident. But there is no surgeon in the village hospital, and Vera decides to urgently operate on her sister.

Renegotiating the representational paradigm of nationhood the film draws a heterogeneous picture of Egyptian society as well as Soviet workers as they embarked on the momentous dam enterprise. The films presents a vision of a nation deep rooted in unity as well as diversity. The films projection of a renewed imagining of the nation inadvertently acknowledges a new and nuanced understanding of its goals, political objectives, and how these impact the personal within it. (KHOURI)

A story about Soviet women and their village set during the years after WWII.

Leonid Komkov, despite his lack of experience, is obsessed with becoming a helmsman on a riverboat.

A teenage boy growing up in a village without a father spends a few days cutting grass in a remote location. In the process he learns about friendship and responsibility.

Once again, director Yulia Solnsteva directs a movie that her late husband Alexandre Dovchenko scripted but did not live long enough to shoot. In this wartime drama, the emphasis is on the heroics of both the civilians and the soldiers during times of severe stress in World War II. At the core of the action is one man in particular, whose sacrifices and heroics speak for a much larger group.

The end of the civil war. A sailor Alexey Zvorykin is appointed Director of the automobile plant. After training in America at Ford he finishes release of the first Soviet lorry and personally takes part in the international motor rally in Sands of Kara-Kuma which is won by our car.

Kolya Kasatkin, who saw in his wife Tanyusha the ideal of female charm, tenderness, kindness, who loved her to the point of oblivion, was at a loss before the idle conversations of well-wishers about his wife's betrayal. Having found his wife with the choir director, Nikolai demanded a divorce. Continuing to love each other, the former spouses are unhappy in separation. Kasatkin's new hasty marriage did not return his peace of mind. In daily agony, in the pursuit of a past life, he also lost his old dream — to live and work in the Far East, where he served in the army. Both realized too late that love does not forgive hasty decisions, that it must be able to keep and protect.