Tatyana Komarova

A ghost and a French marquis wander through the Winter Palace in St Petersburg, encountering scenes from many different periods of its history.

On the threshold of 22nd century, furrowing the space, protagonist from the Free Search Group makes emergency landing on an unknown planet where he must stay. People who are living on this planet have remained at the stone level of the 20th century, with its social problems, miserable ecology and shaky world..

Masha, who works for a radio station, and Maxim, a street sweeper with an architectural degree, cross paths with each other when they are at an indecisive point in their lives.

Nikolai Petrovich comes to St. Petersburg to organize a revolution against the oligarchy.

In 1942 Bavaria, Eva is alone, when Adolf arrives with Josef, his wife Magda, and Martin to spend a couple of days without politics.

977 is a coded number relating the attempt to “test the harmony with algebra”, to figure out the mathematical regularities of emotional and spiritual realms of human being. The characters have volunteered for the experiment to be put through not only scientific researching, but also through the everyday trials of friendship, love, attractions, envy and “the strongest of affects” – the curiosity. Thus, the scientific experience turns into human one, and a result is unpredictable…

In 1934, Margarita Chugueva, nicknamed Vaska for her large frame and masculine strength, was working on the construction of the Moscow Metro. One day, among the newcomers to the brigade, she recognized Osip, her tormentor, who had mocked special settlers in the Siberian settlement where the family of wealthy peasants Chuguevs was exiled during the years of collectivization, and from where Margarita had escaped.

Inspired by Flaubert’s Madame Bovary, Sokurov’s Save and Protect recalls the most crucial events of Emma’s decline and fall: affairs with the aristocratic Rodolphe and the student Leon, the humiliation that follows her husband’s botching of the operation on the stable boy’s clubfoot. The universality of the theme of eternal struggle between the soul and the flesh is conveyed through the absence of specific reference to time or place: although the film seems to begin in 1840, its surreal mode effortlessly accommodates an automobile and the strains of “When the Saints Go Marching In” on an off-screen radio. Focusing on passion from a woman’s perspective and downplaying plot, Sokurov explores his subject in exquisite detail, capturing not only the heat of passion but also the quiet moments before and after and the innocent sensuousness of the body.