DAU. Degeneration

A mathematician in a secret Soviet research Institute believes that ayahuasca is the key to unlocking all the potential of the quantum universe, but its nightmarish visions also foreshadow his tragic demise.

Alienated from the rest of the scientific Institute in which they live, a lonely housewife and her teenage son break the ultimate taboo, with only their submissive maid to bear witness.

Two scientists grow old and weary together in a secret Soviet Institute, their unconventional friendship the only consistency in a lifetime of personal and professional disappointments.

Within the top secret Institute of Physics Problems, the scientist Nikita Nekrasov is visited by his wife and small children. While away from his family the physicist has managed to fall in love with other women. In open conversations with his spouse – in the bedroom, the dining room, and while out walking – he attempts to convince her of the legitimacy of polygamous relationships, and to test the limits of her unconditional love.

Nikita Nekrasov is a scientist, a theoretical physicist who studies our world and other possible worlds. He refuses to make a choice between mathematics and physics, between one woman and another, as he ponders the existence of the multi-universe. At scientific conferences, attended by eminent foreign scientists and a rising younger generation of physicists alike, Nekrasov gets carried away debating the beauty of string theory. He attempts to explain to all of his women – Katya, the librarian, Zoya, the scientific secretary, Svetalana, the head of department – about the theory of his own polygamy, and the possibility of having enough feelings to satisfy everyone.

Sasha, a young janitor, notices a certain softness and kindness in an older janitor. In a small, secluded room, away from their colleagues, the two men waver between resisting and giving in to their feelings and desires, walking a tightrope between violent tendencies and a need for tenderness.

Katya, a young librarian, believes in love, but her ideals are crushed by reality. After a string of disappointing affairs, Katya finally finds tenderness and understanding in the arms of her colleague, a journalist called Tanya. But then the First Department interferes: the state security services see this relationship as unacceptable for a Soviet woman.

Maxim and his comrades-in-arms are participating in top-secret experiments into the creation of a new man. The employees of the secret Institute are characterised by everything Maxim detests: alcoholism, depravity, weak will, loss of ideals, and lack of faith in the future. Vika, one of the waitresses in the Institute's cafeteria, falls in love with the young communist, though she is scared by his fascination with eugenics and his violent tendencies. Vika hopes that her passion and tenderness will soften Maxim, while the state security agents keep a watchful eye on their developing relationship.

It is 1956. Dau is a distinguished Soviet scientist who meets up with the love of his youth – Maria, a Greek actress – during her three day visit to Moscow. They haven’t seen each other for 25 years. Dau is a successful and prosperous scientist, but feels excruciatingly dissatisfied with his family life. Through Maria he hopes to regain lost harmony and beauty, but reality intrudes when Nora, Dau’s wife, returns home.

Once just a girl from the provinces, Nora is now married to a successful scientist and lives together with her family within the confines of a secret and privileged Moscow institute. Nora is visited by her mother for the first time since her wedding. Her mother closely observes the atmosphere within the couple's home, trying to work out whether her daughter is happy. During the course of their intimate conversations the complexity of their contradictory relationship is revealed.

It is 1953, Stalin has just died. It is a troubled and uncertain period for the whole of the Soviet Union, particularly for the state security services. In the Institute, a secret research facility, the scientists continue their theoretical and experimental work. Every night they strain their ears to listen for footsteps in the dark corridors: who have they come for this time? Who has reported on who? Having survived the fear and humiliation of an interrogation, the Head of the Theoretical Department, Andrei Losev, refuses to cooperate with the security services, only to face a new ordeal back in his own home.

«The Return of the Prodigal Son» is the first volume from the film (novel) of Anatoli Vassiliev’s «Empire» inside the Dau cycle. The story is about inner kinship, which is much closer than blood, about inevitable betrayal, about almost fatherly love and forgiveness. Cigarettes (papirossa), images from «Faust» and «Don Juan», walks in the Soviet Park of culture... And a terrible, narrow gap inside the brutal regime where you have to be skilled enough to survive... Yes! and they also play gorodki (skittles) with childish passion!

Natasha runs the canteen at a secret 1950s Soviet research institute. This is the beating heart of the DAU universe, everyone drops in here: the institute's employees, scientists and visiting foreign guests. Natasha's world is a small one, split between the demands of the canteen during the day and alcohol fuelled nights with her younger colleague Olga, during which the two confide their hopes of romance and for a different future. At a party one evening Natasha becomes close to a visiting French scientist Luc Bige and the two sleep together. The following day her life takes a dramatic turn when she is summoned to an interrogation by the KGB's General Vladimir Azhippo who questions the nature of her relationship with the foreign guest.

Inspired by the physicists who built the Soviet atomic bomb, the film DAU follows a brilliant Greek-born physicist from 1928 through four tumultuous decades in the USSR. Driven to uncover the laws of the universe, the idealistic Dau is drawn into state service to help create one of history’s deadliest weapons. Inside a secret research institute, life is governed by scientific ambition, power, surveillance and privilege. As his autonomy erodes, Dau seeks freedom beyond his marriage through a succession of affairs, gradually losing both himself and his capacity to love. At once an intimate portrait of a man in pursuit of happiness and freedom and a vast fresco of a society founded on violence and ideology, DAU traces the small compromises that shape a life and alter the course of history.

Maxim and his comrades-in-arms are participating in top-secret experiments into the creation of a new man. The employees of the secret Institute are characterised by everything Maxim detests: alcoholism, depravity, weak will, loss of ideals, and lack of faith in the future. Vika, one of the waitresses in the Institute's cafeteria, falls in love with the young communist, though she is scared by his fascination with eugenics and his violent tendencies. Vika hopes that her passion and tenderness will soften Maxim, while the state security agents keep a watchful eye on their developing relationship.

A mathematician in a secret Soviet research Institute believes that ayahuasca is the key to unlocking all the potential of the quantum universe, but its nightmarish visions also foreshadow his tragic demise.

The Land of Forgotten Songs is a collective creative collaboration between The Deep Forest Foundation and indigenous amazon communities. It captures moments of the Kaxinawa Huni Kuin, Awa, Kayapo, Matis, Enawene Nawe and Shipibo, who all live alongside the forest. With an ancient myth as a recurring motif we connecting the past and their present. A transcendental journey into the life, rituals and myths of indigenous communities of the amazon forest.

The main characters of the film are Zinedine Zidane and Marco Materazzi, participants in the most scandalous episode in the history of football. During extra time of the final match of the 2006 World Cup, pitting France against Italy, the French leader, superstar Zidane, for some unknown reason took a running start and head-butted Materazzi in the chest. Zidane was sent off the field and, as a result, the French lost the match on penalties. This head-butt and the unexpected loss were now bound together in the minds of sports fans forever. But the burning question - why did it happen? – has never been properly answered. After thoroughly studying the lives of the participants in this match, the filmmakers reveal an amazing story: The 2006 World Cup appears to us in the form of a play “directed by the Creator”.