DAU. The Empire. Novel One: Return Of The Prodigal Son

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.

A secret Soviet Institute conducts scientific and occult experiments on animals and human beings to create the perfect person. The KGB general and his aides turn a blind eye to erotic adventures of the director of the Institute, scandalous debauches of prominent scientists and their cruel and insane research. One day, a radical ultra right-wing group arrives in the laboratory under the guise of test subjects. They get a task - to eradicate the decaying elements of the Institute’s community, and if needs be, destroy the fragile world of secret Soviet science.

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.

Celebrated Russian theatre director Anatoly Vasiliev's Asino (Italian for donkey) is an epic ode to this beast of burden. The donkey has a long cultural history dating back to Greek mythology and the Bible: Jesus rode into Jerusalem on one; Sancho Panza had a loyal donkey; Winnie the Pooh was friends with the dejected Eeyore. Donkeys stand for stupidity, stubbornness and humility.

The action takes place in Moscow, in the 70s. The characters have not seen each other for many years, but now they have met and are reminiscing about their youth, when they were students at the institute, jazz enthusiasts, and known as stylists.

An exploration of 20th century Russia, following the fusing of the Party and the state after the Russian Civil War, which opened the doors to corruption, resulting in the exiling of the left and right opposition. Described using a combination of historical settings, biographies and masterpieces from Russian avant-garde artists, composers and writers from this period in history.

A talk show

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.

Inspired by the life of Soviet physicists who created the atomic bomb, DAU tells the story of a brilliant Greek-born physicist living in the USSR from 1928 to 1968. Driven to understand the laws of the universe, Dau is soon forced to use his genius in service of the state and help create the deadliest weapon in history. In a secret research institute, everyday life is shaped by scientific dominance, power, surveillance and privilege. Increasingly stripped of his autonomy, Dau attempts to find freedom and happiness outside his marriage through an endless succession of affairs, ultimately losing both himself and his ability to love. Spanning four transformative decades, DAU is both an intimate portrait of one man and a monumental fresco of a society shaped by violence and ideology. It is a saga about the search for happiness, the price of freedom, and the countless everyday compromises that quietly shape both a human destiny and the course of history.

Based on Turgenev's novel

The film "Who left the Light ..." is dedicated to the memory of theater director, theater and film actor Vladimir Ageev. He has been called "the main alchemist of modern filmmaking." A student of Anatoly Vasiliev, Vladimir Ageev paved his own path in art. His search and research led him to create his own creative style, to the "Theater of Mystery and Joy". The film uses archival recordings of the director's rehearsals, fragments from performances.