Arsenal

An old man tells his grandson of a legendary treasure buried beneath the hills of Zvenigora, setting in motion a sweeping cinematic poem that intertwines Ukrainian folklore, history, and revolution.

During the agrarian collectivization process in the Soviet Union, Vasyl, a peasant member of the youth division of the Communist Party, gets a tractor with the help of a local party organization and plows private boundaries on kulak fields. However, this enthusiasm will cost him dearly.

Lost film directed by Oleksandr Dovzhenko (his first film) and Favst Lopatynskyi. It is a satire of the NEP period. Vasia, the son of a factory’s worker, is attracted by the romance of adventures. And he goes to look for them. He saves a drowning drunkard who tries to beat him. Vasia escapes from him in a vehicle parked on the shore. However, the vehicle belongs to a superintendent who, when he does not find it, stages its theft. Meanwhile, Vasia exposes priests in the church. As a result, the church is turned into a cinema, and the priest becomes a cinema technician. And finally, Vasia’s last deed is catching a criminal at home and denouncing him to the militia.

During the agrarian collectivization process in the Soviet Union, Vasyl, a peasant member of the youth division of the Communist Party, gets a tractor with the help of a local party organization and plows private boundaries on kulak fields. However, this enthusiasm will cost him dearly.

Wartime documentary by Dovzhenko and Solntseva.

The film-remembrance of the creative fate of the Ukrainian Soviet film director Alexander Dovzhenko, shot on his diaries. It has his statements about his work, about the role of the artist in society, his plans and sources of inspiration, his artistic style and the peculiarities of his worldview. Used excerpts from his films and documentary footage taken during the director's life, as well as filmed fragments of the unfinished scripts " The Death of the Gods” and “Tsar”.

An old man tells his grandson of a legendary treasure buried beneath the hills of Zvenigora, setting in motion a sweeping cinematic poem that intertwines Ukrainian folklore, history, and revolution.

Cheered up by the revolutionary zeal, courage and energy of their leader, Nikolai Alexandrovitch Shchors, in 1919 the peasants and workers' groups gathered in the civil war- devastated Ukraine, to defeat the foreign conquerors and enemies of the revolution. However, it does not take long until a new danger threatens: this time the Polish Pans enter Ukraine, and General Dragomirov marches to Kiev. Shchors, however, gathers the revolutionary forces of the country and brings them to a victorious counter-attack.

A 1943 Soviet war propaganda film by Ukrainian director Oleksandr Dovzhenko and Yuliya Solntseva. It is Dovzhenko's second World War II documentary, and dealt with the Battle of Kharkiv. The film incorporates German footage of the invasion of Ukraine, which was later captured by the Soviets.

About the life of the Russian biologist Ivan Michurin. 1912 year. Having rejected American offers to work abroad, Michurin continues his research in the Russian Empire, despite the fact that his ideas are not perceived by the tsarist government, the church and idealistic science. Michurin is supported by prominent scientists of the country and he continues to work hard. After the October Revolution, a small Michurin garden in the city of Kozlov (the biologist's homeland) becomes a large state nursery.

Based on the novel of the same name by Oleksandr Dovzhenko. About the childhood of the famous Ukrainian film director Oleksandr Dovzhenko, who was born on the ancient lands of Chernihiv, along the banks the Desna. The film consists of two parts. The first is the world shown through the impressions of the six-year-old Sashko. The second is the recollections and reasoning of Sashko, now an elderly colonel who liberates his native village during the war.

About hardships of the first years of War, which fell to the lot of ordinary people in Ukraine, who got under the yoke of fascist occupation, and heroic struggle against the invaders. A young Russian woman asks a Red Army soldier to spend the night with her in the wake of the Nazi invasion. Fearing she may soon perish, the woman hopes for one night of romance before what could be a horrible demise.

A wartime documentary directed by Alexander Dovzhenko and Yuliya Solntseva, depicting the final campaigns that drove Nazi forces from Ukraine in 1944–45. Combining frontline footage, liberated cityscapes, and scenes of returning civilians, the film chronicles both the devastation of occupation and the triumph of Soviet arms. It stands as both a historical record of the Ukrainian front and a patriotic celebration of victory at the close of the Second World War.

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.

A Soviet dam project means that many old Ukrainian villages will end up under water. There are conflicts between the dam engineers and villagers who don't want to move.

A Russian outpost in Eastern Siberia comes under threat of attack by the Japanese. Aerograd is a new town with a strategically located airfield of vital interest to the government. Work on the new outpost is complicated when tensions develop between workers and a religious sect. Relations between the two countries are further strained in the days before World War II, dating back to the Russo-Japanese War of 1905.

While watching Dovzhenko's Earth a young man imagines himself a painter in a Ukrainian village in the 1930s. All is pastoral idyll until the authorities arrive with Soviet wrath for tradition and religion.

Jean, the hairdresser, is flabbergasted: what is that baby his girlfriend Lisa has put in his arms out of the blue? The fruit of love? Out of the question. From that moment on, the reluctant father has but one thought in his head: he must get rid of the cumbersome 'article'. And, take his word for it, all the ways are good.