Тільки кохання

Oksana is a journalist specializing in high-profile corruption cases. Kirill is an investigator for especially serious crimes, for whom this journalist pretty much ruins his life. At first glance, they are enemies, but in reality they are spouses on the verge of divorce. Because of her investigation, Oksana falls into the epicenter of a large-scale scandal and finally quarrels with her husband. As punishment, she will have to lay low for a couple of months, working as a correspondent for the local newspaper Evening Shroud.

Year 2015. Hanna (mother) and Darka (girlfriend) are united by the memories of Danya, who died in 2014 on the Maidan. Hanna's life path went from a Maidan activist in 2004 to a high-level government official. Through the relationship between the two women, it turns out that Hanna was associated with the corruption that led to mafia revenge in Ukraine in 2010, and ended up the Revolution of Dignity in 2014. Hanna is increasingly convinced that her personal actions are linked to her son's death.

Based on the famous novel by Ilya Il'f and Yevgeniy Petrov this two-part-TV-movie tells the story of the of Ostap Bender and Kisa Vorobyaninov who are searching for hidden jewelry, hidden in one of twelve chairs by Vorobyaninov's aristocratic mother-in-law, to hide it during the revolution. But their priest, Father Fyodor found out about it and starts searching for the same chairs. During the movie the story is commented by the authors themselves who are writing it during the process.

Nestor Ivanovich Hreem, a nuclear physicist known for his unwavering principles, is imprisoned and recounts his story to a police investigator. In a world where truth is subjective and betrayal is common, Nestor struggles to maintain his integrity. The narrative reflects on the aftermath of the Chornobyl tragedy and the ongoing challenges in Ukraine, highlighting the scarcity of individuals who remain loyal to their beliefs despite societal pressures.

The protagonist has an existential hatred for a fellow soldier, who forces his friendship on him. Antipathy is replaced by mutual obsession, which has irreversible consequences. Masloboishchykov’s second film school project, which screened at Semaine de la critique, is based on the short novel Lagoftalm by the lesser-known writer, Dmitry Bakin. The military setting is conveyed through a combination of aggressive tensity and comic music, making it look and seem more like a prison or a madhouse.