Vladimir Kozlov

Vladimir Kozlov

Birth : 1972-03-10, Mogilev, USSR (Belarus)

Profile

Vladimir Kozlov

Movies

Summer of '89
Screenplay
It's 1989, the Belarusian Soviet Socialist Republic. Five 17-year-old secondary school graduates go on a camping trip, which comes as a test of their character and emotional maturity on the threshold of adult life.
Summer of '89
Director
It's 1989, the Belarusian Soviet Socialist Republic. Five 17-year-old secondary school graduates go on a camping trip, which comes as a test of their character and emotional maturity on the threshold of adult life.
Summer of '89
Producer
It's 1989, the Belarusian Soviet Socialist Republic. Five 17-year-old secondary school graduates go on a camping trip, which comes as a test of their character and emotional maturity on the threshold of adult life.
Three Comrades
Producer
'Three Comrades' covers 24 hours in the lives of Gleb, Vlad and Gosha, all three in their mid-twenties. After a day of fighting with the aggressive boss and unscrupulous customers, the three young men decide to have a few drinks and unwind. But what was supposed to be an uneventful night out soon enough turns into unexpected and, sometimes, violent adventure.
Three Comrades
Screenplay
'Three Comrades' covers 24 hours in the lives of Gleb, Vlad and Gosha, all three in their mid-twenties. After a day of fighting with the aggressive boss and unscrupulous customers, the three young men decide to have a few drinks and unwind. But what was supposed to be an uneventful night out soon enough turns into unexpected and, sometimes, violent adventure.
Three Comrades
Director
'Three Comrades' covers 24 hours in the lives of Gleb, Vlad and Gosha, all three in their mid-twenties. After a day of fighting with the aggressive boss and unscrupulous customers, the three young men decide to have a few drinks and unwind. But what was supposed to be an uneventful night out soon enough turns into unexpected and, sometimes, violent adventure.
Whatever We Want
Producer
Katya and Pasha are a Moscow student couple in their early twenties. They don't care about politics or authorities. They aren't really rebellious, they just want to be left alone and have fun. One day they come to a punk concert at a small club, but two rogue policemen stop the show in the middle of it - there are no formal grounds to do that, but the policemen just enjoy their power. Katya tries to reason with one of the officers, but he reacts in a brutal way, and Pasha has to defend her. Katya and Pasha escape and they hope they're safe. But in Russia, you shouldn't mess with the police, and next morning, the young people learn that they are in trouble. Their only way out is to pay the policemen off, and they embark on a mission of getting the cash - borrowing, begging, doing whatever they can. And they only have several hours to come up with the cash.
Whatever We Want
Screenplay
Katya and Pasha are a Moscow student couple in their early twenties. They don't care about politics or authorities. They aren't really rebellious, they just want to be left alone and have fun. One day they come to a punk concert at a small club, but two rogue policemen stop the show in the middle of it - there are no formal grounds to do that, but the policemen just enjoy their power. Katya tries to reason with one of the officers, but he reacts in a brutal way, and Pasha has to defend her. Katya and Pasha escape and they hope they're safe. But in Russia, you shouldn't mess with the police, and next morning, the young people learn that they are in trouble. Their only way out is to pay the policemen off, and they embark on a mission of getting the cash - borrowing, begging, doing whatever they can. And they only have several hours to come up with the cash.
Whatever We Want
Director
Katya and Pasha are a Moscow student couple in their early twenties. They don't care about politics or authorities. They aren't really rebellious, they just want to be left alone and have fun. One day they come to a punk concert at a small club, but two rogue policemen stop the show in the middle of it - there are no formal grounds to do that, but the policemen just enjoy their power. Katya tries to reason with one of the officers, but he reacts in a brutal way, and Pasha has to defend her. Katya and Pasha escape and they hope they're safe. But in Russia, you shouldn't mess with the police, and next morning, the young people learn that they are in trouble. Their only way out is to pay the policemen off, and they embark on a mission of getting the cash - borrowing, begging, doing whatever they can. And they only have several hours to come up with the cash.
Cinéma… par Albert Dupontel
Anomie
Screenplay
Anomie
Producer
Anomie
Director
Skin
Story
Masha and Kyril meet in the train. They are distantly familiar: once they were in the same company. They do not immediately tell each other where they are going: everyone has something to hide from a barely familiar person. He participates in illegal battles without rules. She dances a striptease, and because of the conflict with one of the visitors to the strip club she had problems. In the regional center, Masha should meet with a person who, she thinks, can help. But things do not go as expected, and instead of solving the problem, Masha has new ones. But now Kyril is next to her ...
Skin
Screenplay
Masha and Kyril meet in the train. They are distantly familiar: once they were in the same company. They do not immediately tell each other where they are going: everyone has something to hide from a barely familiar person. He participates in illegal battles without rules. She dances a striptease, and because of the conflict with one of the visitors to the strip club she had problems. In the regional center, Masha should meet with a person who, she thinks, can help. But things do not go as expected, and instead of solving the problem, Masha has new ones. But now Kyril is next to her ...
Skin
Producer
Masha and Kyril meet in the train. They are distantly familiar: once they were in the same company. They do not immediately tell each other where they are going: everyone has something to hide from a barely familiar person. He participates in illegal battles without rules. She dances a striptease, and because of the conflict with one of the visitors to the strip club she had problems. In the regional center, Masha should meet with a person who, she thinks, can help. But things do not go as expected, and instead of solving the problem, Masha has new ones. But now Kyril is next to her ...
Skin
Director
Masha and Kyril meet in the train. They are distantly familiar: once they were in the same company. They do not immediately tell each other where they are going: everyone has something to hide from a barely familiar person. He participates in illegal battles without rules. She dances a striptease, and because of the conflict with one of the visitors to the strip club she had problems. In the regional center, Masha should meet with a person who, she thinks, can help. But things do not go as expected, and instead of solving the problem, Masha has new ones. But now Kyril is next to her ...
Traces in the Snow
Cinematography
The world's first documentary about Siberia's punk rock scene in the 1980s. It was a phenomenon of those times that this music existed thousands of miles away from the movement's epicentres in New York and London.
Traces in the Snow
Screenplay
The world's first documentary about Siberia's punk rock scene in the 1980s. It was a phenomenon of those times that this music existed thousands of miles away from the movement's epicentres in New York and London.
Traces in the Snow
Editor
The world's first documentary about Siberia's punk rock scene in the 1980s. It was a phenomenon of those times that this music existed thousands of miles away from the movement's epicentres in New York and London.
Traces in the Snow
Producer
The world's first documentary about Siberia's punk rock scene in the 1980s. It was a phenomenon of those times that this music existed thousands of miles away from the movement's epicentres in New York and London.
Traces in the Snow
Director
The world's first documentary about Siberia's punk rock scene in the 1980s. It was a phenomenon of those times that this music existed thousands of miles away from the movement's epicentres in New York and London.
The Ten
Story
The film is centered on young people who live in a moral vacuum, with no aspirations or goals in life. The main character, 18 year old Valera, was once a promising footballer, playing under the most sought-after number 10. But an injury eliminated his chances of a professional career. After several years at a major football academy, he returned to his home town. While waiting to enter compulsory military service, Valera is dating Sveta, a girl of seemingly no ambition, who works a dead-end job as a supermarket cashier. But their relations are nearly limited to sex. Valera's only friends in the neighborhood are a couple of hoodlums he once went to secondary school with. Hanging out with them, he eventually slips into crime...
The Ten
Screenplay
The film is centered on young people who live in a moral vacuum, with no aspirations or goals in life. The main character, 18 year old Valera, was once a promising footballer, playing under the most sought-after number 10. But an injury eliminated his chances of a professional career. After several years at a major football academy, he returned to his home town. While waiting to enter compulsory military service, Valera is dating Sveta, a girl of seemingly no ambition, who works a dead-end job as a supermarket cashier. But their relations are nearly limited to sex. Valera's only friends in the neighborhood are a couple of hoodlums he once went to secondary school with. Hanging out with them, he eventually slips into crime...
The Ten
Producer
The film is centered on young people who live in a moral vacuum, with no aspirations or goals in life. The main character, 18 year old Valera, was once a promising footballer, playing under the most sought-after number 10. But an injury eliminated his chances of a professional career. After several years at a major football academy, he returned to his home town. While waiting to enter compulsory military service, Valera is dating Sveta, a girl of seemingly no ambition, who works a dead-end job as a supermarket cashier. But their relations are nearly limited to sex. Valera's only friends in the neighborhood are a couple of hoodlums he once went to secondary school with. Hanging out with them, he eventually slips into crime...
The Ten
Director
The film is centered on young people who live in a moral vacuum, with no aspirations or goals in life. The main character, 18 year old Valera, was once a promising footballer, playing under the most sought-after number 10. But an injury eliminated his chances of a professional career. After several years at a major football academy, he returned to his home town. While waiting to enter compulsory military service, Valera is dating Sveta, a girl of seemingly no ambition, who works a dead-end job as a supermarket cashier. But their relations are nearly limited to sex. Valera's only friends in the neighborhood are a couple of hoodlums he once went to secondary school with. Hanging out with them, he eventually slips into crime...
Fall Break
Producer
Teens Olga and Sergey fall in love among the ruins of a provincial industrial town. With their hope of breaking out of the cycle of urban depression and violence, it's too bad their fall break in high school in ending soon...
Fall Break
Screenplay
Teens Olga and Sergey fall in love among the ruins of a provincial industrial town. With their hope of breaking out of the cycle of urban depression and violence, it's too bad their fall break in high school in ending soon...
Fall Break
Director
Teens Olga and Sergey fall in love among the ruins of a provincial industrial town. With their hope of breaking out of the cycle of urban depression and violence, it's too bad their fall break in high school in ending soon...
Moth games
Writer
A group of youngsters get familiar with "causality effect paradigm" for the first time in their lives and find it not so pleasant.