Natalia Drozd

Vanya is a salesperson in the Hunter and Fisher shop. Kristina is a ballerina at the Perm Opera and Ballet Theatre. Kristina jokingly calls Vanya a "retro person" for her love of everything old. She herself is a modern person, nostalgia for the romantic past is not characteristic of her. And yet, these two dissimilar people have something in common - the fear of loneliness and the obsession with starting a family.

The story of a simple sailor of the Northern Fishing Fleet, who dreams of ending his naval career, since his life at sea seems unreal to him, illusory. He is going to go ashore, marry and settle on the ground. To heal. But nothing comes out. He is forced to sail again. An adventure cinema begins with a large number of twists and turns: the strongest storm, a hole in the board, a haul pulling the ship to the bottom. The trawler practically sinks and at this moment receives the SOS signal from a foreign ship in distress. The main character manages to convince the rest of the crew to come, risking themselves, to help foreign sailors. Thanks to this act, the team - a gathering of sea wolves, practically pirates - has a feeling of meaningfulness of their own lives.

Fourteen-year-old Mira wants to spend New Year’s Eve with her friend Lera. Initially, her stepfather disagrees. But, after a tense family dinner, she is given permission.

The Kazakh village Karatas has long been subjugated by a criminal boss called Poshaev. He provides housing and jobs for the locals but will ruthlessly execute anyone who dares to oppose him. This is the lesson the pauper Arzu is about to learn first-hand—his wife Karina has informed the police about the crimes that are taking place there. Arzu is a cripple; now he must raise his little daughter alone. He is so helpless and grief-stricken that he doesn’t even seem to be contemplating revenge. Poshaev takes him under his wing and offers him the position of a guard at a building site. Soon Arzu has a chance to prove his loyalty, and he becomes Poshaev’s right hand. But where do Arzu’s real loyalties lie—with his boss or with the idea of justice?

Masked figures with machine guns march into the secondary school in Karatas, take the pupils hostage, and execute one of them. They make no demands. Silent terror is their modus operandi. Seeing as the army will take two days to arrive due to a snowstorm, maths teacher Tazshi decides to assemble his own assault team: his ex-wife, the gym teacher, the cowardly school principal, an alcoholic night watchman, the village idiot, and an incompetent chief of police.

Una joven finlandesa toma un tren hacia Moscú para ir al yacimiento arqueológico de Múrmansk. Tendrá que compartir su compartimento con un desconocido. Esta convivencia y unos encuentros improbables unirán poco a poco a estos dos seres completamente opuestos.

Una joven finlandesa toma un tren hacia Moscú para ir al yacimiento arqueológico de Múrmansk. Tendrá que compartir su compartimento con un desconocido. Esta convivencia y unos encuentros improbables unirán poco a poco a estos dos seres completamente opuestos.

Vika, de 14 años, vive en una pequeña ciudad de provincias de la región rusa de los Urales. Recolecta frutos del bosque que crecen en los humedales y ayuda a su madre a venderlos en un mercado callejero. Le gustan las clases de coreografía de la escuela. Y tiene un bebé del que nadie debería saber nunca nada.

El adolescente Misha asiste a sesiones de hipnosis con el psicoterapeuta Volkov para recuperarse del sonambulismo. Como resultado, Misha cae bajo la influencia de un hipnólogo hasta tal punto que deja de entender dónde está la realidad y dónde está la ilusión. Después de la misteriosa muerte de uno de los pacientes de Volkov, Misha decide llevar a cabo una investigación para llegar al fondo de la verdad. Pero, ¿qué pasaría si el sueño y la realidad se fusionaran en uno, y al final se convirtiera en el principal sospechoso?

The film’s heroine is the gynaecologist Masha, whose husband leaves her. When a man leaves his wife, he carries away all her hopes for a future. Of course, it would be noble to let the husband go, but Masha is a strong woman and begins a desperate struggle for her infidel husband Misha. The power is unequal. Masha is already well in her thirties, while the fitness-trainer Oksana is just over twenty. But behind Masha stand a great experience of life and two small children. In this situation she is ready to use the entire arsenal available, including extraterrestrial forces. The young Oksana relies only on feelings. And on her fine figure, her magnificent hair and irrepressible temperament. Who will win this fight and get the prize? And what happens when the dream of one of them will become true?

A young woman lavishes the last care on her mother's lifeless body. At his side, a woman watch, a babouhcka , as they say among the Russians. The young groped, the day before with a sure hand, wash this body, prepare it. They accompany him, rock him and console him by the last goodbye.

Egor is a vet at a training facility for hunting dogs in a remote region of the country. Surrounded by foxes, deer, badgers, and dogs, he lives in a small building next to the house of the facility's master. He treats the dogs, cleans the kennels, oversees the workers, and meets with clients and their dogs. It's easier for him to get along with dogs than with people. Egor is willing to take on any job to get closer to the facility's master and his near and dear. He wants the impossible - to become a member of that family.

Oleg es un paramédico de ambulancia de poco más de 30 años que realiza su trabajo con talento y dedicación, pero que bebe en exceso. Su mujer Katya es enfermera en la sección de urgencias del hospital. La película comienza con la fiesta de cumpleaños del padre de Irina; Oleg acaba completamente ebrio, y Katya le escribe un mensaje, diciéndole que quiere divorciarse. De manera paralela a su relación, asistimos a cambios en la reforma de la atención sanitaria en Rusia. El nuevo jefe de Oleg adopta reglas nuevas y absurdas que dan prioridad a la eficiencia por encima del cuidado de pacientes con problemas urgentes, y la creatividad de nuestro protagonista para manipular las reglas a favor de los enfermos y lesionados no sienta bien al burócrata.

Petersburg. A Selfie comprises seven novellas about the beautiful city of St. Petersburg, Russia, shot by female directors. The film tells a story of a real, living and breathing city, rather than a mythical phantasm. Each novella tells its own story about love and loneliness, luck and hope.

Olga, Katya, and Andrey have known each other since childhood. They moved to Moscow many years ago and have become successful. Olga is an actress, Katya works for a large-scale PR agency, and Andrey is a political analyst. They buy cars, take mortgages, build country houses. Just like everybody else. But their lives bring them neither happiness nor content. The feeling of "something's not right but I can't put my finger on it" underpins the lives of today's thirty-year-olds. Their childhood took place during the Soviet era, when kids dreamed of becoming heroes, believed in spy stories and a bright future. Yet nobody expected that the dream of becoming a hero would be replaced by the dream of stable and predictable existence. People have stopped dreaming of truly grand things. They just play their roles.

Una mujer joven que creció en el orfanato tiene muchas ganas de ser amado, pero no tiene el amor de los demás. En tal situación es falsamente acusada de cometer un crimen y se esconde en un orfanato sin despertar ninguna sospecha. Allí, conoce a una persona sin hogar de 13 años de edad como ella misma, Kristina, y juntas parten a un viaje largo a un pequeño pueblo en Kazajstán, donde vive la abuela de Kristina...

In cities like Paris there are countless people from Eastern Europe who have forsaken their homelands because they can see no future there. Lucia and her little daughter Marussia are two such people. They have been thrown out by the Russian acquaintances they were staying with and must tramp the streets with their trolley suitcases searching for somewhere else to live. A Russian Orthodox priest offers them their first night's shelter. They spend the second night in a homeless hostel and party through the third with a chance acquaintance. On the fourth night they sleep clandestinely in a cinema and on the fifth with a Russian artist in a hotel … Lucia is good-looking, dresses elegantly and is certainly not shy of men. This serves the mother and her daughter well. In spite of all the uncertainties in their lives, the two frequently share tender moments.

Situada en un barrio del mismo nombre, "Vuosaari" es una realización hecha en distintos episodios sobre la Finlandia de hoy. Vuosaari es la última parada de la línea de metro, el principio y el final de un viaje. Historias entrelazadas sobre familias e individuos, niños y adultos (familias monoparentales, drogadicción, la influencia de la televisión y la copia de patrones televisivos en la cotidianidad juvenil). Todos necesitamos ser amados y tocados.

Matthias Bleuel, el tímido director de logística de una empresa alemana de venta por correo, es enviado por su rusófilo jefe a Kemerovo (Siberia), para organizar un sistema alemán de la cadena de suministros en la sucursal rusa. Dice que sí, únicamente porque es demasiado débil como para decir que no. ¡Siberia, ni más ni menos! Equipado con un plumífero y spray de pimienta, Bleuel espera encontrarse nieve, hielo y peligro. Pero en el místico paisaje veraniego se enamora de Sajana, una cantante de canto diafónico tuvano tradicional. Rápidamente, el formalísimo técnico de logística se transforma en alguien impetuoso que cree en los fantasmas. Al principio tropieza constantemente, pero se va volviendo cada vez más seguro y se empieza a mover en lo que para él es un nuevo mundo, arriesgándolo todo para enamorar a Sajana y despedirse del viejo Bleuel.

A young teacher Tanya is taking a school theater group to a festival in Sochi. For the sake of order, the head teacher of the same school, Maria Genrikhovna, is traveling with them. Tanya is not enthusiastic about the boss's eye, but Maria Genrikhovna quickly breaks all stereotypes about head teachers. In her face, Tanya finally finds herself a worthy adult - either a role model, or a mother, or a mentor. Meanwhile, the festival insistently demands a return to reality - the organizers demand to change the name of the performance, the poster, and, preferably, the worldview. Choose the path of compromise for the sake of children or take a principled position? In any case, Tanya and Maria Genrikhovna will have to answer to twelve teenagers who are experiencing their first dramas at the festival.