Aleksandr Samulekin

Russia, 1936: revolutionary hero Colonel Kotov is spending an idyllic summer in his dacha with his young wife and six-year-old daughter Nadia and other assorted family and friends. Things change dramatically with the unheralded arrival of Cousin Dmitri from Moscow, who charms the women and little Nadia with his games and pianistic bravura. But Kotov isn't fooled: this is the time of Stalin's repression, with telephone calls in the middle of the night spelling doom - and he knows that Dmitri isn't paying a social call...

The film is based on the story of Anatoly Kurchatkin "House of Women". A tragicomedy about four women of three generations who lives in a tiny Moscow apartment: a sick grandmother, constantly requiring attention; a mother, very peculiar woman, who still hoping to somehow arrange her personal life; and two daughters, each of whom has a lot of problems.

街中で裸足の男が怪しげなことを口走っている。自分は空間転移装置の事故で異星から飛ばされてきた者だと言うのだ。偶然、この男に話しかけたウラジミールとゲデバンは、同じく男が手にしていた転移装置で、キン・ザ・ザ星雲の惑星ブリュクに飛ばされてしまう。果たして、二人は、この砂漠だけの惑星から無事に地球へ帰りつくことができるのか？

In visiting his ex-wife’s apartment a man learns that she plans to remarry a scientist named Valentin Shlyakhov. In his past, the man wrote a scathing letter about Shlyakhov which greatly impacted his career. Fearing that this information will come to light when his ex-wife marries Shlyakhov, the man insists that the wedding be called off. What follows is an intimate portrayal of the relationship between a man and a woman (who are never named), whose history as husband and wife plays out during a heated conversation.

A man wants to flee wartime Germany and the detested Nazis to Columbia, where his brother lives. In order to achieve his goal he agrees to become an informer for the Reich.

One of the most popular movies tells, in an ironic manner, about complicated relationships between close people. Among the film’s achievements is not only splendid acting, but also the fact that “Kinfolk” remains as contemporary and topical as before. The relations between a son-in-law and a mother-in-law are as everlasting a theme as love itself. Especially when the role of the son-in-law Stasik is brilliantly played by Yuri Bogatyryov, and that of the mother-in-law by the incomparable Nonna Mordyukova. Marusya Konovalova, a kind, simple-hearted country woman, comes to Moscow to visit her only daughter (Svetlana Kryuchkova) and tries to help “glue together” her broken-up family. Acting with best intentions, she cannot understand why her interference provokes a stormy protest… Ruscico.com

A story about a high school student Asya and her complicated relationship with literature teacher Larikov.

A story about a high school student Asya and her complicated relationship with literature teacher Larikov.

St. Petersburg, mid 19th century: the indolent, middle-aged Oblomov lives in a flat with his older servant, Zakhar. He sleeps much of the day, dreaming of his childhood on his parents' estate. His boyhood companion, Stoltz, now an energetic and successful businessman, adds Oblomov to his circle whenever he's in the city, and Oblomov's life changes when Stoltz introduces him to Olga, lovely and cultured. When Stoltz leaves for several months, Oblomov takes a country house near Olga's, and she determines to change him: to turn him into a man of society, action, and culture. Soon, Olga and Oblomov are in love; but where, in the triangle, does that leave Stoltz?

Based on the play of the same name by Aleksandr Volodin "Five Evenings". The end of the 1950s. Aleksandr Petrovich Ilyin travels to the city where he lived before the war. Visiting the telephone operator Zoya, he sees a familiar house through the window and decides to go there for only fifteen minutes. So Aleksandr gets into a communal apartment, where the love of his youth Tamara Vasilyevna lives. They met twenty years ago and fell in love, but the war separated them. Now Ilyin and Tamara Vasilyevna met again, and love broke out with renewed vigor...

At the dilapidated country estate of Anna Petrovna Voinitseva, a group of feckless Russian aristocrats whiles away a summer afternoon. Unbeknownst to their respective spouses, local schoolteacher Platonov and the wife of Anna's stepson, Sophia, are former lovers whose meeting revives both passion and regret. Thrilled to see each other, they are nevertheless haunted by the loss of their youthful ideals.

Olga Voznesenskaya is a silent screen star whose pictures are so popular that underground revolutionaries risk capture to see them. She's in southern Russia filming a tear-jerker as the Bolsheviks get closer to Moscow. Although married, she spends time every day with Victor Pototsky, the film's cameraman. Gradually, it comes to light that Victor uses his job as a cover for filming White atrocities and Red heroism: he's a Bolshevik. He asks her for help, and she discovers meaning in her otherwise flighty and self-centred life. Love blooms. Will the Red forces arrive in time to save them from a suspicious White military leader? Will she find courage?

A first episode in the trilogy about the Russian partisan's resistance against the Nazi occupation of Russia during WWII. The film is set in August of 1941, when the Nazi forces invaded and occupied the European part of Russia. Major Mlynsky is in charge of the special group of partisans. His group is absorbing other small groups of Russian soldiers, who managed to survive from the attacks of the overwhelming Nazi forces. The Nazi Armies are advancing to Moscow. Major Mlynsky is organizing the Russian partisan's resistance against the Nazis, behind the enemy lines.

A graduate of the culinary technical school of the cook, Tosya Kislitsyna, a naive and eccentric girl, came to the village lost in the northern forests. She sticks her nose in all affairs, seeks to help everyone. She met Ilya on the day of arrival: the "first guy in the village" fell upon her indignantly, and in the evening, to brighten up an unpleasant meeting, she decided to "make happy" with an invitation to a dance and was refused. Not accustomed to refusals, Ilya argues with Filya that during the week he will fall in love with Tosya...

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.