Tamara Dondurey
略歴
An art critic and director, Tamara Dondurey graduated from the art history department of Moscow State University’s history faculty. She has been published in Iskusstvo Kino, Expert, Empire, Artkhronika, and Vokrug Sveta, among others. In 2013 she graduated from Marina Razbezhkina and Mikhail Ugarov’s School of Documentary Film and Theatre. Her graduation project, the documentary film Day 21, was shown in the main competition at the open Russian film festival Kinotavr and participated in many other Russian and international festivals. Her short film Little Train won a prize for directing at the Dvizhenie festival, a prize for best debut at the 14th Kinoproba festival, and a special prize at Gorky fest.
Screenplay
Kira is a 30-year-old successful architect living in the illusion of absolute choices while being obsessed with constructing the ideal Moscow. She is used to living life according to her own rules, but she has to face her fear of the future and inability to love. An unexpected tragedy will lead Kira to face her past with her family, start life from the scratch, and become a mother.
Director
Kira is a 30-year-old successful architect living in the illusion of absolute choices while being obsessed with constructing the ideal Moscow. She is used to living life according to her own rules, but she has to face her fear of the future and inability to love. An unexpected tragedy will lead Kira to face her past with her family, start life from the scratch, and become a mother.
Director
This film was shot during the last year of Daniil Dondurey’s life in Moscow and Tel Aviv, where he was receiving treatment. Dondurey’s monologue is broken up by city landscapes, the animated buzz of a café, the silence of an emptied dacha… Dondurey talks about his pursuits, encounters, and tastes; he recalls his student years in Leningrad. He jokes, smiles, and hopes.
Editor
New Moscow is an essay film about the city and its residents. Three different stories unfold in front of the lens, but all of them are united one way or another by the motif of nostalgia for youth, its achievements and traumas. The reverse movement of time becomes a form for a poetic conversation about the changeable nature of space.
Cinematography
New Moscow is an essay film about the city and its residents. Three different stories unfold in front of the lens, but all of them are united one way or another by the motif of nostalgia for youth, its achievements and traumas. The reverse movement of time becomes a form for a poetic conversation about the changeable nature of space.
Screenplay
New Moscow is an essay film about the city and its residents. Three different stories unfold in front of the lens, but all of them are united one way or another by the motif of nostalgia for youth, its achievements and traumas. The reverse movement of time becomes a form for a poetic conversation about the changeable nature of space.
Director
New Moscow is an essay film about the city and its residents. Three different stories unfold in front of the lens, but all of them are united one way or another by the motif of nostalgia for youth, its achievements and traumas. The reverse movement of time becomes a form for a poetic conversation about the changeable nature of space.
Cinematography
Twenty-one day is a time period that terminal patients are allowed to stay in hospice. Time is pulsating here according to peculiar inner cycles: getting faster, slower or returning to its ordinary rhythm. We wander through physical and mental spaces: wards, gardens, memories. It is a story of two main protagonists, yet two strangers, for whom the regular talk about death constitutes an integral part of life.
Screenplay
Twenty-one day is a time period that terminal patients are allowed to stay in hospice. Time is pulsating here according to peculiar inner cycles: getting faster, slower or returning to its ordinary rhythm. We wander through physical and mental spaces: wards, gardens, memories. It is a story of two main protagonists, yet two strangers, for whom the regular talk about death constitutes an integral part of life.
Director
Twenty-one day is a time period that terminal patients are allowed to stay in hospice. Time is pulsating here according to peculiar inner cycles: getting faster, slower or returning to its ordinary rhythm. We wander through physical and mental spaces: wards, gardens, memories. It is a story of two main protagonists, yet two strangers, for whom the regular talk about death constitutes an integral part of life.
