Vladimir Mirzoev

Nadya and Valya, young women on the verge of a nervous breakdown, without faith and hope for the best, sisters, of whom, ironically, there are only two left. Will they be able to break out of their "Chekhovian" stupor and again begin to feel, breathe, live and love?

Valya has always been dreaming about living in Venice. She sold her Moscow flat and left. The younger sister, Nadezhda, stayed alone in the country house. After a few years Valya became disenchanted with Venice and returned. Now, "in a Chekhovian way", both sisters live in a house with a mezzanine, this is what you call loneliness together. They became stuck between the past and the present. Behind the gates you find the frightening and incomprehensible everyday life, into which you "enter each time like into an Odyssey". One day Alexey appears, a mature man with an intelligent face. Nadia snatches him but Valya also likes him. A classic love triangle? No, our sisters have very different plans for Alexey…

A young Russian woman, trying to make it in the big city, is hired for an off-the-books government operation, which involves seducing and later exposing a number of prominent political opposition figures.

Our eternal theme is crime and punishment. In Boris Godunov, the problems of conscience and existential choice are linked to the history of the country. Pushkin says that these things are woven into a mysterious knot or pattern. The choice of each of us is also the choice of our own history. An incorrect individual choice or a karmic mistake can lead to a chain of fatal events. If a person finds himself in power, it can become a problem for the whole people.

Our eternal theme is crime and punishment. In Boris Godunov, the problems of conscience and existential choice are linked to the history of the country. Pushkin says that these things are woven into a mysterious knot or pattern. The choice of each of us is also the choice of our own history. An incorrect individual choice or a karmic mistake can lead to a chain of fatal events. If a person finds himself in power, it can become a problem for the whole people.

Our eternal theme is crime and punishment. In Boris Godunov, the problems of conscience and existential choice are linked to the history of the country. Pushkin says that these things are woven into a mysterious knot or pattern. The choice of each of us is also the choice of our own history. An incorrect individual choice or a karmic mistake can lead to a chain of fatal events. If a person finds himself in power, it can become a problem for the whole people.

A man attempts to commit suicide and, as a result, unexpectedly acquires the phenomenal ability to immediately answer any question. A modest and harmless individual, he becomes a target for all - from women to criminal bosses and even foreign special services. Some try to use him, others try to murder him, but the ordinary man keeps living according to the dictates of his own conscience.

A man attempts to commit suicide and, as a result, unexpectedly acquires the phenomenal ability to immediately answer any question. A modest and harmless individual, he becomes a target for all - from women to criminal bosses and even foreign special services. Some try to use him, others try to murder him, but the ordinary man keeps living according to the dictates of his own conscience.

Akaky Akakievich is dying in his miserable apartment, and the ill-fated Overcoat itself is running around all over St. Petersburg, wandering in search of its unfortunate owner. He encounters stupid officials, ridiculous inhabitants of Nevsky Prospekt and its surroundings...

Almost everyone knows Daniil Kharms now. It is known that he composed this pseudonym for himself, as he composed his paradoxical poems, stories, plays and especially cases - that's what he called miniatures, the humor of which was obvious, but the meaning did not reach everyone. The life of the fictional Kharms was amazing, mocking and bravely independent. Daniil Yuvachev's life has become a true tragedy.

In the dead of night, three sorcerers meet on the outskirts of Moscow. They have been forced to work against each other for a long time. The conflict, which involves the best witchcraft forces of the capital, is a banal love triangle. Alexey is an enviable man and earns well, his wife Masha, a complex and insecure young woman, has long lived only in the interests of her family, and her lover Irina will stop at nothing in order to take her place.

In the dead of night, three sorcerers meet on the outskirts of Moscow. They have been forced to work against each other for a long time. The conflict, which involves the best witchcraft forces of the capital, is a banal love triangle. Alexey is an enviable man and earns well, his wife Masha, a complex and insecure young woman, has long lived only in the interests of her family, and her lover Irina will stop at nothing in order to take her place.

A very rare, unfortunately unfinished film based on the brilliant novel by Andrei Platonov. Shot partly in the style of a silent movie. with strange whispers and sounds. Fans of the unusual must watch.

The peculiarity of the performance "Two Women" by Vladimir Mirzoev on the Lenkom stage is in the specially developed plasticity of the characters. They seem to be in a somnambulistic state, either awake, asleep, existing, or not. In parallel with Turgenev's text, on counterpoint, the director unfolds his visual range, which enters into an obvious contradictory relationship with the words of the classic. The interaction of the characters on stage is absolutely independent of the author's remarks. Thus, Mirzoev visibly shades the intimate, to some extent Freudian motifs he saw in the play. However, Turgenev's text and Mirzoev's plastic searches turn "Two Women" into a curious stage experiment, rather unexpected for the aesthetics of Lenkom.