Stepan Shkurat

방학을 맞아 밖으로 나온 신학생 코마 칼리바, 고르베쯔는 길을 잃고, 간신히 인가를 찾아 하룻밤 묵게 해줄 것을 청하는데. 주인 노파는 마녀로 변해 코마를 괴롭힌다. 간신히 마녀를 때려 눕히고 보니, 마녀는 아리따운 아가씨로 변한다. 놀라 도망치는 코마, 어느날 영주가 코마를 불러 딸을위한 기도를 부탁한다. 교회에 들어간 그는 뜻밖에도 그녀가 자신이 패준 마녀임을 알게 된다. 그러나 어쩔 수 없이 3일간 기도를 드리게 되는데. 밤마다 마녀는 깨어나 코마를 위협하니, 드디어 3일째 되는날...

Singer Oksana has lost her beloved in the war. Everyone thinks he perished, but actually he was taken prisoner, then ran away, hid, fell into American hands, and… Finally, he returns to his village, and meets Oksana. —Yerevan International Film Festival

Khristina, a peasant woman from a provincial village, decided to leave for the city in search of a better life. But, having not found there either a better life or happiness, she perishes ...

On a small island is a lighthouse. The lighthouse keeper, the old boatswain Yemelyan Leleka, lives here with his wife and daughter. The boat that delivers supplies is the only guest from the big world. Over time, the girl feels romantic feelings for the boat captain - Igor.

Episodic story of the resistance to the German invasion of the Ukraine in 1918 during World War 1, and made as an example of the guerrilla warfare and fierce spirit in which Ukrainian peasants were again resisting Teuton onslaughts in 1939. Highlights a small band of guerrillas and their battles using scythes, shotguns and, often, just clubs against the Kaiser's army in the Ukrainian forests.

By Nikolai Gogol's "May Night, or the Drowned Maiden". Son of a stubborn mayor can not get his father's agreement to marry an ordinary peasant girl. Unexpectedly he gets the help from an "evil force"

Adapted from the opera written by the composer Semen Hulak-Artemovsky.

This film is the first adaptation of an operetta written by Ukrainian composer Mykola Lysenko. It follows the trials and tribulations of Natalka and Peter (Petro). The sweethearts planned to get married; however, Natalka's father does not approve of the marriage because Petro was not affluent enough to keep Natalka in the manner he thought that she should be kept. Petro goes off to earn the required fortune.

Aerograd is a 1935 Soviet film by Ukrainian director Olexander Dovzhenko, Mosfilm-VUFKU coproduction. It is a futuristic adventure story set in the Soviet Far East. Considered one of two sound masterpieces by Dovzhenko, the other being "Ivan".

The movie's opening sequence takes place in 1921, towards the end of Russia's civil war, as the Red Army are vanquishing the last Menshevik forces of the White Guard along the western frontier.

This film is based on the book about Vasili Ivanovich Chapaev (1887 - 1919) who was in real life the Commander of the 25th Division of the Red Army. Chapaev is an uneducated peasant and a decorated hero in the World War I and later in the Russian Civil War, that followed the Russian revolution. This man of action is fighting on the side of the poor people. His troops consist of peasants, just like him. Unable to write, he can brilliantly demonstrate various battle tactics by moving potatoes on the table. He is street smart. He never lost a battle against the experienced Generals of the Tzar's Army.

After the critical lambasting of his masterpiece Earth, Dovzhenko returned with a more popular iteration of its main motifs. Much like Earth, Ivan concerns itself with the natural rhythms of country life, disrupted by the beat of looming industrialisation.

A peasant visits the DneproGES construction.

In the peaceful countryside, Vassily opposes the rich kulaks over the coming of collective farming.

The lost film about the peasant rebellion of the 18th century in Ukraine, led by Maksym Zalizniak and Ivan Honta. The history of the haydamak movement became a trigger for authors to have experiments in the field of film language: shooting against the background of black velvet, focus on the static character of the picture, the sculptural nature of composition mise-en-scène solutions, replacement of dramatic collisions with cinema engravings depicting the historical past.

The lost film about the peasant rebellion of the 18th century in Ukraine, led by Maksym Zalizniak and Ivan Honta. The history of the haydamak movement became a trigger for authors to have experiments in the field of film language: shooting against the background of black velvet, focus on the static character of the picture, the sculptural nature of composition mise-en-scène solutions, replacement of dramatic collisions with cinema engravings depicting the historical past.