Yuliya Marchenko

Ira is 27 years old. And from the point of view of her mother, the director of the school, Ira lives absolutely wrong: she plays in the troupe of a small theater, earns money by washing windows and is in love with an unreliable creative person Leo, an aspiring director. She ignores "normal" men and does not even want to dye her hair blonde, which, according to her mother, is an easy way to success in her personal life. This state of affairs could continue for a long time, but the theater is on the verge of closing, and Lev suddenly disappears.

He works as a policeman and is engaged in raids on drug dealers. She is a preacher in a secret religious community. One day, he accidentally dials the wrong number and falls in love with the voice he hears. Thus begins this strange connection between two solitudes.

Seventeen-year-old Artyom is invisible in the family and a rebel in the technical school. He has a best friend, Kostya, and they do all the provocations and tricks together. When the management of the technical school compiles an unofficial list of dangerous teenagers - "explosives", Kostya, by pure chance, falls into the first place, which makes him popular among other students. Kostya revels in interest in himself - and betrays his friend, convincing his classmates that he, Kostya, is the main and only inspirer of all their antics. Then Artyom decides to prove who the “number one bomber” is really here. But on his way, a girl, Kira, unexpectedly appears, who is able to influence his dangerous plan.

During the day, Lera studies humankind and its needs through opinion polls, which are an educational practice at the institute; at night, she dances under the pseudonym Gerda in a club to support herself and her mother. The people she meets are as unfortunate as her family. Her father has recently left for another woman, but he constantly returns home, unable to make his choice and thereby making the life of close people intolerable. The mother painfully endures the breakup and constantly sleeps, ignoring reality. Lera doesn’t know how to carry on, where to go and what to live for, and — most importantly — how to improve life. The adult world, invariable unfortunate, which Lera observes day and night, seems hopeless.

Devoted to the last days of Soviet writer, poet, and Gulag survivor Varlam Shalamov, this film follows the efforts of two of Shalamov’s most devoted admirers to preserve the author’s legacy. Having lost his sight and hearing and living in a retirement home, he carried on doing the only thing that mattered to him — writing — until his final breath. This film is a testament to the value of writings that tell the unpalatable truths of the 20th century. To evoke the gritty texture of the Soviet world, Sententia is shot on 16mm black and white film.

From the first look Kostya “Cat” Sukhoveev is an ordinary 15-years old boy. He doesn’t do very well at school, his parents are in the middle of a divorce, and he doesn’t have many friends, until one day he finds one online…

Soon after Gogol's death, Binh names him guilty for the deaths of the Cossacks and the young women at the hands of the Dark Horseman, since he was the one who ordered them to be hidden in the barn. Bomgart is unable to perform a post-mortem analysis on the Gogol's body, while Vakula's daughter Vasilina (who secretly has magic abilities) proclaims denial about Gogol's demise.

19세기 초, 우크라이나 디칸카 마을에서는 악령에 의한 미스터리 살인이 계속 되고있다. 발작 증세를 통해 환영을 보는 수사관 고골은 유명 수사관 구로가 남겨둔 메모를 통해 악령의 힘이 세지는 축제날에 살인이 일어난다는 것을 알아낸다. 고골은 축제날에 일어날 살인을 막으려 하지만 실패하고, 예고된 피해자 중 한 명이 여자친구 ‘리사’라는 사실을 알게 된다. 자신의 힘으로는 살인을 막을 수 없다고 생각한 고골은 악령 사냥꾼 코마 부르트를 만나 악령의 살인을 해결하기 위해 사악한 영혼 ‘VIY’를 부르는데...

Since early childhood Peter has been obsessed with the world of puppets, but his greater obsession is with a real girl, Lisa. He crafts his perfect woman out of her. But Lisa isn't a docile marionette. She's a living human being and she rebels against her creator. Based on the critically-acclaimed, brilliant and poignant novel by one of the best contemporary Russian writers, Dina Rubina, "Petrushka Syndrome" is a multidimensional metaphor, where a sense of duality pervades everything. People and dolls, life and art, the Creator and the creation depend on one another. And where does one draw the line between them?