Original Music Composer
1962 year. Cuban Missile Crisis. The world is on the brink of nuclear disaster. Khrushchev has no leverage over the stubborn commander. The only thing he could do was send someone to Cuba whom he trusted, someone who could convince Castro. This person was Anastas Mikoyan. He was accompanied on his mission by Roman Carmen, a legendary cameraman who filmed the Spanish Civil War, World War II and the Nuremberg Trials. Mikoyan's business trip lasted almost a month. Day after day, step by step, like a real psychologist, he talked with Castro and Che Guevara, listened to their calls to "die beautifully" and destroy the enemy with one blow, and tried to persuade Cuba to compromise to save the world. This film was born thanks to recently declassified documents.
Original Music Composer
Mikhail Kulakov, the protagonist of the film, is a prominent figure of the Russian unofficial art scene of the 50s-60s. He was an abstractionist, a tachiste, a participant in the first underground expositions. He lived and worked at great extremes, advocating the idea of freedom as the supreme value.
Original Music Composer
Poetic portrait of a filmmaker. The famous director reflects on creativity and love. His friends and associates take part in the film: artist Vladimir Shinkarev, engineer Vladimir Nikolaev, actress Elena Kramer (Spiridonova), director, film critic Oleg Kovalov, necrorealist directors Yevgeny Yufit, Igor Bezrukov.
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The necrorealist science fiction plot involves a team of scientists attempting to cross a human being with a tree, and a special unit dispatched to hunt down the zombie-like mutants created in a previous, failed experiment
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Eisenstein shot 50 hours of footage on location in Mexico in 1931 and 32 for what would have become ¡Que viva México!, but was not able to finish the film. Following two wildly different reconstruction attempts in 1939 (Marie Seton's 'Time in the Sun') and 1979 (Grigori Alexandrov's '¡Que viva México!') Kovalov has here compiled another hypothetical version of what Eisenstein's film might have been.
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Tatyana Prokofievna is an ageing woman with a diva’s behavior, but her life is uneventful, ordinary and dull. To escape the everyday slumber she seeks companionship of young men. She provides shelter and becomes involved in their problems. Her ex-boyfriend has married a younger woman. Tatyana is forced to keep her loneliness hidden because of her role as hostess.
