Natalia Drozd

Vanya is a salesperson in the Hunter and Fisher shop. Kristina is a ballerina at the Perm Opera and Ballet Theatre. Kristina jokingly calls Vanya a "retro person" for her love of everything old. She herself is a modern person, nostalgia for the romantic past is not characteristic of her. And yet, these two dissimilar people have something in common - the fear of loneliness and the obsession with starting a family.

The story of a simple sailor of the Northern Fishing Fleet, who dreams of ending his naval career, since his life at sea seems unreal to him, illusory. He is going to go ashore, marry and settle on the ground. To heal. But nothing comes out. He is forced to sail again. An adventure cinema begins with a large number of twists and turns: the strongest storm, a hole in the board, a haul pulling the ship to the bottom. The trawler practically sinks and at this moment receives the SOS signal from a foreign ship in distress. The main character manages to convince the rest of the crew to come, risking themselves, to help foreign sailors. Thanks to this act, the team - a gathering of sea wolves, practically pirates - has a feeling of meaningfulness of their own lives.

Fourteen-year-old Mira wants to spend New Year’s Eve with her friend Lera. Initially, her stepfather disagrees. But, after a tense family dinner, she is given permission.

The Kazakh village Karatas has long been subjugated by a criminal boss called Poshaev. He provides housing and jobs for the locals but will ruthlessly execute anyone who dares to oppose him. This is the lesson the pauper Arzu is about to learn first-hand—his wife Karina has informed the police about the crimes that are taking place there. Arzu is a cripple; now he must raise his little daughter alone. He is so helpless and grief-stricken that he doesn’t even seem to be contemplating revenge. Poshaev takes him under his wing and offers him the position of a guard at a building site. Soon Arzu has a chance to prove his loyalty, and he becomes Poshaev’s right hand. But where do Arzu’s real loyalties lie—with his boss or with the idea of justice?

테러리스트로 보이는 정체불명의 사람들이 카라타스 마을의 한 학교를 점거하여 아이들을 인질로 잡아두고 어떤 협상도 하지 않고 있다. 게다가 거센 눈보라로 외부와의 통신이 끊겨 경찰 역시 지원군을 요청할 수 없다. 그러던 중, 인질로 잡힌 한 아이가 목숨을 잃게 되고, 지역 교사인 타즈시는 인질로 잡힌 아이들의 부모들과 함께 테러리스트를 공격할 팀을 조직한다.

고대 암각화를 보러 가기 위해 여행을 떠나는 핀란드 유학생 여자. 무르만스크 행 기차 ‘6번 칸’에서 만난 낯설고 무례한 남자. 거리를 두려는 여자 ----------- 가까워지려는 남자. 목적지에 다다를수록 두 사람의 관계는 미묘한 변화를 겪게 되고…

고대 암각화를 보러 가기 위해 여행을 떠나는 핀란드 유학생 여자. 무르만스크 행 기차 ‘6번 칸’에서 만난 낯설고 무례한 남자. 거리를 두려는 여자 ----------- 가까워지려는 남자. 목적지에 다다를수록 두 사람의 관계는 미묘한 변화를 겪게 되고…

A 15-year old Vika has to grow up. Only yesterday she was just a teenager and now she’s a mom. Catching sidelong scowls of adults, being mocked by peers, unbearable responsibility – it seems like the entire world is against her and Vika is all by herself. More truly, she has a child now, she’s not all alone.

러시아 중견 감독 발레리 토도로프스키의 신작으로 2020년도 모스크바국제영화제 경쟁부문에 진출했던 작품이다. 이 작품은 이번 온라인 영화제에서 해외 최초 공개로 상영된다. 아직 미성년인 미샤는 몽유병을 치료하기 위해 심리치료사 볼코프의 최면실을 방문한다. 이후 미샤는 최면술사의 최면에 빠져서 현실과 환상을 구분하지 못하게 된다. 볼코프의 환자 중 한 사람이 알 수 없는 이유로 실종된 후 미샤는 진실을 파헤치기 위해 조사를 하기로 결심한다. 그러나 환상과 실체가 구분이 되지 않는 상태에서, 혹시 그 자신이 용의자가 아닌지 의문이 생긴다. (한국영상자료원)

The film’s heroine is the gynaecologist Masha, whose husband leaves her. When a man leaves his wife, he carries away all her hopes for a future. Of course, it would be noble to let the husband go, but Masha is a strong woman and begins a desperate struggle for her infidel husband Misha. The power is unequal. Masha is already well in her thirties, while the fitness-trainer Oksana is just over twenty. But behind Masha stand a great experience of life and two small children. In this situation she is ready to use the entire arsenal available, including extraterrestrial forces. The young Oksana relies only on feelings. And on her fine figure, her magnificent hair and irrepressible temperament. Who will win this fight and get the prize? And what happens when the dream of one of them will become true?

A young woman lavishes the last care on her mother's lifeless body. At his side, a woman watch, a babouhcka , as they say among the Russians. The young groped, the day before with a sure hand, wash this body, prepare it. They accompany him, rock him and console him by the last goodbye.

Egor is a vet at a training facility for hunting dogs in a remote region of the country. Surrounded by foxes, deer, badgers, and dogs, he lives in a small building next to the house of the facility's master. He treats the dogs, cleans the kennels, oversees the workers, and meets with clients and their dogs. It's easier for him to get along with dogs than with people. Egor is willing to take on any job to get closer to the facility's master and his near and dear. He wants the impossible - to become a member of that family.

Oleg is a young gifted paramedic. His wife Katya works as a nurse at the hospital emergency department. She loves Oleg, but is fed up with him caring more about patients than her. She tells him she wants a divorce. The new head of Oleg’s EMA department is a cold-hearted manager who’s got new strict rules to implement. Oleg couldn’t care less about the rules – he’s got lives to save; his attitude gets him in trouble with the new boss. The crisis at work coincides with the personal life crisis. Caught up between their patients, alcohol-fueled off-shifts, and an evolving health care system, Oleg and Katya have to find the binding force that will keep them together.

상트 페테르부르크를 배경으로 만들어진 옴니버스 영화. 7명의 여성 감독들이 연출한 각각의 단편들은 사랑과 외로움, 행운과 희망, 그리고 기적에 대해 이야기한다. 현재 러시아의 젊은 감독들이 관찰한 도시의 서로 다른 풍경과 러시아의 잊혀진 영화들에 대한 추억이 특히 흥미로운 작품. (2019 러시아 영화제 - 위대한 유산, 새로운 이름들)

Olga, Katya, and Andrey have known each other since childhood. They moved to Moscow many years ago and have become successful. Olga is an actress, Katya works for a large-scale PR agency, and Andrey is a political analyst. They buy cars, take mortgages, build country houses. Just like everybody else. But their lives bring them neither happiness nor content. The feeling of "something's not right but I can't put my finger on it" underpins the lives of today's thirty-year-olds. Their childhood took place during the Soviet era, when kids dreamed of becoming heroes, believed in spy stories and a bright future. Yet nobody expected that the dream of becoming a hero would be replaced by the dream of stable and predictable existence. People have stopped dreaming of truly grand things. They just play their roles.

Anya, a young academic raised in an orphanage, is on the cusp of success when she’s accused of drug possession. While in limbo hiding from the police, she hits the road with Kristina, another orphan several years Anya’s junior, in search of her possibly mythical grandmother.

In cities like Paris there are countless people from Eastern Europe who have forsaken their homelands because they can see no future there. Lucia and her little daughter Marussia are two such people. They have been thrown out by the Russian acquaintances they were staying with and must tramp the streets with their trolley suitcases searching for somewhere else to live. A Russian Orthodox priest offers them their first night's shelter. They spend the second night in a homeless hostel and party through the third with a chance acquaintance. On the fourth night they sleep clandestinely in a cinema and on the fifth with a Russian artist in a hotel … Lucia is good-looking, dresses elegantly and is certainly not shy of men. This serves the mother and her daughter well. In spite of all the uncertainties in their lives, the two frequently share tender moments.

Naked Harbour is a movie about Finnish love in the year 2011. It is a story about people who seek love and acceptance at any cost. During one winter week all its characters face something irreversible.

Matthias Bleuel, a logistician of a german mail order company is send to Kemorovo in Siberia to teach some russian subsidiary company the german work flow system. But soon this land changes him and everything for him.

A young teacher Tanya is taking a school theater group to a festival in Sochi. For the sake of order, the head teacher of the same school, Maria Genrikhovna, is traveling with them. Tanya is not enthusiastic about the boss's eye, but Maria Genrikhovna quickly breaks all stereotypes about head teachers. In her face, Tanya finally finds herself a worthy adult - either a role model, or a mother, or a mentor. Meanwhile, the festival insistently demands a return to reality - the organizers demand to change the name of the performance, the poster, and, preferably, the worldview. Choose the path of compromise for the sake of children or take a principled position? In any case, Tanya and Maria Genrikhovna will have to answer to twelve teenagers who are experiencing their first dramas at the festival.