Nadezhda Zakharova

The huntress Nadezhda lives alone in the taiga. In between hunting, she writes local history books full of unique information, myths, legends and epics. What prompted her to pick up a gun and start killing wild animals and birds in the taiga? Why does she prefer solitude? Isn't she scared?

Diverse days of one provincial embankment. In a remote area of ​​the provincial town, there is an unremarkable old embankment. It was built in Soviet times. At first glance, it may seem that nothing has been happening here for a long time. But observing the same place from the same survey points throughout the year, important changes are discovered, associated not only with natural phenomena, but also with people coming to the embankment. Some of the townspeople appear several times throughout the film. And it becomes clear that these walks along the river are a daily ritual for them.

Diverse days of one provincial embankment. In a remote area of ​​the provincial town, there is an unremarkable old embankment. It was built in Soviet times. At first glance, it may seem that nothing has been happening here for a long time. But observing the same place from the same survey points throughout the year, important changes are discovered, associated not only with natural phenomena, but also with people coming to the embankment. Some of the townspeople appear several times throughout the film. And it becomes clear that these walks along the river are a daily ritual for them.

Diverse days of one provincial embankment. In a remote area of ​​the provincial town, there is an unremarkable old embankment. It was built in Soviet times. At first glance, it may seem that nothing has been happening here for a long time. But observing the same place from the same survey points throughout the year, important changes are discovered, associated not only with natural phenomena, but also with people coming to the embankment. Some of the townspeople appear several times throughout the film. And it becomes clear that these walks along the river are a daily ritual for them.

The "self-isolation" regime due to the coronavirus epidemic was announced in Perm on April 2, 2020. Patrol cars drove around the districts and an appeal was read through loudspeakers: "Citizens, we ask you to stay at home." It was forbidden to leave the house further than 100 meters, and move around the city without a pass. It was allowed to walk the dogs, go to the nearest grocery store and to the pharmacy, if required to keep a distance and wear masks. People over 60 were encouraged to stay at home. Streets and courtyards were patrolled. During the first week of quarantine, the streets were empty. The main points of congestion of residents were grocery stores and pharmacies. By the end of April, people began to go out for walks more often and treat themselves to irgi berries.

The bell is the only musical instrument used by the Orthodox church, and its connection with the Russian spiritual culture is incredibly strong. In 2016, popular techno-producer and DJ Philipp Gorbachev had been trained by a bell-ringing master and later became the bell ringer at the St. Nicholas Church in Aksinino. Being influenced by Peter Mamonov, Moscow-based electronic musician believes in the spirituality of the Russian dance floor. This film is an attempt to reflect it through the prayerful experience of the modern bell-ringer, who hides the red mechanic jumpsuit, Gorbachev’s usual clothes for sets, under the monastic robe. Following Philip, the camera tries to find and capture in detail the fragile atmosphere in which the sound of bells becomes a source of divine revelation and turns people into brothers and sisters.

The bell is the only musical instrument used by the Orthodox church, and its connection with the Russian spiritual culture is incredibly strong. In 2016, popular techno-producer and DJ Philipp Gorbachev had been trained by a bell-ringing master and later became the bell ringer at the St. Nicholas Church in Aksinino. Being influenced by Peter Mamonov, Moscow-based electronic musician believes in the spirituality of the Russian dance floor. This film is an attempt to reflect it through the prayerful experience of the modern bell-ringer, who hides the red mechanic jumpsuit, Gorbachev’s usual clothes for sets, under the monastic robe. Following Philip, the camera tries to find and capture in detail the fragile atmosphere in which the sound of bells becomes a source of divine revelation and turns people into brothers and sisters.

Small stories, the change of movement, arises from the inside of the visual image: A poet reading verses through a barred window, a Mongolian girl lights a fire in the oven and blows on the flame as if it were a wolf howl in the steppe. Like fire, the film grows out of itself in the rhythm of editing.

Small stories, the change of movement, arises from the inside of the visual image: A poet reading verses through a barred window, a Mongolian girl lights a fire in the oven and blows on the flame as if it were a wolf howl in the steppe. Like fire, the film grows out of itself in the rhythm of editing.

Small stories, the change of movement, arises from the inside of the visual image: A poet reading verses through a barred window, a Mongolian girl lights a fire in the oven and blows on the flame as if it were a wolf howl in the steppe. Like fire, the film grows out of itself in the rhythm of editing.

Small stories, the change of movement, arises from the inside of the visual image: A poet reading verses through a barred window, a Mongolian girl lights a fire in the oven and blows on the flame as if it were a wolf howl in the steppe. Like fire, the film grows out of itself in the rhythm of editing.

Each nameless person has to get their name. There’s no place where you can get such an acute feeling of the world and life as in a small neglected town on the edge of the earth. We collect intimate and genuine stories of the nameless people living between the wild northern taiga and an old Gulag prison, which still casts its grim shade on their joys and griefs.