Anna Aleksakhina

A story about twin brothers from a family of hereditary military sailors. Their father, a brave sea captain, dreams that his sons graduate from the legendary Nakhimov school and continue the family dynasty in the navy. However, the guys themselves do not think about the sea service at all. Like most teenagers today, all they want is fun and easy money. These desires lead the heroes to the gang of the local "leader" of youth, from which it will be extremely difficult for them to get out without the support of their native school.

Parents lock their son at home for re-education. He is 38 years old. He is the mayor.

The case brings two older women together. Lonely and embittered by the whole world, Zhenya is forced to unite with the eccentric and good-natured Mila in order to get out of the circumstances in which they found themselves thanks to a chance acquaintance with two young frivolous neighbors.

The film is an attempt to recreate the world of Marc Chagall and his myth within the genre of a folklore ballad. We are not exploiting Chagall's images, but are attempting to create a dramatized projection of his creativity onto the movie screen, relying on both, facts and fantasy (as Chagall himself would).The story is based on real events which occurred at the time of Chagall's short-lived period in Vitebskin in 1917-18, during which time he creates the Academy of Modern Art, inspired by his dreams of a bright and beautiful future. Many pictures by Chagall and Malevich are used in the film.

Varvara was born in Petersburg at the beginning of the 20th century. And the first wedding she saw was her mother’s wedding. Years passed, the girl grew, matured, the world around changed ... Her generation had to go through many trials - revolution, military communism, NEP, war ... At the weddings that Varvara had a chance to visit, every era and love story was captured in snapshots a life.

Based on the novel by Booker Prize Winner Ludmila Ulitskaya, The Funeral Party is set in August 1991. In a sweltering New York City apartment, a group of Russian émigrés gathers round the deathbed of an artist named Alik, a charismatic character beloved by them all, especially the women who take turns nursing him as he fades from this world. Their reminiscences of the dying man and of their lives in Russia are punctuated by debates and squabbles: Whom did Alik love most? Should he be baptized before he dies, as his alcoholic wife, Nina, desperately wishes, or be reconciled to the faith of his birth by a rabbi who happens to be on hand? And what will be the meaning for them of the Yeltsin putsch, which is happening across the world in their long-lost Moscow but also right before their eyes on CNN?

Um pai e seu filho, Aleksei, moram juntos em um apartamento no topo de um telhado em uma cidade à beira-mar não identificada. O Pai é um veterano e Aleksei freqüenta a escola militar para estudar medicina. Eles viveram sozinhos por anos em seu próprio mundo privado. Às vezes eles parecem irmãos. Às vezes, até mesmo como amantes. Apesar de saber que todos os filhos devem viver um dia suas próprias vidas, Aleksei está em conflito. O pai sabe que ele deveria aceitar um trabalho melhor em outra cidade, talvez procure uma nova esposa.

Um museu como um ser vivo, uma entidade que respira e tem personalidade própria. Sokúrov empresta alma ao colossal palacete do Hermitage, em São Petersburgo, um dos maiores museus do mundo. Arca Russa foi filmado em um único plano-seqüência, sem cortes, que dura 97 minutos e atravessa 35 salas do museu, transformando a tela de cinema em um quadro vivo por onde desfilam personagens importantes da história da Rússia: Pedro, o Grande; Catarina, a Grande; Catarina II, Nicolau e Alexandra.

Speeding cars. Rainy St. Petersburg. Nightclubs. The opera. Drugs. Shootouts. Leather coats. Fights. Hotel rooms. Tattoos. Death... The main stake in the game is the body of the deceased "Captain", who even in his death manages to cause a lot of trouble for those who knew him.

A detective-dramatic chronicle of love adventures of the famous Russian ballerina Olga Spesivtseva, nicknamed by contemporaries Red Giselle. It was Giselle who immortalized her name in 1924. It was "Giselle" that caused the psychic catastrophe in 1942.

The protagonist finds out that some children were left behind in a sinking school, and is slowly driven mad as he tries to save them. A parable on the theme of the Last Judgment, numerous catastrophic events reveal a certain ambiguity in their origins, accompanied by the terrible suspicion that the things going on are some kind of a performance or theatrical production.

This film is of interest primarily because it contains within it the entire surviving footage of an unfinished 1974 film by the same director, Slave of Love, which was successfully remade shortly thereafter by another director, Nikita Mikhalkov.The "cover" story is about a woman (Jeanne Moreau) newly released from prison camps in the 1940s back into Russian society, who finds that there is no place for her in the world she has come back to. However, this painterly film is so filled with striking and surreal imagery that it would be misleading to say that the story is of any great importance in relation to that.

A story of a friendship between a boy and a girl during a pre-revolutionary times in Russia.