Raisa Izakson

An unnamed hero roaming the streets of St Petersburg is befriended by a beggar with a donkey and a slightly deranged prostitute.

According to the story of the same name by Pavel Nilin. At 20, Tonya gave birth to a daughter — alone, without a husband. At 30 — personal happiness became an unattainable dream. She devoted herself to her beloved daughter. But at the age of 40, life seemed to make a circle and return to its starting point. There is nothing left to lose — which means you can take a chance, start all over again. Mom is married for the first time, and it’s hard for a selfish daughter to put up with this...

Kolya Kasatkin, who saw in his wife Tanyusha the ideal of female charm, tenderness, kindness, who loved her to the point of oblivion, was at a loss before the idle conversations of well-wishers about his wife's betrayal. Having found his wife with the choir director, Nikolai demanded a divorce. Continuing to love each other, the former spouses are unhappy in separation. Kasatkin's new hasty marriage did not return his peace of mind. In daily agony, in the pursuit of a past life, he also lost his old dream — to live and work in the Far East, where he served in the army. Both realized too late that love does not forgive hasty decisions, that it must be able to keep and protect.

This lavish Soviet/Czech co-production is based on Fyodor Dostoyevsky's famous novel, The Gambler, which tells the story of a Russian living in Germany, in a gambling resort. This film is set at the turn of the century, and was filmed in Karlovy Vary (Carlsbad), Czechoslovakia. Played by Nikolai Burlyayev, the gambler succumbs completely to his addiction, using up every resource he has (human, spiritual and financial) in his wagering, finally becoming a rootless drifter.

German apparently disavowed this, his first film, because of his co-director Grigori Aranov's more classical approach (and his kowtowing to Soviet authority); too bad, because it's something of a knockout. A brilliant, gripping portrait of the era of "Red Terror" during the civil war that followed the Bolshevik revolution, The Seventh Companion offers a superlative character study in General Adamov (Andrei Popov), a law professor in the tsarist army, who is incarcerated by the Bolshevik secret police along with many other members of the bourgeoisie. Finally released into the new world of the Soviet Union, the resigned officer finds that he has lost everything from his old life except a mantel clock that he carries through the night from place to place, until he ends up, like Rossellini's inmate seeking readmission to prison in Dovè la liberta?, back where he started.

Two old Leningrad workers, Sukhov and Solyanov, have a long-standing friendship — they worked at the same plant, lived in the neighborhood. Now Solyanov, at the insistence of his son, decides to retire. But it is not so easy to part with his native plant, which, as it turned out, still needs an old personnel officer...

Screen adaptation of Tchaikovsky's opera based on the Aleksandr Pushkin short story of the same name.

Chief accountant Porfiry Petrovich Smirnov-Alyansky, who took a good walk on the anniversary of his colleague cashier Ivan Zakharovich Vodnev, climbs into the traffic controller's booth and disrupts traffic on one of the streets of Leningrad. However, the guard Vasiliy Shaneshkin mistakenly delivers to the police station not an escaped offender, but a quite decent cashier. In addition, Vodnev, offended by the police, turns out to be the father of the bride Shaneshkin — Katya. Vasiliy admits his guilt, but, not daring to explain himself, leaves the angry Ivan Zakharovich with bad thoughts about the Soviet police. Fortunately, the young sergeant will soon have an opportunity to prove to others the responsibility and conscientiousness of the police officers.