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Definitely Not Ceramics

The Dymov Ceramics factory and the cultural life that unfolded around it have become an integral part of Suzdal — many tourists are surprised that twenty years ago none of this happened. The authors film the co-founders of the plant Vadim Dymov and Evgenia Zelenskaya in workshops and at home and ask them how they came to entrepreneurship, what they are inspired by and what it is like to be partners in business and in life. These conversations, which are very lively, simple and open, form a portrait of people who are so passionate about their business that it becomes clear where the very atmosphere of the place that attracts so many people into its orbit and changes the atmosphere of the city came from.

Definitely Not Ceramics

6.3 2024
We Lived A Happy Life

Lyudmila Ivanovna is 83 years old, she has memory problems, she is raising a grandson. Alyosha is 16, he is finishing school and preparing to enter the University. One Sunday morning the police burst into the house. Alyosha is arrested. Lyudmila Ivanovna is trying to understand what her grandson did. The words “meme”, “repost” and “extremism” are unfamiliar to her. Thus begins Lyudmila Ivanovna’s journey into the life of her grandson and the social problems of the Russian outback.

We Lived A Happy Life

NR 2024
«Vaults»: ColLab 2023

Vaults is an art production center, a Collaboration is an annual program that offers artists to become residents of workshops for a while. In the film, the residents of last year present their work and tell what it was like for them to participate in the ColLab. For some, the program gave an impetus to joint creativity and the exchange of ideas — for example, Misha Brown makes installations from found artifacts, and fragments of works by other artists became part of them in the "Vaults". She inspired others to experiment thanks to her well-equipped workshops.

«Vaults»: ColLab 2023

NR 2024
Farewell My Sea

On the very shore of the sea there once lived an old man and his wife, and the old man had three sons. The eldest son loved the sea, but it punished him for his insolence. The middle son used to talk to the sea, but it stopped answering him. The younger son was swallowed up by the sea, which took him with it. After many long years of wandering, the three brothers reunite on their native island of Sakhalin to restore the connections they lost and finally say farewell to their sea.

Farewell My Sea

NR 2024
Скворечник

Tatyana and Artem have been living together for twenty-five years. They have two natural children who are now grown, and a constantly changing number of adopted children. Parents leave their children to Tatyana and Artem's family for temporary upbringing. They are trusted by guardianship authorities, parents who cannot cope with themselves and the responsibilities of raising children, neighbors and older students. But they are not trusted by people who accidentally meet them at the crossroads of fate or social networks. The story is not only about the family of Tatiana and Artem, but also about the distrust of each of us in the kindness and mercy of others.

Скворечник

7.0 2024
Round Dance. Apologizing Russia

An experimental documentary film that delves into the intricate facets of the issue of human dignity humiliation in Russia. The directors provide audiences with an unconventional perspective on situations where individuals are compelled to issue on-camera apologies for their words or actions. Through this experimental narrative approach, viewers will witness how it has become commonplace in modern Russia to extract apologies on camera. Some instances will evoke genuine sympathy as people grapple with public scrutiny. Simultaneously, other scenes will unveil the darker side of this trend, where apologies devolve into mere puppetry, extracted under the threat of personal and professional repercussions. The film incorporates a range of videos capturing moments of sincere apologies driven by a genuine acknowledgment of one's mistakes.

Round Dance. Apologizing Russia

NR 2024
Voyage of Jeanette

Constructed out of personal notes, both verbal and visual, Voyage of Jeanette is an essay film that poses questions about the intersection between image production and the creation of narratives, which shape our perception of contemporaneity and manifest in our performances of history, heritage, and memory. Positioned in the Yakutian Arctic, the film invites the viewer to ask vital questions about the meaning of peripheries and how western ontologies of discovery and the writing of history are absorbed into or contrast with immediate Yakutian realities.

Voyage of Jeanette

NR 2024