This 30-minute Soviet biographical documentary shows the selfless work of Anna Ivanovna Zelenova, the director of the Pavlovsky Palace Museum, who devoted her entire life to the palace and survived with it years of occupation and rebirth from the ashes.
Filmed in 1965 and just as contemporary now as it was then, Yuri Ilyenko’s directorial debut, A SPRING FOR THE THIRSTY, is a surreal cinematic poem from the cinematographer of Sergei Paradzhanov’s SHADOWS OF FORGOTTEN ANCESTORS. As director-cinematographer of A SPRING FOR THE THIRSTY, Ilyenko has created a parable centering on an old man who lives a secluded life in the desert, alone with only his memories and photographs. His wellspring, once a source of joy and hope for thirsty passersby, is now rarely used. No longer able to find comfort in his memories, he turns all his photographs to face the walls.
A view of man’s perpetual struggle for self-destruction, in which we glimpse a world where rockets are part of everyone’s lives. In the end the red button is accidentally pressed by a careless caretaker, expressing the fear in all our minds.
Based on the novel of the same name by Fyodor Dostoevsky. The tragic story of the Karamazov family takes place in a Russian province in the late 19th century. The relations of their father and three brothers are very complicated and contradictory. One of the brothers is accused of killing his father, whom he did not commit. The brothers are unable to help him, and only a loving girl follows him to hard labour.
An emotional and visually attractive portrait of timeless moments in human life. 235 000 000 was made on the occasion of the 50th anniversary of the 1917 Revolution. Without any commentary, allowing images to speak for themselves to music.
Four arduous years in the making, Ardak Amirkulov’s 1990 historical epic about the intrigue and turmoil preceding Genghis Khan’s systematic destruction of the lost East Asian civilization of Otrar is a one-of-a-kind experience. Amirkulov’s film, shot in sepia-toned black-and-white, is at once hallucinatory, visually resplendent, and ferociously energetic, packed with eye-catching (and gouging) detail and B-movie fervor, and traversing an endless variety of parched, epic landscapes and ornate palaces.
Rein Raamat’s Hell adapts the engravings of Estonian graphic artist Eduard Wiiralt into a surreal, grotesque, and heavily sexual animated short. Wiiralt’s three source works, “The Preacher,” “Cabaret,” and “Hell,” date back to the early 1930s and portray a cacophony of bacchanalia, hysteria, and violence in the final years of Estonian independence amid the unrest of the Great Depression and European instability.
1918. Workers from Petrograd come to Altai region to establish the first agricultural commune. In spite of the hostility of the local White Army cossacks the workers build houses, cultivate land. The poor peasants are turning towards the commune. However, White Army cossacks take vengeance on the members of the commune.