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.
Neighbourhood children play a game: one of the kids dances in the centre of the circle while the others shower him or her with compliments. A little girl, Inga, who lives with her single mother, is friendly and honest. She usually receives a lot of compliments and is therefore considered a beauty. Everything changes when a new boy moves into the neighbourhood. Being rude, he does not fit in and soon earns himself the nickname Mute. He does not like Inga’s freckles and calls her ugly. Mute’s words hurt Inga deeply and she sets out to look for attraction.
A group of hunters enters a ghost town in Central Asia with a mission to kill packs of abandoned, and now wild cannibal dogs. But tables turn and there seems to be no way for the hunters to survive the horrific battle.
The first part of the film — popular science — tells of recent (mid-1960s) achievements in the exploration of the Moon. Scientists discuss the hypothesis of the origin of the lunar maria, about the temperature of the lunar surface and the supposed properties of the lunar soil.
The second part of the film — science fiction — shows how the Moon in the near future will be developed by people from a hypothetical first lunar mission to lunar cities and laboratories.
When Yelizaveta Uvarova becomes a mayor of a small town, she puts her heart and soul into building a bridge there. Yet soon politics will have to make way for her family life as her son suddenly dies.
This Soviet film is a biography of the Georgian primitive artist Nikoloz Pirosmanishvili (1862–1918), better known as Pirosmani, who died of starvation and sold his paintings to bars and restaurants for food and drink. The film experiments with color control techniques based on the painter’s style.
Nahapet (meaning patriarch in Armenian) has lost his family, his house and all his properties during the Armenian Genocide in 1915. Self-absorbed and reticent, he’s like a withered tree. The village on the slope of Mount Aragats, where he finds shelter, consists only of half-destroyed houses and sun-scorched earth. Could Nahapet find the inner strength to build a new house, start a new family and revive the things cast away by his destiny? This eternal story of resurrection is symbolic for the Armenian nation’s history.