The desire of a small person to break out of his prejudices, complexes, fears is faced with the inevitability of immersing the vast world into quarantine.

"Moments When We Freeze" is a hybrid experimental film which combines elements of documentary and fictional filmmaking in an attempt to tell a story of one broken Ukrainian family, who hasn't yet lost their love for each other, their sense of humor, and the desire to be connected. And so, we decided to reenact a scene that is rooted in a 40 year old photo found in our family archive. With the help of video-calls, my parents co-wrote and co-directed their own past using their contradictory memories as a guideline, and I reenacted it while being years and kilometers away from the original event.

This video has taken the internet by storm. It is no secret that migrants from Central Asia (Uzbekistan, Tajikistan, Kyrgyzstan) come to Moscow to work. Ohmuri conducted a poll among Muscovites about how they feel about guest workers, and also talked with the guys themselves who come to Russia to work, about how they live in Moscow, do they miss their homeland, do they face such a phenomenon as nationalism and why Muscovites call them "third-class people"?

Film diary. The way from Moscow to Vladivostok along the Trans-Siberian Railway.

Among the city of metal boxes any product or service can be found. The biggest market in Central Asia, Dordoi bazaar, is a workplace for over 150 thousands people. They trade, eat, pray and live there. The film portrays the place as the main character through fragments of its inhabitants. It allows viewers who are unfamiliar with the bazaar atmosphere to experience one. At the same time the bazaar serves as a metaphor for a broader kyrgyz society.

Tattooist? Tattoo master? Is this a profession or a hobby? The protagonist, a tattoo artist from the province, tells how he came to tattoo.

The film is composed of short story-monologues from three women, each reflecting on the twists and turns of their lives. The first, raised in an intellectual yet tyrannical family, discovers true self-realization only after the birth of her son, who has developmental challenges. The second leaves behind a successful career as a civil servant in a ministry to become an erotic dancer. The third shares the difficult journey of coming to terms with her child's life choices, which never fit into traditional norms from an early age. These unconventional real-life stories challenge the viewer to question: what is "normal," and should it dictate a person's fate?

The village of Avnevi was one of the largest Georgian enclaves in South Ossetia. After the war, when all the Georgians left, the Ossetians burned Georgian houses so that the Georgians would not return. There are only two houses left in Avnevi. Durmishkhan lives in one of them. Now he is 78 years old. Durmishkhan is Georgian, his late wife Zalina was Ossetian. Their son was killed by his comrade because of the girl, but during the war it turned out to be very easy to do, because human life was completely devalued. Both of their daughters left for Georgia in 1992, their grandchildren and great-grandchildren were born there. Durmishkhan never saw them. Only two years ago, when Zalina was dying of cancer, her daughters illegally crossed the border to see their parents. A day and a half later, Ossetian border guards appeared on the threshold, one of the neighbors reported. The daughters were taken back across the border. Zalina died two days later. Durmishkhan does not have a passport and has never left Avnevi. It seems to him that he will never be able to go to his daughters in Georgia, he is afraid that his former Georgian fellow villagers will recognize him and kill him as a traitor. And why go, he says, Zalina, with whom he grew up together and whom he loved since childhood, died, and all that he had left was her grave and the grave of their son. The film was shot as part of the War|Peace project dedicated to the 10th anniversary of the August 2008 war.

Modern shamanism in Russia without mystification through the stories of those traditional peoples in whose culture shamanic beliefs still remain.

Selling used parts for popular car brands was one of the most profitable businesses of the 2000s. And now such a dismantling is barely surviving, selling off the remnants. Two Russians work here, the general director, his deputy, and three Tajiks. The morning starts every day the same way, for Tajiks with a conversation with their wives and children on WhatsApp, and for Russians with a sore head. It hurts both from a hangover and from the difficult situation in the country.

30 years ago, during the years of the collapse of the Soviet Union and the struggle of the national republics for independence, Russian TV journalist Svetlana Kulchitskaya filmed documentary television films about the tragic events in Nagorno-Karabakh, where the war was going on. With the hope of finding people who are captured in documentary chronicles, she returns to this land. The film tells the story of a people who, without an army, surrounded by a blockade, managed to defend their independence and freedom.

The film consists of three short stories by Styopa, Volodya and Malika. Each of the guys has their own problems, dreams and goals. And the only thing that unites them is that they are young.

The film allows you to travel back in time, see the representation of the legendary Krasnodar exhibition of contemporary art "Facade" through archival recordings and interviews, hear the voices of the participants then and now, think about the 90s as a time of hope and insight.

Kyzzhibek Batyrkanova is the director of the satellite engineering program. This is the first program that prepares for the launch of a nanosatellite from Kyrgyzstan, and there are only girls in its team. Being engaged in satellite construction, involving other young girls in this project, Kyzzhibek wants to broadcast the idea of feminism. Previously, Kyzzhibek was in an abusive relationship that included harassment and threats of forced marriage. It is still hard for her to talk about it, but she wants to talk about it in order to broadcast feminism and resist abusive relationships by her own example. Her friends and the space program for the construction of a nanosatellite helped her in a difficult period.

The life of Nikolai, head of the supply department, and his three crew members revolves around assembling sets at the Little Drama Theater. Their relationships are as sharp as screws and as straightforward as beams. The job comes with its share of injuries, while the creative atmosphere is both alluring and full of temptation. How do the stagehands of the Little Drama Theater manage to maintain harmony while working in such a high-risk environment?

Documentary indie film about the northern art festival "Taibola".

Power or opposition? Putin or Navalny? Reform or revolution? Peaceful protest or barricade fighting? If not Putin, then who? This video contains an interview of three guys: Vadim, a law student at Moscow State University, Alexei, a student at the Higher School of Economics, and Nikolai, a man who from an early age took an active part in the protest movement, having worked with Navalny, Lyubov Sobol and Yulia Galyamina, and more than once found himself in paddy wagons. They have different political beliefs, but they are united by the understanding that the phrase "we are out of politics" has not been relevant for a long time! How do they see the future of Russia and what will they say when they face Putin?

A documentary about a Novosibirsk stand-up comedian who cheated people for money and eventually disappeared.

Life in Russia has undergone incredible changes in recent decades. Migrants have become an objective reality, and the state has become “bread” for the survival of the former republics of the USSR, from where hundreds of thousands of those fleeing wars, poverty, social upheavals and striving for illusory happiness in a foreign country come from.