The film, based on chronicles and documentaries created at the National Film Studio "Belarusfilm" in different years, tells about the burned Belarusian villages during the Great Patriotic War.

An experimental and at the same time universal uttering about the nature of tyranny and totalitarianism. The film is based on an archival chronicle of Stalin's performance at the Grand Theatre in Moscow in 1937. Theatre, initially, is a performative space. In the classical sense, it is divided into artists and spectators. But in it film, these roles are more complicated. Sometimes it's hard to say for sure: the audience clap because they like what they see and hear, or because they play the role of spectators in this theatre.

Spinning in a carousel in our personal interests, sometimes we do not notice the most important thing, people close to us. And only when we realize that we can lose them, real feelings wake up in us.

The film shows the everyday life of people in a psycho-neurological-type boarding house. Such institutions and work in them are perceived as detached from ordinary life. The main characters are naked with disease, demonstrating the realism of the narrative.

Far, far from Moscow, beyond the Ural Mountains, on the very outskirts of Russia, next to the restless Amur River, is the small provincial town of Furgalovsk with a population of six hundred and sixteen thousand, six hundred and seventy-eight .. no, six hundred and seventy-seven inhabitants. You will not find this city on any map of the country, and you will not hear mention of it in any news of our federation. But for the townspeople, Furgalovsk suddenly became a place where you want to LIVE!

This is a story about how a chance meeting can change your whole life.

Two or three kilometers from the Kremlin on Tverskaya, opposite the Belorussky railway station, there is an Old Believer Church, where they still heat the stove with wood, talk about kindness, politics, sinfulness, where for about four hundred years there has been a life parallel to modernity. Life is independent, different. The life of Russian people, dissidents with experience, ready to "appear before God" and answer for everything.

The old Polish tradition of slaughtering carp at home for Christmas is now causing controversy in society. A homeless poet-philosopher living under a bridge, three generations of a Polish family gathered at a festive table, and a couple of young artists answer the question of whether this is humane. Rural landscapes of the suburbs of Warsaw, the decorated city at night, the main church mass of the year, this is the backdrop against which the events of the film unfold.

The story of complete misunderstanding, a split in the family and the struggle for their truth. The eldest son Kolya takes care of his mother, is engaged in the manufacture of knives, but one day the situation is turned upside down. His sister arrives, who, together with the hero's wife, wants to clean up the house using psychological pressure. Close people become strangers?

The life of pensioners Sergey and Tamara in a small Siberian town is leisurely. They spend a considerable part of their free time watching state TV channels. The summer of 2022 has come and the parents, together with their son-documentary filmmaker, go on vacation to their small homeland.

If you are twenty years old, and you live in St. Petersburg, and your conservative grandmother is a chemistry teacher, then expect trouble. When Vika was arrested with an ampoule of mephedrone, the grandmother managed to clear the apartment of all signs of a chemical laboratory by the time the police arrived. Now Vika is waiting for a court decision and reflects on her far-right past, which led her to use, manufacture and sell drugs.

The film tells about the last active mass «9th may» in Riga 2019. The film is filled with pre-war allusions to Russian-speaking society, which can only be seen from the distance of current day and experience.

In each of us, somewhere deep inside, lives a little prince, the personification of our eternal radiant soul. But how to get to it? This eternal question will not be answered by the great French writer Antoine de Saint-Exupery, but by the simplest, most trivial psychologist in the world, whose works would never have entered the history of mankind, if not for a cup of hot coffee, the grains of which are grown exclusively in the gardens of Eden.

Pensioner Viktor Odintsov, a resident of the Vyatka village of Bezdenezhnye, from an early age dreamed of a starry sky. But he was able to do astronomy and build three observatories on his estate only now, after finishing his service in military aviation. His wife is constantly trying to drag her "astronomer" from starry heights to earth. Meanwhile, the wife of his countryman and namesake, dentist Alexander Odintsov, not only supports her husband's passion for paragliding, she herself loves to fly with him as a passenger.

In February 2019, the premiere of Viktor Vilisov's six-hour play "Mazerash" took place at the plant. Shpagin in Perm. This film is about how a large-scale theatrical project was born, about people who, with pure enthusiasm and love, participated in its creation.

Until the beginning of the 1990s, there were a very few rap artists in Russia and the Soviet Union. In the middle of the 1990s, a lot of boys throughout Russia started performing hip hop music, many of them had ended up working on factories in the former closed cities. Filmmaker asked several former hip-hop musicians, some still having factory jobs, to remember their old rhythms silently, and paired it with a spontaneous hip hop jam of young people living near the factories of Nizhny Tagil and Yekaterinburg on a second screen. Their voices dissolve like smoke in the back streets of Ural cities, gigantic open-air factories.

Zinema is a documentary film by Ukrainian director Kornii Hrytsiuk. He explores the development of Russian propaganda in cinematography and its impact on Russian society. The author tells the story of modern Russia, using footage from popular Russian feature films and series, mixing them with informative Russian content (news, political talk shows, surveys of Russians on the street, and interviews of Russian cinematographers). In his research film, Kornii comes to a terrible conclusion — Russian feature cinema is absolute propaganda of war, xenophobia, and chauvinism, not only concerning Ukraine but also the other peoples (Georgians, Tajiks, Americans, Jews, etc.) and culture in Russia is not «out of politics.»

In Soviet times, it was impossible to get to the concerts of the composer Oleg Karavaychuk, because they simply did not exist. Karavaychuk's eccentricity aroused bewilderment among the then leaders of culture, and he was actually forbidden to speak to the public. Recognition came to the composer only in the 2000s.

Never enter someone else's door without knocking. Never say unfamiliar words out loud. Never leave your toys scattered.

A story about creative young people who, during quarantine, are forced to work in a courier service in order to survive. At the same time, the guys continue to create in isolation.