Yulia is sixteen, she lives in a barracks. And Vanya is with his parents in a five-story building. Julia is expecting a baby, and Vanya's parents are against the misalliance and do not let the couple on the doorstep. "A monstrously real movie about love," as the director himself defines "Mommies." It can be said that this film inherits the Russian literary "natural school", the whole "physiology of Russian life" is presented in such detail in it. But you can also interpret it as a terrible fairy tale, because it is all a metaphor for Russian life.

The events of the film begin on December 31, 1999 when Russia was acquainted with its new president. The film is based on unique and strictly documentary testimonies of the true causes and consequences of the operation "successor", as a result of which Russia ended up with the president who still rules the country. The protagonists of the film are Mikhail Gorbachev, Boris Yeltsin, Vladimir Putin, and the Russian nation, as always being a silent witness of its own destiny.

Internet-premiere of the film took place on the 12th December 2018 at the Artdoc.Media online movie theatre.

The film focuses around Ina and Nikoloz, eleven and ten years old Georgian children who live in the 2008 Georgia-Russia war refugee village Tserovani. Unlike troubled adults who long for their old homes, the children are oblivious of the past. As they find fun and scary pastimes around the village, they try to reconstruct memories of their past, of where they came from. They don’t remember the war, but it continues to affect their present and future.

A film about life, about death, about people who have come close to the border between the first and the second. And about love, the brightest manifestation of life.

Young and promising Chechen MMA (Mixed Martial Arts) fighter Khavaj must flee from Chechnya to Brussels when his brother discovers his homosexuality and promises to kill him. In an episode of silence, the young man finds comfort in the Planetarium, among the silence of the stars. In this documentary, which traces his first months of life in Belgium, Khavaj slowly observes how the last link that ties him to Chechnya disintegrates. The life of yesterday is in past, but the future is not clear yet.

The film takes the audience on a powerful, visually arresting journey through humanity’s endless cycle of war and peace. The film follows 20-year-old Andriy Suleyman as he tries to secure a sustainable future while navigating the human toll of an armed conflict. From the Syrian civil war to strife in Ukraine, Andriy’s existence is framed by the seemingly eternal flow of life and death.

Ten-year-old Oleg lives in the eastern part of Ukraine — a warzone that often echoes with anti-aircraft fire and missile strikes. Sometimes these sounds are in the distance, while other times they’re frighteningly close. While many have already left this dangerous area, Oleg remains with his grandmother, who has taken care of him since the death of his mother. They have nowhere else to go. While waiting for the war to end, Oleg enjoys hanging out with his younger cousin Yarik and an older boy Kostia. Together they go on adventures, talk about what makes a real man, test each other’s boundaries, but sometimes they go too far. This observational film follows a year in the life of Oleg and emphasizes the warm bond he has with his grandmother. By sticking close to Oleg, The Distant Barking of Dogs shows the effect of conflict on children.

A film about the life, games and everyday life of a 7-year-old girl from a dysfunctional family living in a forest near a big city. And, as little Milana finds out, from a normal life.

A film that tells about the strange life of an old woman, almost the same age as the 20th century, who makes the same long journey every day. What drives a person? What determines his life path? The answer to this question is sought in the life story of this woman.

Ten-year-old Yula has but one dream - to lead a normal life. For 14 years, Oscar-nominated filmmaker Hanna Polak follows Yula as she grows up in the forbidden territory of Svalka, the garbage dump located 13 miles from the Kremlin in Putin’s Russia. Something Better To Come is Yula’s story - a dramatic tale of coming of age and maturing to the point of taking destiny into one’s own hands. It is a story of hope, courage, and life, all shot in gripping vérité style that stuns with its directness and immediacy.

"Gorbachev. Heaven" is a documentary film about changes that reverberated throughout the world wrought by one man. A film summing-up the life of a man who changed the world in the 20th century. Gorbachev’s short time in power was marked by the collapse of this empire. He was the architect of Glasnost and Perestroika, policies that gave the citizens of the Soviet Union – what Ronald Reagan called “the Evil Empire” – a chance to be free. He tore down the Berlin Wall. But at the same time, under his rule, the Chernobyl nuclear facility exploded and its destruction was concealed. Citizens demanding independence in the Baltic states died. Soldiers wielding shovels brutally suppressed protesters in Tbilisi. And Soviet tanks menaced, and killed, peaceful demonstrators in Baku. The Soviet empire collapsed under him – and he is condemned by his own people. With this burden of the past, this lonely old man is living the last days of his life in an empty house in the suburbs near Moscow.

Detailed information about the film, reviews, articles, interviews and photos are available on the official website of Vitaly Mansky Manski-doc.com.

D’innocents rituels matinaux partagés sur YouTube ou TikTok aux images d’élèves fuyant des tireurs à l’école... ce film d’archives est entièrement composé de vidéos « choc » tournées et postées par des adolescents russes sur les réseaux sociaux. Dans toute la Russie, des élèves filment secrètement leurs enseignants violents. Certains leur disent qu’une femme doit avoir des relations sexuelles avec son mari quand celui-ci le souhaite ; d’autres vont jusqu’à les battre. Les élèves trop critiques peuvent également faire l’objet de rapports sur leurs opinions politiques. Dans ce documentaire, le téléphone portable constitue une sorte de bouclier entre la jeunesse et ce monde brutal. Quelle que soit l’intensité des événements, ils continuent à filmer.

La projection sera suivie d’un débat avec le réalisateur !

This found footage film is composed entirely of often shocking videos that Russian teenagers have posted on social media. Innocent morning rituals on YouTube or TikTok have been placed next to shots of panicking young people fleeing school shooters. And students all over Russia are apparently secretly recording images of violent teachers who can’t keep their hands to themselves. In class, they are told that a woman must have sex with her husband whenever he wants; furthermore, students are called idiots and are beaten. One critical teenager is threateningly told that a report will be made about her political views. The mobile phone forms a kind of shield between the young people and this brutal world. No matter how extreme the events, they keep filming.

Philosopher Uldis Tirons in conversation with Victor Kossakovsky (no other participants).

A film about the city that has been lost forever. Originally from Mariupol, the film director Svitlana Lischynska shares her reminiscences and tells a story of her relations with the city. Svitlana meets refugees who fled Mariupol in order to recall together what the city had been like before it was destroyed by Russian troops.

The picture tells about the history of museums, which currently work in the territories of the former concentration camps of Dachau, Bergen-Belsen, Ravensbrück, Sachsenhausen and Dora-Mittelbau. And about the emotions of tourists visiting these death camps.

A Polish van traverses the roads of Ukraine. On board, the driver (this film’s director) and the evacuated people, following the Russian invasion. The vehicle becomes a fragile and temporary refuge, a zone of confidences of exiles who have only one objective left, to escape the war.

In Siberia, Russia, Alexander Kuznetsov follows Yulia & Katia who went from an orphanage to a neuropsychiatric institution. Deprived of freedom, work and family, they had no say in it and getting those fundamental rights back is a long and painful bureaucratic process. "We'll be alright" is their path to freedom.

One day, Dutch film maker van der Horst was given her inheritance: 6 square meters, one sixth of a small, wooden house in the Russian countryside where her mother grew up. It was as if life had handed her a card she felt forced to play.

According to a drunk, middle-aged woman who always wanted to be an actress, "Happiness is when someone understands you, when someone loves you." Her equally inebriated boyfriend is so jealous that he smacks her time and again. Director Alexander Rastorguev follows the tragicomic couple during their summer holiday by the sea. But he also directs his camera at other seaside visitors, like the man earning a living on the beach with a camel, a young womaniser, and a dwarf getting married to a young woman. They are all spending the summer on the eastern coast of the Black Sea. Rastorguev observes man in all of his manifestations: fat, thin, young, old, drunk, dancing, singing, having sex and bathing in mud or in the sea. Even President Putin makes an appearance, clad in casual clothes. Quite a few fortune-seekers at the resort get caught up in a daily carrousel of sex, booze and aggression. When a corpse washes ashore, several people say they would also like to drown in the sea. It is no surprise that the soundtrack repeatedly plays a song of longing, about a small boat all alone at sea: "What is it looking for so far from home? Not happiness, but a typhoon."

This film was shot without a single cut, hidden camera in the Puppet Theater. For 10 minutes, the child watches the performance and the whole gamut of feelings is reflected on his face, from jubilation to absolute horror. In just 10 minutes of an ordinary theatrical performance, a 5-year-old boy gains a huge life experience... An absolute classic of non-fiction films.