A documentary about people isolated from the outside world. Their adaptation to life is possible only with the help of professional rehabilitation.

The setting is a Russian living room. The children are playing a game, their father is cooking and the baby is lying fast asleep. The only person missing is their mother. She has just been arrested, charged with state treason and is now facing up to 20 years in prison. The camera captures this scene and others like it in four different living rooms where fractured families try to go about their daily lives. It’s the very ordinariness of the images that makes the absence of one parent so tangible. In the background, we hear telephone conversations that betray the feelings of powerlessness and despair. The domestic scenes are intercut with shots of the street through the window, accompanied by the reading of letters from Soviet political prisoners to their children. Blackboard drawings tell the story of the absent parents, each sentenced to jail terms ranging from four to eight years. Officially, their crime was treason or drug possession, but all they actually did was to express criticism of government policy at some point. The domestic scenes draw attention to these ordinary citizens who simply disappear behind bars for years, offering an alternative and poignant perspective on the notion of the “political prisoner.”

Film-essay about the city and its inhabitants. Three stories fall into the camera lens, but all of them, one way or another, are united by a through motif of nostalgia for youth, its virtues and injuries. The reverse movement of time becomes a form for poetic conversation about changeable space.

Friends and relatives call Lydia a woman with an impeccable image. She visits salons, lectures on fashion, carefully selects outfits, and is proud of her pedigree. In public, the woman is smiling and friendly, she reads poetry with her poet husband, talks about high things, but if you look closely, it turns out that everything is far from being so attractive. What kind of person is really under bright hats and what does the approval of the society in which she is worth to a woman?

Is there a life without a bottle? The director of the film decides to put an experiment on himself: completely give up alcohol for a year and show the audience what the first 365 days of sober life look like.

The history of the struggle of the "refuseniks" Jews in the USSR for freedom, told through the "love story" of Natan and Avital Scharansky.

About 13 million people in Russia have various hearing impairments. Of these, about 250 thousand live in complete or partial silence. These people are open to communication, dream, fall in love, look for work, want to be useful and live in an atmosphere of mutual respect. For such mutual respect to become the rule in society, those who hear normally must turn to the non-hearing, understand and truly hear. Simply because there are more people who hear.

In a snow-covered village, the shepherd Ivan Sergeevich lives. Every morning Ivan Sergeyevich cleans up manure and feeds the cows. This is how it goes day after day. One winter morning, an unfamiliar man arrives in the village in an expensive car and offers Ivan Sergeevich a good job in the city. Ivan Sergeevich happily agrees. A stranger takes Ivan Sergeevich from the village to the city…

Grigory Gorin Prize for the best screenplay, diploma of the Guild of Film Critics and Critics at Kinotavr-2017. The film is a participant of international festivals, including "Stalker" and the International Film Festival in Busan.

A reclusive artist goes out onto the street with a sword. The world of facts and the world of imagination are fighting. Four people who have known Marina for a long time say what they think of her. These are the four circles of the picture, friends, colleagues and a neighbor in the yard.

Six motorcycle enthusiasts (four motorcyclists, a mechanic and a pilot-instructor) decide to repeat the 50-year-old motor rally route from Sakhalin Island to St. Petersburg. Then hundreds of teams from all over the USSR tried to qualify for participation in this grandiose motorcycle race. The grandfather of one of today's travelers was the head of the Sakhalin team for 67 years, and even a documentary cameraman to boot! The grandson found a black and white film and was inspired to make a sequel.

An experimental film that combines fiction and documentary films. Filming took place in Buryatia, the center of Russian Buddhism.

The film, made in the style of hyper-minimalism, with hooligan humor and serious sarcasm, invites viewers to reflect on eternal, timeless values.

Lenya Kovyazin is a journalist for the Kirov newspaper Vyatsky Observer. On May 6, 2012, on the instructions of the editors, he went to Moscow to shoot a story about the “March of Millions”. A few months later, he was arrested on charges of participating in riots as part of the sensational Bolotnaya case. Lenya was transferred from Kirov to Moscow, and detention was chosen as a measure of restraint. On March 28, 2013 (six months after his arrest), Lenya Kovyazin married Zhenya Tarasova. The wedding took place within the walls of SIZO No. 4. After the wedding, Lenya remained in the SIZO. Zhenya went to Kirov to wait. Wait for the dates she is supposed to, as a legal wife. Wait for letters. Wait for the trial, the verdict, the decision.

A young man arrives in a village on the White Sea in search of a girl who ran away from the city without saying goodbye. An old man from among the locals shows him the way. Neither the young man nor the old man can imagine what trials await them on this path.

Platon spent the whole winter in an abandoned house. In the spring, he went outside with a small video camera in his hands.

In 2012, the Russian performance artist Petr Pavlensky attracted international attention when he sewed his mouth shut with a coarse thread to demonstrate his solidarity with the convicted members of Pussy Riot. According to Pavlensky, political artists in Putin's Russia are being robbed of their voice and condemned to silence.

Upon learning that there is a cinematic boom in Yakutia, Moscow comedian Alexei Yudnikov decides to try his luck. Alexey goes to Yakutia to star in a Yakut film. He embarks on a magical journey full of unexpected encounters, adventures, gains, love, discoveries and losses, but reality opens up to Alexei in the most unexpected way.

Olga is a loving mother of two children. Children's father is a wealthy businessman who rarely took part in their lives. One "inconvenient" comment turns everything upside down... It is a story of several weeks of a single woman living in a continuous struggle for her children. And about children — victims of a situation in which no one gives them the right to choose.

Due to a record release of water from the Iriklinsky Reservoir, the provincial Russian city of Orsk found itself in a flood zone. Despite assurances from the city’s mayor, Vasily Kozupitsa, on the evening of April 5, a breach occurred in an earthen dam that had been protecting the Old Town district from the rising waters. The floodwaters rushed toward the residential sector, marking the beginning of a natural disaster that left over 6,000 homes submerged. Houses flooded up to their rooftops; the wailing of sirens and nighttime evacuations; a shortage of drinking water; looting; negligence and hypocrisy from the authorities; alongside the rescue of pets and the aid provided by volunteers—through the eyes of witnesses and those affected by the flood, the film chronicles several days in the life of a city facing nature's wrath. Who is to blame? On a federal TV broadcast, the director of a construction company suggested that rodents might have caused the dam's collapse. But are these the real “rodents,” and, more importantly, who are the true “rodents” in this story?

The most famous painting by Ilya Repin from school textbooks “Ivan the Terrible and his son Ivan on November 16, 1581” (another name is “Ivan the Terrible kills his son”) was banned by Emperor Alexander III in 1885, and thus became the first painting censored in the Russian Empire. After 130 years, already in modern Russia, a group of historians and activists turned to the Minister of Culture of the Russian Federation with a request to remove the painting from the Tretyakov Gallery. Is there a causal relationship between past and present?