Acting
Many many words have been written and a few ingenious TV documentaries have been filmed about the great Russian rock band Auktyon, which recently celebrated 30 years of playing music. Everything is completely different in the case of the film Encore: it took seven years for the director, Dmitry Lavrinenko, to make it; he needed just that amount of time to capture the wayward grace still preserved by Fyodorov, Garkusha, Ozersky and their associates. If you look behind the powerful music facade, you find not a story of a band but chronicles of a voyage aimed at incredible, incomparable music. Encore shows how the songs which are now known by heart were composed; it also shows things generally left aside: pieces of everyday life, tour diaries, conversations, including the key phrase: "You should not look at the liberty too much, you might feel dizzy.
Vika is twenty years old. She has black fingernail polish, wears pink dresses, and is constantly depressed. While working at a pizza place, she gets an order for a pizza delivery from Venya, a strange twenty year old boy who lives all alone in a deserted apartment in the middle of Moscow. Venya suffers from agarophobia, the fear of open space. When Vika arrives Venya lets her in and locks the door behind her.
Two men and a woman happen to meet in a bar. We learn from their conversations both the intriguing and banal details of their lives. But is anyone really telling the truth?
It took nine years to create two feature films. They were conceived as a movie-diptych about Leonid Fedorov and a group of musicians formed around him.
The production by Kirill Serebrennikov revives all four of Alexander Pushkin's classic blank-verse dramas: "Mozart and Salieri", "The Miserly Knight", "The Stone Guest", and "Feast in Time of Plague". Without changing a single word of the original text, Serebrennikov seamlessly blends classic literature with the stark realities of the 21st century. The director explores human nature through a modern lens, reflecting on envy, greed, egocentrism, and the profound fear of aging and oblivion. In this reimagining, the Miserly Knight becomes an archivist of a vast library, his son turns into a motorcycle racer, and the grim "Feast in Time of Plague" takes place inside a modern nursing home. Serving as the central musical and thematic thread, famous Russian rapper Husky performs his own songs between the acts, acting as a contemporary Prophet and bridge between eras.
In an old Soviet music hall, an orchestra is recording a composition based on Pushkin's "Feast During the Plague". An invisible and frightening force is interfering with the musicians - whether it is the spirits of the past or the echo of war, but no one notices what is happening around them until the terrible end comes.
Since ancient times, Altai has been the cradle of countless peoples and tribes, the birthplace of conquerors, and the source of myths and legends. Altai is a unique cauldron in which different nationalities have mixed, and it is not for nothing that it is called the "crossroads of civilizations." The world of the ancient Scythians, Turks, Huns and many others was tempered and forged into a special ethnic group. This film tells about the interweaving of religions, nationalities, cultures and about the present day of Altai.
No description available.
Documentary film for german TV about rock music in Soviet Union. Featuring: "Мистер Твистер", "Ва-Банкъ", "Чудо-Юдо", "Женская Болезнь", "Ночной Проспект", "Аквариум", "Ноль", "Аукцыон", "Телевизор", "АВИА", "Звуки Му". In 1989 an album with recorded soundtrack was released.
"There will be no winters" - a film consisting of 14 short novels, each with its own plot and a musical theme. In fact, this is a screen version of the same album of Russian avant-garde singer Leonid Fedorov.
Five passengers - the Bandit, his friend Matvei, Matvei's old father, the Musician, and a young woman - race along an empty road in a big black jeep, searching for the Belfry of Happiness which, according to hearsay, lies somewhere between St. Petersburg and the town of Uglich, near a deserted nuclear power station. The Belfry takes people, but it does not take everyone. Each of the five passengers believes that he or she will be chosen.
An exploration of 20th century Russia, following the fusing of the Party and the state after the Russian Civil War, which opened the doors to corruption, resulting in the exiling of the left and right opposition. Described using a combination of historical settings, biographies and masterpieces from Russian avant-garde artists, composers and writers from this period in history.
To the idly meditating musician received a call from his distant friend with a proposal to write a song about the untimely departed Lady Diana.
A gloomy tale or a completely innocent family picnic on the open air ...
Two colleagues go to fetch the body of their co-worker from a neighboring town where that man died unexpectedly. As this person has no kin, the director of the factory chooses to send Markerants and Mityagin to deal with the whole business. And here the adventures begin...
The poem of Jewish poet Mikhail Korol “Songs of the felled Asherah” is a phantasmagoric interpretation of the development of monotheism in Canaan. The goddess of love and fertility Asherah refuses the great and formidable gods, gives her love to the only God with an unpronounceable four-letter name. The tragedy of Asherah is that monotheism excludes the recognition of divine couples, and her choice means inevitable destruction and oblivion.
How far will one go to preserve the world they are accustomed to… Olya is unshakable to the blows of fate, she always strikes first instead of being hit. Everyone who is not with her is against her. However one day the moment comes when she has to reconsider her view of life…
With a brother dedicated to punk rock stardom at any cost and a drunken father who chases skirt between robotic dancing lessons from the TV, young Senka stands as much chance of nurture as the hero of Truffaut's 400 Blows. The amazing thing about Ogorodnikov's film is that it was made in Russia. Clearly, plenty of Soviet teenies share the nihilistic feelings of their Western counterparts, and the extensive footage of safety-pin chic at concerts perhaps points to a sound export instinct on the director's part. Senka's brother Kostya is under pressure from Howmuch, a very heavy rocker, to steal a synthesiser from the Community Centre, so to protect him Senka steals it himself. The story occupies little more space than the music, but the performances are splendid enough to lodge Senka's predicament in the heart.
A reality film about the journey of the frontman of the Auktyon group Leonid Fedorov to Florence, a city that gives the musician an impulse to live and create. Film director Igor Voloshin ("Nirvana", "I", "Bedouin") films life as it is: trips to museums, feasts, New Year's Eve, a trip to Tuscany and Bologna. The intricate editing makes the film fly with frantic energy and rhythm, similar to Fedorov's songs.
