Semen Ermolaev

Golden autumn. Yakut hinterland. More than ten years have passed since the end of the Great Patriotic War. A 23-year-old boy named Mahees is given the task by the collective farm chairman to accompany the young teacher to a neighboring village. Aanchyk, that's the name of the girl, after completing her studies, she is assigned to work in a rural school. It would seem that a simple task turns into a real challenge for young people. A bear suddenly appears on their way. He pursues them. The heroes of the film understand that all this is happening to them for a reason. A chain of unusual meetings, strange finds, bitter memories, disturbing dreams and visions lead to the answer to the most important question in the life of the protagonist: who is his father and where did he disappear to?! After all, his father went to war, and never returned... Mehees understands that this is all connected with his father - a former hunter and now a missing soldier.

A lonely man imprisoned in prison sculpts human figures out of clay and imagines himself to be their merciful god

Okhonon (Athanasius) was film made for television at Gosteleradio YASSR and broadcast in 1987. For TV, the edited 16mm film was transferred to a video reel, where the sound, music, and titles were superimposed. In the 1990s, the recording suffered and only the last minutes were preserved. For a long time, the film was considered lost. In 2020, the edited film was found and digitized. The original credits, soundtrack, and soundtrack were not preserved.

The yearning limit - is there, I wonder, such a concept? The beginning of the film sets the viewer up for a kind of light movie reading--the images of grumpy wives that have already been screened more than once (however, But the longer you watch the film, the more you're exposed to it. the longer you watch the picture, the more you are overwhelmed by loneliness and longing. Gradually they fill you completely...

Produced for newly independent Sakha television in the early nineties, Summer House is a pioneering document of a film culture in the making. The directorial debut of actor Anatoly Vasiliev, who also stars, the film tells the seemingly simple story of a man returning to his native village to purchase a house, only to find himself caught between the worlds of the living and the dead. Drawing on deep wells of Sakha spirituality and folk symbolism, and cast with local, non-professional actors, Summer House is a rarely-seen gem of independent filmmaking and a key piece of Sakha film history.

In hustle and bustle of urban life, we sometimes don't know our neighbors next door. And in the village, everyone knows each other and lives with the joys, troubles, and worries of a neighbor, like one big family. That's why a person is pulled to their small homeland, to their roots. The one who forgets their roots experiences a burdensome emptiness and dissatisfaction with their achievements in life.

The story is about two poor men, father and son. And it happened that they met the Manchaary. And all this against a background of scorching sun and drought

"Sirdeeh Jon" (People who have land) is about peasants and landed property. In short, a friend or relative died and left behind land. Well, the peasants managed with difficulty to reclaim this land. But the prince demands to use the land immediately, otherwise he will take it away. Well, after the death of a friend or relative not even 40 days passed, so the peasants pussy out to work on his land, because sin, etc., etc.

The film is based on the stories of the classic Yakut literature Suorun Omolloon "Light in the Dark" and "Sordooh suha" and tells about the first rudiments of education in Yakutia, about the greedy desire of the Sakha people for knowledge, for light, about the first teachers-enlighteners, political messengers and priests.

Yakutia, the 1930s. Old Mikipper and his wife Oppuos live their days in thick taiga. Cows, hunting, fishing make up the simple everyday life of the old people. Once early in the winter an eagle flies into their garden. The old people dare no drive it away because eagles are sacred. All through the winter they feed the bird so that it does no attack their cattle. Gradually they grow accustomed to each other. On a cold Christmas day the eagle makes its way into the house and occupies the honorary place in the corner on the shelf next to the icons. From then on the people and the bird start their life together in one house.

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Callousness and indifference... When they are around, trouble happens. Everyone needs help sometime. The outstretched hand of a friend in time, the understanding and support of loved ones, the love and sympathy of others. This film is a man's cry for help that goes unheard and unanswered because it cannot permeate the mountain walls.

About a city guy, torn from his roots, who goes hare hunting with his friends. As they race the car and beam headlights at the hares, the road is blocked by a woman, a spirit of nature. The boy remembers his dead grandfather, who taught him customs and traditions, and realizes that humanity, which has chosen the pursuit of material prosperity, is leading to a global disaster

The film is based on the play "Cuba Is My Love. It is a comedy about the realities of village life in the mid-'00s

Yakutia, the first half of the 19th century. Bishop Ambrose goes to the snowy steppe to the newly baptized Tungus, accompanied by the disgraced monk Cyriacus, who once refused to baptize "foreigners" en masse. On the way, they are overtaken by a blizzard. The pagan guide Harpoon saves the bishop's life, and the newly baptized Stepan throws Cyriacus to freeze. The death of the elder becomes a miracle of unity: unbaptized Tunguses themselves come to the faith of "Cyriacus", and Ambrose finally sees the truth — about the equality of all before God and love, which knows no difference between baptized and pagans.

A young couple encounters supernatural terror in their new home.