Lidiya Shtykan

Холодно - горячо

Суд

Зима тревоги нашей

Varvara Aksenkova - the great Russian actress of the first half of the XIX century. Her tragic creative fate and early death served as the basis for this film.

Saint Petersburg, 1858. A group of composers known as The Five meet at Balakirev's. Young Modest Mussorgsky, both a civil servant and a musician, has become a fixture there. He tells about the first opera he plans to compose. Then he goes to the country where he discovers the lowly conditions of the peasants and the bloody conflicts with the rich land owners. He works on Gogol's 'The Marriage', trying to render into music the natural accents of the play's naturalistic dialogue. But his efforts do not pan out. On the other hand, he starts writing his opera on the story of Boris Godunov. The Marinsky Theatre refuses to stage the work. The Five, and Mussorgsky among them, are libeled and the group starts disintegrating. When 'Boris Godunov' is finally performed in 1874, it is a popular success.

Based on the play of the same name by Leo Tolstoy. According to Fyodor Protasov, the surrounding life is riddled with dirt and falsehood. He does not want to participate "in all this dirty trick", he does not have the courage to fight it, and he chooses the third way — to stage suicide.

Military doctor Vladimir Ustimenko is a man of duty and honor, committed to the cause he serves, and one single love that he carries through his whole life: Varvara Stepanova is a whimsical girl who dreamed of becoming a great actress but eventually became a geologist. The war will cruelly interfere in the fate of the heroes and confuse their relationship even more.

Five sad and funny romantic stories about love...

Woven around the daily lives of two children, nine-year-old Nastenka and five-year-old Katia, this is a story of the 17 months' siege of Leningrad and of the people and families shattered by the war, their homes bombed and destroyed, their lives in a constant anticipation of the advancing German army and air raids.

A sublime, exceptionally well acted film about a single working class mother and her teenage son. She finds a man and marries him, her son is jealous and full of hot air at first but comes to understand her in the end. That's all. The simplicity of the story notwithstanding, this is one of the most sincere and lyrical films to have been produced in the 1960s-1970s Soviet Union. Very realistic, too, showing the life as it was then. Lyusyena Ovchinnikova is superb, it is this film that makes one realize what a wonderful and under-appreciated actress she was. Nikolay Burlyayev is very good as a lanky teenager, the final scene with him carrying a glass of carbonated water for his mother is stunning. Oleg Efremov is very convincing as a working class man who found his happiness at last.

Young railroad worker, seemingly accommodating to Nazi overlords at a captured rural depot, secretly spearheads acts of sabotage against the evil occupying forces.

Soviet sailors boldly defend Leningrad from the German fascists.

Two 7th graders, a hooligan Mukhin and a good student Kronov do not like each other. They decide to have a peace day together, which changed their attitude both towards each other and towards the world around them...

Верный робот

The front-line friends during the heavy battle swore to each other that the one who would survive would continue the work of the deceased. Mikhail Nesterov remained alive and the main business of his life was the search for a deposit of valuable clay. These searches began his friend before the war, in remote taiga places. Yevdokiya Perevalova — the widow of a deceased friend decides to help Nesterov get to those deaf places...

A portrait of a Russian community in the late 19th century based on Chekhov's stories, featuring the author as observer and narrator.

Staged by the Leningrad Drama Theater named after. A.S. Pushkin.

Chronicle dramatic scenes of Germany under the rule of fascism.

While a Person is Alive

In "Dead Souls" Gogol posed the most pressing and painful questions of modern life. The very title of the poem had enormous revealing power; it carried, according to Herzen, “something terrifying”, “he could not name it otherwise; not the revisionists - dead souls, but all these Nozdryovs. Manilovs and all those like them are dead souls, and we meet them at every step..."