The House on Trubnaya

An ignorant and prejudiced American’s visit of Soviet Russia goes off the rails after his luggage is stolen and he is separated from his bodyguard.

A satiric comedy which dissects the iconography of the 'Soviet Hero'. Original footage of a propaganda film from 1941 is the starting point for this parody of the ideological cliches of Soviet cinema. It follows the story of a Russian crew across the North Pole.

A dramatized account of a great Russian naval mutiny and a resultant public demonstration, showing support, which brought on a police massacre. The film had an incredible impact on the development of cinema and is a masterful example of montage editing.

Sergei M. Eisenstein's docu-drama about the 1917 October Revolution in Russia. Made ten years after the events and edited in Eisenstein's 'Soviet Montage' style, it re-enacts in celebratory terms several key scenes from the revolution.

The story of Stalin and the Soviet people.

A cameraman wanders around with a camera slung over his shoulder, documenting urban life with dazzling inventiveness.

Shortly before the outbreak of WWI, a peasant from rural Russia arrives in St. Petersburg to find work.

This documentary promoting the joys of life in a Soviet village centers on the activities of the Young Pioneers. These children are constantly busy, pasting propaganda posters on walls, distributing hand bills, exhorting all to "buy from the cooperative" as opposed to the Public Sector, promoting temperance, and helping poor widows. Experimental portions of the film, projected in reverse, feature the un-slaughtering of a bull and the un-baking of bread.

Typically of the heady days of early Soviet cinema, this is constructed according to the fast, sharp editing principles advocated by Eisenstein, complete with symbolic inserts; but in terms of subject matter, it's much less explicitly political than most movies emerging from Russia in the '20s. Chronicling a young sailor's descent into a murky, treacherous underworld of pimps and thieves, after having encountered a Louise Brooks lookalike at a fairground and missed his departing boat, it's a lively moral fable that delights in vivid visual effects and quirky characterisations. If the plot occasionally reveals gaping holes, and the tacked-on ending urging the clearance of the Leningrad slums seems to be rather gratuitous, there's enough going on to keep one attentive and amused.

The film tells about the Decembrists’ revolt in the south of Russia. Right before the Decembrist Revolt 1825 a chevalier of fortune decides that it's time for a game. But on whom to make a bet? He asks the cards. But he's not the only one who makes the choice.

Made on the occasion of March 8, it presents a series of brief portraits of women, from various professional fields, of different ages and even of different ethnicities, pointing out the benefits that the communist organization had brought to their daily lives. A special emphasis is placed on their status as mothers and on the role of nurseries and socialist kindergartens not only in making their lives easier, but also in giving them the time they need to build a career. Another concern of the filmmaker, starting from the concrete case of one of the protagonists, is to highlight the differences between the happy present and the not-too-distant past in which someone with her social status should have dedicated herself exclusively to raising children, in hygienic and extremely difficult lives.

Four petty criminals pretend to be friars escaped from communist Hungary and go and live in a Sicilian convent

A woman tries to connect with people she's never met.

An awkward, unemployed man who can talk to the dead teams up with a rebellious bartender to find the vengeful ghost that's been terrorizing their town.

A costumer uses the mask of a dead actress to design a new wig. Second, witness three actresses' curiosity-gone-bad when they discover that their agent is messing around with the spirit of a deceased woman. And third, watch a commercial film-shoot cut short when the filmmakers are haunted by the apparition of a young boy.

The Boys of Cellblock Q is set within the bowels of the Sunnyvale Labor Farm. Without the presence of women, the prisoners indulge in regular trysts with one another, make full use out of the jail's supply of priests, turn the eyes several policemen, and help a young convict learn the ins and outs of the prison community.

Jordan meets Sarah on a blind date. His family announces they're moving, and his best friend is getting a quickie wedding. Jordan panics and breaks up with Sarah by asking her to marry him.