The House on Trubnaya

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.

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.

A dramatized account of a great Russian naval mutiny and a resultant public demonstration, showing support, which brought on a police massacre.

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.

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.

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.

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

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.

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 porter of the hotel is trying to keep his sanity when two guests who share both looks and name check in. He's also unaware that his new bell boy is actually the owner's daughter in disguise.

The day after a drunken evening in an appartment, Anna, one of the roommates is missing. The other roommates will start to investigate.

Uprooted from his old life when he transfers schools, a gifted footballer finds a second chance with a local team chasing a coveted championship.

In the comical horror series, Hottieween, rapper Megan Thee Stallion taps into her love of horror and pays homage to the great Black heroines of yesteryear.

Part of the Speaking of Animals short film series.

The story of a "little," well-behaved girl who plunges into the "sinful" big city and risks getting lost there – told with a lighthearted, comedic, and sentimental touch. The nameless girl is persuaded by an experienced friend to earn her own money as a dancer in a bar, just like her. The "little one's" father mustn't find out, as he wants his daughter to lead a respectable, bourgeois life. Therefore, his daughter pretends to work night shifts as a telephone operator and conceals her dancing from him. Unlike her carefree, "experienced" friend, however, the "little one" is careful not to jeopardize her reputation through morally questionable behavior.

Duvaksız Gelin

Deepak goes for an interview and mistaken as possible groom for Rajasaheb's daughter Bina. They fall in love but afraid of dire consequences Deepak runs away. They meet again and Rajasaheb get Bina married off to Deepak.

Matilde visits her grandmother, who will show her her most treasured possession and try to instill her passion in her, but Matilde isn't very interested. An event will make the little girl discover her own interest and push herself to the limit to make her grandmother proud.