Andrej Rubljow

In Offret, the last film by Soviet director Andrei Tarkovsky, an apocalyptic catastrophe breaks out over an actor's birthday party. Former actor Alexander (Erland Josephson) celebrates his birthday with his family and some friends in his house on the coast. It's a beautiful day until the radio announces a catastrophe that threatens the whole world. In order to keep everything as it was the day before, Alexander wants to make a sacrifice, but will that help?

Andrei Gortchakov, a Russian writer, travels through Italy in the footsteps of a fellow composer to write his biography. With great sensitivity for the emotions of those who are far from their country, Andrei Tarkovski, supported by his Italian co-writer Tonino Guerra, draws a meeting of cultures and periods.

In an undetermined country where desolation reigns, the Zone is a mysterious and dangerous region, where only the Stalkers, smugglers, dare to venture. One of them tries to take a writer and a scientist inside this Zone, to a room where their dearest desires can be fulfilled... After Solaris, Andreï Tarkovski returns to science fiction to illustrate a world that no longer has faith in anything. He signs a timeless masterpiece with inexhaustible potential.

Alyosha, a 40-year-old filmmaker, falls seriously ill. He remembers his past and collects the memories that marked his life: the house of his childhood, his mother waiting for the improbable return of her husband, the poems of his father, his wife and his son that he has not seen for a long time, the tumult of the Second World War.

Solaris is a 1972 Soviet science fiction film, co-written and directed by the Russian filmmaker Andrei Tarkovsky. It's a meditative psychological drama occurring mostly aboard a space station orbiting the fictional planet Solaris. The scientific mission has stalled because the skeleton crew of three scientists have fallen into separate emotional crises. Psychologist Kris Kelvin travels to the Solaris space station to evaluate the situation only to encounter the same mysterious phenomena as the others.

The background of Andrei Tarkowski's first feature film is the Second World War, with the 12-year-old boy Iwan at the centre. As part of the official programme of films, it is still astonishing today how the Russian managed to shoot a film that stood across the system and showed the war from the perspective of a boy. Iwan seems totally hardened after losing his family and escaping a camp, he sees little prospects and quite simply wants to avenge the death of his loved ones. Tarkowski shows his masterly skills in cinematography in this early oeuvre. Using simple means, he tells the story in incredibly strong black-and-white tableaux.

Dima Nikitin is a simple and honest plumber who works in a small Russian town. Except for his unusual integrity, nothing makes him stand out of the crowd, until one night in a dorm mainly occupied by drunkards and outcasts, the pipes burst, endangering the occupants. Everybody needs to be immediately evacuated but nobody cares, so Nikitin sets off on a night-long odyssey to fight an entire system of corrupt bureaucrats.

Which should take precedence - passion or duty? How do we choose? And who gets to judge? These are eternal questions, remorselessly thrust upon us by life. Anna Karenina made her choice, leaving her son Sergei to grow up struggling to understand why his mother took such a tragic and terrible path, and Count Vronsky haunted by the memory of the woman for whose death he still blames himself 30 years later. In 1904, in the aftermath of one of the battles of the Russian-Japanese war, Sergei Karenin and Alexey Vronsky find themselves thrown together in a remote Manchurian village, where fate offers them a chance to return to the events long past and, finally, to find the answers both have long been seeking.

As soon as school is over, Sasha’s otherwise relaxed and complicit mother pressures him to enroll at the university. Sasha, however, lives in the moment. Plus he currently wants to hone his graffiti skills with his friend Max. And maybe get to know his father. But then, he meets the dazzling Zhenya. Carried by the light and the ease of the summer in Kaliningrad, they fathom their feelings, talents and fears together. In her sensitive debut, Julia Trofimova tells of young people in today’s Russia who cannot possibly please everyone. Parents’ need for security is countered by a variety of possible paths and identities.

Zhenya and Boris are going through a vicious divorce marked by resentment, frustration and recriminations. Already embarking on new lives, each with a new partner, they are impatient to start again, to turn the page – even if it means threatening to abandon their 12-year-old son Alyosha. Until, after witnessing one of their fights, Alyosha disappears.

Leningrad, one summer in the early eighties. Smuggling LP’s by Lou Reed and David Bowie, the underground rock scene is boiling ahead of the Perestroika. Mike and his beautiful wife Natasha meet with young Viktor Tsoï. Together with friends, they will change the destiny of rock’n’roll in the Soviet Union.

When Miron’s beloved wife Tanya passes away, he asks his best friend Aist to help him say goodbye to her according to the rituals of the Merja culture, an ancient Finno-Ugric tribe from Lake Nero, a picturesque region in West-Central Russia. Although the Merja people assimilated into Russians in the 17th century, their myths and traditions live on in their descendants’ modern life. The two men set out on a roadtrip thousands of miles across the boundless lands. With them, two small birds in a cage. Along the way, as is custom for the Merjas, Miron shares intimate memories of his conjugal life. But as they reach the banks of the sacred lake where they will forever part with the body, he realizes he wasn’t the only one in love with Tanya...

Veronika and Boris come together in Moscow shortly before World War II. Walking along the river, they watch cranes fly overhead, and promise to rendezvous before Boris leaves to fight. Boris misses the meeting and is off to the front lines, while Veronika waits patiently, sending letters faithfully. After her house is bombed, Veronika moves in with Boris’ family, into the company of a cousin with his own intentions.

In an amazingly beautiful place, on the bank of the wide Don, in a remote, half-destroyed village, surrounded by only steppe for hundreds of miles, a real drama takes place. An unexpected passionate love between a young man and a married woman literally destroys the lives of not only the main characters, but also their close ones.

A young debuting actress dreams of being a famous star admired by everybody. She lacks talent so she's planning to have plastic surgery to help her succeed. She is always an optimist, with an infectiously carefree attitude and joie de vivre. The extremely sensitive 15-year-old boy feeling at odds with the world is her opposite. He is misunderstood by his father and his stepmother, a worldly and haughty woman who is capable of true feelings only on the verge of death. A tragicomedy about destiny, the vulnerability of our existence and the inscrutability of love, a story about people whose lives are fancifully intertwined. Variety magazine has placed the director, award-wining Anna Melikian, on its list of the world's top 10 most promising film directors.

The film tells the story of Pyotr Tchaikovsky’s marriage, one of the key points in his biography. His decision to change his life by getting married to put an end to rumors caused a serious mental crisis. When he subsequently made up his mind to separate from his wife, it devastated the young woman and ultimately drove her crazy.

Everything changes in the life of a young 15-year-old Chukchi hunter Lyoshka with the advent of the Internet in the village. He falls in love – for the first time and deeply – with the silent video chat girl. Upon learning that she lives in Detroit, Lyoshka decides on the most desperate act in his life.

Karen Shakhnazarov, the director of Anna Karenina (2017) belonged to the young talents of the cinema of change in the former Soviet Union during the 1980's. The comedy Gorod Zero (Zerograd) is one of the best examples of those years. The film is refreshing in that it thinks through the absurdities of the Soviet everyday life and it shows that the path that was called perestroika back then, has to be a long one. Moscow engineer Alexey Varakin visits a small town on a business trip, where his adventures begin. He meets a naked secretary at a local factory, a prosecutor who wants to commit a crime and other strange characters. The film was selected as the Soviet entry for the Best Foreign Language Film at the 62nd Academy Awards.

Once upon a time ... is the best way to tell the incredible story of the adventures of the mermaid’ Alisa in the Russian capital Moscow. There was a time when Alisa lived by the sea. Her life was nothing out of the ordinary. She dreamed of one day dancing in a ballet; she sang in a children’s choir and attended a special school, because, at the age of six, she suddenly stopped speaking. None of which would be noteworthy, were it not for the fact that Alisa possessed a remarkable gift: the ability to fulfil wishes. At the age of 18 she leaves her coastal town for Moscow, where her destiny soon takes hold and she meets him ... a man whose desire to be saved and protected is pretty much written all over him. Alisa takes him by the hand - and this changes her life. This film by Azerbaijani director Anna Melikian is a modern fairy tale in which age-old myths and youthful imagination are merged in a surreal urban romance. The dream-like storyline is mirrored by the visual approach Anna Melikian has chosen to recount the adventures of a mermaid’ who finds herself washed up inland.

The revolution film par excellence, here in the German needle-tone version of 1930: The film presents a dramatized version of the mutiny that occurred in 1905 when the crew of the Russian battleship Potemkin rebelled against their officers. Battleship Potemkin was named the greatest film of all time at the Brussels World's Fair in 1958. In 2012, the British Film Institute named it the eleventh greatest film of all time.

In a Russian coastal town, Kolya is forced to fight the corrupt mayor when he is told that his house will be demolished. He recruits a lawyer friend to help, but the man's arrival brings further misfortune for Kolya and his family.

A flu-ridden, fever-hallucinating family of three are the audience’s eyes and ears in this surreal, kaleidoscopic and genre-hopping journey through the post-Soviet Russia of the mind. Subverting every cliché of Russian cinema, PETROV’S FLU is a slick, entertaining and ever-unpredictable story which moves through time and realities like a Charlie Kaufman-movie with a political bent.

Travelled to the Soviet Union with many prejudices, the American businessman Mr. West has to correct his view of the Soviets after several adventures at the end of his journey. Silent movie grotesque that ironically glosses the erroneous opinions of the West about the USSR. A film historical document worth seeing. (Dictionary of International Cinema)

Can you find happiness in the big city? The young hat maker Natascha, who lives with her grandfather in a suburb covered in winter snow, has to commute by train from the village to Moscow to deliver her creations to the extravagant Irene's hat shop. For the administration, Irene claims Natascha to be her subtenant in order to be able to have more living space. The clumsy railway official woos the lovely country girl with his ravishing smile. But she enters into a fictitious marriage with the provincial Ilya in order to get him a room in Moscow. With an apparently worthless lottery ticket, which Irene's husband gives to Natascha, the entanglements become turbulent. Boris Barnet describes the contrasts between city and country and the new living conditions in Moscow in a stylish and socially critical way. Three great acting talents, Anna Stén, Iwan Kowal-Samborski and Vladimir Fogel, form the triangle of relationships. Originally ordered as a vehicle to advertise the State Lottery, the film made the studio rich and the natural talent director Boris Barnet famous as the founder of lyrical comedy.

In this film, the mother of Pavel Vlasov is drawn into the revolutionary conflict when her husband and son find themselves on opposite sides during a worker's strike. After her husband dies during the failed strike, she betrays her son's ideology in order to try, in vain, to save his life. He is arrested, tried in what amounts to a judicial farce, and sentenced to heavy labor in a prison camp. During his incarceration, his mother aligns herself with him and his ideology and joins the revolutionaries. In the climax of the movie, the mother and hundreds of others march to the prison in order to free the prisoners, who are aware of the plan and have planned their escape. Ultimately, the troops of the Tsar suppress the uprising, killing both mother and son in the final scenes.

A minor clerk, Bashmachkin, replaces his threadbare overcoat with one made from the finest materials he can afford. Then one evening ruffians beat him up and steal his cherished new garment. The actors’ highly stylized gestures border on modern dance, and Bashmachkin’s world, especially as he begins to lose his grasp on reality, is powerfully rendered with looming shadows, oblique camera angles and eccentric architecture.

Dziga Wertow, who rejects the old "cinema drama" as literary coquetry, has for the first time clearly formulated the essence of film, which is detached from all other arts. In contrast to the feature film, which forces the camera to copy the human eye, one has to consider that the cinema eye sees differently and more precisely than the "unarmed eye". Wertow's downright mystical belief in the creative power of film language tolerates no obstacles, no walls of distance and boundaries of time. Thus Entusiazm combines images from the European and Asian parts of the USSR into a "song of the world" that confronts socialism with capitalism. The extraordinary magic of his films lies in Vertov's ability to unite the two origins of the medium - the reproduced reality and its re-creation through montage - in the highest tension. (Vienna Film Museum, H.T.)