遥远的西伯利亚村庄里，叶戈尔是一名森林守卫，无惧与丛林中的偷猎者们搏斗，亦重视家庭，受村民们尊敬。正当他期待妻子诞下第二个孩子时，却被验出患上末期癌症。他不但求医，更借助萨满巫术治病，依然无效，在别无选择之下，受到古老西伯利亚史诗的情节启发，决定做出惊人之举，彻底改变自己的身份，愚弄即将到来的死神，但村民和家人都不认同他拯救自己的方式。影片根据导演的童年回忆、成长环境和西伯利亚传说而写成，打破禁忌，表现出面对自己不理解的事物所产生的恐惧，会驱使人们做出非同寻常的举动。

This is a part of an omnibus film called Pribitie Poezda (Arrival of a Train) made by several Russian directors, as an homage to brothers Lumiere on the 100th anniversary of cinematography.
One of the three films that comprise Arrival of a Train, a collection of shorts made to celebrate the centenary of cinema. Set at the turn of the 20th century, the film follows Trofim, a Russian peasant jealous of his wife for having an affair with his brother. Trofim kills his brother and runs away to St. Petersburg. Then Trofim steps off the train in St. Petersburg, a cameraman who happens to be shooting on the platform captures his arrival.

1992 film by Dmitriy Meshiev

Veliky Novgorod, 1987. Olga makes a stand against her teacher’s authoritarian teaching methods, Andrey is propagating an ‘anti-death pill’ in a jam jar and Katya observes her father distilling booze illegally behind closed doors. These three young schoolmates are all members of the ‘Vladimir Illyich Lenin’ Young Pioneer organisation and are full of childlike visions of the future.
Over twenty-five years on, all three have now established themselves professionally in Moscow, and yet they have not really found their bearings in present day Russia. Olga suffers from panic attacks, Andrey tries to fill his inner void with computer games, and Katya is pursued by unsettling dreams. Moving poetically between past and present, Natalia Kudryashova shows the gulf between the visions of yesteryear and today’s reality which the dissolution of the Soviet Union has left behind for its final generation of Young Pioneers. Impressively dense and atmospheric images describe their attitudes towards life. Derelict concrete buildings, imposing and Kafkaesque, give shape to the oppressive shadows of their original dreams that now threaten to engulf them. berlinale 2015

恐怖的瘟疫来袭，文明即将灭亡之际，这群人挣扎求生，却恐将失去性命、挚爱和人性。

《乐天派》是一部俄罗斯间谍剧，将1960年代的“Mad Men”美学带入了冷战高峰时期的尼基塔·赫鲁晓夫时代。背景设置在1959年在索科利尼基举行的美国国家展览会期间，并继续揭露俄罗斯和美国的间谍行为以及受脆弱的地缘政治影响的个人生活。

Russian couple Olya and Vadim have big plans: they want to travel to Germany to buy a second-hand tow truck. For nights on end, Vadim searches the internet for a vehicle best suited to their garage. His only income at present is from the wrecked Ladas which career off a dangerously deceptive road outside the village. This 'Road of Death' symbolizes the place where Olya and Vadim live: a Russian no man’s land that never has adequate connections with the rest of the world. The logic of this world goes crazy when Vadim accidentally comes into contact with a WebCam girl from Georgia. To illustrate the confusion that follows: it isn’t clear to Vadim at first whether she is from the country Georgia or the US state, although it doesn’t make much difference to him anyway. He falls madly in love with the young woman whom he has not actually seen yet.
Cut into short, comic chapters with ironic titles, Sheena667 focuses on the increasing alienation of Vadim from his original surroundings. He has his head in the clouds, while real life thunders on around him. In his directing debut, Grigory Dobrygin always portrays Vadim’s doomed romance with a dose of irony and a touch of absurdism. Even though the comedy hides a tragic story below the surface of a man who is completely unprepared for the impersonal, money guzzling effect of globalisation and the associated internet economy.

Герой фильма — журналист-телерепортёр. В прошлом он — слегка диссидент, слегка «стукач» — прошёл сложный путь взаимоотношений с властью. Теперь он устал, разочарован во всём, и прежде всего в самом себе, и хотел бы удовлетвориться чисто профессиональной деятельностью. Но в его руки случайно попадают подлинные документы по подготовке «красно-коричневого» путча в стране. Журналист делает выбор, он не возвращается в прошлую жизнь: любая опасность и любое наказание предпочтительнее для него, чем ложь и компромиссы... Этому явно недооценённому фильму не повезло появиться на свет сразу после путча 1991 года, когда казалось: то, чем следовало стращать общественность, осталось, слава Богу, в прошлом. А режиссёр, запоздавший со своим пророчеством о новой диктатуре, был заподозрен в конъюнктуре и спекулятивности — и как это ему удалось столь хитро подгадать к моменту и заснять путч ещё до путча?!