这部电影采用的是“戏中戏”的结构，写一群人在电影院里看电影，电影中放映的是一个胖女人对她刚去世丈夫的悲痛追忆。她一生都被神经衰弱和忧郁症所折磨，当她无法面对残酷现实的痛苦时便以睡眠作为逃避方式，最后也死在沉睡之中。影片外的情节则是一个节目主持人面对电影观众在讨论苏联的电影历史和现状，但这群观众却个个心不在焉，一个个趁机开溜，最后只有一个睡着的观众和两排穿制服的士兵。
风格相当怪诞幽默，但有一丝悲凉苍茫的情绪渗入其中，呈现了一个严肃的苏联电影人对于苏联社会现状的思考：苏联人在面对无法解决的现实问题时竟然以睡觉作为躲避的手段，同时也提出了艺术电影在苏联缺乏知音和市场的现实无奈。

乡下姑娘纳迪娅搬到了城里，成了瓦莉亚公寓里的女佣。身为当地区委委员的 Valya 并不知道 Nadia 爱上了她目前不在身边的丈夫，一位名叫 Maksim 的地质学家。

琪拉·穆拉托娃早期作品，相当轻巧细腻。当时她似乎还没什么野心，甘于在日常中挖掘细微情感。前半段充满了纯真到与世无争的青春絮语，而后半小时才是重点，穆拉托娃把母子之间通过制约与反制而逐渐加深的感情描述得特别动人。演员选得好。我觉得那个年代整个西方都弥漫着新浪潮气息

Ukrainian filmmaker Kira Muratova offers a darkly comical look at everyday cruelty in these three savage tales. The first, "Boiler Room No. 6" is based on a story by Yevgeny Golubenko and takes place with in a blue-tinted boiler room where a panic-stricken resident of a communal apartment has dragged the body of his neighbor, a young woman he killed over an argument about a bar of soap. There he beseeches the talkative poet, who tends the massive furnace, to help him dispose of the body. The nearly surreal "Ophelia," the second story, centers on the vengeance of the title woman, a blonde beauty who works in a maternity hospital. One day she sneaks into a records room and learns the names of every mother in town who has given a baby up for adoption. Ophelia was one of these babies and she is still angry. She finds one of the mothers and strangles her. She then finds her own biological mother and pushes her off a dock. The third vignette, "The Maiden and Death" follows a winsome little girl who tires of being constantly admonished by her well-meaning, but wearisome, paralyzed grandfather. He says the word "no" once too often and she retaliates by slipping rat poison into his tea. ~ Sandra Brennan, All Movie Guide

Ироническая история от Киры Муратовой о счастье и разных представлениях о нем. Что такое счастье? Умеем ли мы дарить его окружающим нас людям? Имеет ли оправдание попытка сделать человека счастливым на несколько часов, игнорируя моральные принципы, обманывая его?
«Кукла» - третья после «Письма в Америку» и «Справки» короткометражка Муратовой. Словно развивая свои предыдущие фильмы, режиссер создает очередной образ неординарного злодейства. На сей раз злодей является в облике загадочного благодетеля, призванного осчастливить уличную художницу.
В основе сюжета – столкновение двух злых умыслов, один коварнее другого. Соревнование плохого с худшим. Снова в центре внимания Муратовой кража, мошенничество, обман. И даже обман обманщика.

Муратова сделала пародию на собственные прежние фильмы. Тут тебе и "Астенический синдром", и "Перемена участи", и "Три истории", чьим мрачным продолжением, кстати, и должны были стать "Второстепенные люди". Но режиссер умудрилась сделать так, чтобы жестокая агрессия и вялая апатия уступили место построенному ей уютному миру выморочного абсурда, который выглядит уютным и счастливым, и вход туда свободен для всех...

Michail helps out Nicolai and Lubia giving them a ride to a nearby construction site. They will work there to build a new town and factory.

”Kira Muratova, the grande dame of Eastern European cinema returns with her richest, most imposing vision of societal decay and personal efflorescence since The Aesthenic Syndrome encapsulated a very different moment in the former Soviet Union's history in 1989. Set largely in the vast central railway station of Kiev, a casino, a shopping arcade and the snow-blanketed streets between, Melody is a majestically realised pageant of the burgeoning new economy of inequality. Like Dickensian orphans or children in a fairytale, a motherless brother and sister arrive in the city and traipse through festive Christmas streets looking for their respective fathers…
The heedless adults who rush around them are endowed with varying blends of self-preoccupation, larceny, skepticism, boredom, gluttony, panic, but even at their most appalling these caricatures of urban insanity are disturbingly, sometimes even hilariously familiar. Muratova's vision of 21st-century decadence is thrilling in its ripe theatricality and self-conscious dramatic heft, yet its thunderous damnation could awaken the most jaded soul. This deeply unfashionable film is some kind of masterpiece.” – BG at tvnz.co.nz/new-zealand-international-film-festival/

作品被禁次数最多的一位前苏联电影导演
前苏联影史上最具创造力和反叛精神的女性电影导演
琪拉.穆拉托娃作品
乌克兰2002年喜剧作品，莫斯科国际电影节最佳影片圣乔治奖提名，苏俄金像奖最佳影片、最佳服装设计
奖，俄罗斯影评人协会年度最佳导演奖。
美一区引进Ruscico五区，英法俄等多种字幕，片长120分钟。
简介:一部喜剧片，兼具讽刺意义一家六口人,全靠父亲赚钱养活,过着窘迫的生活.家中的长子,不想再依赖父母,出走想自立.半途遇上一人带他去参加了一场滑稽冗长的婚礼.最后他又回到家里与家人一一告别.影片最终定格在与父亲的谈话中,留下了悬念

This celebrated director's "exquisite cruelty" appears front and center when the death of a stage actor turns a theatrical drama into a real one. Two in One's two parts, "Stagehands" and "Woman of a Lifetime," celebrate the psychological richness that lurks just beneath the surface of banal reality--if murderous stagehands, lascivious fathers and vengeful daughters can be described as banal.

"The Tuner" is Muratova's brilliant portrayal of a sick society on the verge of complete moral collapse. Her protagonists are the little people so removed from reality that at times they seem unrealistic, invented, and their actions unmotivated. In the end, their weakness and crushing defeat by the petty con artist gives them moral power that vindicates their social marginality. Their quirkiness, their refusal to live by the rules, or, as in the last scene, to accept their own defeat even when their very survival is at stake, becomes, paradoxically, the last hope for humanity. Against the context of the Orange revolution, "The Tuner" becomes Kira Muratova's prophetic vision of the return of human dignity in her home country.

Герои фильма «Кинопробы. Однокурсники» — мужчина и женщина, не встречавшиеся много лет. Вдруг оказавшись в командировке в ее городе, он решает зайти в гости — но не просто так, а чтобы с порога спросить совета: как поступить, если он любит сразу двух женщин?

Kira Muratova made this film under the pseudonym of Ivan Sidorov in 1983, but the official release came in 1988. Taken from the novel by Vladimir Korolenko, this somber drama tells of a judge who is devastated after the death of his wife and is neglectful of his children. His son befriends the children of a street beggar who live in an abandoned, derelict church. After his experience with is new friends, the young boy begins to feel sorry for his father and sympathizes with his loneliness.