Also Directed by Pavel Kostomarov
A youth comedy about the tragedy of the first love. An experiment in the area of the film language. REC, accidentally pressed in the middle of a fight. Jealosies, breakups, reunions. A few bedroom scenes, shot with a home camera. Cries and whispers of the urban outskirts. The audience of the film are both Bergman fans and YouTube viewers.
On the road between Moscow and Saint Petersburg, two lorry drivers are waiting for help after an accident. But the wait proves to be a long one.
The film is about Alexey Popogrebsky's film "How I spent this summer". In the film, there are no tedious reflections of the actors and the director about their film against the background of posters of the same film. But there is life itself, real, unmasked, and, despite the sea of comicality, it makes you horrified at how the Russian film process can take place…
A deadly virus of unknown origin has decimated Moscow. Sergey, along with his girlfriend and their autistic son are joined by his exwife, their son and several fellows to escape the quarantine zone lest they suffer a slow and painful death. Somewhere far away, on a desert island in Karelia, there is a cabin- their only chance to start all over again. But the journey will not be an easy one as the deadly virus and interpersonal conflict threaten to pull the group apart.
These are the stories of the three guys,three friends, living in a city in the south of Russia. In the course of a year they recorded their everyday lives with a small HDcam. This record is what comprises the movie and to what it is dedicated. Our heroes are eighteen years old and they live average lives: work, have parties and, fall in love. But finally they will have to make those most important of personal choices which will define their future.
The documentary project The Term was conceived in May 2012. When the directing trio commenced mapping the Russian sociopolitical landscape, Vladimir Putin had just settled into the Kremlin for his third term. The original experimental format of “documentary bulletins,” which were published daily online, allowed for wide-ranging content; in the feature film version, however, the filmmakers focused solely on the members of various opposition groups. Nevertheless, the work’s neutral position remains and viewers have to interpret the objectively presented situations for themselves. The main characteristics of this strongly authentic movie include close contact with the protagonists, precise editing, and an effectively controlled release of information.
The film chronicles everyday struggle of a Russian woman for “ordinary” happiness of her family.
