Elegy

A Humble Life is certainly true to its title, a documentary study of the day-to-day world of Umeno Mathuyoshi, an old woman who lives in an isolated mountain house in the Nara prefecture in Japan.

TV version of the Opera "Boris Godunov" modest Mussorgsky staged by Director Alexander Sokurov at the Bolshoi Theater.

These images and sounds are poetic metaphors that transform “Elegy from Russia” into a document that provides a emotional–historical “memory bank” for all.

In 1994, Alexander Sokurov accompanied Russian troops assigned to a frontier military post at the Tajikistan/Afghanistan border to film their experiences. While unnamed tribal forces occasionally engaged the troops in skirmishes, Sokurov’s haunting documentary chronicles the downtime between activity.

A slow and poignant story of love and patience told via a dying mother nursed by her devoted son. The simple narrative is a thread woven among the deeply spiritual images of the countryside and cottage.

In 1942, in Bavaria, Eva Braun is alone, when Adolf Hitler arrives with Dr. Josef Goebbels and his wife Magda Goebbels and Martin Bormann to spend a couple of days without talking politics.

An anonymous man wanders through decomposing, fog-enshrouded catacombs and encounters a series of “the degraded and the humiliated,” including a holy prostitute and a Kafkaesque bureaucrat.

As with so many early films by Sokurov, this film has two dates: the first is the date of its creation (the film was then banned), the second is the date of the final edition and legal public screening. The film consists of German and Soviet archive footage of the World War II — to be exact, from the end of the war. An attempt to make a large–scale documentary on this subject had been undertaken in the Soviet cinema of the 1960s: the film — “Ordinary Fascism” — by the outstanding Soviet film–maker Mikhail Romm had become a classic retrospective investigation of fascism. But Sokurov uses the expressive power of the documentary image in an absolutely different way. He does not amass materials for a large–scale picture of Nazi crimes.

This bleak late soviet-era drama follows the career of Malyanov, a young medical school graduate who has been sent to work in Turkmenia. Here he runs into a hodge-podge of people of differing ethnicities, all of them victims of the government's earlier mania for relocating and eliminating whole ethnic groups and classes of people. These desperately unhappy people are unable to find any pleasure in this diverse companionship, but instead are antagonistic to it, and often resort to desperate measures in their doomed attempts to ease their pain.

The manifestation and fireworks on the 1st of May, one of the ritual celebrations of Soviet times, as a gathering of tired participants of a mass scene falling into pieces without the director's orders and without any aims.