Aleksandr Sokurov

The panorama of human affairs encounters the “man with a movie camera”. His playground has no boundaries, his curiosity no limits. Characters, situations and places pitch camp in the life of a humanity that is at once the viewer and the thing viewed. But what are the last days of this humanity? Have they already passed? Are they now or still to come?

The story of a simple Russian youth who goes to the frontline in the First World War with the naïve and youthful dream of glory and medals. In the first battle he loses his eyesight and is left to serve as “listener-in” — to listen out for the approach of enemy planes through huge metal funnels and raise alarm.

Featuring rare archive footage of Stalin, Hitler, Mussolini, and Churchill. The leaders hold imaginary conversations around WWII, revealing their personal takes of wartime events.

A young man was born in a small Russian city, but now lives in the Caucasus, in a foreign culture. He works as a mountain guide and enjoys life, but remains a stranger among the people he lives with. He will have to leave his carelessness behind and grow up.

Video version of the dramatic dystopian performance staged by Alexander Sokurov in Vicenza, on the stage of the world's oldest theater Teatro Olimpico. The plot is based on a free interpretation of the works of I. A. Brodsky, which tells about two characters doomed to life imprisonment.

Five years in the making, based on six lengthy interviews filmed on six different locations in Saint Petersburg, we meet an outspoken artist who covers here his entire life and prolific career. The locations were Sokurov’s own favourites, where he felt at home.

Yekaterinburg, Russia, July 17th, 1917. Czar Nicholas II Romanov and his entire family are brutally murdered by the Bolsheviks. This tragic event puts an end to the long dynasty that had ruled the country with an iron hand since the coronation of Michael I Romanov in 1613.

Documentary film from the set of Igor Olshansky’s debut short film “Easter”. Igor Olshansky is a participant of Alexander Sokurov’s programme “Example of Intonation”, a non-commercial film support foundation.

The film is dedicated to the life and work of the Russian director, who deservedly received worldwide recognition due to his incredible talent

Faust inhabits an earthy, 19th-century world of primitive autopsies and medical rituals. He becomes obsessed with the beautiful Margarete and desperately turns to a physically grotesque moneylender to conjure their union.

Amateur actors read stories from a book describing the 900-day siege of Leningrad during World War II.

An encounter with the great Russian film director Alexander Sokurov, which gives rise to a lot of questions about his artistic stand and the problems he touches upon and resolves in his works. The film presents the director’s thoughts about the history of cinema, about the power of the sound and image, about the past and future of cinema, accompanied by fragments from his films and various archival materials.

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

A documentary about the famous musician Mstislav Rostropovich and his wife, Galina Vishnevskaya.

Sokurov directed and filmed Mozart’s Requiem for the Rossica Choir in the wonderful hall of the St. Petersburg Philharmonic.

A small family "a father and a son" lives on the top floor of an old house. The father retired from the military, when he was a student in flight school, he experienced the first and the only love of his life. This girl became his wife and she gave birth to his son. Both of them were twenty years old then. The wife died when she was young. This love remained his secret unique happiness. The son grew up, and he will probably be a military man like his father. The son's features constantly remind the father of his wife. He doesn't separate his son from his still persisting love: this is his unity with his beloved woman. The father cannot imagine his life without his son. The son loves his father devotedly and deeply, a filial feeling intensified by an instinctive moral responsibility that is being tested by life. Their love is almost of mythological virtue and scale. It cannot happen in real life. This is a fairy–tale collision.

Film about the work of Ukrainian film director Kira Muratova.

Making of Russian Ark, with on camera personal views by members of the cast and crew of the major film.

The film is set inside a russian mansion and begins with morning procedures for one of 1900s most controversial politicians, Lenin.

From a misty night into the dark exposition rooms of a museum to ponder philosophically at paintings by 'Pieter Jansz Saenredam' , 'Hercules Pieterszoon Seghers' , Hendrikus van de Sande Bakhuyzen, Andreas Schelfhout, Vincent van Gogh, Pieter Bruegel, Charles Henri Joseph Leickert.

A documentary portrait of Miho Shimao, widow of renowned Japanese writer Toshio Shimao.

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.

A documentary film about the Russian director Sergei Kosintsev.

The Dialogues with Solzhenitsyn is a two-part Russian television documentary by Russian filmmaker Alexander Sokurov on Aleksandr Solzhenitsyn. The documentary shot in Solzhenitsyn’s home shows his everyday life and covers his reflections on Russian history and literature.

Originally aired on Russian television, this five-part semi-documentary series tells the story of a Russian naval commander in charge of an Arctic-based ship. The film provokes a meditation on solitude and isolation, while revealing the daily duties associated with the ship. Voice-over narration by the commander, other sailors, and even a third-person voice provide the "confession" of the title.

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.

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.

Petersburg Diary - Opening of the monument to Dostoevsky

Aleksander Sokurov brings the treasures of the Hermitage back into the light by making films about artists and their paintings. He has chosen the painter Hubert Robert, who spent a long time in Italy, and whose preference was for creating ancient ruined landscapes and naturalistic portrayals of times past. He was successful with the wealthy, who bought his works from him. The camera pans across the paintings while Sokurov speaks of a happy era, when the artist was at one with the spirit of the times, and agreed with the taste of his clients. Just how far removed from us this is, is shown by pictures of a "Nô" performance which are inter-cut on the screen. No words are necessary to describe what everybody knows today.

Oriental Elegy (1996). Visually impressionistic, atmospherically dense, and narratively opaque, Oriental Elegy is the surreal journey of a displaced spirit (Aleksandr Sokurov) as he wanders in the interminable darkness through the temporal landscape of a quaint and isolated feudal-era fishing village. Guided by a series of faintly illuminated rooms, the wandering spirit comes upon ancient souls who take on physical forms as they recount their personal stories of daily existence, loss, and tragedy in the peasant community. Intrigued by his initial visit to a curiously distracted elderly woman, the spirit returns to her home in order to ask a fundamental question - "What is happiness?" - an existential query that is innocently answered with innate humility and accepted unknowingness.

This film project was made in 1996 to commemorate the 100th anniversary of the birth of the cinema.

This small film came out of the material edited for Sokurov's five-hour documentary Spiritual Voices.

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.

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.

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

Via the New York Times: "...a severely obscure meditation on pre-revolutionary Russia in the form of an encounter between a ghost from the past and the ghost's present-day guardian. In fact, the two characters seem to be the shade of Anton Chekhov and the young man who tends a Chekhov museum in the Crimea, though that is never made explicit."

The second film by Sokurov featuring Boris Yeltsin as the principal character. Now he is the President of Russia, invested with power, bearing the full responsibility for the destinies of his distant compatriots as well as his closest kin and friends.

A montage of Leningrad newsreel becomes a composite collage made up of documents-shots, divided in 16 parts, presenting the author's point of view on Russia and modern times. In the title, Sokurov appears as 'compiler' and the selection of the documents is just like an artistic process.

A man tries to come to terms with his father's death and to deal with the mundane details of his burial in a society cut off from spirituality.

Made up of footage of a protest manifestation of mothers whose children had been summoned to serve in Soviet military forces and sent to the zones of Transcaucasian conflicts.

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.

A requiem for a Russian peasant woman, Maria Semionovna Voinova. The film is in two chapters. The first chapter consists of an impression of Maria Semionovna, scenes of the colours of summer time: hay–making, bathing in a river, work in the flax fields and a holiday in the Crimea. The second chapter, set nine years later, is in black and white and deals with how Maria Semionovna's life ended. The mood is one of a sad and elegiac narration.

The story about the life of Shaliapin’s family, and an emotional generalization of the life of people in modern Leningrad.

In "The Soviet Elegy" the long train of photos of the Soviet leaders, dead or alive, stops at the portrait of Yeltsin. At the time of shooting Yeltsin had fallen down from the assembly of the Communist Party deities, and participated in the earthly life through connections of different kinds.

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 picture is about the anti-Hitler coalition of the USSR, England and America, which developed as a counterweight to the aggressive policy of Nazi Germany during the Second World War. The unique newsreel footage of these years, shot by operators of different warring countries, is connected with today's thoughts of the author about the fate of the post-war world, about the humanitarian losses of both sides and about gaining unstable hopes for the unity of the world in countering evil.

A 1988 documentary film directed by Alexander Sokurov, about the later life and death of Soviet Russian filmmaker Andrei Tarkovsky. The film was originally intended to mark the 50th birthday of Tarkovsky in 1982, which would have been before his death. Controversy with Soviet authorities about the film's style and content led to significant delays in the production.

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.

The action in this lavishly produced film takes place at an oddly ark-shaped mansion during World War I, and in spirit (although not in story) it reflects the play which inspired it, the ferociously antiwar Heartbreak House by George Bernard Shaw. A large group of family and friends have gathered at this country house to dance, drink, and converse. Their conversation, in particular, is adorned with erudite literary references and quotations. Despite their apparent refinement, their preoccupations are simple: sex and violence. Disquieting images break the tranquility of the vacationers' inappropriate idyll: some of these include documentary footage of starving African children, images (both real and re-enacted) of George Bernard Shaw going about his daily life, and a corpse coming to life on an autopsy table, only to cheapen that miracle by scolding a group of women. The music used in the film ironically points to its disturbing message and is uniformly anachronistic.

A young couple find themselves in a ruinous, joyless landscape. The dawn of a new society brings little hope and joy as their hearts are forever scarred by the trauma of yesteryear.

Interesting short documentary on young athletes in a Soviet ice skating program, some of whom are barely past toddler age. Kinetic and up close, the doc focuses on movement with music, eschewing interview and conversation, and mostly submerging political and social commentary.

The reburial of great Russian singer Feodor Chaliapin from Les Batignolles cemetery in Paris to Novo–Devitchye cemetery in Moscow. The daughters from Chaliapin’s second marriage travel to the Soviet Union for the ceremony.

Banned by Soviet authorities when it was first completed, this requiem for Russian composer and pianist Dmitri Shostakovich pays homage to the remarkable works and difficult path of the influential artist. Through personal documents, performances and archival footage, this emotional study charts Shostakovich's turbulent life, from his early success to his disgrace under Stalin and his eventual embrace as one of his country's most gifted talents.

Alexander Sokurov's first film at 'Lenfilm'

A document on the daily life of an ordinary collective farm of the U.S.S.R. in 1978 : the hard-working people who love their work just because they are brought up to do so, almost with no rewards from life, in an atmosphere contaminated with official rhetoric.

In the 20's an enthusiast radio amateur, Fyodor Lbov, experiments one of the first short-waves radio in the city of Gorky.

This film was created by Sokurov before or during his VGIK student years for the regional TV of Gorki. He does not consider it a part of his filmography. For its creators, it was just a TV program, and the people who worked on it most often were being given no distinction in the credits. This document of the very origins of Sokurov gives us a notion of his "pre-stylistic" period, where the personality of the future great filmmaker reveals itself in spite of means and circumstances.

A documentary film about the agricultural development in the region of Gorky: the everyday life in a sovkhoz, the building of a reservoir and of a greenhouse.

A new look at the "story of a little man", his relationship with family and peers, which shows a cross-section of national and youth culture.