Oleg Garkusha

Russia, early 90s. Mariya, the owner of a small video rental store in an abandoned cinema, has her son disappear under strange circumstances. To understand what happened and find her son, Mariya has to cross the path of crime boss Egor Bocharov, make friends with fugitive criminal Dmitriy Shilin, reveal the secret of the ghost living in the cinema and find out how he is connected with the mysterious film number 8.

In Petersburg during perestroika there are two people, Alya and Nika. She is a little funny Petersburg intellectual; he is a French architect. They cannot live without each other, but they cannot together, either in the ancient Lyon castle, or in her communal apartment inhabited by colorful neighbors. Next to Alya is her childhood friend - Mitya, whose love she does not notice. He uses Ali's ridiculous mistake and Niki's jealousy to separate them for years.

Father Alexey (a member of the Auctioneer group Oleg Garkusha), an elderly, eccentric and kind priest, spends his days alone, except for visiting his sick brother and his daughter. One day he receives an assignment to visit a deaf girl Violetta (Vasilisa Perelygina) in prison, falsely accused of setting fire to a church. When Father Alexei recognizes her as an orphan, whom he baptized as Barbara in infancy, a new meaning appears in his life.

Single mother Maria lives with her son and daughter in a science city, which is being prepared for liquidation. She believes that her physicist husband, who disappeared six years ago during a scientific experiment, is somewhere nearby — just in another dimension. A former colleague of her husband arrives in the city in search of the missing person's records, and Maria has a boyfriend-trucker Stas, ready to take her away with her children and start a new life together. Faced with a choice, a woman can not decide to leave her invisible husband.

Roma lives in a provincial town with his girlfriend Masha. After studying at the Faculty of Foreign Languages, he cannot find a job in his specialty. Constant problems in his personal life and professional disorder put more and more pressure on the guy every day, and in the end he faces a choice that will radically change his life.

The life of 16-year-old Mot is thrown into disarray when his father leaves the family. In protest, Mot brings home a homeless woman and declares that he will live with her.

An ongoing experiment, evolving from a biopic about Soviet physicist Lev Landau into a large scale project – part cinematic cycle, part behavioral experiment – involving hundreds of participants from around the world. Combining elements of film, theatre, science, psychology, architecture, visual arts and performance, it has created a complex and absorbing world that has to be lived as much as seen.

One morning, the criminal authority Dad convenes three "sons" and tells the latest news. Everyone remembers how three years ago, the keeper of the regional communal Mule ran away, taking the money. Also, everyone remembers how he was found, punished and buried. And the news is like this. Yesterday Mulya, alive and well, was seen in three cities at once: St. Petersburg, Novosibirsk and Rostov. Dad sends "sons" to these cities to scout out what's what. For each of them, the journey will not be the easiest.

Writer and artist Jeff, who lives in Siberia, cannot integrate into the digital life of the modern show industry, where everything is tied to money. Dreaming of making a film based on the book "12 floors later" written by him in his youth, he shares excerpts of creativity with everyone who is ready to listen to him, and because of this gets into ridiculous situations. Wandering between the worlds, like between the floors of a high-rise building, he is looking for a way out. Russian film and music stars Evgeny Tkachuk, Ilya Del, Oleg Garkusha are trying to help Jeff. Tkachuk and Del, in search of a producer and money, hardly promote the author's idea. Osman Delibash empathizes with Jeff and is sincerely glad that he will star in a non-existent film. One way or another, Jeff makes you think about the deep spiritual needs of each of the participants in the events – both the stars and the simplest people.

Yekaterinburg of the 90s. A company of young poets, including the most talented — a junior researcher at the Institute of Geophysics Boris Ryzhy, wanders through the cold and dangerous streets of the city from party to party. Ironic and friendly, he can negotiate with local brothers with equal ease, drive to Moscow for the "Anti-Booker" award, fight at the stall and crash into the department.

A young German, Werner Müller, turns out to be a volunteer in the neurological department of an ordinary St. Petersburg hospital. A foreigner, overwhelmed by the impulse to help all the sick and needy, has a long and eventful day ahead of him. Every now and then, finding himself in comical situations and making his way through misunderstandings, the volunteer discovers all the facets of the Russian national character.

Many many words have been written and a few ingenious TV documentaries have been filmed about the great Russian rock band Auktyon, which recently celebrated 30 years of playing music. Everything is completely different in the case of the film Encore: it took seven years for the director, Dmitry Lavrinenko, to make it; he needed just that amount of time to capture the wayward grace still preserved by Fyodorov, Garkusha, Ozersky and their associates. If you look behind the powerful music facade, you find not a story of a band but chronicles of a voyage aimed at incredible, incomparable music. Encore shows how the songs which are now known by heart were composed; it also shows things generally left aside: pieces of everyday life, tour diaries, conversations, including the key phrase: "You should not look at the liberty too much, you might feel dizzy.

This is Peter. Not Petersburg, not Leningrad - namely, Peter. A city of big ambitions and opportunities. As a rule, unrealized. Often they joke that there is a particular climate to blame. As if he makes us all a bit lazy and unhurried, and turns the city into an endless northern Magnan. But let's be honest: if the weather was good here, you would have moved here. So thank you, Lord, for the right climate! Peter is first of all people. No museums, no cathedrals or movable bridges. People - this is the present. They fill the city with meaning. Make it alive. Rock musicians and street artists, businessmen and careerists, conductor, cooks, officials, urban madmen, just visiting. Everything is interesting here. Uneasy ... All yours. City swallows.

Nastya Sablina is turning sixteen, and, filled with emotion, she begins to reflect on "the most important day of her life."

Five passengers - the Bandit, his friend Matvei, Matvei's old father, the Musician, and a young woman - race along an empty road in a big black jeep, searching for the Belfry of Happiness which, according to hearsay, lies somewhere between St. Petersburg and the town of Uglich, near a deserted nuclear power station. The Belfry takes people, but it does not take everyone. Each of the five passengers believes that he or she will be chosen.

This story unites the destinies of the landowners and their servants, and is considered to be one of the most complete portraits of the Russian life in the late XIX century. It takes place in Dry Valley, a village owned by the noble family of Khrushevs. The story tells about Natalia, a young and naive girl who serves in their country house. We see and experience her love, dedication to her masters, mysticism, exile, betrayal and faith, while the Dry Valley is falling to pieces, slowly but inevitably, as well as the lives of its inhabitants.

Five short love stories, which become a statement of the directors about love. A shoemaker, a reporter, a pavement hooker-in, a psychiatric patient and a young man released from prison are the main characters of the film, heroes in a time of no heroes. All of them have the important qualities of being openhearted and not afraid of loving.

Young Alisa is fed up with her life in Moscow, and moves to St. Petersburg. Her roommates in the collective flat are two junkies, Vel and her boyfriend Valera the Dead Man. First they fight, but soon the two women form a friendship. Together they even go after the Petersburg underworld when Dead Man is abducted because he can't pay his debts.

The film tells the story of a young Russian in the early 90s, trying to escape the army in a psychiatric clinic. He's released years later, after intensive compulsory treatment. Has a documentary film maker he gets involved in the Chechen conflict, where he meets his own apparent death. He recalls his life and realizes it mirrors that of his whole generation.

The life of a characters of this movie can be described as a swing - up and down, up and down; each day, each week...

A parody of the clichés and techniques of the Soviet adventurous comedy genre of the 1950s-1970s. This is a story about three heroes who return to their home city after escaping from prison. Truthfulness and sincerity help the characters find their place in the changed system.

Military doctor General Klenski is arrested in Stalin's Russia in 1953 during an anti-Semitic political campaign accused of being a participant in so-called "doctors' plot".

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Documentary film for german TV about rock music in Soviet Union. Featuring: "Мистер Твистер", "Ва-Банкъ", "Чудо-Юдо", "Женская Болезнь", "Ночной Проспект", "Аквариум", "Ноль", "Аукцыон", "Телевизор", "АВИА", "Звуки Му". In 1989 an album with recorded soundtrack was released.

Vitya is a teenage rock-music and motorbike fanatic whose father is arrested for embezzlement. Vitya is devastated, and in this state of shock he falls prey to a supposed mystic called Cassius.

After the concert, the popular singer, having boarded the train, discovers that her jacket is missing, and with it her passport, according to which she must go abroad on tour. Two stowaways, posing as police officers, undertake to help the singer.

Documentary — featuring both interviews and live footage — about underground rock music in Russia, during the last years of the Perestroika.

With a brother dedicated to punk rock stardom at any cost and a drunken father who chases skirt between robotic dancing lessons from the TV, young Senka stands as much chance of nurture as the hero of Truffaut's 400 Blows. The amazing thing about Ogorodnikov's film is that it was made in Russia. Clearly, plenty of Soviet teenies share the nihilistic feelings of their Western counterparts, and the extensive footage of safety-pin chic at concerts perhaps points to a sound export instinct on the director's part. Senka's brother Kostya is under pressure from Howmuch, a very heavy rocker, to steal a synthesiser from the Community Centre, so to protect him Senka steals it himself. The story occupies little more space than the music, but the performances are splendid enough to lodge Senka's predicament in the heart.