Tamara Dondurey

Kira is a 30-year-old successful architect living in the illusion of absolute choices while being obsessed with constructing the ideal Moscow. She is used to living life according to her own rules, but she has to face her fear of the future and inability to love. An unexpected tragedy will lead Kira to face her past with her family, start life from the scratch, and become a mother.

New Moscow is an essay film about the city and its residents. Three different stories unfold in front of the lens, but all of them are united one way or another by the motif of nostalgia for youth, its achievements and traumas. The reverse movement of time becomes a form for a poetic conversation about the changeable nature of space.

Twenty-one day is a time period that terminal patients are allowed to stay in hospice. Time is pulsating here according to peculiar inner cycles: getting faster, slower or returning to its ordinary rhythm. We wander through physical and mental spaces: wards, gardens, memories. It is a story of two main protagonists, yet two strangers, for whom the regular talk about death constitutes an integral part of life.

This film was shot during the last year of Daniil Dondurey’s life in Moscow and Tel Aviv, where he was receiving treatment. Dondurey’s monologue is broken up by city landscapes, the animated buzz of a café, the silence of an emptied dacha… Dondurey talks about his pursuits, encounters, and tastes; he recalls his student years in Leningrad. He jokes, smiles, and hopes.

A family comes to a psychoanalyst in Moscow for an appointment, in which the mother is French, the father is Russian. Their son is supposed to start school soon, but for various reasons he still doesn't speak. During the sessions, the psychoanalyst notices that the boy loves trains, and begins to play with him in a toy railway, gradually changing the reality around the child.

Kira is a 30-year-old successful architect living in the illusion of absolute choices while being obsessed with constructing the ideal Moscow. She is used to living life according to her own rules, but she has to face her fear of the future and inability to love. An unexpected tragedy will lead Kira to face her past with her family, start life from the scratch, and become a mother.

Kira is a 30-year-old successful architect living in the illusion of absolute choices while being obsessed with constructing the ideal Moscow. She is used to living life according to her own rules, but she has to face her fear of the future and inability to love. An unexpected tragedy will lead Kira to face her past with her family, start life from the scratch, and become a mother.

New Moscow is an essay film about the city and its residents. Three different stories unfold in front of the lens, but all of them are united one way or another by the motif of nostalgia for youth, its achievements and traumas. The reverse movement of time becomes a form for a poetic conversation about the changeable nature of space.

New Moscow is an essay film about the city and its residents. Three different stories unfold in front of the lens, but all of them are united one way or another by the motif of nostalgia for youth, its achievements and traumas. The reverse movement of time becomes a form for a poetic conversation about the changeable nature of space.

Twenty-one day is a time period that terminal patients are allowed to stay in hospice. Time is pulsating here according to peculiar inner cycles: getting faster, slower or returning to its ordinary rhythm. We wander through physical and mental spaces: wards, gardens, memories. It is a story of two main protagonists, yet two strangers, for whom the regular talk about death constitutes an integral part of life.

Twenty-one day is a time period that terminal patients are allowed to stay in hospice. Time is pulsating here according to peculiar inner cycles: getting faster, slower or returning to its ordinary rhythm. We wander through physical and mental spaces: wards, gardens, memories. It is a story of two main protagonists, yet two strangers, for whom the regular talk about death constitutes an integral part of life.

This film was shot during the last year of Daniil Dondurey’s life in Moscow and Tel Aviv, where he was receiving treatment. Dondurey’s monologue is broken up by city landscapes, the animated buzz of a café, the silence of an emptied dacha… Dondurey talks about his pursuits, encounters, and tastes; he recalls his student years in Leningrad. He jokes, smiles, and hopes.

A family comes to a psychoanalyst in Moscow for an appointment, in which the mother is French, the father is Russian. Their son is supposed to start school soon, but for various reasons he still doesn't speak. During the sessions, the psychoanalyst notices that the boy loves trains, and begins to play with him in a toy railway, gradually changing the reality around the child.