Vladimir Nadein

At the height of the Cold War, a troubled soldier forms a forbidden love triangle with a daring fighter pilot and his female comrade amid the dangerous surroundings of a Soviet Air Force Base.

An avant-garde adaptation of the play by Georg Buchner about the last days of the Dantonists, representatives of the right wing of the Jacobins during the French Revolution. The director freely experiment with form and content, draws parallels with the present day and raises the question point-blank: why does the revolution, like the ancient Greek titan Kronos, always devour its children?

On a platform in the middle of the sea, the industrial machinery of an oil rig attempts to send out a warning of an impending catastrophe.

The plot is not developed; in the film we see a man (he) and a woman (she) who, in fact, are neither connected nor familiar with each other; they casually met in hospital. "She" (Viktoria Tolstoganova) does not see that she is in danger in connection with her plan to use a tape with illegally made recordings as compromising evidence in court. "He" (Il'ia Shakunov, an actor of the Petersburg TYuZ) is a gay translator who, after the random meeting with her, is pursued by her image which frequently pops up in front of him. As a consequence, his relationship with a young boy no longer satisfies him. Both he and she lose sight of the meaning of life, because of their own inability to see others and to see love, as perception relies on proximity instead of distance.

During the New Year eve Alexey is trying to get back his first love.

A sprawling meditation on the choreography of bodies in Moscow's urban landscape, Detours depicts a new way of dealing illicit drugs via the Darknet, the layering of the physical and the virtual realities, as well as a poetics, and politics, of space. Taking place in sleepy neighbourhoods, among the concrete walls of high-rises, behind garages and amidst abandoned railroads, the film alternately follows and loses track of Denis, the treasureman who hides stashes of drugs all over the city.

An avant-garde adaptation of the play by Georg Buchner about the last days of the Dantonists, representatives of the right wing of the Jacobins during the French Revolution. The director freely experiment with form and content, draws parallels with the present day and raises the question point-blank: why does the revolution, like the ancient Greek titan Kronos, always devour its children?

On a platform in the middle of the sea, the industrial machinery of an oil rig attempts to send out a warning of an impending catastrophe.

A sprawling meditation on the choreography of bodies in Moscow's urban landscape, Detours depicts a new way of dealing illicit drugs via the Darknet, the layering of the physical and the virtual realities, as well as a poetics, and politics, of space. Taking place in sleepy neighbourhoods, among the concrete walls of high-rises, behind garages and amidst abandoned railroads, the film alternately follows and loses track of Denis, the treasureman who hides stashes of drugs all over the city.

Newsreels were one of the most powerful tools of Soviet propaganda. They also make up a significant part of the state film archives. In the newsreels, the recent past presents itself as a monolith of silent images, firmly stitched together by the narrator's voice and soundtrack subtly playing the viewer's feelings. It is exactly this original sound that the artist suggests to detach from. Just two or three minutes long episodes retain the original montage, which was meant to follow the upbeat narration. Flickering images of the past, which perhaps can only become enchanting to us today by revealing their muteness.