Yury Mokienko

A team of talented and cheerful people have come together to realize an ambitious idea – to create giant puppets of Russian writers. The process of bringing the puppets to life takes on the character of an unusual experiment, going beyond the traditional craft of puppet theater. The writers’ first journey ends in a completely unexpected way, forcing their creators to see their creations in a new way…

During the Soviet-Afghan War, in the days when general secretary of the Communist Party Leonid Breznev, in a military hospital a young lieutenant wounded almost to death meets a young military nurse, tired almost to death. One meeting. One night. One candle. A short from Vladimir Koptsev, Alexander Sokurov’s pupil.

A dancer in a static pose on the screen. Is there movement? It seems not. But the film of the movie camera is moving, filming the dancer. Electrons are running, pixels of the digital matrix are changing. Does this mean that movement is happening? The dancer's body comes to life within the frame set by the cameraman. How does this frame and the dancer's choreography interact? Should the frame obey the laws of choreography or exist in counterpoint with it? Or, perhaps, should it freeze, allowing the dancer to create his own pattern within the frame? The dancer makes his body move according to the laws of choreography. But at the same time, his nature determines how the body will exist within this choreography. After all, nature created the plasticity of the body outside of choreographies and directorial tasks. So what is more interesting to watch? What is the real beauty - in an artificial, memorized choreographic movement or in a natural, random gesture?

The elder brother watches his younger sibling growing up.

Somewhere among the panel high-rise buildings the author met a strange boy – Mitya Elizarov. Why did they meet, what did it lead to, and was it for real?

A documentary comedy about a father, a son and a large family living in a Russian village in the middle of nowhere.

A team of talented and cheerful people have come together to realize an ambitious idea – to create giant puppets of Russian writers. The process of bringing the puppets to life takes on the character of an unusual experiment, going beyond the traditional craft of puppet theater. The writers’ first journey ends in a completely unexpected way, forcing their creators to see their creations in a new way…

A dancer in a static pose on the screen. Is there movement? It seems not. But the film of the movie camera is moving, filming the dancer. Electrons are running, pixels of the digital matrix are changing. Does this mean that movement is happening? The dancer's body comes to life within the frame set by the cameraman. How does this frame and the dancer's choreography interact? Should the frame obey the laws of choreography or exist in counterpoint with it? Or, perhaps, should it freeze, allowing the dancer to create his own pattern within the frame? The dancer makes his body move according to the laws of choreography. But at the same time, his nature determines how the body will exist within this choreography. After all, nature created the plasticity of the body outside of choreographies and directorial tasks. So what is more interesting to watch? What is the real beauty - in an artificial, memorized choreographic movement or in a natural, random gesture?

A dancer in a static pose on the screen. Is there movement? It seems not. But the film of the movie camera is moving, filming the dancer. Electrons are running, pixels of the digital matrix are changing. Does this mean that movement is happening? The dancer's body comes to life within the frame set by the cameraman. How does this frame and the dancer's choreography interact? Should the frame obey the laws of choreography or exist in counterpoint with it? Or, perhaps, should it freeze, allowing the dancer to create his own pattern within the frame? The dancer makes his body move according to the laws of choreography. But at the same time, his nature determines how the body will exist within this choreography. After all, nature created the plasticity of the body outside of choreographies and directorial tasks. So what is more interesting to watch? What is the real beauty - in an artificial, memorized choreographic movement or in a natural, random gesture?

The elder brother watches his younger sibling growing up.

Somewhere among the panel high-rise buildings the author met a strange boy – Mitya Elizarov. Why did they meet, what did it lead to, and was it for real?

Somewhere among the panel high-rise buildings the author met a strange boy – Mitya Elizarov. Why did they meet, what did it lead to, and was it for real?

A documentary comedy about a father, a son and a large family living in a Russian village in the middle of nowhere.