An Afghan war veteran reluctantly agrees to lead a caravan smuggling drugs and guns across the desert after his estranged son is abducted.

Considering that Musakov’s Abdulladzhan (1991) was dedicated to Steven Spielberg, we might suggest that these four boys embody nothing more complicated than a conflict of youthful innocence with some ominous threat—the basic workings of E.T. (1982) or War of the Worlds (2005), say. That threat, however, is best understood not through vague nationalism or warmed-over socialism, but through the other reference-point of Abdulladzhan—Tarkovskii’s Stalker (1980). Musakov leaves his boys in a simplified radiance so bright and so overexposed that it no longer looks like the skies of sunny Tashkent, but a disturbing, borderless luminosity to match the flat tonal range of Stalker’s “Zone.” Our Uzbek boys are nowhere in particular; this is a broader domain than anything international.

Private Internal Troops Andrei Ivin is a security guard in a strict regime zone. He is absolutely not adapted to military service, a typical humanist who left the historical and archival institute. One summer, he stands at night on duty on the tower. A recidivist nicknamed Mishka Knyaz escapes. Private Ivin could not shoot him, and he was forced to go under the tribunal himself. In an explanatory note, he writes that he "refuses to continue to dispose of someone else's life." Under the supervision of the company commander Narotiev, he is sent to the disbat. Senior Lieutenant Narotiev is almost the same age as Ivin. It's hard for him to believe that the private is telling the truth. In his opinion, the soldier was simply at a loss, giving evidence, and fell asleep at the post, or, perhaps, chickened out.

A young Russian gymnast is forced to return to the life of an ordinary teenage girl after an injury prevents her from competing.

The story starts in a Siberia where world's biggest diamond was found. It is so valuable that it may not only pay off the enormous national debt, but also allow every Russian citizen to move to the Canary Islands. However, Mafia plans to steal the massive gem but a notorious thief, Vasia, ruins their plans. Mafia and militia begin chasing him, but soon Vasia learns that he has brothers as between the chase he runs into well known Jewish conductor and a gypsy baron who are triplet brothers.

Set in the ground zero of gangster globalism and driven by a truly manic energy, Generation P is at once a comedy, a tragedy and a fantasy about the rise of a poet-turned-adman through Russia’s nascent advertising business during the Moscow roaring 1990s.

Going on a business trip, the hero of the film suddenly finds himself in a fantastic city. It is very similar to our world, only the hidden absurdity of everyday life here has become apparent.

Ivan Mirosnikov, a cheeky young man in the Gorbachev era, is trying to figure out what to do with his life (he's not in college, and the 2-year mandatory military service is looming large ahead of him). Meanwhile, he lives with his divorced mother, and works as a courier at a Russian newspaper. Through his job, he meets patronizing Professor Kuznetzov and his rebellious daughter Katya. To annoy the professor, Ivan claims to have an affair with Katya. To his surprise, Katya backs his story up.

One of the most favorite Soviet comedies, a screen version of the play of the same name by Vladimir Gurkin. Each of us knows the story of Vasily, who went to the resort, succumbed to the charms of a femme fatale Raisa Zakharovna, but could not withstand two weeks of urban life, and returned to his family, where he waited for love and pigeons.

Living together in a workers' dorm, Katerina and her friends are determined to make it in Moscow. But when a boorish cameraman forces himself on her, Katerina finds herself pregnant and alone as her friends move on. Twenty years later, Katerina is a factory director, outpacing her old roommates career-wise, yet still alone but for her daughter. Love seems possible again when she meets a genial mechanic.