Agniya Ditkovskite

The terminally ill girl Tinatin comes face to face with the forest demon Mythos. To recover, she must overcome her temptation.

A film about the drama of a talented doctor who fell into a chain of tragic accidents - the death of his wife, psychological trauma that led to the loss of his voice, imprisonment, his daughter's drug addiction and a suicide attempt - but who found the strength to turn the tide, not lose heart and save himself, his daughter and granddaughter .

Crimea, 1787. Despite the Manifesto of the Russian Empress Catherine and the Kuchuk-Kainardzhi peace treaty, which forever united Crimea with Russia, Europe continues to weave intrigues, trying to break this sacred union. In the undercover struggle, all methods were used - from shameless gossip, dark rumors and false articles in newspapers to dirty manipulations with the illegitimate son of the empress sent to Europe for training - Alexei Bobrinsky, a passionate gambler and brawler. This weakness was cleverly exploited by international intriguers. Catherine instructs her faithful friends, the midshipmen, to cut the knot of the conspiracy ... Together with the fathers, their grown-up children, Shurka and Alexandra, go into battle.

The silver spoon masterfully escapes from prison and starts a new life. New sweet life! Sokolovsky joins the secular crowd, where everyone is sitting on a new synthetic drug, and he is again surrounded by cars, villas and top models. Friends, enemies and the FSB are following the trail of the silver spoon, trying to understand what game he has started and on whose side he is. Igor is trying to understand who he is - a traitor, a saint or is it the same ... silver spoon?

Mother and daughter, in grip of their acting profession, are stuck in a crisis. The career of one inevitably and painfully moves to its end; the other torments herself while trying to determine herself. Youth, beauty and talent — the daughter has everything necessary for success, but can she use her talent and take her place as actress or is she compelled to repeat her mother’s fate?

Four novels of the film-almanac are united by a common theme - all the most important happens in reality, and not on the Internet. Politicians and housewives, students and stars, adults and adolescents all over the earth take millions of selfies every day. Perhaps these photos will remain a dead weight in the phone's memory, but sometimes they can change lives. However, the heroes of the tape do not suspect anything about it...

The main heroine is the cosmonaut's wife. Despite the fact that she is on Earth and her husband is in orbit, the spouses decide to “go” on a date to Georgia. The heroine walks through the old city of Tbilisi and the Kazbegi mountains, dines at a local restaurant and tells her lover about all her impressions by phone. So that her husband can better understand where she is, the girl calls him the latitude and longitude of her location on Earth.

Deadly dance tournament is carried out in the city survived after nuclear apocalypse. Energy is extracted from the loser for the city to survive. A young guy from the street is forced to take part in the tournament and falls in love with girl who volunteered to participate in the battle. Will they survive or the arena will take their lives?

Early 18th century. Cartographer Jonathan Green undertakes a scientific voyage from Europe to the East. Having passed through Transylvania and crossed the Carpathian Mountains, he finds himself in a small village lost in impassible woods. Nothing but chance and heavy fog could bring him to this cursed place. People who live here do not resemble any other people which the traveler saw before that. The villagers, having dug a deep moat to fend themselves from the rest of the world, share a naive belief that they could save themselves from evil, failing to understand that evil has made its nest in their souls and is waiting for an opportunity to gush out upon the world.

Eleven comedic vignettes featuring conversations – some important, some less so – held in restaurants over coffee and cigarettes (how quickly time flies – cigarettes are banned in Russia’s restaurants now). The conversations are candid, and even veer into the territory of murder. In the final credits, the director apologizes to Jim Jarmusch, whose work (in the anthology Coffee and Cigarettes, which Jarmusch shot in pieces over many years) Oldenburg-Svintsov is clearly indebted to. Sex, Coffee, Cigarettes’s kinship with Jarmusch’s film extends to the fact that superstars play tiny roles in almost all of the vignettes.